Design is everywhere in our world. We see distinctive design in the new building going up on the corner or in this year's line-up of new cars. We study the design of a pleasing painting, or perhaps the design of a logo with a bite taken out of it. We hope the highway department did a good job designing signs that direct us to the airport as we rush to make our flight.
In all these cases, design is in service to a purpose. Design can be decorative, functional, informative, instructive, even entertaining. Or, as Heidegger said of art, "a preserving and happening of truth."
The designs of Raydiant Lightware, while beautiful, are not meant to be contemplated artistically. The complex visual designs have a distinct function, and that is to encode archetypal information that will facilitate healing and transformation. This is not an entirely new role for design, but Raydiant Lightware presents a breakthrough with the range, depth, specificity, and versatility of its application.
Contemporary Sacred Geometry
Plato gave us the five sacred solids over two thousand years ago. Architects, artists, alchemists, and healers down through the ages have worked with his ideas and developed other sacred geometries to create images for healing, evolution, and communion with spirit. Raydiant Lightware, made with particular knowledge of and attention to the universal organizing principles embodied in their various lines, shapes, and volumes, is inside this tradition. More particularly, Raydiant Lightware designs offer a special type of guidance, healing, and education through a process I call a "raydance."1
And while you will find the geometries of Plato and other elements of what is recognized as sacred geometry in Raydiant Lightware, my process has led me to use shape, line, volume (created via vector equations with Adobe Illustrator), and color as a way to encode the information that I see in the morphic fields.2 Having discerned a grammar for composing visual designs that resonate with specific morphic field information, I have spent literally thousands of hours journeying in the fields taking "notes."
As a result, in my lightware designs, I am encoding many different archetypal patterns, their internal dynamics and their coordination with one another. Sometimes I think of my work as quite "granular," attending to a range of functional information, components, and dynamics. Finally, all I know is that I make the design I must make to get the job done.3
1 Yantras, within the Tantric traditions, operate somewhat along these principles. Yantras include a number of geometric figures which function as revelatory conduits of cosmic truths, connecting you to particular deities or levels of universal consciousness. Rendered in two dimensions, Yantras are conceived and conceptualized by practitioners as multi-dimensional sacred architecture. Through meditation and trance one's own subtle body resonates with and makes union with the associated diety, and is in turn elevated and informed.
2I sense the fields more than see them, but can feel if the contour of the shape I've made encodes and recreates the dynamic.
3While I can't translate the function of each Raydiant Lightware design into "English," I can identify in general what the designs collectively resonate with and address. In many cases, I simply don't have words for what I'm tuning into, but I am able to "know" when I've got it right, that is, when I've captured, through design, the archetypal information I'm "seeing." While the Raydiant Lightware description pages sum up what each lightware panel addresses, I'm not sure what an attempt at illuminating each design element would yield. Finally, the proof is in the pudding, and I'd rather be spending my time composing more designs and protocols.