Form
In general&sbquo the word form conceptually designates the entire exterior of some visual subject. The form we call form&sbquo as a concept&sbquo does not actually exist. It has no extension. It's by no means possible to be visually cognizant of something that doesn't exist. Regardless of this fact&sbquo the domain of its meaning comprise contrary subjects such as the concrete and abstract&sbquo and the real and visual. As a general term to visually apprehend a conceptual exterior&sbquo it has the potential to transcend words. This is&sbquo in transcending visual cognition it becomes a word that can abstractly apprehend the exterior image as an all-embracing conscious cognition. Contemplating this word in the context of Ka (take form)&sbquo kata (type) and katachi (form) we can can provide a definition that carries some weight when interpreting the meaning of the japanese words katahi (form)&sbquo keitai (configuration)&sbquo keijoo (shape&sbquo configuration)&sbquo keishiki (format)&sbquo and keiyo (description) words which all use the japanese character for form as part of their constriction. It's also possible to interpret katachi (form) as a constriction of ka (take form) ktachi (quality). As far as design is concerned&sbquo the terms configuration and shape that are used as a general terms to describe subjects of visual cognition are not necessarily included in that definition. While the form of things is visual&sbquo more abstract things and their design are also the subjects of artistic forms and their design. Accordingly&sbquo form&sbquo as design term&sbquo is linked to the meaning of design in its capacity as comprehensive term to express everything from the visible and tangible experience that is had through the creative activity of art to an ideational abstractness that i scalable of being imagined.