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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.

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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).

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== 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

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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

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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