"The design process ... must become conscious, global, integrated ... the entire human domain, which means the entire planet and its surrounding near space, should be enclosed and included in a coherent plan driven by human values and a thirst for transformational beauty."
Terence McKenna
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument or network.
Passion precedes desire. Desire ignites intention. Intention requires focus. Focus attracts manifestation. Manifestation encourages further passion, personification and symbolization.
Creativity is a multidimensional adventure.
MARK ROTHKO
Rothko's blocks of color were meant to strike up a relationship with the viewer's deep consciousness, to provide a contemplative, meditative space in which to visually investigate one's own moods and affiliations with the chosen palette. He sought to distill an essence, or true nature, out of codified hues. Along with his friend, the painter Adolph Gottlieb, Rothko wrote a series of statements in 1943 to explain his work. In one, they wrote: "We favor the simple expression of the complex thought."
Awareness brings forward a “sense of consciousness” by fostering correspondences and fusing the concepts of meaning and purpose. Metaphysical in content and context, quantum, fractal and holographic in representation, all forms of energy/Life are revealed and made apparent by means of Design. Design is lovingly veiled in all that can be seen, known, measured and/or felt.(12.10.2022)
Design describes a metaphysical and multidimensional process. The design process is dependent upon knowledge, understanding, intention, intuition, imagination and awareness. Design creates a network of energy in motion (EIM) between fields/states/points/agents and patterns of awareness. Design creates a virtual, symbiotic and metaphoric lattice between consciousness, the subconscious and the unconscious, the tangible and the intangible, the known and the unknown, the seen and the unseen. All forms of energy in motion are based upon principles of meaning and purpose both felt and understood.(01.13.2023)
illusiona thingthat isorislikelyto bewronglyperceivedorinterpretedbythesenses: •a deceptive appearance or impression: •a false idea or belief:
Design describes the dynamic relationship between tension and compression, push and pull, the seen and the unseen, meaning and purpose, Newtonian and quantum physics, Euclidian and fractal geometry, and by virtue of the intuition (feeling) the mind and the emotions. Design is a catalyst that is symbiotic and metaphorical in its essence and expression.
symbioticadjectiveBiology involvinginteractionbetween two different organisms living in close physical association:thefungiform symbiotic associations with the roots of plant species.•denotingamutuallybeneficialrelationshipbetweendifferentpeople or groups:the readercanhaveasymbioticrelationshipwiththewriter.Consciousness describes a domain of diverse magnitude, a quantum field of virtual potential (QFVP) composed of a diversity of vibratory rates of occurrence typically generated by the attraction and influence of an energy centered about a commonly shared quest for balance.Life might be described as a contextual field of virtual potential in which humanity functions and is attracted. It is by means of this attraction that we naturally design and bring into manifestation (form) our concept of reality.contextualadjectivedepending on or relating to thecircumstancesthat form the setting for an event, statement, or idea:he includedcontextualinformation in footnotes.•depending onthe preceding or followingpartsof a text to clarify meaning:they havelimitedpracticein working out the meaningofunfamiliar material from contextualclues.The soul appears before consciousness as an elaborate contingency of both intelligence and emotion wrapped into bundles of energy we describe as our feelings. The soul has been designed to provide awareness, guidance, wisdom and support for the purpose of experiencing a meaningful Life. All that you perceive as being real comes to fruition by means of pursuing and fulfilling this attraction/impulse towards growth and expansion through balance, aka a higher level of conscious awareness. “The being-values of self-actualization and transcendence are the higher, more beautiful aspects of human consciousness. They include unconditional love, altruism, inner joy, a love of nature, the development of intuition (in males as well as females), idealism, and a sense of wisdom which springs from within. These skills develop the right-brain functions of creativity and intuition.” https://spiritlibrary.com/owen-waters/transcendent-beingness There are innumerable examples of conscious awarenesses (Life) throughout a Cosmos that describe a changing field of energy designed to adapt harmoniously while in search of balance.An expansion of consciousness relies upon discovering and experiencing the many facets of awareness/light functioning and contained within. Discovery brings meaning and with meaning purpose.Forms of consciousness overlap and interlock with many of its formless attributes. When entwined by means of design every feature contributes to the substance and sustenance in support of a desire or intention. Like fields of conscious awareness correspond with each other through a congruous pattern of vibratory/frequency/energy sharing. When observed and designed in harmony and balance higher "forms of consciousness" will vibrate at greater frequencies in pursuit of the zero point.Choice and belief can either fragment or unify the concept of design consciousness into quanta fields of awareness.Human awareness tends to categorize the concept of consciousness into definable parts for the sake of knowledge and understanding. What might you think reaches beyond knowledge and understanding when purpose has no meaning and meaning has no purpose?
Like humans, apes communicate to start and end social interactions
"Sharing intentions and working together on a common goal leads to a mutual sense of obligation otherwise known as joint commitment“—and now, she and her team are seeing evidence in great apes that might challenge the long-held claim that joint commitment is unique to humans ... The signals included gestures like touching each other, holding hands or butting heads, or gazing at each other, before and after encounters like grooming or play.”
Animals Count and Use Zero. How Far Does Their Number Sense Go?
"Even when animals can be trained to associate two items with the symbol 2 and three items with 3, “that does not mean they could put those symbols together to [get that] 2 + 3 = 5,” Dyer said. “Now, that’s a trivial mathematical problem for an elementary school student.” But experiments designed to test for that kind of symbolic reasoning in animals, he noted, have yet to be performed.
By taking this step beyond numerosity and building a symbolic system of enumeration, humans have been able to develop a more precise and discrete concept of number, manipulate quantities according to specific rules, and establish an entire science around their abstract use — what we would call mathematics.
The mind alone cannot fully describe what it means to feel. Feelings characterize a quality of energy-in-motion (emotion) made self evident within the presence of the heart.
One of life's objectives is to discover, learn and appropriately express your feelings and emotions while simultaneously acting upon them with discretion and discernment.
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument or network.
Linear, cyclical, conceptual and always in motion, does time have a beginning, or is it an endless constant - a vague, mysterious and virtual thought form avoiding all attempts to define it? Or is time a figurative idea stemming from the human imagination, created for the purposes of embracing every literal overtone that symbolically re-presents it.
overtone | ˈōvərˌtōn |
noun
1 a musical tone which is a part of the harmonic series above a fundamental note, and may be heard with it.
• Physics a component of any oscillation whose frequency is an integral multiple of the fundamental frequency.
2 (often overtones) a subtle or subsidiary quality, implication, or connotation:
Complex situations require metaphorical investigation through symbolic representation, both of which personify a variety of attributes harbored within the process of abductive/design thinking. It is upon this premise that the following inquiry is based.
Time describes a cyclical re-presentation of energy in motion. With time comes change in motion. The concept of time creates a focus about which energy can be contained in three dimensional space. Time "lines" bring forward a variety of options for every observer to choose. Every choice in every moment will influence the next step in a design blueprint filled with options. Repeating past actions, thoughts and feelings create patterns of energy that "in time" become imprinted, ingrained into consciousness.
Time is energy. Time travels about a cyclical path creating the framework essential to the paradigm of three dimensional consciousness. Within the framework of three dimensional space and time, time becomes a thing by virtue of its presence (meaning and purpose).
Time embraces change, creating a format where change can be formulated, articulated and realized. Time is best re-presented in the shape of a circle. A circular clock face alludes to a "reality designed within the parameters of a cyclical framework" and that it is within this same system that human consciousness must function. A clock is the perfect metaphor reinforcing time into forms of shape, number, division and categorization.
A clock face is divided into numerical fragments, i.e. hours, minutes and seconds. These divisions innumerate certain qualities and attributes that when viewed categorically, bring to awareness an immediate understanding to something that can only be experienced. Each category reflects upon a Cosmic network of earthly, solar and galactic forms of energy in motion (EIM).
A simple circular or elliptical shape implies that there exists a certain degree of universal wholeness supporting the concept of time, that time is a constant while observed within the constraints of a three dimensional POV. Awareness changes over time and space through morning, afternoon (light) to evening and night (dark).
Everything changes yet remains the same.
There are two distinguishable elements that can be identified as contributing to this metaphor; one is the context in which the concept of time is framed and second the human observer who categorizes these events by means of experience.
Time has been framed in reference to natural events and experiences. Time has been designed within the parameters of human consciousness and awareness.
“In particular, our research shows how electromagnetism is an inherent property of spacetime itself. In a way, spacetime itself is therefore the aether. Electric and magnetic fields represent certain local tensions or twists in the spacetime fabric.
John Wheeler, the famous physicist, put forward the idea that all of the material world is constructed from the geometry of the spacetime. Our research strongly supports this kind of natural philosophy. It means that the material world always corresponds to some geometric structures of spacetime. Tensions in spacetime manifest themselves as electric and magnetic fields. Moreover, electric charge relates to some compressibility properties of spacetime. Electric current seems to be a re-balancing object, which transports charge in order to keep the spacetime manifold Ricci-flat. This is aesthetically pleasing, as nature seems to strive for harmony, efficiency and simplicity.”
Electromagnetism is a property of spacetime itself, study finds
These observations have both a meaning and a purpose made in reference to all seen and unseen forces. Time's impressions are made apparent by means of coherent resonance. Time like space, creates a symbolic framework for the manifestation of energy in motion (EIM). Each frame contributes to an event or experience by designing an appropriate form at its most appropriate time. When revealed every form of energy in motion is made conceptual, symbolic and metaphoric both in content and context.
“Time cannot be forced into pigeonholes. Time has grown wings and takes flight into unfamiliar patterns. The sextants of humanity demand that time fly in a direction that makes sense. All sensors of Earth – smell, taste, touch, feel – are changing values. Do not take them for granted, and do not trust them fully. As what once was written in stone as truth, has now shifted in agenda.”
Be assured you will not discover all the answers to your inquiries here. Continue to investigate into your role as observer, participator and creator in a design of your own making. Be aware of the by-products and outcomes that surround your every choice and decision.
Conceptual impressions surrounding this post are yet to be substantiated, corroborated, confirmed or woven into a larger argument or network. Objective: To generate symbolic links between scientific discovery, design awareness and consciousness.
Every "form of energy" is the conceptual product of a series of coherent relationships generated between elements actively patterned about a moment of observation and subjective interpretation.
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Thinking without a brain: Studies in brainless slime molds reveal that they use physical cues to decide where to grow.
"Our discovery of this slime mold's use of biomechanics to probe and react to its surrounding environment underscores how early this ability evolved in living organisms, and how closely related intelligence, behavior, and morphogenesis are. In this organism, which grows out to interact with the world, its shape change is its behavior. Other research has shown that similar strategies are used by cells in more complex animals, including neurons, stem cells, and cancer cells. This work in Physarum offers a new model in which to explore the ways in which evolution uses physics to implement primitive cognition that drives form and function," said corresponding author Mike Levin, Ph.D., a Wyss Associate Faculty member who is also the Vannevar Bush Chair and serves and Director of the Allen Discovery Center at Tufts University.
Change is a given. In the quest for balance and harmony energy adapts to every circumstance seen and unseen, tangible and intangible. Attraction and repulsion are attributes of necessity, conformity and survival along with a dependency upon the situation between an observer and the context in which that "observation" is made.
"Fractalization" is a process that supports both fragmentation/repulsion (Yang, -) and attraction/cohesion (Yin, +), impulses and impressions whose explanation and interpretation are dependent upon the contexts in which they are observed and infused.
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New Shape Opens “Wormhole” Between Numbers and Geometry
"Altogether, these and other papers allowed Fargues and Scholze to devise an entirely new way of defining a geometric object. Imagine that you start with an unorganized collection of points — a “cloud of dust,” in Scholze’s words — that you want to glue together in just the right way to assemble the object you’re looking for. The theory Fargues and Scholze developed provides exact mathematical directions for performing that gluing and certifies that, in the end, you will get the Fargues-Fontaine curve. And this time, it’s defined in just the right way for the task at hand — addressing the local Langlands correspondence.
“That’s technically the only way we can get our hands on it,” said Scholze. “You have to rebuild a lot of foundations of geometry in this kind of framework, and it was very surprising to me that it is possible.”
Spacetime crystals proposed by placing space and time on an equal footing.
“… spacetime cannot be dealt with using traditional Euclidean geometry and instead must be viewed with the more complex hyperbolic geometry. Crystals contain repeating arrangement of atoms, and in recent years scientists have explored the concept of time crystals, in which the state of a material changes and repeats in time as well, like a dance. However, time is disconnected from space in those formulations. The method developed by Gopalan would allow for a new class of spacetime crystals to be explored, where space and time can mix.”
Consider the concept of a soul as being a subconsciously recognizable and metaphorically interpreted state of awareness; a form of collective consciousness made apparent by means of its attraction about a common thread (vector), pattern, identity or central energy source. The soul is an attribute of self-consciousness. The soul is self-aware and integral part of a greater collective consciousness.
Discovered by means of symbol and metaphor (design), a soul might be likened to a fractal, a collective state of awareness in perpetual change and cyclical iteration.
Soul consciousness describes a fractal dimension that makes its presence "felt" from within the depths of a quantum field of virtual potential.
The soul describes a state of collective presence, a commonly shared iteration and coherency made apparent in the form of frequency and vibration. The soul's "presence" reveals a series of fractal iterations between the known and the unknown, meaning and purpose and the cycle of Life. The idea of a soul emerges as result of a series of designed impressions/iterations in pursuit of unification through incremental expansion inferred by means of a closed loop system or process. The soul describes a collectively based Self-identity founded upon past and current events and experiences as viewed from the perspective of an observer.
Design consciousness brings to awareness the sense of a multidimensional pattern within every iteration made and/or created in reference to a broadly presented blueprint (algorithm). Fractal set within fractal set both describes and generates a transition of energy from one state, i.e. frame of reference to another, from macro to micro to macro etc. ad infinitum. A fractal set is linear in expression and designed to never to return to the original equation, rather this method is designed to expand upon the equation of the first order. Creatively speaking linear methods may, in time, eventually lead to formative ideas as in the process of methodically pursuing the multidimensional realms and reflections of conceptual thought, feeling and impression. Conceptual pursuits tend to harmonize the transition of energy from within the context/medium of fractalization.
Each family unit is a fractal construct, a self-similar copy of a common “source” or parentage. Each fractal unit is a microcosmic representation an algorithm of infinite character, quality and without measure.
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Fractal Consciousness and the Semiotic Geometry of the Soul: A Transdisciplinary Inquiry
Change, in both its ontological and epistemological dimensions, is an existential constant. Within the dynamic interplay of becoming, energy does not merely move—it adapts. It engages with both the visible and the invisible, the tangible and the intangible, through a spectrum of shifting configurations. In this regard, energy is semiotically fluid, constituting a network of signifiers modulated by context and perception (Eco, 1976). The dynamics of attraction and repulsion, far from being binary or oppositional, may be interpreted as functional necessities—arising out of the interdependence between the observer and the contextual framework in which observation itself is situated. In quantum terms, the observer effect suggests that measurement collapses probability into actuality, inferring that attraction and repulsion are not fixed forces but situational actualizations of potential (Heisenberg, 1958).
Within this framework, the concept of "fractalization" assumes critical importance. It is not merely a mathematical abstraction or aesthetic form, but a semiotic and metaphysical process—a structuring principle that mediates fragmentation (Yang, -) and cohesion (Yin, +). These polarities may be understood as energetic archetypes, symbols of differentiation and integration, chaos and order. Fractalization supports these opposing movements in a self-similar, recursive architecture that reflects how consciousness navigates between polarity and synthesis (Mandelbrot, 1982).
Crucially, fractalization does not simply depict a spatial phenomenon but implies a point of view (POV)—a perspectival frame emergent within specific coordinates of space-time (Einstein, 1915). From a quantum geometrical standpoint, this is akin to the phenomenon of light undergoing reflection and refraction: it suggests that all perception, all observation, is both situated and refracted through a multiplicity of dimensions, including those that elude sensory access. Hence, any given “position” is not ontologically fixed but probabilistic, constantly morphing in accordance with the perpetual flux of change—an idea resonant with Heraclitean metaphysics (Kirk, 1957) and contemporary theories of quantum indeterminacy (Bohr, 1928).
The soul, within this schema, is not a static entity but a metaphorical and symbolically mediated expression of collective awareness—a nexus of energies attracted toward a shared vector, identity, or resonance (Jung, 1968). It is at once an individuated locus of self-consciousness and a node within a vast informational matrix, akin to the Jungian concept of the collective unconscious (Jung, 1959) fused with Bohmian implicate order (Bohm, 1980). The soul, then, is both observer and participant, a self-reflective geometry nested within an unfolding cosmological algorithm.
Symbol and metaphor function as the primary mediators through which the soul’s architecture is intuited (Lakoff & Johnson, 1980). Just as fractals emerge through recursive iteration, so too does soul consciousness emerge through cycles of lived experience, emotional impression, symbolic resonance, and metaphysical inquiry. The soul may thus be seen as a fractal dimension of identity, arising from the virtual potential of the quantum field, a field that is itself entangled with multiple potential states of awareness (Zohar & Marshall, 1994).
In this light, the soul is felt more than seen—it emerges not as a definitive object but as an ongoing pattern of presence, encoded in frequency and vibration. These vibrational patterns suggest a semiotic code embedded in the geometry of being, oscillating between the known and the unknown, between interpretation and ineffability. The soul is a recursive trace—a metaphysical footprint of iterations between meaning and experience, coherence and chaos, expansion and return. The quantum field, which gives rise to such patterns, does so through processes of non-local entanglement that defy conventional notions of time and space (Einstein, Podolsky, & Rosen, 1935).
Furthermore, the soul's manifestation is entangled in what may be termed design consciousness: an awareness of the blueprint-like nature of reality, wherein each fractal is a microcosm of a larger, multidimensional algorithm (Wilber, 2000). This process echoes the holographic principle (Bohm & Hiley, 1993) and suggests that each expression of consciousness reflects the whole, albeit filtered through its particular trajectory and context. The self is, therefore, a designed iteration—a momentary manifestation of an underlying fractal intelligence (Prigogine, 1980).
The recursive nature of fractals—wherein each set gives rise to another without ever reverting to the original—serves as a powerful metaphor for psychospiritual evolution. Linear causality dissolves into iterative causality, where growth is not merely additive but expansive, generating novel dimensions of awareness (Maslow, 1968; Jung, 1959). From a psychological perspective, this aligns with the process of individuation (Jung, 1968) or self-actualization (Maslow, 1968), interpreted here through the multidimensional lens of fractal design.
Even the family unit, traditionally viewed as a sociocultural structure, may be understood as a fractal node—a self-similar subset of a larger source algorithm. Each family, and each individual within it, carries the informational signature of an origin field, yet also expresses unique permutations of that source pattern. This reframes identity as both inherited and emergent, both deterministic and creatively mutable—a tension that is central to psychological development and metaphysical inquiry alike.
In sum, fractalization serves not only as a formal principle of structure but also as a metaphysical grammar of consciousness. It reveals a vision of the cosmos—and of the self—as a recursive, expanding interplay of perception, design, and transformation. Soul, as a fractal event in the quantum-semantic field, emerges not as a static truth, but as a living geometry—a conscious rhythm pulsing at the intersection of physics and metaphor, self and collective, potential and form.
Einstein, A. (1915). The General Theory of Relativity. Annalen der Physik.
Einstein, A., Podolsky, B., & Rosen, N. (1935). Can quantum-mechanical description of physical reality be considered complete? Physical Review, 47(10), 777–780.
In philosophical epistemology, there are two types of coherentism: the coherence theory of truth;[1] and the coherence theory of justification[2] (also known as epistemic coherentism).[3]
Coherent truth is divided between an anthropological approach, which applies only to localized networks ('true within a given sample of a population, given our understanding of the population'), and an approach that is judged on the basis of universals, such as categorical sets. The anthropological approach belongs more properly to the correspondence theory of truth, while the universal theories are a small development within analytic philosophy.
The coherentist theory of justification, which may be interpreted as relating to either theory of coherent truth, characterizes epistemic justification as a property of a belief only if that belief is a member of a coherent set. What distinguishes coherentism from other theories of justification is that the set is the primary bearer of justification.[4]
As an epistemological theory, coherentism opposes dogmatic foundationalism and also infinitism through its insistence on definitions. It also attempts to offer a solution to the regress argument that plagues correspondence theory. In an epistemological sense, it is a theory about how belief can be proof-theoretically justified.
Coherentism is a view about the structure and system of knowledge, or else justified belief. The coherentist's thesis is normally formulated in terms of a denial of its contrary, such as dogmatic foundationalism, which lacks a proof-theoretical framework, or correspondence theory, which lacks universalism. Counterfactualism, through a vocabulary developed by David K. Lewis and his many worlds theory[5] although popular with philosophers, has had the effect of creating wide disbelief of universals amongst academics. Many difficulties lie in between hypothetical coherence and its effective actualization. Coherentism claims, at a minimum, that not all knowledge and justified belief rest ultimately on a foundation of non-inferential knowledge or justified belief. To defend this view, they may argue that conjunctions (and) are more specific, and thus in some way more defensible, than disjunctions (or).
After responding to foundationalism, coherentists normally characterize their view positively by replacing the foundationalism metaphor of a building as a model for the structure of knowledge with different metaphors, such as the metaphor that models our knowledge on a ship at sea whose seaworthiness must be ensured by repairs to any part in need of it. This metaphor fulfills the purpose of explaining the problem of incoherence, which was first raised in mathematics. Coherentists typically hold that justification is solely a function of some relationship between beliefs, none of which are privileged beliefs in the way maintained by dogmatic foundationalists.In this way universal truths are in closer reach. Different varieties of coherentism are individuated by the specific relationship between a system of knowledge and justified belief, which can be interpreted in terms of predicate logic, or ideally, proof theory.[6]
1. The Coherence Theory of Truth (Stanford Encyclopedia of Philosophy)
2. ^ Jump up to:a b Coherentist Theories of Epistemic Justification (Stanford Encyclopedia of Philosophy)
3. ^ Paul K. Moser (1986), "Epistemic Coherentism and the Isolation Objection", Grazer Philosophische Studien 27:83–99.
4. ^ Klein, P. D. (2007). Human Knowledge and the Infinite Progress of Reasoning. Philosophical Studies, 134 (1), 1-17.
5. ^ Lewis, David K. Counterfactuals. Wiley-Blackwell, 2001.
6. ^ Ángel Garrido, Urszula Wybraniec-Skardowska (eds.), The Lvov-Warsaw School. Past and Present, Birkhäuser, 2018, p. 510.
"Coherentism is a theory of epistemic justification. It implies that for a belief to be justified it must belong to a coherent system of beliefs. For a system of beliefs to be coherent, the beliefs that make up that system must “cohere” with one another."
Fractals can be paradoxical, inconsistent, incomprehensible and at time self-contradictory. Fractals exist in a dimension of their own and never end until their cycle is over. Upon repetition every fractal unit maximizes its pattern, i.e. self-similar methodology, while retaining its position as an integral component of a system of growth and permutation stemming from an observation, point of origin, equation or algorithm.
Every iteration is a type of permutation; both are agents of change based upon an observer's POV and the arrangement/situation/circumstance/context being perceived/witnessed/scrutinized and/or discerned.
Iterations of these patterns are sensitive to the context/environment from which they emerge. Iterations of this commonly shared pattern/algorithm react to every situation by responding to the domain, realm, framework and/or environment from which they emerge or seemingly appear (see consubstantiality).
Ant colonies behave like neural networks when making decisions
Rockefeller University
"The findings suggest that ants combine sensory information with the parameters of their group to arrive at a group response—a process similar to neural computations giving rise to decisions.
However, the researchers were surprised to find that the ants were not merely responding to temperature itself. When they increased the size of the colony from 10 to 200 individuals, the temperature necessary to trigger the decision to vacate increased. Colonies of 200 individuals, for example, held out until temperatures soared past 36 degrees. "It seems that the threshold isn't fixed. Rather, it's an emergent property that changes depending on the group size," Kronauer says.
Individual ants are unaware of the size of their colony, so how can their decision depend on it? He and Gal suspect that the explanation has to do with the way pheromones, the invisible messengers that pass information between ants, scale their effect when more ants are present. They use a mathematical model to show that such a mechanism is indeed plausible."
The design process might be described as a series of iterations based upon a common theme (algorithm). The focus will vary based upon the contexts/dimensions encountered. This is one reason why design should never be compromised, rather every design/designer should emerge/willingly work within contextual constraints.
Fractals are products of a linear, closed loop mathematical process that result in a series of computational iterations, shapes and forms.
"A fractal is a shape made of parts similar to the whole in some way."
Benoit Mandelbrot
Fractals both fold and unfold by virtue of a series of mathematical designs that cannot be entirely measured. Changing points of view are purposely determined and embraced within the context of every event and experience. Fractal observations are based upon a mathematical function/rule - products of a closed-loop methodology made dimensionally apparent through a prescribed process/algorithm; an ever-changing pattern of energy that develops in incremental stages (evolution/involution).
Fractal geometry is the fruit of a linear process that allows for the expansion and/or contraction (attraction/repulsion) of awareness and focus. The mathematical rule (algorithm) describes a cyclical process, a feedback loop of conscious awareness made cognizant by means of shape and form development.
Design consciousness brings to awareness the space and time between fractal gaps, dimensions, cycles, perturbations and turbulence. By nature, fractals appear to be patterned about specific constraints (blueprints). Fractals symbolize the linear generation of a never-ending awareness/focus by means of impressions based upon the perceptions of an observer. Mathematical formulas create the field of engagement and consequence, patterns of energy made to bring fruition to the feelings, desires and intentions of a creative source/designer.
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“The world is the mirror for you to truly see. Any strong reaction to a person or event signals an issue to work on in yourself. Be willing to examine and utilize what you see in your mirrors, in order to transform dysfunctional belief systems, negative thought forms, and fixed patterns. In the Hall of Mirrors there is no good or bad, no right or wrong – there is only the reflection of what is.”
https://spiritlibrary.com/gillian-macbeth-louthan/white-magnetic-mirror-day-out-of-time-july-25-2021
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Fractal geometry demonstrates that every perceivable "source" code contains the innate potential to reproduce, evolve and multiply both from within and beyond its own geometry thereby adapting to its own innate environment. By means of cyclic repetition certain connoted patterns of energy appear to reproduce, multiply and regenerate themselves within the dynamic at-traction between the observer and the observed, i.e. subject and object.
Over time these re-calibrations generate more complicated, mystifying and unintelligible phenomenon, the unknown becomes more complex, unmeasurable, intricate, detailed and convoluted than anticipated. The original "situation" is forever changing and constantly being altered in the form of an emerging process. The concepts of time and space become changed and altered, dimensions expand and contract within the definition of a Euclidean space without pre-knowledge or notice while retaining a degree of constancy within the modus operandi. One might describe the fractal phenomenon as a process of internal discovery and external expansion immersed in a silent symbolic awareness and dimensional consciousness typical of every design cycle.
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Georg Cantor, Musings of a Math Nerd, Fractal Geometry: Mathematics of the Future (Part1)
“To put simply, we can never reach the fundamental components of a figure that is a fractal; we can only observe smaller and smaller “worlds” (patterns in the figure that continue for infinity). For our purposes, therein lies our definition of a fractal. It is a geometrical object comprised of infinitely many “worlds.”
When observed from a central POV every fractal set displays an infinite pattern and quality in the form of a unique perspective in reference to the concepts of balance and symmetry. The observer jettisons a certain POV into a repetitive dimensional kaleidoscope filled with parts that mimic the whole by endlessly changing references to the context/environment in which such events and experiences are observed.
Individual sets (POV) act as agents, observers and facilitators whose arrangements can be mapped for specific purposes/designs and thereby allowing for reflection upon both imaginable and unimaginable states of awareness, aka dreams - whose results of which are entirely dependent upon how deep you go “down the rabbit hole” (choice).
By means of iteration (self-similarity) the perimeter of every fractal set will eventually enlarge and develop beyond a measurable dimension. The equation is recursive, a perpetual constant, a design that invites and embraces change amidst the potential of traveling beyond the constraints of three- dimensional space/time.
Fractals are metaphors for what might be characterized as an "ongoing evolutionary design process". Circumstances change in the moment (space/time) only if the observer is keenly aware and attuned to it. There are countless numbers of facets, iterations, forms and pools generated about every source/algorithm. Every algorithm is designed to generate a series of mathematical “likenesses” emerging as result of a repetitive/cyclical process or directive.
Life presents itself to us in a fractal and cyclical manner; chaotic yet patterned, always changing yet unchanged, hidden yet always evident, finite yet expansive, unseen yet seen, unmeasurable yet quantifiable, progressive yet regressive, periodical yet timeless.
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Strange Stars Pulse to the Golden Mean
Natalie Wolchover
Mathematicians in the 1970s used attractors to model the behavior of chaotic systems like the weather, and they found that the future path of such a system through its attractor is extremely dependent on its exact starting point. This sensitivity to initial conditions, known as the butterfly effect, makes the behavior of chaotic systems unpredictable; you can’t tell the forecast very far in advance if the flap of a butterfly’s wings today can make the difference, two weeks from now, between sunshine and a hurricane. The infinitely detailed paths that most chaotic systems take through their attractors are called “fractals.”
At some juncture in the iterative process the two-dimensional "shape" must overlap within the threshold of three-dimensional "form". Shapes, forms, patterns and configurations of energy in motion can be described and contained within the shape of a circle (2D, linear time, Euclidian, Classic) the form of a sphere (3D, linear time, Platonic) and multidimensionality (MD, timeless, Quantum).
Science Made Simple: What are Quantum Networks?
“Quantum networks use uniquely quantum phenomena, like superposition, no-cloning, and entanglement that are not available to classical networks. Before the photon is measured, it exists in a superposition of all its possible quantum states, each with a corresponding probability. Measurement selects one among these states. In fact, the photon’s quantum state cannot be measured without causing a disturbance that betrays the attempt. Nor can an arbitrary, unknown quantum state be copied – no cloning allowed. A properly designed and operated quantum network derives inherent security from this behavior.
The strengths of quantum networks are complementary to those of classical networks. We will reap the greatest benefit in the long run by incorporating both classical and quantum networks in an internet with capabilities that exceed what is possible with either technology on its own.”
Every fractal set reveals a circumstance, a pattern and a context within a quantum field of virtual potential made apparent as result of linear thinking. Every fractal set clears the slate by symbolically capturing time into a visual pattern of energy for the purpose of iteration, deviation, expansion and observation. Every fractal set locks time into a patterned moment while simultaneously piercing a timeless unknown.
Fractal sets of energy generate a series of cyclical patterns that display a progressive sequence of intermediate dimensions, each "state" describing a form of energy in transition and transformation. Every cycle is conceptual, i.e. infinite, every iteration linear and sequential.
Randomness, mutation, transformation, transition, adaptation, adjustment, revision, transfiguration, transmutation, i.e. change, all describe the attributable qualities of a multidimensional POV. Fractal geometry describes a metaphorical series of events that when subconsciously and symbolically "observed" bring light to the importance of change and what it means to be design conscious.
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This text explores the fractal concept through a mixture of philosophical, psychological, and mathematical lenses, blending quantum mechanics, metaphysics, semiotics, and design theory into a coherent narrative. However, given its abstract nature, we can refine and expand upon certain themes to provide greater clarity, coherence, and scholarly depth.
Fractals as Paradoxical Phenomena in Observational Reality
Fractals, as complex geometric structures, challenge conventional boundaries between order and chaos. They exist in a continuous state of flux, paradoxically both self-similar and infinitely diverse, each iteration preserving the essence of the whole while simultaneously expanding upon it. This inherent tension—between consistency and contradiction—mirrors the tensions found within both the subjective and objective realms of human experience. Psychologically, this duality parallels how our minds simultaneously structure and disrupt our understanding of reality. The fractal's recursive nature—where each iteration reflects both a return to origin and a divergence from it—mimics the iterative processes of human cognition and perception, in which each new observation recycles prior information while offering novel insights (Bateson, 1972; Jung, 1953).
Metaphysically, fractals can be seen as embodying the infinite regress, where each self-similar unit reflects not only the whole but the potential to infinitely expand beyond known dimensions of time and space. This reflects a key metaphysical insight: the infinite is both a process of continual unfolding (involution) and a static, closed loop (evolution) (Deleuze, 1994). The fractal process, then, becomes a metaphor for the human encounter with the unknown—the cyclical, transformative dance between the known and the mysterious.
The Role of the Observer in Defining and Altering Reality
Fractals illustrate a fundamental principle in quantum theory and semiotics: the observer plays an integral role in shaping the phenomena observed. The observer's position or perspective alters the fractal pattern, suggesting that reality is not merely an external construct, but a relational and dynamic event co-constructed between the self and the observed (Heisenberg, 1958; Derrida, 1978). Semiotic theory echoes this notion, as meaning is not a fixed, pre-existing entity but arises through interpretation within a given context. As each fractal iteration responds to the observer’s point of view, it becomes emblematic of the semiotic signifier-signified relationship: the observer’s cognition imprints meaning upon the unfolding fractal structure, shaping its perceived reality (Peirce, 1931–1958).
Quantum geometry further illuminates this point. In the quantum field, particles exist not in deterministic states but in superpositions of possible states until an observation collapses the wave function, forcing a particular realization (Schrödinger, 1926). The fractal thus can be viewed as a visualization of this collapse—an infinite series of potentialities converging upon a specific outcome, which itself may evolve or devolve depending on the context in which it is situated. This observation, influenced by perception and intention, not only shifts the fractal pattern but also shifts the very fabric of reality within which it emerges.
Fractals, Iteration, and Change: Psychological and Ontological Implications
Iteration in fractals embodies the concept of transformation—each repetition, while resembling the previous, contains a subtle shift or mutation that allows for the gradual evolution of the form. This process parallels human development and psychological transformation, where the self constantly returns to prior states of understanding, yet each return results in deeper insight and a broader perspective. In psychological terms, this recursive unfolding aligns with theories of personal growth, such as Carl Jung's individuation process, where the self-confronts and integrates fragmented aspects of its unconscious (Jung, 1968). The fractal then becomes a symbol of psychological maturation—a structure that evolves, adapts, and synthesizes in response to the ongoing, iterative process of self-reflection.
In metaphysical terms, iteration can also be viewed as the cyclical nature of existence, where life, death, and rebirth manifest in recurring patterns. These cycles are not identical but are marked by evolutionary and involutionary shifts that move beyond simple repetition, akin to Hegel’s dialectic of thesis, antithesis, and synthesis (Hegel, 1807). Fractal geometry thus embodies this metaphysical structure of perpetual becoming.
Fractals and the Quantum Field: A Space of Virtual Potential
Fractals offer a visual representation of the quantum field, where every iteration corresponds to an infinite number of possible states and interactions. The fractal acts as a “virtual potential,” a state of endless possibilities, akin to the quantum wave function before observation collapses it into a definitive form (Feynman, 1985). This space of virtual potential is not merely theoretical; it is practical, as it also reflects design theory. Every fractal set reveals an emergent property that speaks to the generative power of design, where both deterministic processes (algorithms) and non-deterministic occurrences (random mutations) coexist. This interplay mirrors the creative process, in which fixed parameters yield infinite possibilities based on an observer’s interaction with the system (Buchanan, 2004).
Design consciousness, as applied to fractals, involves an awareness of the spaces between iterations, the gaps that punctuate the ongoing process. These gaps are not empty; rather, they are sites of transformation and potential. The dynamic tension between what is perceived and what is yet to be perceived is a key element of design thinking, which acknowledges that forms, while constrained by certain rules (such as an algorithm or mathematical structure), are nonetheless subject to change, mutation, and expansion (Cross, 2001).
Fractals as Metaphors for Life and Cosmic Design
Fractals symbolize the overarching design of the cosmos—chaotic yet patterned, random yet systematic. Life, when viewed through the fractal lens, is both an individual and a collective process of growth and decay, governed by repeating cycles that span across dimensions of time and space. They reflect the paradoxical nature of existence: finite yet infinite, chaotic yet orderly. These qualities echo the metaphysical perspective of life as a process of continuous emergence, where each iteration of existence—each cycle of life, death, and rebirth—contributes to a cosmic order that remains fundamentally unknowable (Tao, 1972).
The fractal’s recursive nature suggests that meaning, existence, and even identity are not static but evolve within a context of perpetual change. This aligns with the dynamic principle of consubstantiality—the idea that everything shares a common substance, a shared principle of becoming that informs all things (Whitehead, 1929). Just as fractals appear to be products of a closed-loop system yet simultaneously evolve, so too do human beings exist within a closed-loop system of consciousness and experience, constantly evolving through interaction with the larger cosmos.
Final Reflections: Beyond Linear Time
At the intersection of these complex themes—psychology, semiotics, metaphysics, quantum geometry, and design theory—fractals emerge as powerful metaphors for both the structure and the dynamic nature of reality itself. They invite us to think beyond linear, Euclidean conceptions of time and space and into a multidimensional understanding of existence. Every fractal iteration offers a glimpse into the nature of change and transformation, suggesting that the very fabric of reality is one of perpetual flux, where perception, meaning, and structure are continually unfolding (Barad, 2007).
Fractals, in this light, are not merely mathematical curiosities or visual patterns but profound symbols of the process of becoming—both in the human psyche and the cosmic order. As observers within this intricate web, our role is not passive; we actively participate in the ongoing creation of reality, contributing our own patterns of perception, meaning, and design to the unfolding fractal dance of existence.
The author generated this text in part with GPT-3, OpenAI’s large-scale language-generation model. Upon generating draft language, the author reviewed, edited, and revised the language to their own liking and takes ultimate responsibility for the content of this publication.
To be design conscious you must be more than an observer.
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"To believe is to accept another's truth.
To know is your own creation."
Anonymous
Be assured you will not discover all the answers to your inquiries here. Continue to investigate into your role as observer, participator and creator in a design of your own making. Be aware of the by-products and outcomes that surround your every choice and decision.
