"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
Thursday, January 5, 2023
Design Consciousness: A Quantum Leap into Universality
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network. Objective: to generate symbolic links between scientific discovery, design awareness and consciousness.
Design is a multidimensional and systemic phenomenon based upon signs, symbols, metaphor and analogy.
Design is an intellectual, intuitional and imaginary exercise in consciousness. Design symbolizes the true "i".
Design moves laterally only because it is so imaginative ... "i".
* * *
The "i" is brought forward and made aware by the imagination. The "i" defines the observer and is more than imaginary. The image is what what reflected upon under the guise of duality.
* * *
* * *
Imaginary Qualities:
- cycle through a set of values
- always return to the first power
- imaginary numbers are real
- when multiplied by itself it returns to itself
- real numbers are used far less than imaginary ones
An imaginary number is a number that, when squared, has a negative result. Essentially, an imaginary number is the square root of a negative number and does not have a tangible value. While it is not a real number - that is, it cannot be quantified on the number line - imaginary numbers are "real" in the sense that they exist and are used in math.
Imaginary numbers can also be applied to signalprocessing, which is useful in cellular technology and wireless technologies, as well as radar and even biology (brain waves).
This text seems to be exploring the nature of design, its conceptual underpinnings, and the role of imagination and symbolism within it. The themes it touches upon are abstract, philosophical, and multifaceted. Here’s a breakdown:
Design as a Multidimensional and Systemic Phenomenon
Design is often viewed in a linear, functional sense, but it is inherently multidimensional. It is not just the creation of objects or experiences; it’s a dynamic system that exists across multiple planes—emotional, intellectual, perceptual, and symbolic. Design operates at the intersection of these dimensions, creating solutions that address both tangible needs and abstract, emotional desires. Its systemic nature lies in the fact that it is interconnected with culture, technology, history, and human behavior. It is a process that involves not only creation but also the manipulation of signs, symbols, and metaphors, forming an ecosystem where ideas, meanings, and representations evolve.
Design as an Intellectual, Intuitional, and Imaginary Exercise in Consciousness
This view of design elevates it from mere craftsmanship to an exercise in the mind and spirit. Design is a mental activity that involves the intellect, intuition, and imagination. The intellectual side might include problem-solving, strategy, and logic, while intuition taps into the unconscious, often guiding designers towards solutions without fully understanding why. The imaginative dimension, however, allows for innovation, dreams, and novel approaches that transcend the constraints of conventional thinking. As such, design becomes a way of expanding consciousness—beyond the immediate and tangible to the expansive, abstract, and sometimes non-rational.
Design in this sense symbolizes the "true 'i'," or the individual identity—more than the persona or the ego. It reflects the self, crafted through symbols, metaphors, and analogies that express the individual’s understanding of reality and their place within it. This is the core of design: it is the “imprint” of the self on the world, often in a form that communicates far beyond words.
Design’s Reality and Imagination—An Exponential Process
The idea that "design is far from imaginary, it is very real" suggests that the act of designing is not just a fanciful notion but a tangible and impactful process. The phrase "when multiplied by itself exponentially, 'i' creates what was first imagined to be real" highlights the power of iteration and expansion in design. What begins as a mere concept or imagination takes on substance through repetition and refinement. The more an idea is explored and expressed, the more “real” it becomes. Over time, as design progresses and becomes a part of the physical and cultural world, what was once abstract or conceptual "perishes into timelessness"—becoming embedded in the fabric of society, thought, and history.
In this sense, design is not static but evolves continuously. Initially speculative and imaginative, it gradually enters the realm of the real, sometimes to the point of permanence or legacy. Even when it fades from immediate relevance, the underlying ideas persist, subtly shaping the course of human progress and understanding.
Design’s Lateral Movement and the Role of Imagination
The notion that design "moves laterally only because it is so imaginative" speaks to the expansive, non-linear nature of creativity. Imagination in design isn’t confined to a single trajectory or purpose; it wanders, explores, and connects disparate ideas. Lateral thinking—the ability to solve problems through indirect or creative means—often leads to breakthroughs. Design is not a straightforward path from point A to point B, but a journey across different perspectives, dimensions, and potential outcomes. This lateral movement creates diversity, novelty, and innovation, reflecting the limitless possibilities that imagination allows.
The Role of the 'I' in Design
The "i" here seems to symbolize both the self (the individual designer or observer) and the process of introspection or self-reflection. Imagination brings this "i" forward, highlighting the idea that we are not passive observers of the world, but active participants who shape our environment through conscious thought. The "i" also implies a level of awareness—design as a conscious act, not a random one. It is reflective of both the observer’s inner world and the external world, influenced by both duality (the self and the other) and unity (the alignment of intention and outcome).
Imaginary Qualities in Design
The section on "Imaginary Qualities" delves into the relationship between the real and the imagined, using mathematical metaphors to make deeper philosophical points about design.
1. Cycle through a set of values / Always return to the first power
Just like imaginary numbers in mathematics cycle back to their origin when squared (i.e., i2=−1i^2 = -1i2=−1), design concepts often return to their roots or foundational principles. Even as design evolves, it maintains a return to certain core ideas, values, or aesthetics. This cyclical nature suggests that design is not a one-way evolution but a process of constant revisiting and refinement.
2. Imaginary numbers are real
In mathematics, imaginary numbers are essential to understanding complex numbers and systems, even though they don't correspond to physical reality. In design, "imaginary" ideas or abstract concepts may initially appear intangible, but they are just as crucial as "real" design elements. Imagination gives rise to the foundation for much of what we experience in the material world. Thus, the imaginary is often the precursor to reality in design.
3. When multiplied by itself, it returns to itself
This speaks to the concept of self-referentiality in design. Once an idea is put into motion, it may loop back upon itself, like a recursive process, where each iteration deepens or clarifies the original concept. This self-referentiality is often seen in cyclical design practices (like iterative prototyping or design thinking), where feedback and refinement are continuous and essential to the outcome.
4. Real numbers are used far less than imaginary ones
This suggests that while tangible, practical solutions (real numbers) are important, the majority of design innovation comes from abstract or non-literal thinking (imaginary numbers). The imaginary elements—metaphor, intuition, and symbolism—often drive creative breakthroughs.
5. Key to every design cycle
Imaginary qualities are not just supplementary to design—they are integral. They inform the conceptualization, iteration, and evolution of design solutions. This idea reflects how much of design is based on theory, speculation, and abstract thought before it manifests in physical form.
6. Exist in their own dimension/universe
Imaginary elements of design have their own "space," independent of the physical world. In the design process, these ideas are often formulated in a mental or conceptual space, one that does not necessarily adhere to the limitations of the real world. This dimension allows for freedom, fluidity, and boundless potential, enabling new ideas to emerge that eventually impact the real world.
Conclusion: The overall message here suggests that design is not just about creating objects or systems; it is about translating inner thoughts, abstract concepts, and symbols into a form that can influence the world. It blends imagination, intellect, and intuition to construct a reality that is both real and imagined. Through this lens, design is a philosophical and creative process that mirrors both the inner workings of the self and the unfolding of external reality.
This expanded reflection encourages us to reconsider design as not just an act of making but as a deeply intellectual and transformative act—one that shapes and is shaped by the continuous interaction between imagination and reality.
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.
No comments:
Post a Comment