A chart of the sequence and structure of visual concepts in all art. Compare the chart to the Australian rock art example above (Kimberley Foundation) and its mindprint labels and axes (analysis by Edmond Furter).
Mindprint is sixteen sets of conceptually related optional archetypal attributes, each set consisting of one or two frequent attributes, and three, four, five or six decanal (related) and less frequent attributes. These are attached to figures which are arranged in a standard sequence near the edge of an artwork.
Their eyes (replaced by one heart and one womb in constant and adjacent positions, at type 12 or 13 Leo and type 11 Virgo) are always in an approximate oval, at varied radii, each on an axis with its opposite type. These axes cross in one point, analogous to the ecliptic (orbital) pole.
The structure is analogous to a flattened cosmic sphere, with some features of the underside visible, and ‘galactic’ features doubled. Antithetical (mirrored) galactic poles are usually marked by limb joints, near and between the heart and womb figure, and on the opposite side (conceptual ‘underside’), between the eyes of types 5 Aquarius and 4 Pisces.
Each conceptual galactic pole centres one of the oblique galactic equators, traceable along prominent limb joints, half inside and half outside the equator of eyes.
One of the ‘celestial’ poles is usually marked by a limb joint, such as a jaw, shoulder, hand or ankle, near the axial pole, incidental with the position of the midsummer and midwinter solstices in one of the last three astrological Ages (or four mindprint Ages, since Taurus is doubled).
Celestial poles move in an arc around the ecliptic pole due to precession. The general Age of artworks, specifically the inspirational Age, is incidental with the position of the ‘celestial’ markers.
Four ‘large’ types are optionally doubled as one or two expressions; types 1 Taurus and 2 Taurus, opposite 8 Scorpius and 9 Scorpous; and/or 5Aquarius20 and 21, opposite 12 and 13 Leo. When 5 is doubled it retains the same lower number, therefore the highest type number (the sixteenth) is type 15 Gemini, while type 1 Taurus16 Orion overlaps 1 Taurus Auriga as two decans.
Seven types are overlapped by their prominent decans: 15 Gemini and 15 Gemini0(zero); 1 Taurus and 1 Taurus16; 2 Taurus and 2 Taurus17; 3 Aries and 3 Aries18; 4Pisces and 4 Piscest19; 5 Aquarius t20 and 5 Aquarius21).
The entire arrangement is subconscious and compulsive to artists, and independent of conscious and conventional attributes, design grids, perspective lines and meanings.
Conscious symbolism and style is determined by the culture and experience of the artist, but mindprint in all its detail is standard in all cultures, areas and ages.
Mindprint was discovered in 2010, and its types, attributes, geometry, polar structure and correspondence with myth, emblems, the Tarot deck and astronomy were assigned, numbered and tabulated by Edmond Furter, and published in the popular archaeology and art analysis book Mindprint, the subconscious art code, in August 2014 (Lulu.com).
When identified in artworks, mindprint is marked by axial lines between the eyes of opposing figures, crossing in one point, each labelled by zodiac equivalents and the lower range of type numbers; from 1Ta, 2Ta, 3Ar, 4Pi, 5Aq20, 5Aq21, 6Cp, and so on, to 15Ge. The higher numbers, or first magnitudes, overlap part of the sequence as a second or decanal layer.
(From the Terminology appendix of Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com). See updates on http://www.stoneprint.wordpress.com
The introduction explains how to read the illustration labels (see a post and comments on www.edmondfurter.wordpress.com), and reveals the types and structural features in art. It also notes some aspects of their disguise.
Chapter A demonstrates six examples of the typological sequence, and explains structural sets in nature, myth, grammar and our subconscious.
Chapter B demonstrates the structure in our iris and bodies, and explains our structural perception, inspiration, consciousness, psychology and disguise.
Chapter C demonstrates the structure in our hands, and explains the co-incidence of structure in our bodies, culture, events and literature.
Chapter D demonstrates cosmic structure and explains structural cosmology, astronomy and astrology.
Chapter E demonstrates cosmic polar structure and explains structural time, Ages, archaeo astronomy, planets and spherical doubling.
Chapter F demonstrates artistic structure in a famous painting by Pierro de Cosimo (see below), and explains structural symbolism, artistic functions, initiation and esoterica.
Chapter G demonstrates a rock art painting process, and explains structural inspiration and compulsive expression.
Chapter H tests mindprint in two Egyptian decanal sets [Narmer and Dendera; see below], and explains conscious aspects of expression, as well as the Tarot trump sequence numbering.
Chapter J lists the attributes and concepts of the sixteen types, reduces these to tables, offers a format for artistic typological data, formulates a statistical test, tests 170 artworks, lists and explains the results. It also demonstrates how to identify visual types and archetypal structure in art, speculates on the possibility of prior discovery, and lists the few inherent ambiguities among some types.
Chapter K compares scientific and esoteric paradigms, illustrates natural ‘art’, and speculates on the implications of the discovery of mindprint for some sciences and crafts.
Chapter L demonstrates mindprint in 200 artworks (the book contains 214 examples in total), grouped by their dominant themes, and ordered to compare rock art against schooled art. Some notable details are explained.
The postscript explains how the visual types and structure were found. (see below)
- How to read the illustration labels
- [a] The typological sequence and axial grid
- The subconscious artefact and its disguise
- [A] The figure sequence in our art
- Comparing our semi-conscious sets
- Animals, Myth, Grammar, Subconscious layers
- [B] The structure in our eyes and bodies
- Our eyes flash Boo; Oto-visual emissions
- The vortex of visual inspiration
- Gestalt and Occam
- Psychological structure
- [C] The structure in our hands
- Our inner and outer structures converge
- Archetype dressed as culture
- Literate structure in a Mishnah
- [D] The structure in our cosmos
- Our astronomical sets
- The galactic and polar cross
- Astrological structure
- 40 [E] The three poles of time
- 42 Our calendric sets
- 43 Ages in art
- 46 Age Aries, Age Pisces, Age Aquarius
- 50 [b1 and b2] The typological spiral chart
- 52 [F] The structure in our art; Honey to mead
- 54 Conscious and subconscious meaning in art
- 57 Mystery and initiation
- 58 Instant culture, art analysis, doubled spheres
- 62 [G] The layers in our expression
- 64 Digging through paint layers
- 67 The double life of decans
- 68 [H1] Decans on the Narmer palette
- 70 [H2] Decans in the Dendera zodiac
- 72 The Tarot trump sequence
- 73 Compulsive inspiration and expression
- 75 [J] Holistic types t1 to t15
- 79 Typological tables
- 82 Statistical test of artistic types
- 84 Statistical test results
- 87 How to identify types and structure in art
- 88 Commission impossible
- 88 Duplications and conventions
- 89 Conscious recognition is elusive
- 91 Ambiguous types
- 93 Scientific and esoteric paradigms
- 96 [K] Nature is also an artist
- 97 Esoteric structure
- 98 Implications for sciences and crafts
- 99 [L] Mindprint and sixteen themes illustrated
- 100 T1 Taurus Auriga, Orion; Rain diviner
- 110 T2 Taurus Pleiades, Perseus; Rainmaker
- 118 T3 Aries Androm; Moon queen, dragons
- 130 T4 Pisces Pegasus; Sun king, Sun twins
- 134 T5 Aquarius20 Pegasus; World baptist
- 148 T5 Aquarius21; World spirit
- 160 T6 Capricornus; Pan
- 164 T7 Sagittarius; Bag
- 170 T8 Scorpius Ophiuchus; Giant snake holder
- 180 T9 Scorpius; Giant in trance
- 182 T10 Libra Bootes; Lord of the forest
- 188 T11 Virgo; Womb
- 198 T12 Leo Crater; King inverted
- 212 T13 Leo Ursa; King’s heart
- 224 T14 Cancer Ursa Minor; Time angel
- 232 T15 Gemini; Creator and rope churner
- 240 T15 Gemini 00 Canis; Creator wounded
- 250 How mindprint was discovered
- 253 Acknowledgements, About the author
- 254 Terminology
- 257 Index of rock art tested, Index of art tested
- 265 Graphics sources, Sources, References.
(Excerpt from Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com)
==== Comment from David Allen April 2015;
Thank you for the opportunity to meet you and to listen to your talk. What you said has sent me back to the drawing board concerning my knowledge of archetypes.
What had the most impact for me was your reference to the fact that archetypes, and even culture itself, are not some artificial “construction” born of this reality, but come from a pre-existent reality that “was” before the “big bang”.
The way you supported this contention by showing how virtually one single visual pattern is repeated (with some minor variations) through all works of inspired art (I think your use of the distinction “inspired” was essential here) stretching from as far back as the Ice Age into the modern era, across many nations, cultures, religions, belief systems, continents, and throughout history, and how it can be traced in the heavens, served to emphasise this point particularly strongly for me.
Although the idea of a “pre-existent reality” is not new to me, I have found almost no support for it. If anything I have come across only deep and virulent criticism of it and so have kept an open mind on the subject. Maybe it is a sign that I need to hang out with a better class of reading material.
I found your support of this notion very pleasing because it confirmed something that always made intuitive sense to me. It will give me much food for thought and reflection in the coming weeks and months because it will feed into, and influence to some extent, much else that I am interested in.
But probably the most important revelation was that your talk has shown me how much I still have to learn and how much work awaits me in terms of now having to unpack and discard much of what I have taken to be “true”, and then to refresh my conceptual foundation and belief system concerning a number of important topics.
I begin the task of reading and absorbing your book today. -David Allen.