Categories
Mindprint art examples Structural art analysis using mindprint

Frank Gutierrez’ artwork Once Again dramatises imbalance

Frank Gutierrez’s artwork Once Again (Una vez mas), was displayed among works that Darry Sheets put up on auction after buying a locker in an episode of Storage Wars. Gutierrez also made a lithograph of this painting, adding fighter jets in the sky (see below). He is much lesser known, and his style is less consistent and less recognisable, than the more prolific music album illustrator Rudy Gutierrez (see another post, on http://www.mindprintart.wordpress.com).

The dominant general theme in Gutierrez’s Once Again, is revealed by extra features of type 10 Teacher, typical of raised arms (here of five characters), staff (two flag-posts), hunt-master (president and three forces commanders), guard (three forces commanders), and council (thee in argument). Type 10 expresses balance, as in its mytho-astro version of Libra, but here the theme of balance is as ironic as the conscious theme of national protection and defence. The canvas speaks of the Biblical ‘war and rumours of war’, and the threat of war to end all wars.

Frank Gutierrez; Once Again (Una vez mas), or Men of power, revealing ironies of defence, war and terror drama over a coffin and a sleeping homeless man (after Pinterest. Archetypal labels and axial grid by E Furter).

Type Label; Character (noting archetypal features):

2 Builder; Buffalo (bovid) on a spoof flag (twist) inscribed ‘California’. The real state flag has a star and bear, inscribed California Republic, since it started as a briefly illegal gold rush immigration occupation of a Mexican territory in 1846, named Bear Flag Revolt. The flag could refer to Santa Catalina Island and Gulf at Los Angeles, formerly of the Tongva tribe, Spain, Mexico, pirates, smugglers, and private owners, now a tourist resort. The ‘Vanishing American’ movie crew took some bison to the island in 1924. The spoof flag is on a bench, before terror or war smoke (ruin).

2c Basket; Air Force or policeman clown (hat, weapon) with pistol.

3 Queen; Defence commander (sacrifice).

4 King; Politician? At bench (squat, rectangle) in front of inferno (furnace).

5a Priest; President (assembly), perhaps George W Bush, or aide with briefcase of nuclear launch codes (tailcoat head, weapon), wearing a USA flag (vari-coloured) cape, hand under jacket as Napoleon.

6 Exile; Priest (more typical of 5), at coffin (sacrifice).

7 Child; Forces clown (juvenile), eyes closed (eyeless). And USA flag (unfold).

7g Gal.Centre; USA flag (juncture) and coffin.

9 Healer; Pistol (strong) discharged; NO EYE.

10 Teacher; Nuclear launch code briefcase (‘hunt-master’, guard, metal); NO EYE.

11 Womb; Homeless man’s midriff (‘womb’) reclining (tomb?).

12 Heart; Homeless man’s chest (heart), reclining (death?).

14 Mixer; Homeless man (transform?).

15 Maker; Toy pistol (weapon, smite), as on left (doubled).

15g Gal.Gate;Forces badge.

Axial centre; Unmarked as usual.

4p Gal.S.Pole; President’s jaw (limb-joint).

11p Gal.Pole; Homeless man’s elbow (limb-joint). The galactic polar axle is near the vertical plane.

Summer; Force member’s shoulder (limb-joint).

Winter; Force member A’s elbow (limb-joint).

The solstice axle places summer between axes 15-1, or Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius, our current Age (since 2016). These markers are confirmed by the types of the two top central characters. This transitional framework was slightly ‘prophetic’ for the artist, but works aimed at social reform often find expression in transitional time-frames.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Frank Gutierrez’ Once Again poster flips the structure around

Most artists instinctively re-design their works for use in different media, and avoid making exact copies of their works, partly since hand-made copies could affect the integrity of the axial grid. Most engravings in the Renaissance and industrial era are also re-designs, such as Cibber’s engraving of the Great Fire of London, versus his bronze plaque of the same theme for Nelson’s column (see Stoneprint Journal 4; Stoneprint tour of London, available from Lulu.com, or short extracts on http://www.mindprintart.wordpress.com and on www.stoneprintjournal.wordpress.com).

Frank Gutierrez; Once Again (Una vex mas), pop art poster version (archetype labels and axial grid by E Furter). The design, typology and axial grid between the focal points have some differences, as all artworks do, as noted below.

The poster flips the structure left-right, and re-designs its. There are few structuralist co-incidences between the painting and the poster:

Type 2 Builder as flag; v epaulette or jaw.

President’s briefcase with nuclear launch codes as type 10 Teacher or balance; v 14 Mixer or transformation.

President’s jaw as Galactic South Pole marker; v Summer or Celestial Pole marker.

Time-frame of Age Pisces-Aquarius; v Age Taurus-Aries, more common in alchemical works.

The theme of deja vu in the political behaviour that enables societies and nations, ironically parallels recurrent features in the ‘grammar’ or ‘genetic code’ that enables nature and culture.

 

Categories
Mindprint the subconscious art code Structural art analysis using mindprint Structuralist analysis of miniature artworks

Henry Holiday’s Hunting of the Snark art has subconscious order

The nonsense limerick poem Hunting of the Snark demonstrates several ironies, apparent contradictions, and hidden meanings. The quest is an analogy for scientific exploration and British empire enterprise; both could be imagined in the dock on charges of Trespass, Libel and Contempt as in Barrister’s dream. Author Lewis Carroll (1876) is the pen-name of Oxford mathematician Rev Charles Lutwidge Dodgson (d1898), who also wrote maths papers and books, and was a deacon, but not a full priest. This post applies archetypal structuralist analysis to the Snark for the first time, to demonstrate how Henry Holiday’s illustrations subconsciously express apparently different, yet structurally standard versions of universal archetypal layers. The artist added Hope and Care (or ‘With’) to the crew of ten, probably from a subconscious compulsion to complete the minimum number of characters required to express archetype.

Britain, a legacy of Rome despite her abandonment in the Dark Ages of AD 400s to rival raiders and local kings such as Arthur, regained Roman culture after the Norman conquest. The eventual nation of shopkeepers, brokers, bankers and explorers feared disorder and chaos, as psychological defense against personal annihilation (after Kelly). Religion and science have taken turns in shoring up a sense of order. Bellman’s Rule of Three; character names all starting with B; jaunty rhyme and meter; and a tragic-comic format, all attempt to impose some order [15] and meaning on the apparent chaos of lefend. But motifs in legend, poetry and art is never random or meaningless, and usually recurrent (Thompson1928, 1961. Uther 2011. McCormic 2011). Rigorous analyses of three illustrations below demonstrate that many features of subconscious behaviour, perception, and meaning itself is now measurable in standard terms (see also ATU catalogue legends demonstrated in afterlife themes, in three posts on Oracle of the Dead, on http://www.stoneprintjournal.wordpress.com).

Nonsense style was also used by Thomas Hood; and in Gilbert and Sullivan musicals, such as Bad Ballads; and in early movies by Charlie Chaplin. Carroll was a satirist, and keenly aware of controversies between religion and science. Snarking once described a sound, perhaps of derision. Snarky once meant snappish, sarcastic, impertinent or irreverent; but recently back-formed again to mean mocking irreverence or sarcasm. The poem may have been inspired by the violent death of Carroll’s beloved uncle, Robert Wilfred Skeffington Lutwidge, inspector of asylums, by a violent patient (Torrey et al 2001), and other personal losses.

In the plot, a crew of ten tries to hunt the Snark, easily confused with the highly dangerous Boojum. Baker may symbolise the author, with his 42 boxes after Thomas Cranmer’s 42 Articles of religion, the last on eternal damnation. Baker finds a snark but vanishes in black ash, indicating that he found a Boojum, perhaps punished as Cranmer was burned; perhaps bafflement at finding laws of nature (Cohen 1995). Banker is attacked by a Bandersnatch, pays a ransom, but loses his sanity or logic.

Unwritten rules in nature and culture

Bellman, according to Carroll’s preface, follows obscure Naval Code, pathetically reading out Admiralty Instructions which none of the crew ever understood, “but fastened anyhow across the rudder”. Rule 42, the last, is ‘No one shall speak to the Man at the Helm,’ completed by the Bellman himself with ‘and the Man at the Helm shall speak to no one’. Thus Carroll indicates that the search for unwritten, inherent rules or laws of nature and numbers are part of his theme in Snark. Collective behaviour is indeed guided by a code that many sciences suspected, but no-one understood before 2010 (Furter 2014).

The present study of recurrent features in behaviour, to reveal archetype in nature and culture (Furter 2014; 2016), was inspired partly by the Mike Batt’s musical version of Hunting of the snark. In this idiom, from our own investigations and the bearings on the charts, now we could rise to remark that we think we may be gaining on the snark! There are hints of underlying structure in all media. Discovery that the subconscious expression of archetypal structure, or mindprint, could be measured and predicted, incidentally completes the quest for inherent order; and reveals that cultural identity is as universal as mathematics.

Henry Holiday pictured fables, allegories and church windows

Henry Holiday probably alluded to animals in a 1674 print of Aesop’s Fables, illustrated by Marcus Gheeraerts the Elder (British Museum; Satires 1047, reg. 1868,0808.3286), around king William III with allegorical Religion and Liberty (after Prof L Wolsogen, L; Fig 4/4). Holiday discussed with the author Carroll (Dodgson) possible allegorical depictions of Care and Hope. Holiday was also a stained glass window designer at Powell & Sons (with many designs for American churches), and friend of Rossetti. Tigertail Associates hired artist George Gennerich to restore Holiday’s wood engravings electronically, and partly colorise them.

Holiday’s Banker’s Fate illustration may refer to Image-Breakers by Marcus Gheeraerts the Elder; and to William Sidney Mount’s painting, Bone Player; and to a photograph by Benjamin Duchenne used for a drawing in Charles Darwin’s Expression of Emotions in Man and Animals. These visual citations together demonstrate that art design never replicates other designs; yet the illustration demonstrates again that all complex designs (of more than eleven characters) express specific, complex, universal spatial grammar, beyond the conscious capacity of any artist to learn or fake. Snark’s sections are named Fits, a pun on fitting rhymes to syllabic meters and pages. Structuralist analysis of the formerly invisible five layers of regular, universal features in the artworks, and probably in the character list, now adds another meaning to ‘fit’; artists have to ‘rhyme’ with the inherent structure in meaning and spatial relationships.

Carroll’s Easter sacrifice tragedy

Carroll re-uses a setting, some creatures, and eight portmanteau words from Carroll’s earlier poem, Jabberwocky, in his children’s novel Through the Looking-Glass (1871). The poem is dedicated to a young girl whom Carroll met at Sandown on the Isle of Wight, which he saw as an island of three monsters, “where the Jabberwock was slain”. In the first edition, he included a religious tract; An Easter Greeting to Every Child Who Loves Alice, perhaps to disguise the dark undertone of the pointless expedition, melting identity, apparently unjust punishments of life, and annihilation. Easter Greeting explores innocence and eternal life through Biblical and Romantic allusions from William Blake and William Wordsworth. Yet Easter is a spring sacrifice ritual, thus also a tragedy. Among many legacies of the Snark, are a graph theory; Snark Island in India’s Bengal Bay; Boojum Rock in Andaman and Nicobar Islands; and the excellent but failed 2-m dollar West End musical by Mike Batt.

Motley crew; it takes all types to make a story

The Hunting of the snark crew is listed here by proposed archetypal numbers and the types they probably subconsciously express in Carroll’s text; all named starting with the letter B:

2 Builder; Billiard-maker (builder), skillfull (hero). Or 9; 2v9.

2c Basket; Bandersnatch or subconscious, takes ransom and sanity (monster).

3 Queen; Butcher, math and geology, kills (sacrifice) only beavers.

4 King; Care or ‘With’, a Pandora, added by the artist.

5 Priest; Hope or Britannia, added by the artist.

6 Exile; Bellman, leader (exile).

7 Child; Broker, appraises goods, Jewish.

07g Galactic Centre; ??

9 Healer; Bonnet-maker (lid), hood-maker. Or 2; 2v9.

10 Teacher; Banker holds the crew’s money (balance, metal), loses logic.

11 Womb; Hope? or Britannia’s womb.

13 heart; Beaver (water-work), savious, makes lace.

14 Mixer; Hope? or Britannia.

15 Maker; Barrister, settles arguments.

15g Galactic Gate; Boots, cobbler (‘bag’), invisible or in a barrel (‘bag’).

Axial centre; Snark, of five signs, invisible, confused with Boojum.

04p Pig in dream, accused of deserting its sty.

11p Baker, wedding cakes, courageous, forgetful, vanishes.

Midsummer and Midwinter; Boojum, deadly illogic [3 12], invisible, confused with snark since it moves with time.

Dominant type 5 Priest, of assembly and ritual

Dominant general themes in Holiday’s illustration of Lewis Carroll’s Hunting of the Snark crew or Britannia parade, are revealed by extra features of type 5 Priest, typical of assembly, hyperactivity, ritual, ceremony (here including speeches in the text), sashes (robes) and water (implied by the naval crew); and its opposite type, 13 Heart, typical of weapons (pitchforks and a pitch fork, or tuning fork), war (implied colonisation), bravery and water-work (here implied by a beaver and anchor). This type seems appropriate to part of Rev Carroll’s own identity as a Deacon, and to the conscious theme of colonial and scientific exploration, including vague unease of venturing into foreign territories and somewhat taboo fields of science. Some authors have suggested a theme of search for happiness; or of USA independence and its motto of ‘pursuit of happiness’ as a tragedy for Britain.

Secondary general themes in the Snark parade illustration, include types 5c Basket Tail, typical of oracle, revelation (a vague monster or treasure), and maze (uncharted excursion); and 9c Basket Lid, of hats, instruments, enforcement, and metal (pitchforks, blunderbuss, anchor, sword); and 10 Teacher, of raised arms, staffs (pitchforks, anchor, blunderbuss, tripod), hunt-master (Bellman), guard, market (implied colonisation), council and school (Barrister’s toga); and type 15 Maker, of rope, order (names starting with B), bag, mace, sceptre (empire), doubling (Barrister and Banker resemblance), face (personalities as on coin ‘heads’, obverse of Britannia as ‘tails’). Missing from the illustrations are Boots the invisible cobbler, who may be a subconscious snark; and Baker, missing since attempting to unravel a conundrum; and Boojum, perhaps incomprehensible ultimate reality or archetype itself. This list below reports the characters in the parade illustration, in the standard structuralist anthropology archetypal cycle format.

Henry Holiday; Hunting of the snark parade illustration for Lewis Carroll (Charles Dodgson, mathematician, 1876). Woodcut by Joseph Swain. Colorised by George Gennerich for Tigertail Associates. Archetype labels and axial grid by E Furter.

Type Label; Parade character (noting archetypal features):

2 Builder; Bonnet-maker? with a fork.

3 Queen; Butcher? (sacrifice) with a chopper?

4 King; Care? in cloak.

5 Priest; Hope? or Britannia (assembly) as emblem (ritual), with anchor (hyperactive, water) and sword (weapon, of 13 opposite); her right eye.

5c Basket Tail; Bell (time, of 6v14). And anchor blade.

6 Exile; Hope? or Britannia, near the axial centre (ingress) with anchor (U-shape); her left eye. And Bellman with bell (U-shape).

7 Child; Anchor point (eyeless, rope implied), as emblem (mace).

7g Gal.Centre; Banker’s top hat (vortex). And anchor point (juncture).

9 Healer; Banker (metal) carrying (bent forward, strong) blunderbuss (metal), tripod stand (pillar) and pitch or tuning fork (metal, trance), a pun on pitchfork; his right eye.

9c Basket Lid; Banker’s glasses (disc, ‘balance’).

10 Teacher; Banker (balance, metal) or Broker (trade), with pitch-fork or tuning fork (metal, ‘balance’) raised (arm up), tripod (staff) and blunderbuss (hunt-master, guard, metal); his left eye.

11 Womb; Midriff (womb) of Hope? or Britannia (water, law), implied British lion (felid).

12 Heart; Beaver (water-work), OFF THE GRID.

13 Heart; Barrister’s chest (heart), carrying a pitchfork (weapon, war).

13c Basket Head; Barrister’s beard (weave).

14 Mixer; Anchor ring, NO EYE, nearer the centre (ingress).

15 Maker; Barrister (order) with wig (ropes), in toga (bag), carrying pitchfork (mace), striding ahead (rampant), with a large face (face), resembling Banker (doubled).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Britannia’s ear?

11p Gal.Pole; Anchor’s cross-bar ruing (juncture). And sea-star (limb-joints) at Beaver’s tail (limb-joint). And Beaver, a lace-maker (rope is more typical of 7g) carrying a microscope.

Midsummer; Britannia’s front shoulder (limb-joint).

Midwinter; Hope’s hip (limb-joint). These solstice markers are on a horizontal plane. The polar triangles place midsummer in Gemini-Taurus, implying spring and the cultural time-frame in Age Pisces-Aquarius, confirmed by the two types at top centre.

The snark crew parade analysis score is 45/68 archetypal features; 12/16 axial points; 4/4 c-type sector features; 2/2 g-gate sector features; 4/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 71/100, minus 1 extra characters off the axial grid; total 70%, in the upper half of the average range of 40-80%. All structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Butcher and beaver calculate a song in Holiday’s snark art

Structuralist analysis of this illustration happens to co-incide with the theme of Butcher transcribing and calculating a Jubjub’s song, “or the sound of pencil on slate”, for his willing student Beaver. Carroll’s limerick is partly themed on a quest to find natural laws, identity and meaning. His tale has no resolution other than confirming baffling inexplicability, but his mathematics papers, and the present study, have better news. Snark episode illustrations, characters, and parts of the plot subconsciously express archetypal and thus natural and cultural order. In this context, the text acquires much more order than the rhyme, meter and plot provide.

“The thing shall be done! Bring me paper and ink, the best there is time to procure. The Beaver brought paper, portfolio, pens, and ink in unfailing supplies: while strange creepy creatures came out of their dens, and watched them with wondering eyes. So engrossed was the Butcher, he heeded them not, as he wrote with a pen in each hand, and explained all the while in a popular style, which the Beaver could well understand.”

The ‘strange creatures’ crowding into the story and the illustration repeats a motif familiar in religious art; temptation by delights and torments, usually shown with St Anthony (see a post on Oracles of the Dead Part II, on www.stoneprintjournal.wordpress.com). The illustrator was a church window designer by trade, thus well versed in religious art.

Dominant general themes in Henry Holiday’s illustration for the scene of the Butcher as author, artist and mathematician, include these types:

[] 4 King, of squat posture (here of nine characters), twins (here dragons, frogs, pigs, cats), rectangle (music boxes, books);

[] 6 Exile, of ingress (Beaver and Butcher near the centre), double-head (dragons, frogs, pigs, cats), reptile (dragons, frogs); and its opposite, 14 Mixer, of ingress (crowding in a narrow vale), transform (music to math), angel (winged rat, dragons, pigs), reptile, dance (of flying pigs);

[] 10 Teacher, of raised arms (here all twelve characters), metal (brass instruments, boxes), ecology (beasts), school (Butcher teaching Beaver math), carousel (dancing beasts);

[] 15 Maker, of order (books), doubled (dragons, pigs, frogs, cats), reptile, winged;

[] 2c v9c, 5c v13c Baskets, of instruments (music, writing), container (music boxes, ink-well), hat (Butcher’s beaver hat), or secret (Jubjub song and math score).

This artwork is remarkable for its general themes expressing the three known features that are ambiguous for being optional part of three or four types: reptile; winged; doubling (though it tends to take different forms in types 4, 6, 15). In addition, twinning and doubling is present in many visual citations of other artists as Kluge (2017) demonstrated. But canid of type 9, 10, 14, 15; and equid of types 3, 4, 5, are absent here. The known ambiguities are inherent in nature and culture, and appear at fixed average percentages, thus they are as archetypal and measurable as the unambiguous features, and the five layers of structure in spatial expression are.

Henry Holiday; Hunting of the snark Butcher calculating a jubub song, in the illustration for Lewis Carroll (Dodgson 1876). The woodcut is by Joseph Swain, later colorised by George Gennerich for Tigertail Associates. Archetype labels and axial grid by E Furter.

Type Label; Maths music character (noting archetypal features):

2 Builder; Pig trumpeter A in orchestra (cluster).

2c Basket; Music box B (instrument, container) churned (arm-link) by dragon B.

3 Queen; Bellman (school).

4 KingA; Dragon B (twin), winged (‘bird’), on rock (squat) with music box (rectangle).

4 KingB; Rat flying (bird), squeezing ink.

5a Priest; Dragon (reptile, winged) with music box (hyperactive). These boxes may refer to religious articles of faith, as of Thomas Cranmer (implied priest).

5c Basket Tail; Music box A (container).

6 ExileA; Butcher (sacrifice), near the centre (ingress); inner eye, as bard, in beaver hat (sacrifice).

6 ExileB; Butcher (sacrifice), near the centre (ingress); outer eye (‘double-headed’).

7 Child; Young (juvenile) frog’s bag (bag, eyeless) with newspaper (unfold).

7g Gal.Centre; Bonnet (vortex?) on cat A.

9 Healer; Cat C tearing (strong) a bonnet.

9c Basket Lid; Books (reveal) on a war treaty (enforce) and absurdity.

10 Teacher; Ink bottle B (school).

11 WombA; Beaver’s (water) midriff (womb), bearing ink (library).

11 WombB; Beaver’s (water) midriff (womb), bearing ink (library).

13 Heart; Frog’s chest (heart), drilling (rounded, weapon).

14 MixerA; Frog (reptile); inner eye.

14 MixerB; Frog (reptile); outer eye.

15 Maker; Pig with wings (winged) playing flute (‘sceptre’).

15g Gal.Gate; Tuba (juncture, vortex).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Butcher’s upper fingers (limb-joints).

11p Gal.Pole; Beaver’s elbow (limb-joint).

Midsummer; Pig A’s hoofs (limb-joint).

Midwinter; Butcher’s jaw (limb-joint) holding quill (juncture).

The solstice markers are on the horizontal plane. The polar triangles place midsummer in 14-15 or Cancer-/Gemini; implying spring and the cultural time-frame in Age 3-2 or Aries-Pisces, confirmed by the top central position of types 3 and 4.

The analysis score in the Butcher’s math scoring illustration, is 36/68 archetypal features; 16/16 axial points; 6/4 c-type sector features; 2/2 g-gate sector features; 4/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 68/100, minus 3 extra characters off the axial grid; total 65%, just above the universal average of 60%. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Barrister’s courtroom trial dream scene

Barrister’s courtroom trial dream illustration by Henry Holiday has only nine characters, thus fewer than eleven, and is considered a minimalist artwork, wherein some structuralist compromises, and fewer than 60% of the known archetypal features are expected. Some characters and some structuralist features are doubled, as in his Butcher music and maths lesson scene.

Main general themes in this courtroom illustration are types 10 Teacher, of arms up posture (here of five characters), hunt-master (prosecution), disc (two wigs, dram fog), council (court); and type 11 Womb, of womb (here or the sleeping Barrister), law (trial).

Henry Holiday; Hunting of the snark courtroom trial scene illustration for Lewis Carroll. Woodcut by Joseph Swain. Colorised by George Gennerich for Tigertail Associates. Archetype labels and axial grid by E Furter.

Type Label; Court character (noting archetypal features):

1 Builder; NO EYE, Keys (cluster, implied twist, tower, build, maze). And; NO EYE, Prosecutor’s left hand holding rolled (twisted) charge sheet (book).

2 Builder; OFF THE GRID Jailer (implied tower, build).

2c Basket; Judge’s wig (weave, shoulder-hump, hat). And bench (throne).

3 Queen; Barrister or judge (school?), representing the Crown (queen).

4 KingA; NO EYE, Prosecutor.

4 KingB; Advocate A.

5a Priest; Advocate B In tails (tailcoat head) judging (judge, assembly).

5c Basket Tail; Advocate C, between axes, as c-types are.

6 Exile; Advocate D, far from the centre (egress).

7 Child; Accused in dock (rope?).

7g Gal.Centre; Fog end (water).

8 Healer; Prosecutor’s right hand, in cloak (trance? See Tarot trump 9, Hermit in hood).

9c Basket Lid; Fog middle (lid) of a dream (reveal).

10 Teacher; Prosecutor (‘hunt-master’) with arms up (arms up) or prop (staff) holding wig (disc, council).

11 WombA; Sleeping Barrister’s (law) midriff (womb), under fog (water).

11 WombB; Sleeping Barrister’s (law) midriff (womb), under fog (water).

12 Heart; Sleeping Barrister’s chest (heart).

13c Basket Head; Sleeping Barrister’s wig (head, hat, weave).

14 Mixer; Sleeping Barrister dreaming (transform).

15 Maker; NO EYE, Hand of Bellman ringing (order, smite).

15g Gal.Gate; Bellman’s hand (limb-joint), lifting fog from sleep to waking (juncture).

Axial centre; Prosecutor’s bow knot (juncture).

4p Gal.S.Pole; Advocate A’s talking jaw (limb-joint).

11p Gal.Pole; Sleeping Barrister’s elbow (limb-joint).

Midsummer; Charge of Trespass (juncture).

Midwinter; Advocate B’s demonstrating fingers (limb-joint).

The solstice markers are on a horizontal plane. The polar triangles place midsummer in 15-1 or Gemini-Taurus; implying spring and the cultural time-frame in Age 4-5 or Pisces-Aquarius. Pisces is confirmed by the top central position of types 4A and 4B.

The analysis score in the snark courtroom scene is 21/68 archetypal features; 14/16 axial points; 8/4 c-type sector features; 3/2 g-gate sector features; 3/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 53/100, minus 2 extra characters off the axial grid; total 51%, in the lower half of the universal average range of 40-80%. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

  • See a list of currently known optional archetypal features in other posts.

Some sources and references

Carroll, L. 1876. Hunting of the snark. London; McMillan

Cohen, M. N. 1995. Lewis Carroll: A Biography. Macmillan

Furter, E. 2014. Mindprint, the subconscious art code. USA: Lulu.com

Furter, E. 2015a. Gobekli Tepe, between rock art and art. Expression 8. Italy: Atelier Etno

Furter, E. 2015b. Rock art expresses cultural structure. Expression 9. Italy: Atelier Etno

Furter, E. 2016. Stoneprint, the human code in art, buildings and cities. Johannesburg: Four Equators Media

Furter, E. 2017a. Recurrent characters in rock art reveal objective meaning. Expression 16, June. Italy: Atelier Etno

Furter, E. 2017b. Stoneprint tour of Paris. Stoneprint Journal 3. USA: Lulu.com

Furter, E. 2018a. ‘Babylonian Plough List decans’. http://www.stoneprintjournal.blog

Furter, E. 2018b. Stoneprint tour of London. Stoneprint Journal 4. USA: Lulu.com

Furter, E. 2018c. Culture code in seals and ring stamps. Stoneprint Journal 5. USA, Lulu.com

Furter, E. 2019a. Rennes le Chateau stoneprint tour. Stoneprint Journal 6. USA, Lulu.com

Furter, E. 2019b. Ayahuasca artists express universal structure. DMT Times; Archetypes

Gennerich, G. 2004. Hunting of the snark illustrations restoration and coloration. Los Angeles; Tigertail Associates.

Jung, C.G. & Jaffe, A. 1965. Memories, Dreams, Reflections. New York: Random House

Jung, C.G. 1945. Philosophical tree. In Collected Works 13: Alchemical Studies

Kluge, Goetz. 2017. Nose is a nose is a nose. Knight Letter 99, December, p30-31

McCormick, C.T.  2011. Folklore, an encyclopaedia of beliefs, customs, tales, music and art. Denver, Colorado; ABC-CLIO

Neugebauer, O. & Parker, R. 1969. Egyptian astronomical texts 3; Decans, planets, constellations and zodiacs. USA: Brown Univ Press

Roche, G.T. 2018. Temptation of St Anthony; on chemical mysticism. Academia.com

Thompson, S. 1928, 1961. Motif index of folk literature. Ellis ref GR 67.T52. http://www.StorySearch

Torrey, F, and Miller, Judy. 2001. Invisible Plague: The Rise of Mental Illness from 1750 to the Present. New Brunswick: Rutgers University Press

Traveler, The. 2009. DMT Nexus. https://wiki.dmt-nexus.me/Hyperspace_lexicon

Uther, H.J. 2011. Types of International Folktales: A Classification and Bibliography. Helsinki: Academia Scientiarum Fennica

Zipf, G.K. 1949. Human behavior and the principle of least effort. USA: Addison-Wesley

Categories
How to identify mindprint types and structure in art Mindprint the subconscious art code Structural art analysis using mindprint

The mindprint model of archetype in culture, update 2019

The five subconscious, structured layers of expression globally, are (a) typological characters with specific optional features; (b) type sequence, clockwise or anti-clockwise; (c) axial grid between eyes or focal points of pairs of opposite types; (d) three pairs of polar junctures, implying three planes of expression; (e) orientation of polar pairs vertical or horizontal to the ground-line or a cardinal direction, co-incidental with the seasonal time-frame of the local culture.

Types could be labelled after any popular set, such as species, myths or months. Generic labels, such as social functions, avoid the false impression of diffusion from one particular medium or culture. Correspondence theories are often misled by recurrent archetypal features, or by inevitable cross-references between media and cultures, into assuming diffusion, and ignoring the innate roles of nature in culture.

Mindprint or stoneprint model of character types, in their peripheral sequence, as pairs of opposites forming an axial grid of eyes, with five polar points of limb joints or junctures.

Characters expressing the types always have their eyes (except a womb at 11, and a heart at 12/13; or interior focal points in built sites), on an axial grid, formed by standard pairs (1v8, 2v9, etc). Our works also express two ‘galactic’ polar points (4p v 11p); and two galactic crossings (7g v 15g); and three polar points: Midsummer or Celestial Pole (cp), Midwinter or Celestial South Pole (csp); and Ecliptic Pole at the axial centre. Polar points are not on eyes, but on limb joints (or junctures in built sites). Four of the types could be double, as they are in the figure (1v8, 2v9; and 5a v12, 5b v13); or single (2v9 and 5v13 only); thus the total is usually twelve, fourteen or sixteen. Some other pairs may also be doubled in complex artworks or built sites. The axial grid always confirms the peripheral sequence.

This post is an extract from Stoneprint Journal 6; Rennes le Chateau stoneprint tour, Lulu.com, $10. Order the guide here: http://www.lulu.com/shop/edmond-furter/stoneprint-journal-6-rennes-le-chateau-tour/paperback/product-23969009.html

Here is the January 2019 update of typological features, and their global average frequencies.

Axial graph of percentages of the seven most common features, of the minimal twelve types, and four border types. Adjacent types 1/2, 5a/5b, 8/9, and 12/13 share features at nearly the same frequencies, thus their data are currently combined. These may be differentiated in further study.

Type label; recurrent features of characters in any artwork, built site, or craft set, in peripheral sequence, with average frequencies:

1 /2 Builder; twist 44%, cluster 23%, bovid 19%, bird 19%, tower 18%, build 14%, sack 10%, hero 10%, book 8%, rain,

2c Basket; weave 25%, container20% instrument 20%, shoulder-hump 20%, hat 15%, throne 10%, snake 10%,

3 Queen; neck-bend 31%, dragon 19%, sacrifice 17%, queen 13%, school 12%, spring 10%, fish 6%, ram 4%,

4 King; squat 30%, rectangle 28%, king  22%, twins 13%, sun 12%, bird 10%, fish 8%, furnace 8%, field 5%,

4p Galactic South Pole; limb-joint 67%; juncture 17% (spout 12%, stream, speech,

5a/5b Priest; varicoloured 37%, priest 34%, hyperactive 33%, tailcoat-head 32%, assembly 30%, horizontal 28%, water 24%, heart 24%, large 24%, bovid 20%, winged 14%, invert 12%, reptile 10%, sash 8%, equid, ascend,

5c Basket-Tail; weave 16%, tail 14%, U-shape 10%, contain 8%, herb 4%, oracle,

6 Exile; in/egress 58%, horned 44%, sacrifice 30%, small 14%, U-shape 13%, double-head 12%, caprid 8%,

7 Child; rope 24%, juvenile 24%, bag 22%, unfold 13%, beheaded 10%, chariot 8%, mace 6%, off-grid,

7g Galactic Centre; limb-joint 38%; juncture 34% (throne, altar, spiral, tree, staff); path/gate 18%; water 16%,

8/9 Healer; bent 28%, strong 28%, pillar 28%, heal 22%, disc 14%, metal 8%,

9c Basket Lid; disc/hat 27%, instrument 25%, reveal 16%, hump 15%, weave 8%,

10 Teacher; W-shape 44%, staff 36%, hunt master 24%, guard 20%, metal 14%, market 14%, disc 12%, council 11%, snake 8%, ecology 8%, school 6%, wheel,

11 Womb; womb 88%, wheat 15%, water 14%, tomb 11%, interior 8%, library 8%, law 5%, felid 5%,

11p Gal. Pole; limb-joint 64% (hand 12%, elbow 10%, foot 12%, etc); juncture 24% (door 12%, corner, etc),

12/13 Heart; heart 83%, felid 42%, death 34%, rounded 21%, invert 14%, weapon 11%, war 9%, water-work 8%,

13c Basket-Head; oracle 14%, head 14%, weave 8%, ship,

14 Mixer; in/egress 43%, time 28%, tree 20%, angel 15%, bird 11%, antelope 10%, dancer 8%, felid 8%, reptile 4%,

15 Maker; churn 44%, rope 28%, order 27%, rampant 26%, bag 20%, mace 16%, doubled 16%, face 12%, canid 12%, sceptre 11%, smite 8%, reptile 8%, winged 8%,

15g Galactic Gate; junction 30% (river 10%); limb-joint 12%,

The five polar features also have global average frequencies. The axial centre is usually unmarked at about 60%, or on a limb-joint or juncture. Midsummer (cp) is on a limb joint 54%, or juncture 24%. Midwinter (csp) is on a limb joint 46%, or juncture 24%. One of the polar axles is on the horizontal plane 50%, or vertical plane 12% (or on a north-south meridian or east-west latitude in a built site).

Polar markers usually place midsummer on or near type 12, 13, 14 or 15, implying spring and the cultural time-frame 90 degrees earlier (in seasonal terms), in Age Taurus1, Taurus2, Aries3 or Pisces4. The spring type is often confirmed by some kind of prominence of the character expressing type 1, 2, 3 or 4.

The general theme of a work is indicated by features that are prominent, or shared by three or more characters. Works or sets express about 60% of the already known 100 optional, measurable, recurrent features. The identified features are not of conscious design. Structural or ‘grammatical’ layers of expression are subconscious to artists, architects, builders, crafters, and members of any culture. Rigorous average frequencies and consistency through ages, also rule out nurture. The full repertoire appears in the oldest examples, in Ice Age art of about BC 26 000 (Furter 2014), ruling out accumulation of idiosyncratic ‘ideas’, and of localised cultural ‘frameworks’, as some anthropologists and rock art archaeologists believe (Lewis-Williams and Pierce 2012).

Use this link to buy Stoneprint Journal 6; Rennes le Chateau stoneprint tour, Lulu.com, $10: http://www.lulu.com/shop/edmond-furter/stoneprint-journal-6-rennes-le-chateau-tour/paperback/product-23969009.html

== Extract from STONEPRINT Journal Series. Supplement to Stoneprint, the human code in art, buildings and cities. Order the book, or journal editions; or contribute articles, on edmondfurter at gmail dot com, or +27 (0)11 955 6732, Four Equators Media, Johannesburg. See also http://www.stoneprintjournal. blog  www.mindprintart.wordpress.com  www.edmondfurter.wordpress.com

Back editions at $12;

1 Pictish beasts

2 Crop circles are natural artworks

3 Stoneprint tour of Paris

4 Stoneprint tour of London. 24pp, $18. Also from Lulu.com

5 Culture code in seals and ring stamps. Also from Lulu.com

6 Rennes le Chateau stoneprint tour, 20pp. Lulu.com, $10, http://www.lulu.com/shop/edmond-furter/stoneprint-journal-6-rennes-le-chateau-tour/paperback/product-23969009.html

Categories
Structural art analysis using mindprint

London’s Roman, Medieval and Civil War gates formed stoneprints

London’s last permanent wall probably expressed the same subconscious structuralist orientation as the stoneprint among London buildings. During the Renaissance the stoneprint among buildings doubled in diameter, and quadrupled in surface. The wall was demolished and gates became obsolete. London’s stoneprint retained its orientation (as Rome, Paris and other cities did), but some buildings and some gates acquired new identities, and the polar points moved south-westward, first to Temple Ave (see below), then to the Thames south bank corner.
London’s Medieval gates

London’s Medieval gates, including Saxon and Norman renovations (after Wikipedia. Typology and axial grid by ED Furter).

Type label; Medieval gate (noting archetypal features):
1 Bjuilder or Taurus; Tower (tower, cluster, maze) Postern Gate, pedestrian bend (twisted).
3 Queen or Aries; Billingsgate, of Belin, his head buried here (sacrifice), at the river port (pool).
4 King or Pisces; Ebgate.
4p Gal.S.Pole; Dowgate, at Mill Brook mouth (juncture, spout).
5 Priest or Aquarius; Queenhithe (water).
6 Exile or Capricornus; Blackfriars corner, far from the centre (egress).
7 Child or Sagittarius; Ludgate.
8 Healer or Scorpius; Newgate.
10 Teacher or Libra; Aldersgate (council).
11 Womb or Virgo; Wood Str? No gate (womb /interior).
11p Gal.Pole: Cripplegate, low lintel.
12 Heart or Leo; Moorgate.
13 Heart or Leo; Mill Brook stream (water-work), under the wall (inversion).
14 Mixer or Cancer; Bishopsgate.
15 Maker or Gemini; Aldgate.
The ecliptic pole is near Watling Str /Bread Str (juncutre). The celestial pole may be on Mill Brook at Lombard Str (juncture), and the celestial south pole on Friday Str. Both cardinal directions indicate ‘summer’ in Gemini, thus ‘spring’ and the cultural time-frame in Age Pisces, perhaps confirmed by the central riverfront position of Ebgate.
The general theme among these gates are type 11p ‘Galactic Pole’, dry centre of a galactic ‘river’.

Schematic map of London’s earlier Roman gates (after Gilbert 2000. Typology and axial grid by ED Furter).

London’s Roman gates
Type labels; Gate (noting archetypal features):
2 Builder or Taurus; Tower Hill (tower) keep and stockade (bovid).
2c Basket; Eastern corner.
3 Queen or Aries; Belin’s Gate and head (sacrifice).
4 King or Pisces; St Magnus (king), and Roman bridge.
5 Priest or Aquarius; ?
6 Exile or Capricornus; Palace or a villa (camp), near the centre (ingress).
7 Child or Sagittarius; ? (unfolding).
7g Gal.Centre: St Martin at Fleet River (water, juncture).
9 Healer or Scorpius; Bailey.
9c Basket Lid; Newgate and prison (10 law enforcement).
10 Teacher or Libra; Aldersgate (council), at Barracks (guard).
11 Womb or Virgo; Barracks (interior), kitchen (wheat).
13 Heart or Leo; No gate (interior).
14 Mixer or Cancer; Bishopsgate.
15 Maker or Gemini; Aldgate; and Forum (order, face, sceptre).
15g Gal.Gate; Pedestrian gate?
Polar markers are uncertain.

Order the London archetypal tour guide here; http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html

London’s civil war forts
Citizens worked hard as volunteers to first erect redoubts, then a large chain of forts, banks and dykes in the Civil War in 1643. Royal forces did not attack London afterward, and internal opposition was suppressed by democratic terror. Parliament soon demolished the forts in 1647. A conjectural map of 1739 and a modern survey demonstrate that artworks and plans are different media using the same spatial ‘grammar’.

Conjectural but inaccurate map of London’s Civil War defences (after George Vertue, 1739. Typology and axial grid by ED Furter).
Modern survey of London’s Civil War forts (after Vauban. Typology and axial grid by ED Furter).

Typology in the modern survey of London’s civil war defences (map after Vauban, noting differences in the survey by Vertue, on Fortified Places):
1 Builder or Taurus; Wapping Fort, at the later Millbank Prison (maze); On the same axis as the Tower; outer front for the Tower, seat of power (build, sack) and records (book).
2 Builder or Taurus; Redriff or Rotherhithe Fort.
2c Basket; Bermondsey Church Fort.
3 Queen or Aries; Kent Str Fort.
4 King or Pisces; Newington or Blackman Str Fort, at Elephant & Castle, ferrier (furnace).
4p Gal.S.Pole; St George’s Fields Fort (juncture. 4 field).
5a Priest or Aquarius; Vauxhall Fort (assembly), land and water forces (hyperactive, water).
5b Priest or Aquarius; Tothill Fort (assembly, mound of 12 opposite).
6 Exile or Capricornus; Milkfield Fort, far out (egress).
7 Child or Sagittarius; Goring House Fort.
7g Gal.Centre: Oliver’s Mount (juncture) or Sergeant’s Fort. [Another survey found a western corner 7g at Hyde Park Fort].
8 Healer or Scorpius; Banqueting Fort.
9 Healer or Scorpius; St Giles Fort.
9c Basket Lid; Southampton Fort.
10 Teacher or Libra; Lincoln’s Inn Fields? (interior, more typical of 11).
11 Womb; Virgo; Holborn? (interior from Pinder Of Wakefield Fort); or Royal Fort (one of only two exterior forts, usually one of two interior forts).
11p Galactic Pole: St John Str or Waterfield Fort (12 water-work), near Royal redoubt (juncture). [Another survey indicates type 12 Leo here].
12 Heart or Leo; Interior (heart) from Mount Mill Fort. [Another survey reveals this fort as type 13].
13 Heart or Leo; Hoxton Fort, which another survey places interior (heart). [Another survey reveals 13c here].
13c Basket Head; Shoreditch Church Fort.
14 Mixer or Cancer; Brick Lane Fort.
15 Maker or Gemini; Whitechapel Mount Fort, artificial hill (churn); and Mile End redoubt (doubled).
The ecliptic pole is near Talus Str (unmarked). [Another survey places the axial centre near Temple Church]. The celestial poles are uncertain.
The general theme among the Civil War defences includes type 11p Galactic Pole, of junctures and gestation, also of the short-lived Republic.

 

STONEPRINT Journal series

This post is an extract from a supplement to Stoneprint, the human code in art, buildings and cities. Order from Lulu.com here: http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html

Consider including the book Mindprint.

Or order the book Stoneprint (2016), or Mindprint (2014); or slide show talks, or to contribute articles, email edmondfurter@gmail.com or call +27 (0)11 955 6732. Four Equators Media, Johannesburg. ISBN 978-0-620-69863-4

http://www.stoneprint.wordpress.com
http://www.mindprintart.wordpress.com
http://www.edmondfurter.wordpress.com

Back editions 16pp each, at $/E12; or order any edition with the book Stoneprint, the human code in art, buildings and cities, 2016, 388 pages, $/E25 plus postage:

1 Pictish beasts ‘zodiac’
2 Crop circles are natural artworks
3 The stoneprint tour of Paris
4 The stoneprint tour of London. Also from Lulu.com (24 pages, $18), http://www.lulu.com/shop/edmond-furter/stoneprint-journal-4-the-stoneprint-tour-of-london/paperback/product-23561091.html Students and lovers of art and rock art should consider ordering editions with the book Mindprint (264 pages, 200 illustrations, about $29).

5 Culture code in seals and ring stamps. Lulu.com

6 Rennes le Chateau stoneprint tour. Lulu.com $10.

Categories
Structural art analysis using mindprint

Stoneprint reveals archetypal structure on building sites

Stoneprint, the human code in art, buildings and cities (Edmond Furter, 2016, Four Equators Media, 400 pages, 170mm x 295mm, 130 illustrations) resolves the main source of correspondences between ancient cultures. Stoneprint reveals archetypal structure on building sites.
We have an innate subconscious compulsion to express a specific, complex, archetypal set of features, in sequence, and on an axial grid, in all our works.
The book demonstrates the innate universal structure in our works, including art, rock art, houses, kivas, temples, villages, sacred sites, monuments, pyramids (Egyptian, Chinese, Olmec as well as Mayan pyramid fields), and cities.
The examples range from the Ice Age thaw at Gobekli Tepe, Malta, and Scotland; to prehistoric sites such as Babylon; semi-historic sites such as the Giza, Avebury and Stonehenge landscapes; historic sites such as Ephesus, Rome, Axum, Quebec, and Cape Town; and across all continents and cultures, including Africa, the far east, south America (including Nazca) and North America (including Mystery Hill).
Among the cultural media that carry the human code, and camouflage it from our conscious mind until revealed by structural analysis; are rock art, ‘fine’ art, ritual, myth, poetry (such as two examples of Babylonian building rites, and two poems by William Blake) buildings, sites and region (such as Babylonia).
Nature also express archetypal structure. Stoneprint reveals several direct links between subconscious cultural expressions, and the periodic table (when charted on a spiral as by Maurice Peyroux); chemical elements; reflexology charts of our palms, irises, teeth, earlobes and inner ears. Our eye-hand-mind co-ordination expresses the same universal structure in building sites, even by different architects, and different generations of rulers and builders.
Stoneprint, the human code in art, buildings and cities, now enables conscious access to our subconscious behaviour, which is revealed as standarised, rigorous, universal, eternal, complex, yet measurable.

Stoneprint (2016) back cover, spine, and front cover.

The book places the discovery of subconscious behaviour (first reported by the author, Edmond Furter, in Mindprint in 2014), in the context of the esoteric crafts of alchemy, kabbalah, cosmology, astrology, and art; as well as the context of each human science: art history, archaeology, anthropology (with a humorous detour into popular archaeology), psychology, and sociology.
The implications of the discovery of the universal stoneprint structure for popular culture (including various schools of popular archaeo astronomy) , and for the human sciences, are significant.
Order the book Stoneprint, in Europe at E30 plus postage, from Four Equators Media via [edmond at syrex dot co dot za], payment on Paypal.
Order the book Stoneprint in the USA at $30 plus postage, from Four Equators Media via [edmond at syrex dot co dot za], payment on Paypal.
Order the book Stoneprint in South Africa at R300 (including free postage to any Postnet account in South Africa; or plus R30 postage; or plus R60 per courier), from Four Equators Media via 011 955 6732 or [edmond at syrex dot co dot za], payment on Paypal.
The index indicates the broad scope and depth of 28 years of research reported in Stoneprint. Each relevant craft and science is placed in context. Natural expressions are compared to cultural expressions. Each building site is illustrated by a map, and at least two pages of detailed structural analysis.

Introduction
2 Architecture reveals our subconscious building code
3 The Five levels of structure in cultural media
3 The sixteen archetypes, in sequence
4 The axial grid of focal points
6 The four borderline types
7 The two galactic gates or cross-points
7 The polar clock of Ages
8 The six polar points
9 Structural analysis example of a site sketch plan

The cultural context of the human code
11 Alchemy: Crafts reveal chemistry
13 Chemistry reveals biology
15 Kabalah: Natural philosophy correspondences
17 Poetry: Blake’s London- Jerusalem- Golgonooza
21 Poetry: Blake’s Tyger describes expression
22 Poetry: The Stoneprint rhyme
24 Astrology: Calendars reveal divination
27 Cosmology: Direction is everywhere

The scientific context of the human code
31 Art History: Perception reveals gestalt
37 Archaeology: The World Archives challenge
42 Anthropology: Artefacts reveal structure
47 Popular Anthropology: Who did it?
52 Psychology: Behaviour reveals archetype
57 Philosophy: The universe reveals archetype
60 Communication Science: Structure is the message
63 Sociology: Behaviour reveals our self-image
66 Science and esoterica: our split consciousness
70 Why I wrote Stoneprint

73 [Chapter A] Natural elementary maps
74 The periodic table reveals atomic structure
80 Nuclear particles reveal atomic polar structure
81 Compounds confirm the axial pairs
82 Constellations chart our cosmos and myth
84 Astronomical poles in our cosmos
86 A crop circle solar system implies two grids
92 Earth imprints a motto: ‘I oppose artifice’
94 Trails of architecture in two crop circles
95 Numbers have character
96 Mars ‘face’ geology invites human gestalt

99 [Chapter B] Natural body maps

100 Our hands carry the imprint
102 Our eyes are windows to the body and structure
104 Our minds carry the imprint
106 Dental reflexology: the ‘boneprint’ in our cave
111 Our outer ear lobe reflex map
112 Our inner ear reflex map
113 Eye, palm, teeth, ear and organ map
114 Limb joints mark six poles

115 [Chapter C] Natural culture maps
116 Piacenza bronze liver double circle of gods
120 The sixth layer of culture is style conformity
121 Three sets of Etruscan gods integrated
121 Planets express poles and gates, not types
122 Gods or liver maps, which came first?
123 Piacenza city and its walls are cultural stoneprints

125 [Chapter D] Culture maps
126 The Maikop silver bowl paradise
128 Paradise, Fall, and Babel in a nutshell
129 Mapungubwe’s gold foil oracle reconstructed
130 A Venda divination bowl
132 An Italian Goose game board
134 Pedra Pintada engraving oval, and pentagons
138 The Bulgarian Karanovo tablet answers questions

139 [Chapter E] Ice Age sites

140 Turkey: Gobekli Tepe house C, polar boars
147 Turkey: Gobekli Tepe house D, type 14
150 Turkey: Gobekli Tepe house B, type 2
152 Turkey: Gobekli Tepe house A, type 3
154 Turkey: Gobekli Tepe excavation and radar maps
156 Turkey: Gobekli Tepe pillar D43, a culture portrait
158 Turkey: Gobekli Tepe grey pillar
159 Babylonia: Inana huts, Nevali Cori kiva, Kurdish huts
160 Turkey: Gobekli Tepe site perspective
161 China: An Iron Age T-shaped silk drape
162 A Greek healing pillar, and Shinto dressed pillars
163 Spain: Malta’s Mnajdra double stoneprint
164 Spain: Malta’s Gigantija double stoneprint
167 Spain: Hal Saflieni’s underground stoneprint
168 Scotland: Skara Brae plans
169 Scotland: Jarlshof wheelhouses and recycling
170 Spain: A Menorcan taula reconstruction puzzle

171 [Chapter F] Early civil sites in Sumeria
172 Babylonia was a stoneprint in clay brick
174 Babylon city, a vortex of dispersion
176 Two mythical gates
177 King-priest Ur Nanshe builds a temple
178 He built sixteen shrines
179 His crafts reveal subconscious method
180 He casts the circle of eternity, or polar ring
181 He was a visionary like Solomon
182 He works magic: as below, so above
184 He was an inspired architect, like Hiram of Tyre
185 He did not understand the building plan
188 He taxed the clans for construction
190 His allies and contractors
191 He surveys eight rooms, and erects eight doors
193 He set up six slabs as poles
194 An, Enlil, Enki: three equators to survey the site
195 Assyria: T-pillars and Y-tents in an army camp
296 Egypt: Narmer’s camp, and a school camp

197 [Chapter G] Early civil sites in Egypt
298 Sakkara, first royal campus, and a stepped pyramid
200 Teti’s pyramids form a stoneprint in Sakkara
201 Giza pyramid field stoneprint
204 Giza pyramid field is also a polar map
206 Kings Valley tombs are underground stoneprints
212 Queens Valley entrances lost and found
214 A ‘Syrian’ queen in a womb among wombs
216 Edfu temple is a double churn
218 Senmut’s ceiling stoneprint is half zodiac, half duat
220 Duats and decans are arch mutators

221 [Chapter H] Civil outpost sites
222 Nubia: Meroe pyramids speak with their doors
224 Egypt: Nabta Playa slab field counts four Ages
226 Egypt: Hawara labyrinth in Kircher’s Gnostic vision
228 Nubia: The cornucopia of minister Huy
230 Palestine: Jerusalem temple mount hybrid
233 Patriarchs, pharaohs, and kings
234 Palestine: Jerusalem, womb of three religions
236 Judea: Masada, a military stoneprint
238 Turkey: Nemrut hill, crossroad of Persians and Greeks
242 Australia: Elivna rock pavement engraving
244 Ethiopia: Axum is an ark of spiritual mysteries
247 Ethiopia: Lalibela temple field of bedrock ‘hearts’
249 Ethiopia: Lalibela’s Mary church; womb in a womb
250 Ethiopia: A reverse rock imprint spells ‘Rotas’

251 [Chapter J] Prehistoric European sites
252 Ireland: Drombeg house, a cosy double stoneprint
254 England: Avebury and Silbury landscape
256 England: Stonehenge counted three ages
263 England: Damerham circles in radar scan
264 England: Stonehenge landscape radar scan
266 England: Stanton Moor landscape; boulders and ‘ladies’
268 Greece: Phaistos palace, the other Greek labyrinth
270 Germany: Magdalenburg mound graves
273 Scotland: Stennes stone circle
274 Scotland: Cochno stone concentric engravings

275 [Chapter K] African sites
276 Zimbabwe: Great Zimbabwe, landscape with a womb
278 Zimbabwe: Great Zimbabwe queen’s yard with a womb
280 A kudurru boundary stone calendar spring bird
281 Egypt: Dendera zodiac summer bird
282 Zimbabwe: Nhunguza and Penhalonga metallurgy floors
283 South Africa: San Bushman painted stoneprints on rock
284 Mali: Nature and culture on a Dogon mud wall
286 South Africa: Lydenburg concentric engravings boulder

287 [Chapter L] Eastern sites
288 India: Buddhist wheel of life landscape panorama
289 India: Sanchi temple gate pagoda engraving
292 Nepal: Kathmandu palace square temple complex
294 China: Beijing Temple of Heaven park, an Aquarian cosmos
295 China: Choukungmu pyramid fields need more research
296 Japan: Nara Basin Horyuji temple, galactic manifestation
297 Japan: Todai temple, a living site
298 Japan: Himeji, Shirasagi-jo temple, White Heron nests

299 [Chapter M] Mexican sites
300 Izapa pyramid field and stelae, new world, same stoneprint
302 Izapa cacao tree ritual stele, a third layer of structure
304 La Venta pyramid field, spire eyes, platform womb
306 Monte Alban double stoneprint works with the landscape
309 Coba, a triple Stoneprint with interlocking ‘galaxy’
310 Uxmal was contested by a witch, a dwarf, and a king
312 Chichen Itza has temples to planets, and a stoneprint
314 Chichen Itza village scene, a busy day
315 Teotihuacan mountain stream, and rain woman mural
316 Teotihuacan pyramid avenue, Leo sun, Virgo moon
318 El Tajin pyramid field, double thunder
320 Palenque lid cosmic tree and double stoneprint
322 Palenque pyramid field, chaos among order

323 [Chapter N] North and South American sites
324 Peru: Machu Picchu, Mayan capital in the clouds
326 Bolivia: Tiahuanaco island’s Sun Gate is the sun type
328 Chile: Atacama geoglyphs with Aquarian tailcoats
330 Peru: Nazca plain geoglyphs express ecological structure
332 Peru: Cuzco’s Coricancha constellations reveal an update
335 USA: California’s Painted Rock, theatre of time
340 USA: Lower Colorado River geoglyphs has a calendar clock
342 USA: Hopi kiva 5mT2, and its village, hinge on a womb
344 USA: Colorado’s Mystery Hill metallurgy plant or tech school
346 USA: Crow Canyon kivas Block 100 has two missing features

347 [Chapter P] Historic Western sites
348 Italy: Rome, eternal city with an Age update
350 Italy: Rome’s gates and bridges are eloquent
352 Italy: Rome’s Capitol Forum, contested but constant
354 Italy: Rome’s Quirinal forums for spiritual order
356 Italy: Rome’s Vatican City, a stoneprint inside type Aries
360 Italy: Brescia has Mark’s lion, Mary’s womb, John’s bull
362 Turkey: Ephesus, former city of Amazons and Artemis
363 Icons: Serapis and Ophiotaurus, half-monsters
366 Spain: Santiago de Compostella, of a son of thunder
367 Spain: St James and Hercules, hybrid planetary characters
370 Canary Islands: Las Palmas governor’s house facade
372 Canada: Quebec, Victorian ideals in stone
374 South Africa: Cape Town’s Dutch forts claimed a footprint

376 [Chapter Q] Structural analysis formats
376 Kinds of media in the 130 examples
376 Commission impossible: design a stoneprint site
377 Emblems, icons, constellations and Tarot trumps

382 [Appendices]
382 How to find the subconscious structure on a site plan
382 The structural analysis format
384 About the author
385 Sources and references

Categories
Structural art analysis using mindprint

Structural art analysis using mindprint

Here are some examples of structural art analysis using mindprint; a set of sixteen types with their frequent attributes; in their standard sequence; with the eyes of typological figures on an axial grid. All art containing more than eleven characters express this structure, without the conscious knowledge of artists.

Some examples here respond to some comments and queries on posts on http://www.edmondfurter.wordpress.com and on http://www.mindprintart.wordpress.com, and on articles and comments on grahamhancock.com (author of the month September 2015), and on articles in the anthropology magazine Expression (editions 9 and 10, published by Atelier Etno).

Egyptian afterlife

A typical Egyptian afterlife map. Mindprint labelling and axial grid added by Edmond Furter.
A typical Egyptian afterlife map. Mindprint labelling and axial grid added by Edmond Furter.

An example of the standard typological sequence and geometric structure, present in all art of all cultures), in a seasonal, clockwise direction, in formal Egyptian funerary art. Type 7g Galactic Centre between types 7 and 8, here both as hieroglyphic figures, is a canal vortex (see hieroglyphs as figures, also in Babylonian and in Mexican art).

A sand mound formed by water expresses the idea of becoming in Egyptian theology. Giza waterworks, including the Sphinx reservoir (see Robert Temple’s book on the Sphinx) and lower shafts (see Edward Malkowski on gravity pumps) incidentally express the concept of the galactic centre and four galactic corners. Many Egyptian sites had symbolic water features, as in Peru, India, and other parts of the far east.
The sun-in-horizon glyphs at Leo and Cancer, express midsummer, the birds express the celestial pole near Ursa Minor, and their ponds may express summer, perhaps a rare incidence of conscious use of some calendric parts of the subconscious structure of cultural expression. The pegs at Cancer may incidentally express solstice or precession calibrators. Some elements in afterlife scenes, as in duat hour scenes, polar groups, decanal groups, and tree of life groups, are traditional, some are updated, and some are re-arranged by the individual artist. Stock artworks were seldom if ever copied by mechanical means, yet beneath their apparent differences, and beneath their apparent stock elements, is a rigorously identical set of types, in standard sequence, with their eyes on a standard axial grid, and some limb joints in standard polar positions.
The galactic poles are both on the edges or ‘elbow’ banks of akhet horizon hieroglyphs, representing desert hills in a cross-section of the Nile valley. A celestial polar marker on the elbow of an extra, polar type 15 Maker or Gemini, tags the inspiration as Age Aries-Pisces, but his hand tags the earlier Age Aries, and the foot of a benben bird on an obelisk provides for the future Age Aquarius. Artists are not conscious of most of the aspects of the detailed iconographic hologram that they express.

Bull foreleg as Ursa Minor and celestial pole is a semi-conscious symbol

Senmut astronomical ceiling with mindprint analysis added (Furter 2015).
Senmut astronomical ceiling with mindprint analysis added (Furter 2015).

The celestial pole star in the Senmut ceiling is at the hoof of a severed bull foreleg, or ‘poing’ stick skewering some dots, as the Ursa Minor tail, calibrator of recent polar positions. Yet this is not an feat of astronomy, but a feat of semi-conscious structural expression.

The bull leg is speared by an extra type 10 Teacher or Libra, decan Bootes, also with his arms raised. His spear is part of the Ursa Major severed bull foreleg (related to the former spring bull, since it calibrated the precession of the celestial pole, and thus of the summer sun, at the time). The two forelegs are conflated in myth and art, though usually separate constellations.

The polar decan behind the bull leg is a nominal type 15 Maker or Gemini, which is often the rope puller, re-creator, smiter, and ancestor. Gods are not enthroned on the poles, however some polar attributes are transferred to the Taweret group in the lower register, which doubles as the seasonal constellations 14 Mixer or Cancer (eye of crocodile on Taweret’s back); 12/13 Heart or Leo (Taweret’s heart, see the note on ‘eyes’ or lucida below); 11 Womb or Virgo (unseen eye in Taweret’s pregnant womb); 10 Teacher or Libra (eye of a duplicate Bootes with his arms up); 8/9 Healer or Scorpius (eye of a rampant crocodile); 7 Child or Sagittarius (eye of a young crocodile curled up).

The Senmut ceiling has a constellation and seasonal cycle split into two. On the upper register appears the rest of the ecliptic (zodiac) constellations (not ‘signs’, which the decans partly are, hence their perpetual confusion). Some ambiguity here due to some extreme variants in typology, indicate that the upper register may have been designed for the other side-wall of a barrel vault, and was thus inverted and stands in retro sequence.

However they continue the seasonal sequence; Capricornus (eye of a crane); Aquarius (eye of a turtle); Pisces (eye of a boatman); Aries (eye of a hieroglyph, a weak point in the visual expression, however it’s determinative is one star, common for delta Arietis in several decanal calendars); Taurus Perseus (eye of a backwards-looking boatman, identified by seven stars as standing on the Pleiades, and by three stars as adjacent to Orion); Gemini (star on an axe-shape, perhaps Canis Sirius).

Some of the decanal figures, and some hieroglyphs, confirm the identifications.
The axial centre confirms the subconscious spacing (I could not find any reference to any artist or school being aware of the mindprint structure in art).

The polar configuration is not marked by ‘gods’ or archetypal principles, but by structural features, usually limb joints; the galactic pole is on Taweret’s jaw (a frequent polar marker), the galactic south pole is on Pisces’ foot. The moving celestial pole was on Dinwiddie’s rear foot, moved to his front foot, as confirmed by his vertical plane, the other figures’ horizontal plane. The celestial south pole was on his elbow, moved to his front shoulder.

The celestial poles, and thus solstices, here lie in the wide gap between Cancer and Gemini, indicating a broadly Age Aries framework. In subconscious anticipation of moving closer to Age Pisces, and thus to a Gemini pole and summer, the bull foreleg hoof offers a (formerly forthcoming) limb joint marker, opposite Dinwiddie’s hips as a limb joint marker for the celestial south pole.

Art, myth, ritual, and crafts like astrology, all derive from archetype. Culture is sustained and standardised by subconscious expression. I did not design archetype, or this quirky cultural expression of archetypal structure. I merely identify and demonstrate this expression.

Astronomical figures are not primarily zodiac figures, since they are not conventionalised. However their ranges of attributes, their sequence, and their relative positioning are highly standardised, forming a mindprint (Edmond Furter; Mindprint, 2015, lulu.com). Mindprint is not a zodiac, it appears in all cultural media, in all cultures and eras, has never been consciously recognised, and does not evolve.

Some zodiacs or star maps subconsciously express mindprint, while motivated by a mixture of calendric, charting, astronomical, mythical, theological, political, decorative, and other conscious aims.

The decans in the lower register, all with red spheres on their heads, perhaps indicating lunar stations (hours), do not stand for much else, as usual. One of the few decans with blank spheres on their heads, doubles as a second Cancer (its eye is on the same axis as the Cancer crocodile’s eye).

The Senmut types, as in all artworks, confirm one another in five ways;
[] by features (eg raised arms is typical of type 10 Teacher Libra, etc, see the statistics in other posts);
[] and in sequence (eg type 10 Teacher Libra is between type 11 Womb or Virgo, and type 9 Healer or Scorpius);
[] and in axial spacing (eg type 10 is always opposite type 3);
[] and in the exact spacing of their eyes (type 10’s eye is opposite type 3’ eye, with two constant, standard exceptions to the ‘lucida’; type 12/13 Heart or Leo is spaced by his heart in 85% or artworks, and type 11 Womb or Virgo is spaced by her womb 87% of artworks);
[] and in the polar structure, based on limb joints and the horizontal or vertical plane.

[UPDATE 2019: Here is the set of labels used to mark typology characters in artworks or building sites, using generic functions instead of myths, and numbering the c-types to enable the Sort function to place them correctly in the sequence. Pairs of opposites that always appear on the same axis, are given above/below one another;

1Builder 2Builder 2cBasket 3Queen 4King 4p

8Healer 9Healer 9cLid 10Teacher 11Womb 11p

 

5aPriest 5bPriest 5cTail 6Exile 7Child 7g

12Heart 13 Heart 13cHead 14Mixer 15Maker 15g

 

 cp   csp  ?  ?

I tested the Senmut ceiling for the book Stoneprint (initially in response to two queries); for clearly demonstrating that traditional astronomical programmes, commissions, and artists, concentrate on consciously political and theological intentions, and on some semi-conscious symbolic conventions.

Yet the same work clearly expresses the universal structure of culture, perception, and nature, using the same predictive and testable criteria as in the book, and in the article. Mindprint analysis of highly detailed cosmological features, reveals how the assumed unique art for or by the talented commoner social climber Senmut, under queen Hatshepshut, and the assumed unique Egyptian culture, repeats the same tupos (seal or imprint) as the art of all cultures and all ages.

Art demonstrates that the origin of culture is archetypal, not astronomical, astrological, mythical, religious, political, calendric, decorative, incidental, etc. All cultural media play some roles in mutating expressions and styles, but the core content is as hardy as the periodic table of chemistry, of DNA.

Like DNA, even slight changes in some attributes, in sequence, or in spatial positioning of ‘chromosomes or acids’ would be fatal. There are other Egyptian ceiling examples in Mindprint on p175 (Seti 1, and Ramses 6); Egyptian art on pp 204, 205, 210, 215, 217; Egyptian palettes on pp 170, 184; and political murals on p166 etc, Egyptian jewellery on p224, 227.

All complex artworks (containing eleven or more figures, or characters) express the complexities of natural structure in surprisingly minimalistic and ‘innovative’ ways, beyond the conscious capacities of the artists. The same goes for each of the other 200 artworks in the book, and about 543 tested since, from all the known cultures in and before history (see some examples in my article at Graham Hancock’s website, under Author of the Month September 2015, and some discussion in the context of archaeo astronomy).

The same goes for a pseudo-Egyptian painting by an amateur South African artist (Mindprint p189). Artists do not have to be ancient, or Egyptian, or have big and commodified names (many of whom feature in the book), to express archetypal structure in Egyptian style, or in any style.

Styling is pseudo culture. Art, language, ritual and all of culture, is first, foremost, and in the final analysis, structure, clothed and disguised in conformist fads.

I have avoided including zodiac artworks in the book, to escape the apparently ‘logical, common sense’, but false impression that mindprint may be ‘based on the zodiac’. The opposite is true; nature, seasons, ritual, myth, art, emblems, zodiacs, crafts, such as astrology or psychology, and everything cultural, expresses archetypal structure.

None of these media derive from any other, or require the pre-existence of any other, although some cultural media sometimes illustrate the conventions of other cultural media at a conscious level. However all cultural media are subconsciously standardised, and sustained, by compulsive structural expression. We are structural creatures.

Categories
Ice Age art analysis Mindprint art examples Structural art analysis using mindprint

Structural analysis reveals another Ice Age mindprint in Chauvet

Chauvet antelopes, horses, and bovids (Patrick Aventurier /Getty. Mindprint labels and axial grid by Edmond Furter). The mental capacity, behaviour, and cultural repertoire at the time was identical to modern humans, despite lacking the population numbers to specialise or civilse in villages.
Chauvet antelopes, horses, and bovids (photo after Patrick Aventurier /Getty. Mindprint labels and axial grid by Edmond Furter). The mental capacity, behaviour, and cultural repertoire at the time was identical to modern humans, despite lacking the population numbers to specialise, or civilse in villages.

Application of the structural analysis method named mindprint, published in 2014, reveals the same core content in Ice Age cave art, as in hundreds of examples from every other era, place, and culture in the world. (An introduction to the book follows below some recently added posts).

The latest example of the mindprint structure in a Chauvet cave charcoal panel in France, indicates the same repertoire of perception and cultural expression as in various kinds of art and artefacts, from the Younger Dryas ‘thaw’ at Gobekli Tepe, to Babylonian, Egyptian, European, Indian, Chinese, Australian, African and American art.

Two other Chauvet panels (see below) were earlier found to express a partly interlocking double imprint (Furter 2014; Mindprint p154 and p155, Lulu.com). In all artworks containing eleven or more characters, each one expresses one of the attributes of a type; always in the same sequence; always with their eyes on an axial grid; and always with some limb joints in the centre indicating the time-frame of the work. Artists then, and now, are not aware that they express the structure of perception.

Type labels, and Characters in a Chauvet cave artwork, in the usual peripheral sequence (noting archetypal features):

2 Builder or Taurus; An antelope (bovid, not counted here due to abundance), in a twisting posture (twisting)
2c Basket; Jumble of lines (weave)
3 Queen or Aries; An antelope
4 King or Pisces; Horse (equid)
4p Galactic south pole; Horse shoulder (limb joint)
5a Priest or Aquarius; An antler, large (large)
6 Exile or Capricornus; An antler, nearer the centre (ingress)
7 Chile or Sagittarius; ? (often an indistinct shape. Perhaps damaged).
9 Healer or Scorpius; Bovid, large (large)
10 Teacher or Libra; An antler
11 Womb or Virgo; An antler’s womb (womb)
11 Galactic pole; Hump (limb-joint)
13 Heart or Leo; An antelope heart (heart)
13c Basket Head; Tally marks (texture)
14 Mixer or Cancer; An antelope, far out (egress)
15 Maker or Gemini; An antelope
15g Gate; Chasm in the rock face and ‘landscape’.

The ecliptic pole or axial centre is on a horse hoof (limb joint). The celestial pole is on a horse knee (limb joint), on the vertical plane (orientation) of most of the figures (one of the pairs of edges of the polar triangles are often vertical or horizontal). These polar markers place the summer of the subconscious cosmic structure (which is not a star map) in Virgo-Leo, thus the spring, and the cultural inspiration, in Age Gemini-Taurus, about BC 6400. However the time-frame is usually the Age or transition preceding the era of the work, thus this work was probably made in Age Taurus, when autumn was in Scorpius, and winter in Aquarius (both here on corners of the ocular (eye-to-eye) outline. Age Taurus lasted 40 degrees of precession, twice as long as Age Aries, which lasted 20 degrees, due to its compact borders. Subconscious division of ages does not follow the 30-degree divisions of of zodiac months, although Age Pisces lasted the average, of 30 degrees, or about 2100 years.

All five layers of structural expression (attributes; sequence; ocular grid; polar structure; and relation to preceding or current Age), are subconscious to artists, architects, builders and members of any culture.

The general theme here is probably the season, depicted by moulting of neck hair, and contrary movement.

The stoneprint analysis score is….. about 54% [the scoring format has since been updated, see later posts]. Despite the lack of species diversity, and themes that only paleontologists could spot, this panel demonstrates more than half the features identified (Furter 2014; Mindprint p 84 -87). Additional features of subconscious expression may yet be isolated and tested.

Chauvet cave rhino double panel, left half (mindprint labels and axial grid by Edmond Furter).
Chauvet cave rhino double panel, left half (mindprint labels and axial grid by Edmond Furter).
Chauvet rhino double panel, right half (mindprint labels and axial grid by Edmond Furter).
Chauvet rhino double panel, right half (mindprint labels and axial grid by Edmond Furter).

The presence of two other mindprints in Chauvet cave, and another in Lascaux cave (p150-151), and another in Niaux (p241), and another in Addaura (p240), and in Peche Merle, and relief carvings on two Gobekli Tepe pillars, confirms that pre-civilised cultures operated on the same principles of perception and expression as modern cultures do. The only differences between these ceilings, and cathedrals such as the Sistine Chapel ceiling, is in the scale, time, and budget afforded by empire.

Mindprint is present in all complex art, including modern art (see some of the 200 examples in the book, in other posts on this website, and on http://www.mindprintart.wordpress.com.

  • See an article on structural anthropology in the book WWW, Rock art When, Where, to Whom (2016. Atelier Etno).
  • See an article on http://www.grahamhancock.com under Author of the month, September 2015, on cultural structure.