"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 have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
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Consciousness is a "matter" of density.
density: mass (m) / volume (v) the degree of compactness of a substance, degree of consistency measured by the quantity of mass per unit volume, solidity, substance, compactness, hardness.
A material's density is defined as its mass per unit volume. Density is essentially a measurement of how tightly matter is packed together. It is a "unique physical property" of a particular object.
Density represents a binary relationship between mass and volume. Density is commonly "expressed" in units of grams/cubic centimeter.
mass: mass is a dimensionless quantityrepresenting the amount of matter in a particular object. The standard unit of mass in the International System (SI) is the kilogram (kg). The measure of the amount of matter in a body.
volume: the amount of space that matter, substance or object occupies, or is enclosed within a container. The space occupied within the boundaries of an object in three-dimensional space, is also known as the capacity of a container in reference to an object's length, width, depth and height. Every three-dimensional object occupies some space, this space is measured in terms of volume.
In three dimensional spacetime, mass and volume can be both tangible and intangible, measurable and incalculable of being measured. Density is mass divided by volume, a compound measurement which describes the mass of an object in relation to its volume.
"Since thoughts are energy signals, the energy transmitting a thought therefore has mass. The ions and molecules encoding the energetic signal have mass too."
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Correspondingly mass and volume define, describe and make reference to a "unique physical property" called density.
Note to self: like volume, density and mass, time can also be incalculable, indeterminable, limitless, boundless, unlimited, infinite, cosmic, endless, inexhaustible, bottomless, vast, unfathomable, immense, and never ending.
Density creates a reference to consciousness by means of symbolic correspondences. References are identified and made recognizable by means of exercising a more macro, i.e. universal, level of awareness. The less dense (m) the greater aware and the larger the capacity (v) to link and make symbolic connections. The more dense (m) the less aware and the more finite (v) the level of consciousness.
Density is commonly 'expressed' in units of grams/cubic centimeters. Density acts as a gauge in its 'measurement' between mass and volume, form and formlessness, the tangible and the intangible.
gauge: an instrument, device or tool for measuring, estimating or determining the magnitude, amount or contents of something, a means of estimating something, scale, indicator, point of reference, guideline, touchstone, benchmark, example, capacity.
MASS = the amount of "substance" in a body
VOLUME = the amount of "space" that substance occupies
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Mass has a sense of permanence, volume doesn't.
Mass and volume, i.e. density, can be both quantified and qualified, e.g. aether - gas - liquid - solid.
Weight is the measure of the force of gravity on a body.
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In design both meaning and purpose infuse each other. Enclosed in every meaning a purpose and every purpose a meaning.
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
TWO DIMENSIONAL SPACETIME
The realm of two dimensions is apparent, measurable and clearly observable from a three dimensional POV. Both consciousness and awareness are neutral in quality thereby creating the ideal background/context for further inquiry into a multi-dimensional Universe. 2D spacetime is the "drawing board" of human evolution.
Its design creates a two dimensional background and context for a conscious awareness of 3D spacetime. Two dimensional spacetime is the "drawing board" of evolution.
Awareness describes a conscious observer that applies design methodologies in order to recognize, interpret, learn, know, understand, materialize and realize a "form of self" by means of signs, symbols, metaphor and analogy, i.e. storytelling.
THREE DIMENSIONAL SPACETIME
(the teeter totter model)
We collectively believe there is a third dimension in spacetime, which at times can likewise be hypothetical in nature. We know this because we are aware and conscious of it.
The third dimension functions within the dualistic constraints of spacetime in a teeter totter fashion. Impressions emerge from within the context of a quantum field of virtual potential and probability (QFVPP). It feels like an energy in motion (EIM).
The third dimension can at times respond harshly to an assortment of events and experiences, fully rocking an observer between "oppositional" agents with little control, lack of subtlety - full throttle with little design awareness or consciousness.
In design meaning and purpose infuse each other. Every meaning has a purpose and every purpose a meaning.
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.
"Thoughts are not ethereal. They are representations of matter and are encoded in matter. They have shape and weight. Abstract ideas are analogically built from more concrete sensory representations. The sense of self is built from self-representations. Thoughts are forms of information, and all information is physical and relational. It "feels" like something to "have" a thought and to "be" a self because we are that information, recursively reflecting on itself in an infinite regress."
"What is needed, Sacks observes, is a new theory that recognizes our mental life as more than the sum of computational processes - "a theory of self-organization and emergent order at every level and scale from the scurrying of molecules and their micropatterns in a million synaptic clefts to the grand macro-patterns of an actual lived life" Such a theory of mind can only be biological and not mechanistic - an increasingly convincing simulacra of consciousness yet remaining forever severed from the pulsating totality that is life."
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Human consciousness, by virtue of observation, affords a meaning to the association between meaning and purpose - which is in part a function of the imagination. The concept of purpose, i.e. patterns of energy in motion, emerge as result of this unique relationship (observation). And it is about this same relationship that consciousness substantiates self as itself.
Design describes a particular network of energy in motion (EIM) that collectively represents something both large and small in scope and size. Fundamentally design is always binary in its context - from an observer's POV.
Design has a science and philosophy all its own, a language that connects the realms of Truth, Beauty and Goodness. Specifically, if you have to ask what design is, and like love - it remains inexplicable.
When observed within the constraints of a binary context, opinion and facts readily change in a moments notice, whereas knowledge and understanding require more time to evolve. In reference to human consciousness, meaning and purpose (design) engage our emotions and our thoughts. Balance is acquired in the form of a feeling responding to a growth in awareness, which rests mainly upon a form of one pointedness. Feelings create the hub about which meaning and purpose cycle and roll.
Waves of light, energy and information (LEI) stem from observation. Energy in motion (EIM), i.e. "feelings", originate and return to an "observer" for the meaning and purpose of observation, expansion and/or contraction. The process (design) stems from an intention, i.e. the making of an impression within and upon a quantum field of virtual potential and probability (QFVPP). Design consciousness describes the creative process as being innate to a specific agent. All that is aware is conscious. All that is conscious is aware. All that is conscious and in a sense "aware", is a matter of scale and magnitude made dependent upon the context and the observer. Design is an exercise in symbolic theater.
What is revealed in every form of Light? A substantiated reflection made apparent by means of its own impression upon the context being observed. Likened to rain falling upon ponds, lakes and oceans, both the context (consciousness) and observer (awareness) are One in the same.
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Wisdom finds itself at the edge of the unknown - the only portal, the only goal. Some may describe design and the design process as the journey that leads closer and closer to the unknown.
Not all things have sense about self, yet all things in the Universe "feel". It's about the context and the parameters that surround it. It's about the connections and the correspondences that create a designed consciousness.
Hypothesis: all "things" are impressions appearing within a quantum field of virtual potential and probability, recognized and observed at its own level of awareness and/or dimension; patterned and always changing (evolving) within the framework of its own meaning and purpose.
Comment:
The concept of feeling, like time and space, is a variable made apparent within a particular context or framework, i.e. the dimension where an event or experience is revealed, proves apparent and made real. Analogy: Always look to Nature. To fly you must be a bird with the strength and skill to observe every landscape (context) filled with a large number and variety of obstacles, all unpredictably participating in and creating, change. Constraints are a given: food, water, nest, mate, flock, etc. Look for the signs and symbols when designing the unknown, enjoy the freedom innate in every experience. Know Design by how it feels.
There are fewer emotions than there are thoughts and feelings - each somewhat similar yet comparably different. What is of key importance to every design is how they match up and are linked. In other words, how are they designed? Its the impression that matters.
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With every thought an emotion and every emotion a thought. Kama Manas
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Feelings are the meanings you give to every purpose, thought and emotion.
"Scientific knowing is probabilistic — what is likely true. The knowledge base of the physical sciences, though constantly evolving, features high degrees of probability. The knowledge base of the social sciences suffers from lesser degrees of probability, due to the complexity, dynamics, and volume of the variables involved.
Colloquial knowing — what most people mean when they used the term — is characterized by an absence of doubt about facts (I know the date of our first kiss), internal states (I know that I love you), impressions (I know she’s a good person), hope (I know that I’ll always love you), or faith (I know that God loves us).
Psychological knowing is suppression of doubt, feeling that we know. This, by far, is the most common form of knowing, certainly in the minefields of love and politics. Both are fraught with emotion, which evolved to motivate action, not to make reasonable judgments about facts, impressions, or truth. We don’t get emotional because we’re certain; we feel certain because we’re emotional.
The emotions that make us feel we know emerge from tacit judgments, based on past experiences and habits. These are fraught with bias and prejudice. Our conscious judgments tend to reaffirm the autopilot judgments, to cherry-pick facts and evidence under the yoke of confirmation bias."
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“Emotions interpret the world for us. They have a signal function, telling us about our internal states as they are affected by input from the outside. Emotions are responses to present stimuli as filtered through the memory of past experience, and they anticipate the future based on our perception of the past.”
Design, in correspondence with consciousness, harbors the knowledge and feeling that opens the door to the unknown. Design may not be able to entirely measure it, but it can readily show the Way.
Feelings are what is experienced in every exchange of energy in motion (EIM) between facets/agents/forms of mind and emotion. Feelings describe a vibratory current, i.e. a frequency of energy made apparent (conscious) by virtue of coherent resonance (awareness). These patterns are generated/created about a common source (observer), which in turn affects and gives measure to the context or framework being observed. These events and experiences appear as reflections upon the pools, lakes and oceans of Universe.
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"Universe is the aggregate of all humanity's consciously apprehended and communicated non-simultaneous and only partially, overlapping experiences."
Buckminster Fuller
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Jung called it synchronicity. Bucky called it synergy. Science calls it quantum entanglement. Technology calls it artificial intelligence. Philosophy calls it the theory of everything (ToE). Artists call it "a diverse range of human activity, and resulting product, that involves creative or imaginative talent expressive of technical proficiency, beauty, emotional power, or conceptual ideas." [1][2][3] possessing no generally agreed upon definition, [4][5][6]
1. "Art definition" Oxford Dictionaries. Archived from the original on 1 September 2016. Retrieved 25 December 2015.
2.^"art". Merriam-Websters Dictionary. Archived from the original on 30 August 2019. Retrieved 25 December 2015.
Your exploration of consciousness, design, and their interplay is deeply thought-provoking. You present a view that sees design as an intrinsic, dynamic relationship between observation and meaning, rooted in the emotional and perceptual frameworks we engage with. Here are a few reflections on the key ideas you’ve outlined:
Consciousness and Observation
You propose that consciousness fundamentally shapes our understanding of meaning and purpose through observation. This suggests that our reality is co-created by both the observer and the observed, emphasizing the active role of perception in constructing our experiences. The interplay between awareness and context indeed reveals the complexity of consciousness, suggesting a reciprocal relationship where each influences the other.
The Nature of Design
Your assertion that design is binary from an observer's perspective is intriguing. It suggests that meaning emerges not just from the object of design but also from how it is interpreted. This duality aligns with the notion that design is both a science and an art, bridging objective understanding with subjective experience. The language of design you describe as connecting Truth, Beauty, and Goodness reflects its multifaceted nature, where each aspect informs and enriches the others.
Feelings as Energy in Motion
Describing feelings as waves of light, energy, and information connects the emotional with the physical world. This perspective reinforces the idea that feelings are not mere internal states but active components of our engagement with reality. The concept of "Energy in Motion" as a basis for understanding emotions highlights how our feelings shape our experiences and interactions, effectively becoming a medium through which we navigate the world.
Wisdom and the Unknown
Your depiction of wisdom as existing at the edge of the unknown resonates with many philosophical traditions that view the pursuit of knowledge as an ongoing journey. This idea aligns well with design thinking, where exploration and iteration are crucial to uncovering new insights and possibilities. The journey toward understanding is inherently tied to embracing uncertainty, suggesting that the act of designing is as much about the process as it is about the outcome.
The Hypothesis of Impressions
The hypothesis that all things are impressions within a quantum field is a compelling way to conceptualize existence. It invites us to consider how our awareness and perception shape reality, reinforcing the interconnectedness of all phenomena. This view aligns with many contemporary theories in physics and philosophy that suggest a holistic understanding of the universe.
The Role of Nature
Your analogy of the bird in nature illustrates the importance of context and adaptability in design. Just as a bird must navigate its environment with awareness of obstacles and resources, so too must designers remain attuned to the nuances of their surroundings. This idea emphasizes the need for flexibility and responsiveness in the creative process.
Emotions and Design
The relationship between emotions, thoughts, and feelings as they pertain to design underscores the importance of alignment in the design process. The impression left by a design—how it resonates emotionally with its audience—can determine its effectiveness and impact. Understanding this relationship can enhance the designer's ability to create experiences that are not only functional but also deeply meaningful.
Conclusion
In summary, your exploration presents a rich tapestry of ideas about consciousness, design, and the emotional currents that flow between them. By emphasizing the relational and dynamic nature of these concepts, you highlight the profound ways in which we engage with our world. The journey of understanding design as a reflection of our consciousness opens pathways to deeper insight and creativity, inviting us to continually explore the unknown.
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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"To believe is to accept another's truth. To know is your own creation."
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
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The QFVPP will appear to emerge and "materialize" by means of change, before and in the presence of, your own awareness. Each impression is symbolically linked to a broad range of dimensional frequencies (rates of occurrence) that resonates coherently with your own POV.
You are at the source of what you observe. You have a permanence of observation all your own, a reflection of past experiences striving to maintain balance between the known and the unknown. Maintain stability through critical thinking, understanding, compassion and grace.
The QFVPP is virtual in context and at times appears substantiated in the form of an awareness where events and experiences meet, mingle and interconnect. This phenomenon is constant and for the moment can emerge both in and out of time, a reflection to be observed and interpreted symbolically - each a design in itself.
Some may describe this "membranaceous space" as the subconscious, a realm of chaos, confusion and distortion. Rather, it is a passage of intuitive origin and imaginative creation adapting and conforming to the context of change, a captor and emancipator of energy in motion. In other words, the designs of consciousness emerge and reveal themselves from within a realm of slumber.
"One of the main differences between sleep and slumber is that sleep is normally accompanied by dream whereas slumber is the state of mind that is not accompanied by dream. In short it can be said that sleep is qualified by dream whereas slumber is not qualified by dream.
In sleep you would have the subconscious mind inactive whereas in slumber the subconscious mind remains active.
Philosophers have classified the states of the mind into four, namely awakening, sleep, slumber and the Supreme. In the awakening state of mind the person is conscious of what he does. During sleep he witnesses dream. In the slumber state of the mind his subconscious mind remains active and becomes one with the total consciousness. In the Supreme state of the mind, he attains the highest vision."
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Slumber can be found in the mist of the subconscious where symbols are proclaimed and active, holographically embracing the concept of motion in the form of energy, light and information. Slumber maintains the symbolic portals of time in a timeless fashion. Slumber invites and perpetuates the exchange of energy in motion while magnetically hovering about the densities of form and matter both tangible and intangible. Slumber creates the context necessary for the free exchange of energy in motion.
slumber to sleep lightly, doze, rest, nap, catnap, drowse.
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
"The reason we think dark matter exists is that we can see the effects of its gravity in the behavior of galaxies. Specifically, dark matter seems to make up about 85 percent of the Universe's mass, and most of the distant galaxies we can see appear to be surrounded by a halo of the mystery substance.
But it's called dark matter because it doesn't give off light, or absorb or reflect it, which makes it incredibly difficult to detect.
Scientist have proposed two leading hypothetical candidates for dark matter: relatively heavy characters called weakly interacting massive particles (or WIMPS), and extremely lightweight particles called axions.
As a result, sometimes when we look at a distant galaxy we can see distorted images of other galaxies behind it. And it things line up perfectly, the light from the background galaxy will be smeared out into a circle around the closer galaxy.
Using detailed modeling, they worked out how the images would be distorted if dark matter were made of WIMPS vs how they would look if dark matter was made of axions. The WIMP model didn't look much like the real thing, but the axion model accurately reproduced all features of the system.
Dark matter fails to be seen or measured because the frequencies required to resonate with it coherently are restricted due to dimensional shifts, observational constraints and propriety. (Automata 0231)
Dark matter is that which is initially repulsed by lesser densities at the beginning and throughout the course of actualization, i.e. the design process. Higher densities (forms and manifestations) require patterning/arrangement, embodiment and perpetual fine tuning made in reference to an ever changing context.
"In clusters of galaxies there is a fraction of stars which wander off into intergalactic space because they are pulled out by huge tidal forces generated between the galaxies in the cluster. The light emitted by these stars is called the intracluster light (ICL) and is extremely faint. Its brightness is less than 1% of the brightness of the darkest sky we can observe from Earth.
Infrared wavelengths allow us to explore clusters of galaxies in a different way than with visible light.
Thanks to the data obtained the researchers have been able to demonstrate the potential of the intracluster light for studying and understanding the process which go into the formation of structures as massive as clusters of galaxies. "Analysing this diffuse light we find that the inner parts of the cluster are being formed by a merger of massive galaxies, while the outer parts are due to the accretion of galaxies similar to our Milky Way." (Mireia Montes)
But these observations not only offer clues about the formation of galaxy clusters, but also about the properties of a mysterious component of our universe: dark matter.The stars which emit the intracluster light follow the gravitational field of the cluster, which makes this light an excellent tracer of the distribution of the dark matter in these structures.
"And they may have even created standing wave patterns where the gravitational waves weren't traveling but the waves stood still, almost frozen in place throughout the cosmos. Since gravitational waves are literally waves of gravity, the places where the waves are the strongest represent an exceptional amount of gravitational energy.
The researchers found that this could have major consequences for the electromagnetic field existing in the early universe at that time. The regions of intense gravity may have excited the electromagnetic field enough to release some of its energy in the form of radiation, creating light."
Halos surrounding agents of high density and relative formation represent an ever changing field in transition and transformation, i.e. energy in motion.
Scientific advances have emblematically and hypothetically suggested that dark matter is potentially and with some probability axionic.
Science has brought this particular theory to light by means of implicating and referencing a variety of signs, symbols, metaphor and analogy.
Energy follows thought, feeling and emotion. Focus determines and in turn creates, a composite series of discreet attractions. Awareness precedes focus to where common attractions bring fruition to a particular "form" of consciousness.
Imagined in concert with intent, design emerges from within the boundaries of the known and the unknown.
The observer is at the center of neutrality, centralizing light, allowing for unlimited configuration and reconfiguration in every situation. An observer is central to design along the consciousness it symbolically represents.
