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.
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Early Generation
Squares, Circles, EIM
Circles, Infinity, Vesica Piscis, Emergence, Birth
Squares Earth
Petals
The Designer's Mark
Balance, Harmony, Circle, Square, Duality
Functioning within the framework of 3D Spacetime
4 Inner Circles harboring Vesica Piscis potential (expand/contract)
2 Outer Circles membrane separating micro field from macro field (QFVPP), i.e. subconscious
6 Circles total (Hexagon)
2 Major Squares, 8 points (Octagon)
24 Minor Squares, 12 points each square, 288 points total
8 Major Petals
4 Intermediary Petals8 Inner Petals
20 Petals total
The Designer's Mark
Balance, Harmony, Circle, Square, Duality, Timeless Potential
Breaking Through Dimensional (subconscious) Frameworks
Human consciousness can only begin to grasp the immense vastness and boundless intelligence of the universe by attempting to symbolically categorize, identify, and create frameworks based on observation and the desire for control. The universe, however, is in a perpetual state of flux, which means these observations must continually evolve—expanding and "progressing" as we acquire new facts, knowledge, and wisdom.
Universal Consciousness is ever-changing, not a fixed entity, but a dynamic concept. What we experience and define through our “being” is symbolic of deeper “ideas,” which, when combined with our thoughts, actions, and emotions, give form and bring awareness into existence. This process is facilitated by the Design Archetype, which enables the flow, transformation, and translation of universal energy into conscious awareness. It is through meaning and purpose that this energy moves in and out of the realm of consciousness, shaping our understanding of the universe itself.
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In the role of designers and co-creators within the fabric of this dimension, we are endowed with the remarkable capacity to bring forth design "situations" that may evoke a wide array of perceptions, from positive to negative. This act of creation transcends mere artistic expression and extends into the metaphysical domain, where our creative acts become a manifestation of deeper truths. Through the act of designing, we channel not only our external perceptions but also our internal realities, infusing the material world with spiritual qualities that resonate with our true nature. Our power as designers lies not only in the ability to shape the physical world but in the profound responsibility to do so with intention and awareness.
The process of creation is deeply intertwined with our personal belief systems and desires, aspects of the ego that shape how we perceive the world. According to psychological and philosophical theories, such belief systems are deeply ingrained patterns of thought and behavior that influence our perceptions and interactions with the world. These frameworks of understanding can both liberate and constrain our creative potential. When we design, our creations are, at their core, expressions of the internal realities that we hold true. However, these very truths are often obscured by the conditioned filters through which we see the world, leading to a "blurring of intent" in the manifestation of our ideas . In essence, our designs are not only reflections of our spiritual nature but also echoes of the psychological and cultural conditioning that shape our identities.
In the context of quantum physics, the process of manifestation is constrained by the limitations of physical reality. Matter, in its various forms, operates at specific frequencies that must be attuned to the vibrational nature of time and space. These material constraints, while providing structure, also act as a resistance to the spiritual qualities we seek to bring into the world. The relationship between matter and consciousness is a central tenet of both quantum mechanics and metaphysical thought: the act of observation itself influences the outcome of a phenomenon. This interplay between intention and materialization suggests that our emotional states and belief systems are not mere bystanders in the creative process, but active participants that shape the manifestation of our desires.
Emotional impressions, formed by our beliefs and perceptions, significantly impact the final outcomes of what we materialize. In semiotic terms, the meaning we ascribe to our creations, and the emotional and cognitive states from which they arise, are not simply incidental but rather intrinsic to the process of design. As designers, we are not just shaping physical objects or environments; we are creating systems of meaning that will be interpreted by others, potentially influencing their own emotional and cognitive states. This dynamic underscores the power of design as both an aesthetic and ethical pursuit: the design of our world is inseparable from the design of our consciousness.
Moreover, the limitations of physical matter, in combination with the resistance of inertia, present obstacles in the attempt to translate spiritual qualities into the material realm. This "resistance" echoes themes in both design theory and physics, where the material world is seen as both a potential and a limitation. The designer’s challenge is not only to create something beautiful but to navigate the tension between the idealized and the materialized, between the spiritual aspirations and the limitations of the tangible world.
In this light, design becomes a medium through which we not only externalize our inner truths but also evolve and expand our understanding of those truths. In this sense, we are given a unique opportunity to act as originators of our own enlightenment, drawing from both the spiritual and material realms to bring forth creations that resonate with deeper meaning. However, the realization of this potential is not universal; some individuals resonate with this process more easily than others due to differing levels of awareness, spiritual resonance, and psychological conditioning.
As co-creators, we bear the responsibility of removing the blockages to the spirit that may arise from personal desires, egoic attachments, and societal conditioning. In line with Buddhist philosophy, which emphasizes mindfulness and detachment, we must engage in a process of observation that allows us to step outside of our conditioned responses and approach each situation with clarity and presence. This detached awareness, combined with an understanding of the material constraints of the world, empowers us to design with integrity and purpose, ensuring that our creations serve as vehicles for enlightenment, both for ourselves and for those who engage with them.
Through design, we are invited to advance on our spiritual journey, bringing light to our own minds and to the minds of others. Each design decision becomes an opportunity to transcend the limitations of the ego and the material world, to bring forth a greater alignment with the spiritual truths that underpin our existence. As we create, we offer not only physical forms but also the possibility of transformation—of the world, of society, and of the self.
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Design as Conscious Manifestation: An Interdisciplinary Inquiry into Universal Intelligence and Human Creativity
Human consciousness, in its persistent pursuit of understanding, encounters an epistemological paradox: it seeks to grasp the boundless, ever-changing vastness of the universe by constructing static conceptual frameworks. Through categorization, symbolic thought, and design, humans attempt to mediate the ineffable complexity of existence into manageable forms of knowledge (Lakoff & Johnson, 1980). Yet the universe is not a fixed system; it is in a perpetual state of becoming—a flux of potentialities, actualities, and emergent structures that defy definitive containment (Whitehead, 1978). This dynamic nature compels consciousness to evolve continuously, to reassess its frameworks as new data, experiences, and insights emerge.
The notion of Universal Consciousness—a metaphysical substrate that underlies and permeates all phenomena—cannot be apprehended as a fixed entity. Instead, it may be more accurately described as an ontologically fluid field of becoming, where ideas, emotions, and energies intermingle. According to process philosophy, such a field is not composed of discrete entities but of unfolding events and relationships (Rescher, 2000). Consciousness, as experienced by human beings, is not merely reactive but co-creative; it is through acts of observation, emotion, and symbolic representation that awareness manifests. Semiotically, our "being" becomes a sign system—an interpretative interface through which the abstract becomes tangible (Peirce, 1931–1958).
Central to this transmutation of the abstract into the concrete is what may be termed the Design Archetype: a cognitive, spiritual, and energetic modality that facilitates the translation of universal intelligence into material form. Within this archetypal framework, design operates not merely as a functional or aesthetic endeavor but as a sacred act of embodiment, where meaning becomes matter, and potential becomes presence. This process echoes Heidegger's (1971) idea of poiesis—the bringing-forth of truth into the realm of appearance.
In this expanded paradigm, humans emerge as designers and co-creators—participants in the ontological unfolding of reality. Through intentional acts of creation, we do not merely manipulate external objects but shape the symbolic and emotional contours of experience. Design thus transcends utilitarian concerns to become an ethical and metaphysical practice. As Latour (2005) asserts, every artifact is a negotiation of meanings and forces—social, material, spiritual—and carries with it the embedded intentions and worldviews of its creators.
The creative act, however, is inextricably bound to the designer’s internal landscape. Psychological and philosophical traditions emphasize that belief systems—formed by personal history, cultural conditioning, and subconscious structures—shape our perceptions and actions (Varela, Thompson, & Rosch, 1991). These belief systems act as filters, simultaneously enabling and constraining our capacity to perceive and manifest truth. From a cognitive linguistic perspective, even our language and metaphorical structures influence how we conceptualize design problems and possibilities (Lakoff & Johnson, 1980). Consequently, what we design is not merely a projection of what we see but a reflection of who we are—both in clarity and distortion.
The interface between consciousness and material reality becomes especially provocative when viewed through the lens of quantum physics. At the subatomic level, particles exist in states of superposition—neither here nor there—until observed. The observer effect implies that consciousness plays an active role in the collapse of potential into actuality (Heisenberg, 1927). This suggests a participatory universe in which the subjective mind is not divorced from objective matter, but co-constitutive with it (Capra, 1997). In such a view, the intentions, emotions, and energetic signatures of the designer actively influence the materialization of form and meaning.
Moreover, design operates as a semiotic system—a network of signs that mediates communication between creator and receiver. Umberto Eco (1976) emphasizes that meaning is not fixed within the artifact but is interpreted through the cultural and emotional frameworks of the observer. Hence, design is not merely the transmission of information but a resonance of intention—a psychological and emotional imprint embedded within form. The aesthetic dimension, therefore, becomes deeply ethical: the decisions we make as designers reverberate in the minds of others, shaping perceptions, values, and behaviors (Buchanan, 2001).
Despite the metaphysical aspirations of design, the material world imposes resistance—a tension between idea and instantiation. In design theory and systems thinking, this resistance is not an obstacle but an integral part of the creative process, forcing clarity, iteration, and refinement (Nelson & Stolterman, 2012). Similarly, in physics, inertia is not merely opposition but a field of relational energy that defines the conditions under which transformation can occur. This dialectic between potential and limitation mirrors the spiritual struggle between egoic desire and transpersonal awareness.
As such, the path of the designer is akin to the path of the mystic: a continual striving toward alignment between inner truth and outer form, between spirit and matter. This alignment demands not only technical skill but psychological introspection and spiritual discernment. The designer must confront and transcend personal attachments, conditioned responses, and collective ideologies that obscure clear seeing. In Buddhist psychology, this practice of detached awareness—mindfulness—enables one to see phenomena as they are, rather than through the distortions of the ego (Shapiro, 2009). Only through such awareness can design become an act of liberation rather than illusion.
In this light, design becomes a medium of transformation—a spiritual technology that invites both creator and receiver into greater awareness. Every design decision becomes a choice to either obscure or reveal the deeper harmonies of the universe. By engaging the tools of aesthetics, science, psychology, and metaphysics, we can design not only better products or systems, but more attuned realities. The ethical imperative is clear: to design consciously is to participate in the evolution of collective consciousness, to weave meaning into the fabric of the world.
References
- Buchanan, R. (2001). Design research and the new learning. Design Issues, 17(4), 3–23.
- Capra, F. (1997). The web of life: A new scientific understanding of living systems. Anchor Books.
- Eco, U. (1976). A theory of semiotics. Indiana University Press.
- Heidegger, M. (1971). Poetry, language, thought (A. Hofstadter, Trans.). Harper & Row.
- Heisenberg, W. (1927). Über den anschaulichen Inhalt der quantentheoretischen Kinematik und Mechanik. Zeitschrift für Physik, 43(3–4), 172–198.
- Lakoff, G., & Johnson, M. (1980). Metaphors we live by. University of Chicago Press.
- Latour, B. (2005). Reassembling the social: An introduction to actor-network-theory. Oxford University Press.
- Nelson, H. G., & Stolterman, E. (2012). The design way: Intentional change in an unpredictable world (2nd ed.). MIT Press.
- Peirce, C. S. (1931–1958). Collected papers of Charles Sanders Peirce (Vols. 1–8, C. Hartshorne, P. Weiss, & A. W. Burks, Eds.). Harvard University Press.
- Rescher, N. (2000). Process philosophy: A survey of basic issues. University of Pittsburgh Press.
- Shapiro, S. L. (2009). The integration of mindfulness and psychology. Journal of Clinical Psychology, 65(6), 555–560. https://doi.org/10.1002/jclp.20602
- Varela, F. J., Thompson, E., & Rosch, E. (1991). The embodied mind: Cognitive science and human experience. MIT Press.
- Whitehead, A. N. (1978). Process and reality (Corrected ed.). Free Press.
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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- Ifate
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"To believe is to accept another's truth.
To know is your own creation."
Anonymous
Edited: 08.14.2025
Find your truth. Know your mind. Follow your heart. Love eternal will not be denied. Discernment is an integral part of self-mastery. You may share this post on a non-commercial basis, the author and URL to be included. Please note … posts are continually being edited. All rights reserved. Copyright © 2025 C.G. Garant.
