Conceptual impressions surrounding this post are yet to be substantiated, corroborated, confirmed or woven into a larger argument or network.
metaphor | ˈmedəˌfôr, ˈmedəˌfər |
nouna figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable:• a thing regarded as representative or symbolic of something else, especially something abstract:
nouna figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable:• a thing regarded as representative or symbolic of something else, especially something abstract:
Source: https://www.visualthesaurus.com/
Design is symbolic in essence and conceptual in origin. Design is the metaphor for Life - a self contained, unified network in complete and abstract coalescence, a paradoxical amalgam meant to represent something else in a symbolic manner. Design's metaphors are linked to everything considered to be humanly imaginable. Design represents both the perspective of an observer and the context, i.e. situation, in which the observation or experience takes place. The Relationship between observer and the observed generate a variety of intimations, which are symbolic in character and interpretation.
intimation noun: suggestion hint, indication, sign, signal, inkling, suspicion, impression; clue, undertone, whisper, wind; communication, notification, notice, warning.
"As a plant produces its flower, so the psyche creates its symbols."
Carl Jung
Life appears before our awareness symbolically. You might say Life and Design are synonymous.
symbolically | simˈbälək(ə)lē |
adverb: 1 purely in terms of what is being represented or implied: 2 as or by means of a symbol or symbolism:
Design serves many purposes and is intimately associated with a wide array of meanings. The word "sign" is clearly marked in the English spelling of design. Design is figuratively embodied in the form of a sign or symbol.figuratively | ˈfiɡyərədəvlē | adverb: 1 used to indicate a departure from a literal use of words; metaphorically: we left a lot of people literally and figuratively in the dark | [sentence adverb] : I did bump into—figuratively speaking—quite a few interesting people. 2 in a style representing forms that are recognizably derived from life
Design serves many purposes and is intimately associated with a wide array of meanings. The word "sign" is clearly marked in the English spelling of design. Design is figuratively embodied in the form of a sign or symbol.figuratively | ˈfiɡyərədəvlē | adverb: 1 used to indicate a departure from a literal use of words; metaphorically: we left a lot of people literally and figuratively in the dark | [sentence adverb] : I did bump into—figuratively speaking—quite a few interesting people. 2 in a style representing forms that are recognizably derived from life
Design Consciousness is both tangible and intangible - a phenomenon that characterizes the relationship between meaning and purpose symbolically. A sign becomes a symbol by engaging an undeniable awareness or feeling made subconsciously apparent by means of observation. A sign becomes symbolic by virtue of resonating within the soul of an observer.
A sign is the guiding light of the ego ... a symbol the guiding light of the soul.
"Part of the human Self or Soul is not subject to laws of space and time." Carl Jung
Design is a catalytic language of visible and invisible means.
Design creates a multidimensional resonance between fields of Energy, i.e. the seen and the unseen - coherent configurations of a vibratory nature made appropriate/designed for the context in which they are observed. Design is fundamental to the creative process.
coherence | ˌkōˈhirəns | noun 1 the quality of being logical and consistent: 2 the quality of forming a unified whole:
Design facilitates the transformation of energy from one "state/field" to another. Design embodies the concept of focus/attention with respect to generating a balance/harmony between interdependent conditions. These situations create environments that are potentially synergetic, synchronistic, emergent, and/or entangled while being centered in the moment. Design creates the fulcrum between Life and Light, and is instrumental in creating the most appropriate relationships for the situations at hand. Design is a formative process.
These symbolic relationships appear to be animated by virtue of energy being in continuous motion. When appearing to be stabilized in the relative form of a network/field, vibratory energy (Light) will give the impression of "materializing", i.e. taking on a geometry in the form of a pattern of connections/relationships unique to the circumstance in the moment.
Note: a hologram is a good example of this transformation of Light energy into an observable "form" of its own. Form is a shadowed re-presentation of the energy that streams between certain virtual positions (fermions?), static locations of past impressions that together append to each other in the mind and heart of the observer. An observer initiates the shape/response to every situation by means of an imagination responding to the urges of an intuition typically based in a belief system padded with experience. This point of transition and transformation harbors the potential for further substantiation into matter, if so desired by the designer.
Design represents a silent language that creates and develops a multidimensional bridge between the Source of Light and the phenomenon we know as Life. Design provides the conduit between form and formlessness. Design brings to Reality the connection between Life as we know it. In other words Design re-presents the presence of a Creative Source, a field of Love at the heart of Life. We are all sources of energy in our own right, all focusing upon a variety of designs and designations of our own while traveling along a number of autonomous paths patterned about coherent re-sources ... each an active participant in a network of Light and Love.
Design creates the fulcrum between Life and Light, and is instrumental in creating the most appropriate relationships both in meaning and purpose.
fulcrum | ˈfo͝olkrəm, ˈfəlkrəm | noun (plural fulcra | -krə | or fulcrums) the point on which a lever rests or is supported and on which it pivots. • a thing that plays a central or essential role in an activity, event, or situation: https://phys.org/news/2020-12-fragments-energynot-particlesmay-fundamental-blocks.html, https://designconsciousness.blogspot.com/2012/09/design-metaphysics-torus.html
DESIGN AND THE OBSERVER“Thus, bearing in mind that thought struggles incessantly against the treachery of language and that what we observe and describe is the observer himself, we may nonetheless proceed to investigate the successive phases in our becoming human beings. Throughout these phases, the experience (das Erlebnis) of ourselves as an intensity (imaged and felt as a “god”, lha) setting up its own spatiality (imaged and felt as a “house” khang) is present in various intensities of illumination that occur within ourselves as a “temple.” A corollary of this Erlebnis is its light character manifesting itself in various “frequencies” or colors. This is to say, since we are beings of light we display this light in a multiplicity of nuances.[33] In the above block quote the trikaya is encoded as: dharmakaya “god”; sambhogakaya “temple” and nirmanakaya “house”. 33. Herber V. Günther (1996). The Teachings of Padmasambhava(Hardcover ed.). Leiden, Netherlands: E. J. Brill. pp. 115–116. https://en.wikipedia.org/wiki/Classical_element
An observer is a witness to an event. A witness gives evidence to a phenomenon, event or personal experience by means of confirmation and/or supporting evidence. This process is heavily dependent upon the belief system/s initiated and employed by the observer. Confirmation, verification, testimony, corroboration, authentication, substantiation, evidence, and validation should be key in proving an event to be real. Yet due to the multitude of belief systems we support, encounter and are engaged in Life, the idea of defining who an observer might be still remains controversial.
It is upon this premise that we must prepare to broaden our current understanding of Light, Life and Design. We need to acknowledge the fact that any understanding of what we think and/or believe consciousness to be will continue to expand and/or contract by virtue of these beliefs, levels of awareness, events, experiences and our POV in the moment. We need to understand that consciousness is a design of our own making.
It is difficult to escape the realization that design is an integral part of consciousness, our inputs and outputs are mental, emotional, physical and also of a nature that is difficult, if not impossible to describe. Every impression describes a particular type of energy-in-motion that is symbolic in character, essence and expression, with the most subtle being "spiritual" in nature. The most inclusive impressions are delicate, thoughtful, compassionate, insightful, upright and responsive. These impressions have been described as our "feelings", which are intuitively perceived (input) and imaginatively expressed (output).
ether | ˈēTHər | noun (also aether) Physics, archaic a very rarefied and highly elastic substance formerly believed to permeate all space, including the interstices between the particles of matter, and to be the medium whose vibrations constituted light and other electromagnetic radiation.
We commonly share and describe our concepts of reality within the parameters of three dimensional space and linear time. We become aware/cognizant of our consciousness by means of implementing design's invisible language of signs and symbols - and learn more of the meaning and purpose in support of these impressions through metaphor, analogy, allegory and simile. These subtle impressions are packaged and geometrically configured by means of attraction, assembled in the form of words, images, feelings, thoughts and substance. These impressions may be tangible or intangible, felt or ignored. In other words all correspondences are meaningful exchanges of energy between agents and designed by the observer/s for the purpose of being "present in the moment."
Reality is symbolic in nature, a dualistic impression of every relationship we've created for ourselves within the parameters of observation and interpretation. Light and its opposite, the absence of Light,* create a range of corresponding representations and relationships we believe and typically label as being real.
Light/Design, Light/Life and Life/Design are conceptual fields of energy seeking balance within the influences of each other. The power behind these correspondences is the urge/pulse to expand into the inner workings of a greater unknown (QFVP) searching for a common re-Source that would complement their relationship and bring balance to a greater macrocosmic network. The attractions (coherencies) supporting these relationships/pairings harbor the genesis for further growth, re-production and expansion.
* The opposite of Light is the absence of Light. The range between these opposites is darkness. Pure darkness is an oxymoron and therefore meaningless.
Interactions between fields is symbolically represented in the Vesica Piscis and is emblematic of the urge and desire to join opposites, creatively uniting and growing from a position of duality. Blueprints, patterns and forms supporting this expansion are designed to be tangential in meaning and purpose and metaphorically re-presented in their context ref. The Flower of Life.
