Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument or network.
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CONCEPTUAL TRIGRAM
Synchronistic
Synergistic
Analogical
LINEAR TRIGRAM
Sign
Symbolic
Metaphoric
THE OBSERVER
The observer subjectively witnesses all forms and patterns of reality by virtue of experience, and through choice and discernment determines upon which to focus.
Design communicates through a silent language comprising of impressions, facts and thoughts registered by signs symbolically charged and metaphorically patterned. Design consciousness silently responds to vibration and frequency in the form of signs, symbols, metaphor, synergy, synchronicity and analogy.
SIGNS = icons/signifiers
SYMBOLS = language
METAPHOR = grammar
Signs, symbols and metaphor (physical, mental and emotional impressions) are made present in spacetime (duality) through letterforms, [images] language and grammar represented by the green triangle.
Meaningful and purposeful connections between all "states" of energy in motion (EIM) are made apparent via coherent resonance, i.e. awareness. Design awareness creates a dynamic/vibratory interface between ideas and concepts.
Both trigrams overlap in the form of changing fields and patterns of energy in motion. All impressions categorically qualify themselves within a changing quantum field of virtual potential and probability (QFVPP).
Feelings, impressions and frequencies recognized in every trigram harbors the potential to expand beyond parametric constraints. Impressions are recognized and contained within the every trigram hovering near the attractor's attention in the form of an idea/s. Together they create a vibration, pulsation and resonance between them through attraction and repulsion. Design is the means. The dynamics between them impact reality, describes the process and together make refer to what is perceived as reality.
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This passage is complex and abstract, blending philosophical concepts, metaphysical ideas, and design theory.
Key Concepts:
1. The Observer: The passage begins by describing the observer as someone who witnesses reality subjectively, which means that reality is interpreted through individual experience. This experience is guided by choice and discernment, where the observer can decide what to focus upon from the myriad of experiences that exist in the world.
2. Design as a Silent Language: Design is portrayed as a form of communication that doesn't rely on words or explicit instructions. Instead, it communicates through:
o Impressions (the sensory and emotional impact we receive from our surroundings)
o Facts (information that we perceive or derive from the world)
o Thoughts (ideas or conceptualizations formed from the impressions and facts)
These are symbolically charged and metaphorically patterned, meaning they hold deeper meanings or insights, understood through symbols and metaphors that are intuitive or contextual rather than literal.
3. Design Consciousness: This refers to a state of awareness or consciousness that responds to the vibrations and frequencies of reality. In this sense, reality itself is full of energetic vibrations (emotional, mental, physical), which are detected and interpreted through design and the design process. Design consciousness connects with and responds to:
- Signs: symbols or representations.
- Symbols: which may carry deeper meanings.
- Metaphors: which suggest connections and meaning beyond the literal.
- Synergy: the interaction of different elements working together harmoniously.
- Synchronicity: meaningful coincidences or connections between events.
- Analogy: understanding by comparison or parallelism.
4. Representation in Spacetime: The passage suggests that these metaphysical ideas are made present in the material world through design thinking —essentially, through forms of symbolic communication as represented in the placement of the green and blue triangles. This hexagonal configuration hypothesizes how meaning might be encoded and transmitted through spacetime.
5. Coherent Resonance and Design Awareness: The text then shifts to describe how meaningful connections are made between different "states" of energy in motion (EIM). The key term here is resonance—the idea that all energy states (whether mental, emotional, or physical) align and harmonize with one another to create a coherent vibratory sense of Oneness. This also resonates with the core idea of design awareness, which is the ability to subjectively perceive, comprehend and understand these connections and relationships.
6. Energy in Motion and Quantum Potential: The passage describes reality as constantly shifting within a quantum field of virtual potential and probability. This suggests that reality is not fixed but fluid, constantly changing and responding to different potential outcomes, or probabilities. Every impression (whether emotional, mental, or physical) carries with it the potential to affect this dynamic field. In this sense, all these impressions are likewise shifting within a quantum field of consciousness, and thereby harboring the potential to expand or evolve beyond initial limitations.
7. Attraction and Repulsion between the Trigrams: The "trigrams" mentioned refer to certain energetic patterns that are used in design or philosophy. They represent different patterns of energy in motion in the form of thoughts, emotions, or physical sensations that interact with each other through attraction and repulsion.
Together these forces create a dynamic field or background worth observation, a context where energy, thoughts, and impressions are constantly influencing one another. The vibration, pulsation, and resonance between these elements describe just how reality, i.e. consciousness, might be shaped. Design is the means by which these dynamics are made manifest and apparent to the world.
8. Impact on Reality: The way these forces interact also describes the process of how we experience reality. Design serves as both the means and the method by which these relationships are brought to realization in the world.
Process and Intention:
The process described in this passage seems to involve how an observer’s awareness interacts with and interprets the patterns of energy (or reality) that surround its observations. The observer, through awareness, focuses on particular patterns or symbols that communicate deeper meanings. These patterns respond to the vibrations and frequencies of reality and, through a dynamic interplay of attraction and repulsion, create a resonance that likewise shapes perception and experience.
The intention behind this process could be to describe how design has the power to influence how we perceive and engage with reality. By recognizing these dynamic relationships, the observer is capable of perceiving reality not merely as a static set of facts but as a dynamic, ever-evolving process shaped by multitudes of symbolic patterns.
In summary, the passage is exploring how design functions as a silent, metaphysical language that connects the observer to the underlying energy patterns of reality, shaping their perceptions and unfolding what we perceive as reality. The emphasis is on interconnectedness, vibration, and conscious awareness as being central to this dynamic process.
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.
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"Consciousness means awareness of otherness."
Feelings mean more than what you think.
Beauty is a design that will always remain unspoken.
Design speaks a language known only to the observer - seldom shared often misconstrued.
Design never stops designing.
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"In his 2017 book, The Reading Mind, Daniel Willingham makes a strong case for the primitive nature of reading, and all of the activities it enables. He explains a simple progression, whereby our visual, spacial, tactile, and auditory senses — highly developed for survival — were co-opted for the purposes of communicating bits of information between individuals. This shows up in obvious ways, such as pictography. However, it also seems to have influenced the angles and symbols we used when we developed alphabets, choosing geometries most similar to our natural environment. It seems very likely, though there is still debate, that this same process was at work in the development of all forms of symbolic reasoning.
In their article this week, Yann LeCun and Jacob Browning posit an interesting perspective on this. Language, they write, is a compression of information. Decompressing or interpreting it requires (1) shared symbols, (2) shared rules for those symbols, and (3) a shared body of information that those symbols map, or relate to. When these all hold, it’s just as well that we “prefer to text.” It’s very efficient!
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“We must learn to recognize what is being revealed even though it is always open to interpretation. We are also subject to delusions and misperceptions, so we need to learn discernment. We need to focus on our own dynamic process, not just its finite contents, personalistic signs and symbols.
Images and symbols, like language, can be ambiguous. Piantadosi et al (2011) have shown that all efficient communication systems will be ambiguous, assuming that context is informative about meaning. They also argue that ambiguity allows for greater ease of processing by permitting efficient linguistic units to be re-used. We can imagine the same is true for symbols. Theoretical analysis suggests that ambiguity is a functional property of language that allows for greater communicative efficiency.
But, all we ever really talk about is ourselves and our own processes. Pioneered by William James, Sigmund Freud, and Carl Gustav Jung, Depth Psychology is the study of how we dialogue with the Unconscious via symbols, dreams, myth, art, nature. A symbol is something which can have many meanings at once. By paying attention to the messages that show up from beyond our conscious egos, we can be guide to greater understanding, transformation, and integration with the world around us, inner and outer.”
Iona Mller
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Design Hypothesis:
Consciousness is conceptual, illusional, symbolic and metaphoric in character. Consciousness is the quintessential archetype. Consciousness is the concomitant consequence associated with a range of multidimensional patterns of energy whose origin rests beyond the subconscious.
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. (07.09.2023)
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)
What is a designer?
Designers are men and women who are faithful and trustworthy to themselves and others, who creatively abide and amalgamate their skills and knowledge with love and integrity - the goal: personal, collective, global and soular balance and harmony. (07.01.2023)
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Design embraces the unspoken word.
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"To believe is to accept another's truth.
To know is your own creation."
Anonymous
Edited: 07.07.2022, 08.23.2022, 01.27.2023, 09.11.2023, 11.28.2023, 03.18.2024, 12.15.2024, 09.21.2025
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