"Quite clearly, our task is predominantly metaphysical, for it is how to get all of humanity to educate itself swiftly enough to generate spontaneous social behaviors that will avoid extinction."
R. Buckminster Fuller
Conceptual impressions surrounding this post are yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
The Quantum Field of Virtual Potential and Probability (QFVPP) is a vibratory "field" of causation, a field of energy in perpetual motion that permeates every conceptual interpretation of the Universe. The QFVPP is multidimensional in context and content.
“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.”
The QFVPP can become magnetized by means of intent and focus, a by product of attraction and repulsion. It is at this juncture that the point becomes the line and toroidal flow overrides turbulence. All events and experiences occur simultaneously thereby adding to the concept of multidimensionality prior to manifestation.
This breakthrough marks a significant advancement in quantum materials research. The researchers believe that the vortex-like behavior of electrons in momentum space could open the door to new quantum technologies, particularly in orbitronics. Unlike traditional electronics, which rely on an electron’s charge to transmit information, orbitronics would use electrons’ orbital motion—a property that could drastically reduce energy loss in electronic devices.
USAGEAffectandeffectare both verbs and nouns, but onlyeffectis commonasanoun, usually meaning ‘a result, consequence, impression, etc.’:myfather's warnings had noeffecton my adventurousness. The nounaffectis restricted almost entirely to psychology (seeaffect3). As verbs,theyareused differently.Affectmost commonly means ‘produce aneffecton, influence’:smoking during pregnancy canaffectthe baby's development.Affectalso means ‘pretend to have or feel (something)’ (seeaffect2):she affected a concern for those who had lost their jobs.Effectmeans ‘bring about’:the negotiatorseffectedan agreement despite many difficulties.
Patterns of energy emerge from within and become attracted about the intentions of a designer, intentions which convey a sense of hidden stillness and quantized permanence within a sea of perpetual turbulence.
quantizeverb[withobject]1Physicsapply quantum theory to, especially form into quanta, in particular restrict the number of possible values of (a quantity) or states of (a system) so that certain variables can assume only certain discrete magnitudes.2Electronicsapproximate (a continuously varying signal) by one whose amplitude is restricted to a prescribed set of values.
“Previous work showed that "mobile particles collide with one another and get stuck in the collision for a while, allowing other particles to join in and create a traffic jam," said Ricard Alert, a postdoctoral research fellow at the Princeton Center for Theoretical Science and one of the new study's co-first authors.
"In these systems, the particles separate into two phases: dense clusters where they can barely move, and a dilute gas where they move fast," explained Ned Wingreen, Princeton University's Howard A. Prior Professor in the Life Sciences.”
“Both DM and DE are part of the Lambda Cold Dark Matter (LCDM) model of cosmology, which posits that the Universe is filled with cold, slow-moving particles (DM) that interact with normal matter via the force of gravity alone. The Lambda represents DE, which is accelerating the expansion of the Universe. Since they are only discerned by observing their effect on the large-scale structure of the Universe, conventional thinking has it that neither force interacts with normal matter via electromagnetism or the weak or strong nuclear force.
However, some DM theories posit that there is some level of interaction with visible matter, which researchers are actively testing. However, in lieu of more test results, astrophysicists and cosmologists remain unclear about how DE fits in with the physical laws that govern the Universe.”
critical massnoun1Physicsthe minimum amount of fissile material needed to maintain a nuclear chain reaction.2the minimum size or amount of something required to start or maintain a venture:A greater sense of consciousness is achieved by means of attaining a greater degree of critical mass within.
"When cells move or grow, they must add new membrane to those growth regions, says Vavylonis. The process of membrane delivery is called exocytosis. Cells also must deliver this membrane to a specific location in order to maintain a sense of direction-called “polarization”-or grow in a coordinated manner.
"We demonstrated that these processes are coupled: local excess of exocytosis causes some of the proteins attached to the membrane to move (‘flow’) away from the growth region,” says Vavylonis. “These proteins that move away mark the non-growing cell region, thus establishing a self-sustaining pattern, which gives rise to the tubular shape of these yeast cells.”
"Beyond that," says Yuichiro Kato, the leader of the group, this technology has the potential to contribute to the development of atomically defined technologies that go beyond nanotechnology, in which materials with precise structures at the atomic level are used as building blocks to design and build functions that are different from those of existing materials."
"We show that one can program particles to make tailored structures with customized properties," explains Jasna Brujic, a professor in New York University's Department of Physics and one of the researchers. "While cranes, drills, and hammers must be controlled by humans in constructing buildings, this work reveals how one can use physics to make smart materials that 'know' how to assemble themselves."
Physicist Dr. Melvin Vopson has already published research suggesting that information has mass and that all elementary particles, the smallest known building blocks of the universe, store information about themselves, similar to the way humans have DNA.
"We know that when you collide a particle of matter with a particle of antimatter, they annihilate each other. And the information from the particle has to go somewhere when it's annihilated."
The annihilation process converts all the remaining mass of the particles into energy, typically gamma photons. Any particles containing information are converted into low-energy infrared photons."
Light, energy, information are attributes of an etheric presence, a virtual field of potential made self-evident by means of a symbolic language known to the observer. Sciences' current description and interpretation of the QFVPP illustrates its endeavor to measure and describe a conceptual state of awareness within the constraints of a belief system and language (mathematics) that has evolved over time.
To be design conscious you must be more than an observer.
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"Bridging the gap between divine omniscience
and mortal awareness."
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, context or network.
metaphornoun afigure of speechin which a word or phrase is applied to anobjectoractionto which it is not literally applicable: •a thingregardedasrepresentativeor symbolic of something else,especiallysomethingabstract:
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.
"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.
symbolicallyadverb:1purely in terms of what is being represented or implied:2as 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.Fgurativelyadverb:1used to indicate a departure from a literal use of words; metaphorically:we left a lot of peopleliterally and figurativelyin the dark|[sentence adverb]:Ididbump into—figuratively speaking—quite a few interesting people. 2 ina style representing forms that are recognizably derived from life
Design Consciousness is both tangible and intangible - a phenomenon that symbolically characterizes the relationship between meaning and purpose. A sign becomes a symbol by engaging an undeniable and engaging awareness, a feeling made apparent by means of observation. A sign becomes symbolic by means of resonating within the subconscious of an observer.
A sign is the guiding light of the ego - a symbol, the guiding light of the soul.
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"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.
The language of Light remains unspoken. Design embraces the unspoken word.
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.
coherencenoun1the quality of beinglogicalandconsistent:2thequalityof forming a unifiedwhole:
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/situations that are potentially synergetic, synchronistic, emergent, and/or entangled while centered in the moment. Design creates the fulcrum between Life and Light and is instrumental in creating the most appropriate relationships for the situation 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 the 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 and our perception of it. In other words, Design re-presents the presence of a Creative Source, a field of deep attachment and connection 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 several autonomous paths patterned about coherent resources ... each an active participant in a network of Light.
Design creates the fulcrum between Life and Light and is instrumental in creating the most appropriate relationships both in meaning and purpose.
fulcrumnoun(pluralfulcra|-krə|orfulcrums)the pointonwhichaleverrestsorissupportedand on which it pivots.•a thingthatplaysa 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* * *This passage presents an intricate and profound meditation on the nature of design, its symbolic and metaphysical connections to life, and its role in the human experience. The text draws from deep philosophical ideas, particularly from Carl Jung’s perspective on symbols, and the language of design is explored as both a tangible and intangible force that connects life and light, form and formlessness.Here are a few key takeaways and reflections:1. Design as Symbolic and Conceptual: Design is described as symbolic, meaning it represents something beyond its immediate appearance. It serves as a metaphor for life, representing a unified, abstract whole that transcends literal form. This suggests that design, in its truest sense, is not just about creating objects or structures, but about conveying deeper meanings and connections. 2. The Observer and the Observed: The relationship between the observer and the observed is crucial in the process of design. Design is not just about creating something that looks good; it is about the experience and the emotions it evokes in the observer. It has the power to affect and shape perception, signaling the role of context in interpretation. 3. Design and the Unspoken Word: The idea that design "embraces the unspoken word" is an interesting concept. This suggests that design communicates beyond verbal or written language—it speaks through forms, shapes, and patterns that resonate on a deeper, often subconscious level. It speaks to the senses and emotions, providing an intuitive understanding of the world around us. 4. The Transformative Power of Design: Design is portrayed as a dynamic force that facilitates the transformation of energy. This reflects its role in creating balance, harmony, and alignment in various contexts, whether in art, architecture, or human experience. Design bridges the gap between abstract ideas and their materialization in the world. 5. Light, Life, and Energy: The passage emphasizes the relationship between life, light, and energy. Design is seen as a form of energy in motion—vibrating and transforming in a way that brings abstract concepts into observable form. This is likened to the process of a hologram, where light takes on form, yet remains fundamentally energetic and interconnected. The idea of design as a "catalytic language" suggests that it is a conduit for change and transformation. 6. Creation of Meaning and Purpose: Ultimately, design is not just about aesthetics; it is about creating meaning and purpose. It provides the framework within which relationships and experiences are shaped. The symbolic nature of design imbues it with the power to resonate deeply with the observer, creating connections that transcend the surface. The passage’s themes align with a broader philosophical understanding of design as an active, energetic force—a catalyst for transformation and the creation of meaning in the world. It challenges us to see design not merely as a tool for aesthetic or functional purpose but as a profound process that connects us to the deeper layers of reality and consciousness. This perspective invites designers and creators to approach their work with a deeper awareness of how their designs affect, influence, and shape both the external world and the internal world of the observer.* * *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 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 contract (change) 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 of a nature that is difficult, if not impossible to fully describe or conceive. Every impression describes a particular type of energy-in-motion that is symbolic in character, essence and expression, 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).
ethernoun (alsoaether)Physics,archaicaveryrarefiedandhighlyelasticsubstance formerlybelievedtopermeateallspace,includingtheinterstices betweentheparticlesof matter, and to be the mediumwhosevibrations 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 and 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 it, * 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 of energy are represented in the symbol of the Vesica Piscis and is emblematic of the urge and desire to join opposites by creatively designing, i.e. unifying and thereby expanding from a position of duality. Blueprints, patterns and forms of energy support this expansion. These are patterns designed to be tangential in their meaning and purpose and metaphorically re-presented within each individual context ref. The Flower of Life.
Note: It should be remembered that these events are being perpetuated within a quantum field of virtual potential (QFVP) where change remains constant.
Each field overlaps the other together creating an identity and relevance to a central field of awareness simply by means of their symbolic relationship. Together these fields of energy symbolize the creation of a single common unity, a Source/Consciousness comprised of three qualities/fields of Energy that together bring into fruition a particular meaning and purpose. They are individually and collectively archetypal in essence. A coherent resonance/connection is configured between them,** sharing their essences in the creation of a "form of energy" that represents and strives for the symbolic internalization of harmony through the process of materialization, i.e. Design.
** patterns of coherency are vibrationally attributed to the context in which an event or experience becomes recognized and/or registered in the form of awareness.
This internal field seeking balance and harmony has no containment other than what might be symbolically represented by the "unknown" (QFVP). This field implies the existence of an infinite Presence that reaches beyond what might be considered "observable". A quantum field of virtual potential reaches beyond the constraints of three-dimensional space and time - there is no one single "language" that can fully describe and/or define it at this time within the contextual constraints of what might be considered the "field of human consciousness".
Design also signifies a process. Design harbors the potential to further open the door into the unknown, however ... you alone are the only one who can open it. I propose from a human POV, that in the future the concept of Design and in turn Reality, will become self-contained and synergistically apparent solely to enlighten our "field of consciousness" in a fashion that cannot be fully measured in the moment - sparks of awareness (light) that need no measurement.
"The Tao that can be described is not the everlasting Tao. Design merely inspires one along the Way."
Consciousness might best be viewed as a virtual field of light, energy and information - yet words so often get in the way.
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This passage reflects a deep philosophical exploration of consciousness, reality, design, and the interplay between perception and the observer. At its core, it discusses how our understanding of the world, consciousness, and the nature of existence is shaped by our belief systems, experiences, and the symbols we use to interpret reality.
The idea that "consciousness is a design of our own making" suggests that our perceptions of reality, life, and existence are not fixed but are instead influenced by the mental, emotional, and physical states we experience. This introduces the notion of design not as something external but as a construct that emerges from our internal awareness and the dynamic interplay of different fields of energy. These fields—symbolized in the Vesica Piscis, Flower of Life, and other geometric patterns—represent the tension between opposites (e.g., light and darkness) and the creative forces that arise from these relationships.
The passage also suggests that reality is symbolic in nature, implying that everything we perceive is an interpretation of underlying energetic patterns. These symbols, signs, and forms are seen as vehicles for a deeper understanding of truth, which is continually expanding and contracting as we evolve in our awareness.
The concept of the Quantum Field of Virtual Potential and Probability (QFVPP) adds another layer of depth, indicating that change is constant and infinite possibilities are always at play. This concept emphasizes that reality cannot be fully captured or measured by the constraints of our current understanding of space, time, and language.
The final thoughts point toward a future in which reality and design become more self-contained and synergistically apparent to consciousness, suggesting that a higher state of awareness might be achievable, one that transcends conventional methods of measurement or external validation. This aligns with the Taoist notion that some aspects of existence cannot be fully described but must be experienced directly.
In essence, the passage is a call to expand our perception, embrace the fluid nature of consciousness, and recognize the interconnectedness of all things through design. It challenges us to acknowledge that our awareness is always in flux and that the very process of seeking truth and understanding is part of the design of consciousness itself.
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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"I cannot define for you what God is. I can only say that my work has proved empirically that the pattern of God exists in every man and that this pattern has at its disposal the greatest of all his energies for transformation and transfiguration of his natural being. Not only the meaning of his life but his renewal and his institutions depend on his conscious relationship with this pattern of his collective unconscious."Carl JungIn homage to Carl Jung:"I cannot fully define for you what Design is. I can only say that my work is an attempt to reveal certain universal patterns of energy, light and information that are archetypal in quality and through symbolic means, represent the quintessential Source of a transformation and transfiguration of consciousness - a fountainhead that attempts to approach the meaning and purpose of Life by means of an eternal renewal, emerging symbolically from within own its collective Presence."C.G. Garant * * *
