Introduction to Mindprint, the subconscious art code

In artefacts and artworks, where archaeo astronomers see ancient star maps, archaeologists see cultural traditions, and anthropologists see initiation secrets, appear a standard axial grid of archetypes, always in the same sequence.

[UPDATE 2016: Mindprint demonstrated our individual expression of archetype in art. The book laid the foundation for revealing our innate, subconscious, collective expression of archetypal structure, in buildings, villages, temples complexes, pyramid fields, geoglyphs and cities. Our collective subconscious is revealed in Stoneprint, with 400 pages and 130 illustrations, placing subconscious behaviour in the context of five sciences and several cultural crafts. Visit www.stoneprint.wordpress.com for extracts from this important new book.]

The subconscious art code or human imprint also appears in our eye, hand and body reflexology points, and in cosmology. Constellations are only myth maps, but myth, and therefore constellations, also bear the imprint of the structure of our perception.

All inspired artists, in the Stone, Ice, Bronze and Iron Ages; Babylonians, Egyptians, Chinese, Celts, Mayans, Vikings and moderns, subconsciously express mindprint, our eternal artefact.

The core content of art, myth and culture around the world is identical. Beneath thin layers of flamboyant styling and learning lies a surprisingly standard structure, beyond the conscious control of artists, mystery schools or secret societies.

All inspired artworks containing more than ten figures express a standard, involuntary sequence of types. Artists are not aware that their eye -hand -mind co-ordination expresses a universal structure.

Each figure type is characterised by one or two of its optional attributes and by its relative position. The types are spaced as paired opposites around an irregular ellipse, and precisely anchored to a standard axial structure, hinged on a geometric centre with tri-polar elements.

The structure emerging in the 200 illustrations and in the statistical analysis, is a visual grammar or art code, never before described in art history, archaeology, psychology, esoterica or popular crafts. The book is written as popular archaeology, but it has several implications for academic research.

Archetypes could be labelled in mythical, seasonal or astrological terms, yet none of these sets are origins of archetype. All are equally partial and imperfect expressions of pre-existent, universal structure.

The underlying structure of nature, culture and perception is largely subconscious, not fully verbalised by artists or viewers. Now these subconscious meanings are rendered partially conscious, and accessible by identifying relevant features, and thus types, and by using a list of the average frequencies of occurrences of the features of typology, and using the axial grid structure.

The axial geometric structure in the positioning of the eyes of the sequence of figures is made visible by drawing a set of lines that always cross in one point. This structure is visually disguised by some radial distortion (a sunburst shape); variety of subject and style; and two standard deviations, to a heart as a kind of spiritual eye, and to a womb as a kind of unborn eye.

Visual expression arises from nature, reflexology, and the collective subconscious. Learning, borrowing and idiosyncratic features do not affect the options, nor their average frequencies. The structure of perception and expression, or archetype, is inherent in all forms of figurative arts and crafts, including engravings, murals, frescoes, spiritual, religious, political and portable artefacts, professional and amateur art; and building sites (see http://www.stoneprintjournal.blog). Mindprint in ‘story’ paintings on buffalo skin are among the many indications that archetypal structure also enables myth, legend, perception, and to some extent, events.

The ‘readable’ elements in visual expression reveal a similar structure in myth, literature, cosmology, calendric cycles and nature, confirming the role of what philosophy and psychology describe as archetype.

Myth likewise uses characters differentiated by stock attributes, actions, motivations and episodes, and also expresses natural, social and cultural structure.

Art is less constrained by conscious cognitive processes than myth, which is bound by verbal, acoustic and dramatic grammar. Visual art is more direct, more impulsive, more compulsive to artists and viewers, more layered, and closer to inspiration.

The subconscious imprint, referred to as mindprint, tupos (imprint), art code, human subtext, Furter grid or archetypal art code, is predictive and testable. Practical proof of the persistence and prevalence of mindprint in art is illustrated in 200 of the 400 artworks and rock art works listed in the Index (some of the further 600 demonstrations are posted on this site, and the three related sites).

Major, testable, conceptual, as well as minor attributes of types, each with their average occurrences, invariably marked by the standard axial grid, are listed in Mindprint (2014, Lulu.com), in the Introduction and in the Statistical test chapter.

Type 5 Aquarius, for example, is varicoloured (44%), horizontal (30%), in active posture (31%), and among the four large firugres (24%) on average in all artworks [the list of known features, and known average frequencies, was extended by new discoveries in Stoneprint, and in editions of Stoneprint Journal; see extracts on http://www.stoneprintjournal.wordpress.com].

Type 10 Libra has an arm or arms in V- or W-shape (53%) and holds a staff (34%) on average in all artworks.

Based on overwhelming statistical and geometric evidence of the collective, universal, subconscious sequence of optional attributes in inspired art, and of the conceptual relationships between the optional elements of each type, the tables of myths, icons, constellations and concepts in this study are proven.

They describe the standard structure of visual expression, as an involuntary art code arising from subconscious inspiration.

Additional variant expressions of each type are also considered, for example type 15 Gemini as a rope (33%) and/or bag (21%), and/or creator (such as Ptah), and/or smiting (16%), and/or twinned as in the concept of Gemini (8%), and/or canine, and/or with a hip wound, and/or in a boat shrine (of minor percentages). Identification of types rises above 90% if these variants (discussed in the Attributes section, Tables and captions) are considered together.

(Excerpt from the Introduction to Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com, 266 pages; 100 pages of context and explanation, 200 illustrations. The book is on mail order from Lulu in the USA at $29 plus $8 postage ($37, about R370), and at presentations in South Africa at R250. Order directly from Lulu, not from other websites that may add their costs to the price.

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1 Comment

  1. Here are my replies to a set of queries from an art restoration specialist;
    Q; Mindprint is a fascinating read. What determines where the nodes are placed for the structure. Do you always choose the eyes as points?

    A; Typological and geometric analysis confirm one another. Analysis of artworks of all cultures and eras confirm that the eyes are on axes with the eyes of their opposite types. The two constant exceptions are the womb for type 11 Virgo, and the heart for type 12 Leo or 13 Leo.
    All mythologies emphasise these functions in consonant types. For example, a Zimbabwean tribe with a lion totem speaks of the heart of the lion being coughed up or ‘roared out’, and swallowed again. The Heartline Deer in some Ice Age art express type 13 Leo.
    These points are instinctively chosen by all inspired artists, they are not of my choosing.
    The Harris matrix in at least one work confirms that the seqjuence of painting may favour axial pairs being painted in the same episode.
    Exceptions where a type or a pair is missing, or marked by another feature, are extremely rare, notably in Poussin.
    Polar and ‘galactic’ features are marked by limb joints, never by eyes.

    Q; The philosophical question is what does it all mean? Yes, there is a fundamental structural template for all artworks throughout the ages. This could be hardwired in the brain or consciousness, but why?

    A; It means that subconscious structure is compulsive. The tendency to perceive reality with a structured bias is hard-wired, and the environment provides material or content for that structure, including structural elements in nature, species, behaviour, ritual, and culture.
    Some ritual behaviour has survival value, such as finch nesting, some is just rehearsal or superfluous, as in extra unused nests, but rewarded by social behaviour, such as mating. We do not need all the art in galleries and museums, but we are compelled to make, display and study them.

    Q; Could it help elucidate information where art images are unclear or damaged?

    A; I accept the challenge, send me un-enhanced images to identify types and axial geometry, and then test my analysis against enhanced versions using optics or frequency enhancement.
    See p161 where only eight figures are visible. Ideally ten figures, of a probably coherent spatial grouping, should be visible, but up to 90 figures could be tested if the grouping is relatively clear and the figures are relatively heterogenous (see p233). Among relatively homogenous figures, axial geometry, the five polar features, and four other features differentiate the types (see p180, p181).

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