Categories
Archetype in New Age and ayahuasca art natural archetypal structure

Lavrov’s surreal art is psycho-logic

Artist Alex Lavrov does not have conscious explanations for some of the characters he expresses, but he recognises them as up close and personal. “I can explain or interpret only a fraction of the scene. I improvise my designs, thus my paintings are like dreams from the subconscious mind. I try to make sense of them in accordance with my limited knowledge of psyche, or self-knowledge,” he told Stoneprint Journal from his home in Vancouver, Canada. This post demonstrates that Lavrov’s painting titled ‘Laughter’, subconsciously expresses the minimum set of twelve archetypal characters, in the standard ovaloid sequence, with their eyes on the usual axial grid, and some limb-joints expressing a time-frame, as all complex artworks and rock art works of all cultures and styles do.

Lavrov sees himself, or his Ego, as the large central character with an open mouth, “communicating, and perhaps laughing”. He sees himself “communicating with the concave face on the left,” perhaps his Inner Self. The Self’s face, clasped by some fingers, does not have an eye on the axial grid, but its jaw is the limb-joint that subconsciously expresses one of the cosmic or ‘galactic’ poles, projected onto semi-conscious space-time. The artists had earlier posted this short poem or haiku as a description of ‘Laughter’:  “I heard you jumping out of my throat. /Are you real? /Or just hiding something I can’t quite see?”

Lavrov said the face under the mouth on his chest “may represent my hidden emotions,” thus similar to Jung’s Shadow. “The other faces in the scene are perhaps non-essential characters, but these identifications are only my personal interpretation or rationalisation. The work could mean something different to someone else.” But structuralsit analysis (see below) reveals that each face in this painting plays a specific role. Continuing the analogy to depth psychology, the face at lower left is the artist’s Anima, or inner female. Lavrov had posted these keywords or tags to ‘Laughter’: “psychology, smile, pretending, hiding pain, multi-dimensional, improvised, laughter, multifaceted, people.” Lavrov’s art styling is Cubist, which reflects the mindset born of the popularisation of nuclear physics, and depth psychology of psychic ‘mechanics’ in the 1900s. Cubism is thus more than a style, and part of a world view. The texture of his works is similar to the fractal surfaces of trance art. Lavrov describes the style as Cubist, Expressionist and Surreal. Below is a structuralist anthropology mindprint model art analysis by E Furter, of Lavrov’s ‘Laughter’.

Alex Lavrov: Laughter, 2020. The surreal expressionist artist acknowledges that inspiration is subconscious, and that conscious logic could not explain an artwork, or art. (Image with permission of the artist. Archetypal labels and axial grid added by E Furter). Here is a structuralist analysis using the mindprint model.

Type Label; Character (noting archetypal features):

1 Builder; Ego’s upper third eye (cluster, see also 15, 2c, 3), on a rotated (twisted) face.

2c Basket; Ego’s open mouth (‘instrument’, container).

And Ego’s half-closed (secret) third eye (reveal). C-types are off the axial grid, but between specific axes.

3 Queen; Ego’s left eye.

4 King; Animus or father/priest (king), right eye.

5a&b Priest; Animus or father/priest (priest), left eye, large (large).

5c Basket Tail; Alter-ego or White clown’s cap (weave, container). C-types are between specific axes.

6 Exile; Alter-ego or White Clown with cap (‘horned’), flat mouth. Both eyes (‘double-headed’) are on the axial grid.

7 Child; Shadow or Emotions (‘juvenile’) on the shirt (‘bag’, ‘beheaded’), left eye.

7g Galactic Centre; Shadow’s nose or jaw (limb-joint).

8 Healer; Shadow or Emotions, on the chest (‘bent forward’), right eye.

9c Basket Lid; Shirt (weave).

10 Teacher; Monk? (council, school), hooded (‘disc’).

11 Womb; Anima (interior), left eye.

And pearl (‘womb’, water) or seed (crops).

12 Heart; Red sphere in chest (heart) of Inner Self (angel).

13 Heart; Anima (interior), right eye, closed (death).

13c Basket Head; Inner Self’s spine (‘tree’, tail). C-types are between specific axes.

14 Mixer; Nun or angel in cape (lid), small (small), far from the axial centre (egress).

15 Maker; Ego’s right eye, open or conscious (order, re-‘create’), large (‘face’), one of Ego’s three (‘doubled’) eyes on the axial grid (see 1, 2c, 3).

Axial centre; Unmarked as usual.

4p Galactic South Pole; Father/Priest’s ear? (‘juncture’).

11p Galactic Pole; Clam shell (juncture). The two p-types resemble projections of the galactic poles in cosmology, since the planes of space-time also express archetype. Cultural media are all equally and perpetually original, and rarely borrow features from one another. The thin black ovaloids demonstrate the northern and southern galactic equators around these two poles. Part of one of these ‘equators’ are often reflected by junctures in an artwork or building site, here by the large mouth’s two corners.

Summer; Inner Self’s jaw (limb-joint).

Winter; White Clown’s horn (‘juncture’). The two solstice markers are named after parallel or analogous features in cosmology, since nature also expresses archetypal structure (see Furter 2016; Stoneprint, chapter on cosmology, and chapter on the Periodic table of elements).

The ‘solstice’ markers are horizontal to the axial centre. These polar triangles place the summer marker between axes 12/13-14, analogous to Leo-Cancer, thus implying spring and the cultural time-frame in Age 1/2-3 or Age Taurus-Aries, confirmed by the top central position of types 1 and 3. Artworks, built sites, myths or icon cycles of all ages that are themed on alchemy or psychology, usually express the framework of ‘Age’ Taurus. Themes of conscious access, seasons or calendar are usually set in the framework of ‘Age’ Aries. Transitional frameworks, as in this work, are typical of works themed on transformation or maturity. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Alex Lavrov also told Stoneprint Journal: “Art comes from the subconscious, not from drugs. Drugs can only open the door to the subconscious. I don’t have much experience with psychedelics, but I did smoke a lot of weed since my youth, drank a lot of alcohol, did LSD twice about two years ago, and had a year-long party with ‘extacy’ when I was 19, which left me with brain damage. I think the brain recovered in 5-10 years after stopping the use. Now I’m almost 40 and free from drugs and alcohol.” Structuralist analyses of artworks in the styling and textures associated with either natural healing trance (as in San Bushman rock art, and about 2% of every population, rarely conscious in artists), or ayahuasca, DMT, peyote, mescaline, mushrooms, psilocybin, sugar, alcohol, caffeine, fairies, esoteric systems, religious ecstasy or other programmes, found no difference in the core content of the artworks (see http://www.mindprintart.wordpress.com). Styles and ‘schools’ are instantly recognisable, but they do not change the core content or ‘grammar’ of subconscious expression of archetypal structure, natural inherent meaning, or culture.

Psychology themes seem ambiguous in conscious terms

Subconscious general themes in Lavrov’s Laughter are revealed by extra features of five of the sixteen types:

  • Type 1 /2 Builder, often including twist (here contorted faces and hands), cluster (proximity of faces), maze (broken context); opposite type 8/9 Healer, including trance (fractal texture, inner vision).
  • Type 4 King, often including squat, twins (here the four parts of psyche); opposite type 11 Womb, of interior (psyche).
  • Type 5a/b Priest, often including hyperactive (psyche personae manifesting), assembly (inner personalities).
  • Type 6 Exile, often including ingress (contraction), double-head (psyche personae).
  • Type 7 Child, often including beheaded (faces); opposite type 15 Maker, of churn (inner integration), doubled (psyche personae), face (here the main theme).

About half of archetypal features in the general theme here, form a cluster of apparently ambiguous features:

1/2 cluster /?/5 assembly.

1/2 maze opposite 8/9 trance.

4 twins /?/6 double-headed.

11,12/13 interior /?/6v14 ingress.

5 hyper-active /?/15 churn.

Artworks themed on archetypal ambiguities, being features that recur in two or three normally unrelated types, indicate a high level of maturity and personal integration, approaching self-individuation, which in this work is part of the semi-conscious theme. Some ambiguities in archetypal meaning are inherent in archetype and nature, as in the known clusters of ambiguous features such as equids (3//4//5a/b opposite 12/13), or reptiles (5//14//15), or birds (4//12/13//14) (see Furter 2014; Mindprint, section on inherent ambiguities in nature and thus in archetype). But some apparent ambiguities are only due to the limitations of conscious logic. This artwork unintentionally reveals the inadequacy of depth psychology terminology, developed by Freud, then by Jung, and stagnant since. Analysis of the work also reveals the inadequacy of structuralist anthropology terminology and formulae developed by Levi-Strauss, then suppressed into other approaches such as animism (see Furter 2019: Blueprint, on www.edmondfurter.wordpress.com). The problem of terminology and archetypal or natural meaning is an issue in the field of Semiotics, or the meaning of meaning (Furter 2018; Rock art reveals archetypal meaning, in the anthropology journal Expression).

Some of the archetypal features in the general themes of this artwork, and most of the archetypal features of each character, are not ambiguous (see the full list of known archetypal recurrent features in Furter 2019: Blueprint, on http://www.edmondfurter.wordpress.com). Certain predictable optional features appear in all cultural works, each feature at a specific average frequency. About 100 known features, of five kinds or levels, confirm the validity of structuralist analysis in revealing archetypal meaning among the recurrent character features and spatial features in cultural media.

  • This post is a supplement to:
  • Furter, E. D. 2014 Mindprint, the subconscious art code. Lulu.com
  • Furter, E.D. 2016 Stoneprint, the human cod in art, buildings and cities. Four Equators Media ($20 /E20 plus postage from South Africa, order on edmondfurter at gmail dot com).
Categories
Archetypal structure in religious art Archetype in New Age and ayahuasca art

Denver Airport art mirrors world orders in mind orders

Artist Leo Tangula’s paintings of apocalyptic bio-warfare, destruction, and struggle between Facist and peaceful world orders, include some mystic symbolism in Mexican panoramic political mural style and dynamic curves. His intention is similar to Pablo Picasso’s Guernica, which dramatises the horror of the Spanish Civil War to promote peace. The main general theme in Tanguma’s Order of Chaos artwork is revealed by extra features of type 12 /13 Heart, typical of heart (here of the mother and dead child), death (a procession of mothers with dead children, and slashed dove), rounded (sabre, shawls, wall, rainbow), weapon (sabre, rifle), or war. Four characters on two axes express this type here, two of these by their eyes and chest. Another general theme in this work is type 1 /2 Builder, typical of twisted postures (here of six characters), cluster (procession, and camp), bird (dove), tower (two), ruin (two), or book (here at 7).

Yet another general theme here is type 15 Maker, typical of churn (souls entering and leaving life), order (part of the title, ironically chaos), bag (shawls, respirator), weapon, or smite. Integration of these general themes, despite the relative minimalism of the design of only nine distinguishable characters, indicates the maturity of the artist. Below is the archetypal structuralist analysis of the work, in the universal standard caption format.

Leo Tanguma; Order of chaos, at Denver International Airport, Jeppesen Terminal Level Five (image after Travelgumbo. Archetypal labels and axial grid by E Furter). The display juxtaposes his panels on war, and children making world peace.

Type Label; Character (noting archetypal features):

2 Builder; Window A, ruin (twist, tower, build, ruin).

3 Queen; Window A, ruin (sacrifice).

4 King; Window B (rectangle) ruin.

5a Priest; Window C and floor (horizontal).

5b Priest; Window D, ruin.

5c Basket Tail; Poem manuscript (weave, reveal) by Hama Herchenberg, 14, who died in Auschwitz Nazi concentration camp in December 1943: “I once was a little child who longed for other worlds, but I am no more a child for I have known fear, I have learned to hate, how tragic then is youth which lives with enemies, with gallows ropes. Yet I still believe I only sleep today, that I will wake up a child again, and start to laugh and play.”

6 Exile; Dove or Peace stabled (sacrifice).

7 Child; Book (‘bag’, unfold, eyeless).

7g Gal.Centre; Box? (juncture).

9 Healer; Teddy bear (‘strong’ in irony) as comfort (heal).

10 Teacher; Child holding (arms up) toy bear (‘hunt-master’ in irony).

11 Womb; Mother’s midriff (womb).

12 Heart A; Dead (death) child.

12 Heart B; Dead (death) child’s chest (heart).

12 Heart C; Mother’s chest (heart).

12 Heart D; Blonde woman.

13 Heart A; Mother.

13 Heart B; Woman in white shawl.

13c Basket Head; Woman with shawl (hat) in procession of mothers.

14 Mixer; Procession of mothers.

15 Maker; Fascist soldier with bandolier (rope), strident (rampant), imposing rule (order), with gas mask (face, bag), gun (‘mace’, weapon), slashing (smiting) a peace dove.

15g Gal.Gate; machine gun (juncture).

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Wall between two ruins (juncture).

11p Gal.Pole; Blonde woman’s jaw (limb-joint).

Midsummer; Soldier’s thumb (limb-joint).

Midwinter; Child’s foot (limb-joint).

The polar triangles are on the horizontal and vertical planes. The solstice markers place midsummer between Cancer and Gemini, implying spring and the cultural time-frame in Age Aries-Pisces, confirmed by ,,,,,, prominence. Transitional time-frames are typical of themes of change.

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

  • See another Denver Airport artwork on http://www.mindprintart.wordpress.com
  • Order the book Mindprint by Edmond Furter (2014, 272 pages, 200 illsutrations, A4, perfect bound, $16), from Lulu.com on:

http://www.lulu.com/shop/edmond-furter/mindprint-the-subconscious-art-code/paperback/product-21788346.html

Some Stoneprint Journal editions are also available on Lulu.com

Categories
Archetype in New Age and ayahuasca art

Lilian Kolster’s Peace Pipe art of the DMT vine

The archetypal model of subconscious expression is validated against hundreds of artworks of all times, cultures and styles, including sugar, caffeine, cannabis, ayahuasca, DMT, cactus, mescaline, mushroom, psilocybin, rock art and ‘fine’ or ‘academic’ styles. The standard structuralist anthropology analysis named mindprint, follows a set format to enable comparison worldwide (see the paper Blueprint on http://www.edmondfurter.wordpress.com and on Researchgate or on Academia.net). All complex artworks express 60% of the 100 known features of archetype, in five layers (see other posts on archetypal structure in built sites, icons, hieroglyphs, alphabets, and in natural media such as the periodic table of elements). Archetype regulates the ‘grammar’ of energy, matter and meaning. Here is an example of subconscious structure in a DMT-styled artwork titled ‘Peace Pipe’.

General themes in Lilian Kolster’s Peace Pipe vine artwork, are types 2c Basket, typical of woven texture (here vines and smoke), instruments (pipe stem), or containers (pipe bowl); and type 3 Queen, of long necks (buzzards, and fox pipe neck), queen (here taking the place of the adjacent King), spring (leaves), or school (insight from meditation); and type 4 King, of birds, or furnace (pipe bowl). Life cycles offer some insight into natural patterns, as the caterpillar smoking a hookah does in Alice in Wonderland. Below is the standard list indicating which optional features Kolster expressed in this painting.

Lilian Kolster; Peace pipe with birds (after DMT Times. Mindprint labels and axial grid by Edmond Furter). A tree of life with birds is a stock art theme in many cultures, including Egypt. Each artwork is different, but the underlying structure is universal and eternal.

Type Label; Character (archetypal features expressed):

1 Builder; Buzzard B (bird) hovering (twist), in a group (cluster).

2 Builder; Buzzard C (bird) hovering (twist), in a group (cluster).

3 Queen; Buzzard D (neck long and bent, beak long and bent).

4 King; Vine smoker (‘furnace’) with feathered neck (bird).

5a Priest; Buzzard E (winged, colours) hovering (hyperactive), at nectar (‘water’).

5b Priest; Butterfly A (colours, hyperactive, winged).

5c Basket Tail; Butterfly B from smoke (tree/herb, reveal). And pipe (container) of burl or root (tree) with smoke (herb, reveal). And Buzzard F. And Dragonfly (tail).

6 Exile; Bee-eater?, far from the axial centre (egress). And Budgie B, near the axial centre (ingress).

7 Child; Bee-eater? chick (juvenile). Off the grid (eyeless), as type 7 often is.

7g Gal.Centre; Pipe bowl (juncture).

8 Healer; Pipe (heal) front, as fox (canid).

9 Healer; Vine leaf tip? (strong, heal, disc, trance), NO EYE.

10 Teacher; Bird, OFF THE GRID.

11 Womb; Budgie A’s midriff (womb).

12 Heart; Budgie A’s chest (heart).

13 Heart; Budgie A.

13c Basket Head; Owl B (oracle).

14 Mixer; Owl A (bird), far from the axial centre (egress).

15 Maker; Buzzard A (winged), upward (rampant).

15g Gal.Gate; Insect.

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Buzzard E’s wing (limb-joint).

11p Gal.Pole; Unmarked.

Summer or celestial pole (cp); Buzzard A’s feet (limb-joint). Winter or celestial south pole (csp); Unmarked. The solstice axle is on the vertical plane of the axial centre. These markers place summer between axes 14-15, or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces, confirmed by the large face expressing type 4 or Pisces. Most artworks express the time-frame of a previous Age, when the culture of the artist was formed. Age Aries-Pisces spring was about BC 80.

Structuralist features of expression are universal, and subconscious to nature, artists, architects, builders, crafters and members of any culture. This example is one of 800 confirming the archetypal structuralist model, named mindprint in art, stoneprint in building sites, and blueprint in myth, pantheons, iconography and alphabets.

  • See articles on the model, and other examples, on http://www.mindprintart.wordpress.com. Order the book Mindprint (2014, 270 pages, 200 illustrations), or select editions of Stoneprint Journal (16pages or 24pages), on Lulu.com. Mindprint is also stocked by Barnes&Noble.
  • Order the book Stoneprint by email to www dot edmondfurter dot gmail dot com at $/e25 plus mailing cost from South Africa.
Categories
Stoneprints in historic Western sites

Delphic Apollo subconscious stoneprint tour

Delphic Apollo sanctuary’s temples, features and spacing subconsciously express a stoneprint, or the archetypal set of types, their sequence, focal points on an axial grid, central or ‘polar’ markers, and time-frame orientation, as all building sites do. The conscious historic and semi-conscious symbolic layers are particularly rich here (see the typology list below). This post is an extract from the paper Blueprint (visit http://www.edmondfurter.wordpress.com).

In addition, the Delphi Apollo temple campus nestles in a larger scale stoneprint in the area (see note under 5b, and see tentative landscape plan analysis below), wherein it probably expresses type 5 (typical of assembly, colours, ritual, hyperactivity), similar to the Vatican City stoneprint as a smaller ‘gear’ within the Rome stoneprint (Furter 2016). Likewise, some Izapa stele engraving mindprints (such as the tree of life engraving) are part of a stele cluster stoneprint, which is part of a pyramid cluster stoneprint, which is part of a pyramid field stoneprint. Likewise, Teti’s pyramid group stonerpint, nestles in the Sakkara pyramid field stoneprint; and the Gobekli Tepe engravings form part of the houses, which express a larger scale stoneprint on Gobekli hill (Furter 2016, and 2016b; Expression 15).

Structuralist analysis of the temple of Apollo at Delphi, demonstrates that practical and conscious motivations are independent of subconscious archetypal structure. For example, Greek buildings were oriented by surveying one diagonal (crosswise, corner to corner) on a cardinal direction (east or north). Ranieri (2014) listed diagonal orientations of 200 Greek temples, including sixteen buildings of the Delphic Apollo sanctuary. The only overlap between regular geometry or celestial orientation, and the subconscious stoneprint, is in one element of the time-frame orientation. At Delphi campus, the galactic polar axle co-incides with the long axis of the site.

A site for kings, priests and junctures

Dominant general themes in the Dephi campus include these types:

4 King, of sun, twins, rectangles, walls, fish (here a dolphin);

4p Gal.S.Pole, of junctures (stones, pillars, secular v sacred, natural v super-natural, noble v commoner, sacrifice v gain), water (basins, cisterns);

5 Priest, of ritual (oracle, sacrifice, convocation, diplomacy), vari-coloured, hyperactive, judgement (oracle interpretation, and dispute resolutions), or reptile (pythons).

These general themes are confirmed by the up-slope central positions of types 4, 5a, 5b and the 5c sector.

Delphic Apollo precinct about BC 400 (plan after Coste-Messelière 1936. Type labels and axial grid by E Furter).

Type number, Label, building features at Delphic Apollo (noting archetypal features):

1 Builder; Krateros column (tower).

1 Builder B; Apollo temple west chamber.

2 Builder; Stadium stairs. Statue of Auriga, Charioteer.

3 Queen; Apollo temple centre, slain dragon (dragon, long neck, sacrifice). Stage apron Hercules frieze of tamed monsters (dragon, sacrifice).

3 Queen B; Archaic building.

2c Basket; Apollo’s interior omphalos stone (monster head) in a net (weave), sunken (2 pool). Statues of Krateros saving Alexander (2 twisted) in lion hunt (3 bent neck).

4 King; Dionysus two identical buildings (twins), brother (twins) of Apollo (king), twin (twins) of Artemis. Apollo Dolphin (fish) inner door, in building of two east-west diagonals (twins).

5a Priest; Apollo’s hut of bay branches, wax, feathers, bronze (varicoloured), two eagles (elemental, cardinal). Apollo as Zeus (priest), eagles crossed (4p juncture) to drop omphalos. Knydian hall (assembly), mural of wooden horse (equid).

5b Priest; Apollo Sitalcas, Grain Guard (of 10), highest at 70ft (large); Daochus, draped (sash), leg flexed (4), a Delphic priest (priest). Entrance pillar of Prusias2 of Bithynia, equestrian (equid). Euremedon palm (6 tree) by Agamemnon’s charioteer (equid). Many features (varied).

5c Basket-Tail; Neoptolemus sanctuary; Syracusian treasury; tripods (oracle) of Gelon and Hiero; Aemilius Paulus pillar for PrusiasII of Bithynia, equestrian (equid); Acanthus plant column (6 tree), three graces under a tripod (oracle. 6 chair) holding a cauldron (container); Sockle stone.

6 Exile; Attalos portico, protruding (egress); Chios altar (sacrifice); Akanthian treasury.

7 Child; Rhodian chariot (chariot); Plataian tri-serpent spiral column (unfolding. 8 snake); under a golden tripod (6 chair).

7g Galactic Centre; Athenian porch. Central gate (gate) to Kastalian spring (water).

8 Healer; Prytanaion, fire altar (flame).

9 Healer; Cyrenean; Corinthian; Athenian stoa (pillars).

9c Basket-Lid; Corcyrian Bull revealed (oracle) a tuna school (ophiotaurus, snake-bull, transition).

10 Teacher; Market gate (market). Statues of Aegospotiamoi; Arcadians; and Philopomen. Spartan Admirals (guard) monument, Lysander crowned (crown).

A reconstruction of Delphic Apollo’s main features (after Ulearnabrodingreece).

10 Teacher B; Statues of Spartans, Athenes, Argives, wolf logo (canid); Threshing floor, Halos (11 crops), where Apollo kills a fountain dragon (3 opposite).

11 Womb; Argive King’s crescent (interior). Seven Epigonoi crescent (interior). Both of Argos, ‘Wheat Field’ (crops).

12 Heart; Sikyonian treasury interior (interior), reliefs of war (war), spears (weapons). Cnydian treasury, Triopas, Artemis shooting (weapon) at Tityus.

13 Heart; Siphnian treasury interior (interior), frieze with lions (felid), gods in battle (war) v giants. Cnidian interior (interior).

13c Basket-Head; Sibylline rock (oracle).

14 Mixer; Theban, protruding (egress). Boeotian. Athenian, central (ingress).

15 Maker; Bouleuterion, ‘bread, chew, talk’ (order), of local council (sceptre).

15g Gate; Sanctuary of Ge (15 creation). Asklepius. Two main SW gates, Gymnasium gate (gates).

Axial centre; Probably unmarked, as usual.

4p Gal. S. Pole; Dionysus stairs (juncture). Kassotis spring (spout). Site’s long axis (juncture). Alyattes’ silver wine bowl on spiralling iron bands (junctures). Apollo (4 king) pronaos cauldrons.

11p Galactic Pole; Threshing floor (11 crops) south corner (juncture), site’s long axis (juncture). Tarantines’ captive women (11 wombs). The galactic polar axle is on the site’s long axis (juncture).

Midsummer (cp); Had moved from the Sibyl rock north edge, near the north-south cardinal, to the tall Naxian winged sphinx column (junctures).

Midwinter (csp); Had moved from the Apollo temple left corner, to the platform left corner (junctures).

These markers placed the site’s subconscious ‘summer’ in 14 and 15, thus ‘spring’ and the cultural time-frame as Age Aries and Age Pisces (from about BC 1500, and from about BC 80). both ahead of the Age of the builders. ‘Predictive’ time-frames are typical of national legacy sites (see Nemrut, Turkey, in Furter 2016: p238-241).

Delphi area map, including the Apollo temple precinct at 1 and 2, Athena Pronaia temples of Marmaria at 8 and 9 on the same axes, and other buildings and landscape features (after Planetware. Archetype labels and axial grid test by E Furter). This identification is tentative and requires further study.

Oracle sites seem to emphasise the four transitional types (2c, 5c, 9c, 13c), and contain extra features expressing the theme of container (here including treasuries), secret (diplomacy), revelation (oracle), code (oracle interpretations and riddles), basket (nework of vines or co-ordinates on the omphalos or navel stone), woven texture, instrument (sacrificial and ritual items), snake (pythons), or throne (tripod of pythoness priestesses). Tarot trumps 2, Priestess in a shrine, and 17, Star, express some of the same features, since 17 is the second magnitude of 2 in base15/16, due to a natural quirk that requires two numbers 5 (5a and 5b) in the lowest magnitude of natural numbers, as confirmed by the stoneprint in the periodic table (Furter 2016).

Archetype finds universal expression in all media

In any artwork or building site, containing eleven or more characters or focal features in relative proximity, at least twelve eyes or focal points are on an axial grid with one focal point; AND the archetypal characters express about 60% of the known optional typological attributes; AND some attributes have fixed frequencies in random samples of more than 50 works; AND the characters are in the standard peripheral sequence, clockwise or anti-clockwise;  AND axially opposite their usual counterparts; AND some limb joints or corners (not eyes or foci) are on one of the two implied ‘galactic’ poles, or on one of the two implied ‘celestial’ poles; AND the ‘celestial’ polar axle is on the implied solsticial direction of the precessional Age of the local culture, which is usually prior to the work; AND one of the polar axles may be parallel to the ground-line or vertical of the artwork, or a cardinal direction of the building site.

Some features of the structure are quirky, but universal, similar to other natural rule-bound structures, such as the periodic table, nuclear physics, and bio-chemistry. The high level of regularity indicates that culture is not a cumulative construct, but an archetypal quantum, measurable in the cultural record. Some media, such as myth cycles, ritual, calendars or games, express the same structure, but without spatial context. Some media, such as myth, lack sequence, and their typology is therefore less rigorous.

Artworks and building sites are directly testable for all five known layers of structure, and could thus inform further study of myth and other abstract sets, with the caution that media do not illustrate one another, but express the same natural pattern, with some recognised parallels that are usually mistaken as diffusion. Every set is imperfectly expressed. The core content of culture is sustained across diffusion and disruptions, by our compulsion to perceive and re-express the invisible blueprint of meaning.

The numerological quirk in archetype, revealed how the 22 Tarot trumps and other iconic sets correspond to the calendar and constellations myths. The Tarot deck variant with trump 8 as Strength (type 8 Scorpius) and trump 11 as Justice (type 11 Virgo) is archetypal. Some decks interchange these two numbers due to a historic copy error (Furter 2014), which esoteric literature explains only in vague conceptual terms, confirming that emblematic attributes and sequences were not consciously understood by users, designers and printers. The original trumps designer may have been prompted by a calendric poem cycle of Petrarch (as Moakley demonstrated), or by a collection of emblems that woodcut printers (such as my ancestor, Michael Furter of Basle) habitually mixed and matched in book illustrations.

Classical esoterica at Delphi

Esoteric craft elements may seem out of place in archaeology and anthropology, however numerology, geometry, liver divination, and similar craft sets are part of cultural media, and thus of the humanities, as Delphi itself demonstrates (Robert Temple 2003. Also see the Piacenza bronze liver divination model in Furter 2016).

Archetype does not derive from cosmology, but enables cosmology and all aspects of nature and culture. The stoneprint model derives from artworks and building sites. Complexity of the model, and lack of consistent astronomical and iconographic knowledge among artists, architects, builders and renovators, and absence of any similar model in artistic training or symbolic ‘programmes’, all indicate that the structure is subconscious, and thus archetypal, and of equal status in all media.

  • See the structuralist anthropology stoneprint model, theory, data, demonstration, conclusion and references, in the paper ‘Blueprint, the subconscious structure in three cultural media’, in a post on http://www.edmondfurter.wordpress.com
Categories
Archetypal structure in religious art

Gruber’s Bad Teinach art integrates astrology, alchemy, kabbalah, culture and cult

The Bad Teinach mineral hot springs resort church Baroque altarpiece, is one of the largest, most complex and most integrated visual manifestos of counter-reformation mystical Roman Catholic Christianity. The work is densely packed with Biblical, alchemical, astrological and kabbalistic imagery, integrated into the usual layer of political and social aspirations. This collaborative design was commissioned by Princess Antonia’s circle of religious and academic advisors, painted by Johann Friedrich Gruber, court painter at Stuttgart in 1659 -1663, and installed 1673. Its designs now present an opportunity to test the structuralist art analysis axial grid model, based on the anthropology of Claude Levi-Strauss; and the psychology of Carl Jung; and the philosophical concept of archetype, as a pre-existent potential that guides natural and cultural expressions by subconscious inspiration. Triptychs have three views, perhaps analogous to the three planes of time and space and time (see polar triangles in the axial grids below).

Demonstration of a universal, subconscious standard structure in all complex art, and in some other cultural media (particularly myth and ritual) of all cultures and eras, from extant Ice Age art to contemporary art, challenges the conscious paradigm of all the human sciences. The triptych in Bad Teinach, in the Black Forest, was designed as a visual manifesto of counter-reformation mystical Roman Catholic Christianity. The design is a Kabbalistic teaching board, six metres tall, dominating the small church interior. Gruber was court painter at Stuttgart. Antonia’s brother, Duke Eberhard, had established the church as a private family chapel, partly to house the artwork. The family took summer holidays in the bath town.

Royal patronage of esoteric philosophy, or scientific mysticism, was first recorded under kings Ur Nanshe and Gudea in Sumeria (Furter 2016); and was also prominent in the politics of medieval Italy and Renaissance Europe. Conscious and subconscious agendas in all cultural media perpetually divide economies, religions, and culture into stylistic differences. In addition, mainstream culture always fractures into craftic counter-cults. Gnosticism and Sufism remain distinct cults in Christianity and Islam. Speculative Masonry and other cults perpetually attempt vertical integration, but religion and crafts remain as repellent as science and esoterica.

While alchemy was developing into science, its labels, tables and formulae became conscious technology and academia, while its correspondence theories retained popular currency, notoriety, and at times suppression. The esoteric or Gnostic motto that Phil Norfleet cites about the Bad Teinach artwork, acquires new meaning in the context of subconscious expression: “It is the glory of God to conceal a thing, but the honour of kings to search out such a matter,” after Proverbs 25;2.

Gruber’s Bad Teinach triptych covers and case (after Esoterik Astrologiedhs de). See the subconscious archetype imprint in its Bridal procession; and three interlocking imprints in in its interior central panel; and the imprint in its interior wings, in the structuralist analyses below.

Princess Antonia of Wurttenberg, her sisters, and the women of Bad Teinach, were mainly widows after the Thirty years’ War. They embraced charitable and esoteric causes. Under its integrated layers of Judaeo-Christian, alchemical, astronomical and kabbalistic symbolism, the Bad Teinach altarpiece subconsciously expresses four sets of the universal standard ‘grammar’ or ‘DNA’ of art; three of these are stacked vertically in the central panel. Each cycle includes the sixteen archetypes; in their standard semi-circular sequence; with the eyes of typological characters on an axial grid connecting the pairs of opposites; and with the usual tri-polar structure of two mirrored triangles on five points, marked by certain limb joints. This subconscious structure, rigorous as usual, confirms that the core content of any complex artwork is standard; and that five layers of structure, and about 60% of 100 known optional recurrent features, are predictable in cultural works from any place and time. The same applies to rock art, modern art, and future artworks.

The structure of expression, and mechanisms of culture, is not an idle game. These features also appear in natural media, and thus in archetype. They reveal the structure of meaning itself, and offer a unique opportunity to raise subconscious behaviour to conscious study. On consciousness, Jung noted: “Without the existence of conscious concepts, perception is impossible. This explains numerous neurotic disturbances which arise when certain contents are constellated in the unconscious [named subconscious in the present study]; but cannot be assimilated, owing to the lack of perceptive concepts that would grasp them. It is extremely important to tell children fairy-tales and legends, and to inculcate religious ideas and dogmas into adults, because these things are instrumental symbols with whose help unconscious contents can be canalized into consciousness, interpreted, and integrated. Failing this, their energy flows off into unconscious contents which, normally, are not much emphasized, and intensifies them to pathological proportions. We then get apparently groundless phobias and obsessions; crazes, idiosyncrasies, hypochondriac ideas, and intellectual perversions, camouflaged in social, religious, or political garb”.

Alchemists always have an intuitive grasp of the need to study the inherent structure of nature and culture, as they did before psychology was a science or even a word. Freud and Jung brought the eternal craft of spiritual therapy into science, where it lives uncomfortably close to secular chemical medicine. The Bad Teinach altarpiece, alchemy, astrology and kabbalah all seem distant from the conscious crafts of philosophy, self-improvement and scientific culture today. However the periodic table, at the root of chemistry, physics and medicine; and the standard model of physics (Furter 2016), are fruits of structuralism.

The structure of expression and perception, though camouflaged among our conscious obsessions, is more consistent than conventional symbolic features, such as vague correspondences between gods, stock characters, ritual gestures, devices, planets, constellations and colours. Subconscious expression never co-incides with conscious designs (as their different ‘perspective’ centres confirm). Expression usually partially confirms, and partially contradicts the conscious symbolism in artistic ‘programmes’ such as religious texts, alchemical stages, planets, and kabbalistic sephirot tableau.

In the alchemical work titled ‘Cabala as mirror of art and nature’ (Furter 2014) is an astrological cycle and a planetary cycle; both entirely contradicted by the artist’s subconscious expression. In Poussin’s Helios and Phaeton, his subconscious expression entirely contradicts an astrological band, which is mere decoration (Furter 2014). Most alchemists are artists rather than chemists; and most artists are not philosophers or esotericists. Culture operates on two distinct levels of consciousness, confirming some of the findings of Carl Jung regarding archetype (after Plato and others) in our psychic motivations. Structuralist analysis of artworks and built sites (Furter 2016) confirm some of the findings of Claude Levi-Strauss regarding our innate tendency to isolate elements of experience into natural categories. But the structure of perception and expression is now revealed to be much more detailed than Plato, Jung, or Levi-Strauss found. The combination of simplistic features (bent forward, or arms up, or juvenile, and so on); and complexity of combination of features (optionality, sequence, eye position, axial grid, relative orientation of polar elements), indicate that our subconscious mind ‘sees and speaks’ in natural categories of archetypal meaning; and is much better at spatial composition than our conscious minds could be.

The eye-hand-mind co-ordination of artists, including recognised masters, gifted amateurs, and unknown rock art masters, is an instrument for archetypal expression. Isolation of layers of rigorous recurrent features in cultural media, raise the need for a more comprehensive form of art analysis, terminology, and definitions of what art and culture is.

Princess Antonia and her advisors had made a fine art of esoteric crafts, at a more intuitive level than science. Art history, anthropology, psychology, sociology and the other humanities now has a model to isolate categorical archetypal core content, from ambiguous symbols, and from superfluous styling. A provisional scoring system to test the quality of structural art analysis, confirm that about 60% of the claims made about the hidden structure of artworks, are usually correct. Analysis scores range between 40% and 80%, or 40% variance, on a sigma curve. Scoring indicates only the quality of analysis, not the quality of artworks. Some works are remarkable for containing two, or three (as in the Bad Teinach central panel), or even four adjacent and interlocking mindprints.

Archetype in the Bad Teinach Philosopher’s garden foreground

The Bad Teinach altarpiece central panel bottom register, or foreground, pictures a Philosopher’s garden, with twelve sons of Jacob as patriarchs of twelve tribes; below some prophets at the allegorical college building. The caption below reports the underlying archetype, in the standard structuralist axial grid model and labelling format, here adding subconscious astrological analogues to the generic type names.

Structuralist analysis of the triple imprint in the Reformation Bad Teinach altarpiece triptych by Gruber, for princess Antonia’s church.

Type Number, Label, Decan; Garden character (noting archetypal features):

1 Builder or Taurus; Prophet Isaiah, as Rosicrucian leader Andreae (hero), in the mountain (cave) gate, with cup (rain), crown, scroll (book), spear (former spring marker).

2 Builder or Taurus; Prophet Ezekiel (hero) in the mountain (cave) gate, with survey plan (book), trumpet (thunder) and skeleton (more typical of 13).

2c Basket or Algol; Sephiroth’s Glory (instrument, secret, school).

3 Queen or Aries; Sephirothic (school) Glory as a woman (queen), golden statue.

4 KingA or Pisces; Statue of Joseph (furnace) dreamer, at the right corner (rectangle).

4 KingB or Pisces; Christ (king, sun, ‘twin’ of John) on throne (squat, rectangle).

4 KingC or Pisces; John Baptist (‘twin’ of Christ. More typical of 5).

5a Priest or Aquarius; Healing snake (reptile) of Moses (priest) on a cross. And Moon (water) priestess (priest, assembly) half-cloaked (sash. See Tarot trump 21, World; 21 is a magnitude of 5 in base-8 with two fives).

5b PriestA or Aquarius; Sephirothic Eternity (assembly?), in green and brown (varicoloured), axis to his chest (heart, of 13 opposite).

5b PriestB or Aquarius; Statue of Joshua (judge), at the left corner, axis to chest (heart, of 13 opposite).

5c Basket Tail or Piscis Austrinus; A prophet, in prayer, with scroll (weave, reveal. See also the Heaven register), on a phoenix or dragon (tail).

6 Exile or Capricornus; A prophet, in the field gate, with scroll and oracle pot (sacrifice, U-shape).

7 ChildA or Sagittarius; Evangelist with eagle.

7 ChildB or Sagittarius; Evangelist with angel’s (juvenile) head (beheaded, manifesting).

7g Galactic Centre; Agave flower on stem, hemp plant for making rope (rope).

8 Healer or Scorpius; Tribe Naphatli’s antler hind deer (trance. See Tarot trump 9, Hermit with antler, or wearing antlers), with cornucopia (heal) on a tree stump (pillar).

9 Healer or Scorpius; Tribe Dan, with scales (of 10), with sword (strong), serpent (snake, heal) at his feet.

9c Basket Lid or Serpens; Dan’s serpent (snake, reveal).

10 Teacher or Libra; Tribe Asher, prosperous (trade), shoes of iron and brass (metal, trade), linked to Phoenicia; one arm up (arm-up), a baker holding wheat (more typical of 11), near the gate (guard).

11 Womb or Virgo; Asher’s midriff (‘womb’), with bread? (wheat?)

11 Womb or VirgoB; Ewe’s midriff (womb).

11 Womb or VirgoC; Princess Antonia’s midriff (womb), as virtue (virginity) in the gate (interior).

12 Heart or Leo; Tribe Zebulon, ‘Of single heart (heart), no double heart (IChron12:33), ‘Fully armed’ (weapons); ‘Fought (war) at Merom to death (death)(Judges5:18); his axis to his chest (heart), with anchor (weapon, more often scythe).

13 HeartA or Leo; Tribe Judah, axis to his chest (heart), with lion (felid), sword (weapon).

13 HeartB or Leo; Tribe Issachar (of 14), axis to his chest (heart), with ass (of 14) and globe (summer?).

13c Basket Head or Leo Minor; Tribe Ruben, with shield (lid), near the centre (ingress, of 14).

14 Mixer or Cancer; Tribe Simeon, with two staffs (more typical of 9/10), wolf (canid, also of 9/10), near the centre (ingress).

15 MakerA or Gemini; Evangelist with a bull (more typical of 1 adjacent).

15 MakerB or Gemini; Evangelist with a lion (rampant. More typical of 13). Two types 15 (doubled), hold bull and lion (churn, order).

15g Gate; City gate (path, juncture).

 

Axial centre; Moon water font edge (juncture).

4p Galactic South Pole; Christ’s foot (limb-joint).

11p Galactic Pole; Central Christ’s elbow (limb-joint) at his cross. And Princess Antonia’s dismembered heart in her hand (limb-joint).

Summer or Celestial Pole (cp); Luna’s knee (limb-joint), horizontal to the axial centre. Theses markers place summer on axis 15 or Gemini, thus spring and the cultural time-frame in Age Pisces. The top central position of type 4 or Pisces, as Christ, and as John, confirm the time-frame.

A general theme in the garden register is type 4 King; typical of rectangle (here flower-beds); garden (see Tarot trump 19, Sun over a walled garden. A higher magnitude of 4 in base-8 with two types 5, is 19); furnace (college as alchemical furnace); and twins (axes 4v11, 5a v13, 6v14, and 7v15 are all doubled here). All five layers of structural expression are subconscious to artists, and members of any culture.

The analysis score in the garden register is 57/68 archetypal features; 26/16 axial points (excessive scores are accounted, usually neutralised by off-grid characters); 10/4 c-type sector features; 2/2 g-gate sector features; 3/5 polar markers; 2/2 planar or cardinal orientations; 1/1 correlation with the Age or Age prior to the work; 2/2 general themes; thus 103/100, minus 11 extra characters off the axial grid; total 92%, one of the highest scores found among about 750 analyses.

Archetype in the Bad Teinach Philosopher’s college building

The Bad Teinach altarpiece central panel middle register pictures a philosopher’s college. The list below gives the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Structuralist analysis of the triple imprint in the Reformation Bad Teinach altarpiece triptych by Gruber, for princess Antonia’s church.

Type Number, Label, Decan; College character (noting archetypal features):

01 Builder or Taurus; OFF THE GRID Golden ibis at an obelisk.

02 Builder or Taurus; Evangelist with lion (monster) and book (book).

02c Basket; A prophet in the city gate, with cup (container) and scroll (book, texture).

03 Queen Aries; A prophet with jug (sacrifice), a plan (book, of adjacent 2), and a scroll (school), head inclined (neck bent).

04 KingA or Pisces; Statue of Joseph? (sun?), at the hall right corner (rectangle), paired with Joshua (‘twin’).

04 KingB or Pisces; Right crucifix (‘king’), paired with another (twin).

05a Priest or Aquarius; Aaron (priest) at an altar (assembly) recalling golden calf (bovid, hyperactive).

05b PriestA or Aquarius; Left crucifix, axis to its chest (heart, of 13 opposite), of snake (reptile).

05b PriestB or Aquarius; Statue of Joshua? (war, or 13 opposite), as cup-bearer (decan Aquarius, rare; water); at the hall left corner.

05c Basket Tail; Wall engraving (texture) of Queen Sheba (exile, of 6) of incense and myrrh (tree).

06 Exile or Capricornus; A prophet in the field gate, scroll, divination pot (sacrifice, U-shape), sextant (triangle).

07 Child or Sagittarius; Tabernacle of cloth (bag, rope, unfold), formerly Ark of Covenant (chariot?), later empty (eyeless).

07g Galactic Centre; Mt Sinai base (path, juncture).

08 Healer or Scorpius; OFF THE GRID Peacock bent forward, at obelisk. And engraving of Daniel in furnace.

09 Healer or Scorpius; St Michael in battle (strong) over Mt Sinai (pillar?).

09c Basket Lid; Angel with trumpet (instrument, metal, reveal, enforce, armlink). And Phoenix  in nest (weave, disc) on obelisk (pillar).

10 Teacher or Libra; Justice (of 10 or 11), shield, sword (metal), arms up (arms up), at dome (disc) among procession (carousel).

11 WombB or Virgo; Love or Sephirothic Beauty’s midriff (womb).

11 WombA or Virgo; Mercy’s midriff (womb), at engraving of annunciation of her pregnancy (womb).

12 Heart or Leo; Blue angel (angel) with harp, axis to his chest (heart).

13 HeartA or Leo; Crane, axis to its chest (heart), with ? (weapon?), on spire of element water (water-work).

13 HeartB or Leo; Angel (angel) with trumpet (of 5 opposite), of heaven (death).

13c Basket Head; Halo (hat, lid, head) of secret book (time, oracle).

14 Mixer or Cancer; Microcosm of God’s secret book (time), near the centre (ingress).

15 Maker or Gemini; Angel (winged) with Gospel (order, book of 1) and wand (sceptre). And (doubled) angel (winged) with millstone (churn).

15g Gate; Zion city gate (path, juncture), under God’s microcosm (juncture).

 

Axial centre; Patriarch Jacob’s throne.

4p Galactic South Pole; Crucifix hand (limb joint)

11p Galactic Pole; Beauty’s foot (limb joint)

Summer; Pillar Jacin. Midwinter; Carved phoenix tail (limb joint). The horizontal plane confirms the summer marker between axes 15-1 or Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius. However the vertical plane of the axial centre is in Pisces-Virgo, with Christ and St John as types 4 or Pisces, confirming and Age Pisces spring.

A general theme in the central or college building’s register, is type 11 Womb; typical of gestation, domes or furnaces. Six women are on the lintel and facade, and two of these express type 11 Virgo, with prominent wombs on the axial grid; and one also expressing 11 in the upper register mindprint. All five layers of structuralist expression are subconscious to artists and members of any culture.

The analysis score in the mid register is 47/68 archetypal features; 18/16 axial points; 18/4 c-type sector features; 5/2 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 95/100, minus 8 extra characters off the axial grid; total 87%, above the top of the average range.

Archetype in the Bad Teinach Heaven register

The Bad Teinach altarpiece central panel top register pictures Heaven. The list below gives the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Structuralist analysis of the triple imprint in the Reformation Bad Teinach altarpiece triptych by Gruber, for princess Antonia’s church.

Type Number, Label, Decan; Heaven character (noting archetypal features):

01 Builder or Taurus; Wind angel, flying (twist, bird).

02 Builder or Taurus; Praise angel playing violin (twist).

03 Queen or Aries; Cherub in green.

04 King or Pisces; Yod letter on sephirot Crown (king. See Tarot trump 4, Emperor).

05a Priest or Aquarius; Cherub (winged) in red (colours, sash).

05b Priest or Aquarius; High order angel (winged), multi-winged (hyperactive, large).

05c Basket Tail; Cherub flying (horizontal, of 5), off the grid, as most c-types are.

06 Exile or Capricornus; Angel with long scroll (of 5c), far from the centre (egress).

07 Child or Sagittarius; Cherub (juvenile).

07g Galactic Centre; Golden angel sitting. And sun on dome top.

08 Healer or Scorpius; Cherub with palm branch, diving (bent forward).

09 Healer or Scorpius; Daniel’s giant (strong, large) of steel (metal) with sword, at obelisk (pillar) of fire (smelt).

09c Basket Lid; Holy Spirit (reveal). And dome (lid, metal) with engravings (texture). And Ezekiel’s four throne angels (instrument). And Justice (of 10/11) with shield, sword (metal), arms up (of 10), among procession (carousel).

10 Teacher or Libra; God?, arms up (arms), central (balance), in a trio (polar function), central on the dome (disc, guard, carousel), under the crown of God (metal), flanked by crowns of Holy Spirit and Son (council).

11 Womb or Virgo; Mercy’s midriff (womb).

12 Heart or Leo; Cherub (angel) with palm branch (scythe shape), diving (invert).

13 Heart or Leo; Praise angel (angel) with harp, axis to his chest (heart).

13c Basket Head; Crane (oracle) with ? (weapon? Of 13) in nest (weave), on spire of element water (water-work).

14 Mixer or Cancer; Mt Zion base, eternal (time), tree-shaped (tree. See alchemical arbores), far from the centre (egress).

15 Maker or Gemini; Red angel (winged) with lute.

15g Gate; Green angel. And red angel (doubled, of 15), smiting (smite).

 

Axial; Unmarked, near Enoch.

4p Galactic South Pole; God’s monogram, A/V (juncture).

11p Galactic Pole; Angel’s foot (limb-joint), on the dome (juncture).

Summer; Unmarked, near the burning bush of Moses, horizontal from the centre. This marker places summer on axis 15 or Gemini, thus spring and the cultural time-frame in Age Pisces, confirming the other two registers. The top central crown as type 4 King or Pisces, confirms the time-frame.

A general theme in the heaven register is type 10 Teacher (here God the Father), typical of balance, elements, cycles, wheels (here the central rosette under type 10). All five layers of structural expression are subconscious to artists, and members of any culture.

The analysis score in the heaven sector is 34/68 archetypal features; 16/16 axial points; 12/4 c-type sector features; 2/2 g-gate sector features; 2/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 3/2 general themes; thus 71/100, minus11 extra characters off the axial grid; total 60%, on the universal average, despite some conscious and subconscious compromises with competing programmatic elements; perhaps compensated for by baroque opulence.

Archetype in the Bad Teinach triptych Egypt and Moses wings

The Bad Teinach altarpiece triptych wings interiors picture the holy family’s Flight to Egypt with baby Christ; and an Egyptian princess finding baby Moses in the Nile. Some scholars (Rohl 2007) see Abraham as an Egyptian pharaoh; and Christ’s foster father Joseph’s name as more than coincidence, since prophet Joseph was vizier or acting prince of Egypt; and had invited his estranged family to visit, perhaps to stay in the Nile Delta. Some see Moses and the Exodus as Egyptian royal and Akhenaton priestly exiles; Jewish Testament books as hiding their Egyptian legacy from Babylonian masters; Christ as Egyptian royal descendant in exile; the New Testament as hiding this Egyptian legacy from Rome; and the Flight to Egypt as a futile attempt to seek asylum with estranged family. Renaissance scholars and astrologers were familiar with Egyptian esoterica, thus the triptych wings may have consciously intended to integrate Biblical history into this religious, cultural and artistic manifesto.

The two wing panels are fixed further apart than shown here, but they form a standard archetypal cycle and axial grid when spaced moderately, indicating that they were designed on one surface. General themes in this design include type 6 Exile, typical of egress (here of a design split into flanking panels); sacrifice (baby in basket, and baby escaping Heroid’s genocide but destined for crucifixion), small (babies), tree (in both panels); and its axial opposite, type 14 Mixer, of egress, time (here similar episodes in the era of Abraham, Moses and Christ), transform (virgin to mother). Another general theme here is the four transitional or ‘Basket’ fields, 2c v9c and 5c v13c; typical of woven texture (here the basket, reeds, trees, lamp glass); container (basket, lamp); secret (identity of the child, or of the parents, hidden in oracles). The list below notes features of the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Gruber; Bad Teinach altar triptych wings interiors picture Christ’s family’s Flight to Egypt; and an Egyptian princess finding baby Moses in the Nile (archetype labels and axial grid by E Furter).

Type Number and Label; Egypt character (noting archetypal features):

1 Builder; OFF THE GRID Egyptian princess prefiguring Mary with courtiers (see Egyptian legacy notes above).

2 Builder; Egyptian slave (builder) gesturing (twist) from a tight group (cluster).

2c Basket; Princess’ cloak (weave, arm-link).

3 Queen; Egyptian queen (queen) at the Nile (pool).

4 King; PrincessB (twin?) kneeling (squat) with golden cloak, her right eye.

5a Priest; PrincessB with red hair (colour), golden cloak (sash), her left eye (tailcoat-head).

5c Basket Tail; Key (secret, container, reveal) of princess. And princess C with hat or braids (weave, disc) finding Moses (reveal).

6 Exile; Baby (small) Moses, far from the centre (egress) in a basket (U-shape, sacrifice), later pictured with ram’s (caprid) horns (horned).

7 Child; Donkey steed (chariot) with passenger (bag), child (juvenile), reins (rope); both eyes on the axial grid.

9 Healer; Joseph’s lamp (lamp, trance. See Tarot trump 9, Hermit with a lamp. Recurrent features arise from archetypal inspiration, rarely from learning or conspiracy).

9c Basket Lid; Lamp cover (disc, lid, instrument, reveal, metal) held by Joseph (arm-link).

10 Teacher; Joseph holding (arms up) lamp and staff (staff), with hat (disc), escort (guard) of Mary and Christ.

11 Womb; Mary’s midriff (womb).

12 Heart; Baby Christ’s chest (heart), descendant of David of Judah, lion (felid), destined to die young (death).

13c Basket Head; Christ as prophesied (oracle), with halo (hat, weave); off the grid as c-types usually are.

14 Mixer; Mary, virgin yet mother (transform).

15 Maker; Egyptian courtiers A and B (doubled), empire (order) and slave masters (mace, smite).

15g Gal.Gate; Egyptian courtier C.

 

Axial centre; On the left inner frame or cut-line (juncture).

4p Gal.S.Pole; Egyptian princess’ hip (limb-joint).

11p Gal.Pole; Mary’s elbow (limb-joint), not labelled here to avoid clutter.

Summer and winter; Probably on the left inner frame or cut-line (juncture), thus on the vertical plane, placing summer between axes 14-15 or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces. Age Aries may be confirmed by the Egyptian queen on the right, who is uniquely shown in small perspective.

The analysis score in the two Bad Teinach wings is 34/68 archetypal features; 12/16 axial points; 14/4 c-type sector features; 0/2 g-gate sector features; 2/5 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 66/100, minus 2 extra characters off the axial grid; total 64%, near the global average. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Archetype in the Bad Teinach Bridal procession

The Bad Teinach altarpiece triptych cover top two registers, picture a Bridal procession. The list below gives the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Gruber; Bad Teinach altar triptych cover top two registers of angels and Bridal procession (archetype labels and axial grid by E Furter).

Type Number, Label, Decan; Procession character (noting archetypal features):

1 Builder or Taurus; Golden angel musician in group (cluster) on scroll (book).

2 Builder or Taurus; Brown angel trumpeter (twist, cluster).

2c Basket or Algol; Two trumpets (instrument, arm-link).

3 Queen or Aries; Blue angel trumpeter.

4 King or Pisces; Purple angel beating two (twin) drums.

5a Priest or Aquarius; Tan angel (winged) trumpeter (trumpet. See Tarot trump 20, Judgement with trumpet; 20 is a magnitude of 5 in base-8) in group (assembly).

5b PriestA or Aquarius; Dark blue angel (winged) reclining (horizontal).

5b PriestB or Aquarius; Purple-orange (varicoloured) angel (winged), axis to his chest (heart, of 13 opposite), in group (assembly) at scroll (sash).

5c Basket Tail or Piscis Austrinus; Scroll (texture) part three (reveal). And woven (weave) vase (container). And door into heaven.

6 ExileA or Capricornus; Woman in red and blue, neck bent (more usual at 3), further from the centre (egress).

6 Exile or Child extra; OFF THE GRID Woman with apple and skull.

7 Child or Sagittarius; Women kneeling with two children (juvenile).

7g Gal.Centre;Child’s foot (limb-joint) on route (path) in cloud (water).

8 Healer or Scorpius; ChildB, squatting (bent forward).

9 Healer or Scorpius; Bridesmaid, sister Sybilla, named after an oracle (trance) in blue, inclining (bent forward), holding thorns or scourge (strength, ‘heal’).

9c Basket Lid or Lupus; Scourge (weave, instrument, enforce) and anchor (instrument, metal) held by women (arm-link).

10 Teacher or Libra; Bridesmaid (guard, council), sister Anna Johanna, holding up (arm up) an anchor (metal, market, ‘staff’).

11 Womb or Virgo; Princess Antonia’s midriff (womb), crowned (law) bride of Christ.

12 Heart or Leo; Princess Antonia’s chest (heart).

13 HeartA or Leo; Princess Antonia, bride of Christ of Judah or lion (felid),

13 HeartB or Leo; Christ of Judah or lion (felid) crowing Princess Antonia, carrying curved palm branch as scythe (weapon, death).

13c Basket Head; Scroll (oracle, weave) fist section (head).

14 Mixer or Cancer; Pink angel (angel) holding scroll.

15 Maker or Gemini; Red angel (winged) trumpeter.

 

Axial centre; Golden angel’s elbow (limb-joint).

4p Galactic South Pole; Purple angel’s shoulder (limb-joint).

11p Galactic Pole; Antonia’s shoulder (limb-joint).

Summer; Pink angel’s lower hand (limb-joint).

Winter; Unmarked.

The marker and the horizontal plane place summer between axes 13-14 or Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, about BC 1400. This era, between the generally alchemical and astrological time-frames, support the theme of heavenly eternity. The golden angel as type 1 Builder is in the middle top, perhaps a spring marker confirming the time-frame as the perceived alchemical or eternal past.

A general theme in the Bridal procession is type 13 Heart, of death (afterlife), eternity (heaven), or platforms (registers of clouds). All five layers of structural expression are subconscious to artists, and members of any culture.

The analysis score is 35/68 archetypal features; 18/16 axial points; 15/4 c-type sector features; 2/2 g-gate sector features; 4/5 polar markers; 0/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 1/2 general themes; thus 76/100, minus 5 extra characters off the axial grid; total 71%, in the top half of the sigma curve of averages.

Structuralist data confirm visual ‘grammar’

Structuralist analysis scores in the three mindprints in the central panel is 92%, 87%, 60%; in the Flight to Egypt wings 64%; in the Bridal procession 71%. Their total average is 75%, in the upper range, against currently known subconscious features in visual expression. If more universal average elements are discovered, score weighting between the layers may change. The scoring was designed to identify whether an analysis had identified the subconsciously ‘intended’ typological identifications; sequence; axial grid; polar markers; and time-frame elements. Any result above 80%, or below 40%; or consistently high or low results in artworks that could be grouped by place, time, style, or media, would indicate bias in the identified structure, or in the scoring. Given the complexity, and the consistency of about 700 test results in artworks from a wide range of cultures, styles, and eras, the method is deemed sufficient for confirming subconscious expression of archetypal structure. The unusually high score in the bottom two registers of this dense esoteric work by a team of advisors, could be ascribed to meditative integration.

Art expresses conscious and subconscious meanings

Over-conceptualisation alone (as in some paintings by Blake, and Poussin) do not achieve excessive scores, but lower some scores due to conscious interference between inspiration and design. Over-stylisation (as in many Mayan, Aztec, and some modern works) could also damage the structure of visual expression, unless it is integrated into the content and design by meditation, which in artists (as in poetry) could be defined as a process to suppress conscious involvement, and enable subconscious eye-hand-mind co-ordination. ‘Conceptual’ art typically has fewer than eleven characters, and express single types, not archetypal visual ‘grammar’. Mindprint is as innate as Zipf’s law (the frequency of words in any language follow a regular scale); or the periodic table of stable isotopes and transition elements; or the universal syntax and sub-systems in language, as Chomsky identified; or irregular cosmic geometry as Gombrich identified. Natural structure informs all of nature, including cosmology and culture. Thus most recurrent features in different works and in different media, are sustained by subconscious inspiration; while very few features are sustained by arbitrary convention (Furter 2016, in refutation of the trance convention theory). The Bad Teinach esoteric teaching board scheme contains many consciously recognisable universal features, such as planets, angels and gods, but no conscious construct or convention could explain the five layers of semi-optional features in hundreds, and probably in all artworks, built sites and other spatial media worldwide.

Double and triple grids usually interlock

Interlock between the three mindprints in the central panel, confirm each analysis, and confirms the middle register or ‘college’ mindprint twice. Interlock is never perfect, and adjacent axial grids never share any continuous axis; as if there were some lapse of orientation or time between every imprint. In complex works, the analysis scores are often lower due to lesser integration of conscious symbolism into the subconscious structure. But the Bad Teinach triptych is a masterpiece and a triumph of mediation, integration and esoteric craft.

Protestant, pagan, secular art, and rock art, has similar works, of similar subconscious complexity. No culture and no era has a monopoly on art, philosophy, alchemy, astrology, esoteric crafts, culture in general, or the expression of archetype.

Bad Teinach church exterior (after Pamela Coleman Smith).

Some Sources and References

Alchemia, 1615. Cabala as mirror of art and nature

Chomsky, N. 1986 Knowledge of Language. USA. Greenwood

Coetzee, Cyril, 2016; Princess Antonia’s Lehrtafel. Arts Society public lecture; Johannesburg

Dixon, Laurinda. 2003. Bosch. Phaidon

Endicott, K.M., & Welsch, R.L. 2005. Taking sides. Third ed., Iowa, McGraw-Hill/Dushkin

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.

Gombrich, EH. 1979. 1984 Sense of Order: A Study in the Psychology of Decorative Art. Cornell University Press

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

Jung, CG. 1951. Alchemical Interpretation of the Fish. Aion, CW 9, 2

Levi-Strauss, C. 1969. Raw and the cooked. Chicago. University of Chicago Press

Levi-Strauss, C. 1973. From honey to ashes. London. Jonathan Cape

Levi-Strauss. C. 1981. Naked man. New York. Harper & Row

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

Norfleet, Phil. 2015. The altarpiece of Princess Antonia. pamela2051tripod.com

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

Rohl, D. 2007 Lords of Avaris. Century

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

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
Archetype in New Age and ayahuasca art

Ambrose and Atlantia’s tree of subconscious connections

Kuba Ambrose and Vera Atlantia’s Rainbow tribe artwork of ayahuasca or DMT trancers under an Eden tree, expresses two concentric cycles of characters, with their eyes on two axial grids nested in one another. These imprints are among the most dense clusters of general conscious and subconscious meaning found in the 700 artworks analysed from 2010 to 2019. The double grid adds to semantic (contextual), semiotic (core meaning) and spatial coherence; for which it sacrifices some individual differentiation among the characters. Structuralist analysis confirm that archetype guides natural, inherent order, including subconscious behaviour.

Some archetypal features are ambiguous, just as words require some context to become meaningful. But each cluster of meaning, such as an episode in myth or legend, keeps the same meaning in all times and places.

General themes in their Eden inner cycle of people, are typical of types 9 Healer, 9c Basket Lid, and 10 Teacher. These types are typically expressed in art by bent-forward postures, spiritual strength, pillars (here trees and spines), healing, trance, discs (here trees and snake heads), smelting (here from the spiritual pool); revelation (here a vision), weave (here of branches and snakes), enforcement of natural law, snakes, arm-links (here holding hands), leg-link (here of rooted spines); arms in W-posture, staffs (here spinal trees), hunt-master (here as crown of creation), guard (here the tree of collective wisdom), council (here an orderly gathering), ecology (here an Eden scene), and school (here of innate learning).

This work is by two artists collaborating. Structuralist analyses confirm mindprint in several other collaborations (such as Eljana van der Merwe and Mexico’s University of People of the South in a Mandela Day festival site mural).

Kuba Ambrose and Vera Atlantia; Rainbow tribe (after DMT Times. INNER cycle mindprint labels and axial grid by Edmond Furter). The two cycles (see the outer cycle below) run anti-clockwise by hour decans, or clockwise by seasons; but their orientations are flipped by 180 degrees. In the innter cycle, types analogous to summer months are on top.

Type Label; Inner character (noting archetypal features):

2 Builder; Man A with snake on his head (cluster).

3 Queen; Buffalo, near extinct (sacrifice). Bovid is more typical of 2.

4 King; Woman M (squatting, not accounted due to repetition).

5a Priest; Man L (priest, not accounted here due to repetition), with rooted spine (tailcoat head, not accounted here), via heart (of 12 opposite, not accounted here), in a group (assembly, not accounted here), with aura (varicoloured, not accounted here).

5b Priest; Woman K (features as for 5a) .

5c Basket Tail; Two doves or spirits incarnate, oracular? (reveal).

6 Exile; Man J, spine rooted (tree, not accounted here due to repetition).

7 Child; Reindeer. This species enabled our Ice Age survival.

7g Gal.Centre; Antler horns (limb joint).

9 Healer; Man H, spine rooted (pillar, not accounted here to do repetition), in trance (not accounted here).

10 Teacher; Woman G, in W-posture (arms up not accounted here), in group (council, school; not accounted here).

11 Womb; Woman E’s midriff (womb). Her eye is off the axial grid as usual.

12 Heart; Man F.

13 Heart; Man D with solar plexus chakra (‘heart’), tree spirit (angel), with rainbow (waterwork).

13c Basket Head; Tree (tree, oracle) as brain (head, hat, lid), with snakes (weave, tail); Not counted here.

14 Mixer; Man C with snake branches (tree, angel, reptile; not accounted here due to repetition).

15 Maker; Woman B in linked circle (churn, order; not accounted here).

 

Axial centre; Vine child’s hand (limb joint).

04p Gal.S.Pole; People E and F’s wrists (limb joints).

11p Gal.Pole; Unmarked.

Midsummer (cp); Person D’s elbow (limb joint).

Midwinter (csp); Vine child’s foot (limb joint).

These markers place midsummer in Leo-Cancer (confirmed by the top central position of type 13, analogous to Leo), thus spring and the cultural time-frame in Age Taurus-Aries. Transitional time-frames often appear in works themed on change.

Tree within a tree of knowledge

General themes in Ambrose and Atlantia’s Eden outer mindprint, of animals, include types 3 Queen, typical of long or bent necks, dragons (here snake-people), sacrifice (here of nature for culture, wild for domestic, subconscious for conscious, and their inverse), school (here of re-learning natural wisdom); type 4 King, typical of squatting (here crossed legs), king (here of humans as crown of creation), twins (here as genders and couples), sun, furnace (here as inner lights), field; type 5 Priest, typical of colours, ritual, tailcoat heads (here from linked spines), assembly, water (here a rainbow), heart (here spiritual lights), reptile (here snakes), inversion (here from culture to nature, conscious to subconscious, inner to outer); and the half-type 5c Basket Tail, typical of woven texture, tails, trees or herbs (here ayahuasca brew), revelation (here of a universal vision).

This imprint is among the more dense clusters of general conscious and subconscious meaning found in the 700 artworks analysed from 2010 to 2019. This analysis confirms that archetype guides natural, inherent order, including subconscious behaviour. The two captions demonstrate and confirm that some archetypal features are ambiguous, just as words require some context to become meaningful. Some species could express some features of several types (particularly snakes and birds), and a first may seem ambiguous. But each cluster of meaning, such as an episode in myth or legend, keeps the same meaning in all times and places. Mindprint isolates archetypal clusters based on recurrence, as the Aarne -Thomson -Uther (ATU) catalogue isolates recurrent motifs in legends.

Kuba Ambrose and Vera Atlantia; Rainbow tribe (after DMT Times. OUTER cycle mindprint labels and axial grid by Edmond Furter). Both cycles (see the inner cycle on top) are anti-clockwise by hour decans, or clockwise by seasons; but their orientation is flipped by 180 degrees. In the outer cycle, the winter ‘months’ are on top.

Type Label; Outer character (noting archetypal features);

1 Builder; Person G, in a group (cluster, not accounted here due to repetition).

2 Builder; Man F.

2c Basket; Snake I (snake, not counted) in tree (weave, not counted).

3 Queen; Snake H (neck long and bent, dragon; not counted), tutor (school, not counted).

4 King; Snake G. And woman E, crossed legs (squat, not counted).

5a Priest; Snake F (reptile, not counted), violet head (colours, not counted), from tree person (tailcoat head, not counted), in group (assembly, not counted), from rainbow source (water).

5b Priest; Snake E (features as of 5a).

5c Basket Tail; Tree snake person with rainbow (type 5 features: reptile, colours, water, priest, hyperactive, tailcoat head, assembly, judge; type 5c features: weave, tree /herb, reveal). C-types are off the axial grid, but between specific axes. Unusually, here two 5c characters are on the grid.

5c Basket TailB; Snake C (weave, tail, tree, reveal, disc; not counted). And tree person’s chest (heart, of 13 opposite). Types 5 may express some features of their axial opposites.

5c Basket TailC; Snake B (features as of 5a). And tree person’s solar plexus (‘heart’)

6 Exile; Snake A (reptile, tree; not counted), from woman B (double-headed), near the centre (ingress).

7 Child; Buffalo A, calf? ( juvenile).

8 Healer; Buffalo B (strong).

9 Healer; Cow. And man L.

9c Basket Lid; Rooster with comb (disc, hat).

10 Teacher; Pig (market?).

11 Womb; Woman K’s midriff (womb). And ayahuasca pot brewing visions (‘womb’).

12 Heart; Chest (heart) of lioness (felid), its spirit a dove (angel).

13 Heart; Chest (heart) of lion (felid), its spirit a dove (angel).

13c Basket Head; Reindeer calf. C-types are usually off the grid, here four are on the grid.

13c Basket HeadB; Reindeer with antlers (hat, weave). And woman I.

14 Mixer; Man H near the centre (ingress), spine rooted (tree, not counted).

15 Maker; Buffalo.

 

Axial centre; Unmarked as usual.

04p Gal.S.Pole; Woman K’s elbow (limb joint).

11p Gal.Pole; Woman E’s shoulder (limb joint).

Midsummer (cp); Vine child’s jaw (limb joint).

Midwinter (csp); Woman E’s elbow (limb joint).

These markers place midsummer between 2 and 2c, analogous to Taurus Perseus; thus spring and the cultural time-frame in Age Aquarius, confirmed by the top central character expressing an extra type 5c, analogous to Aquarius Piscis Austrinus. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Chemical and bio-chemical fractals

Visions prompted by drugs tend to result in doubly symmetrical art designs, where some features are vertically and horizontally mirrored. Persian carpets share the design features of double mirroring, fractals and digital texture. In nature, and in living bodies, the same applies. DNA is a double spiral, lopped into knots and ‘plates’. Hominids carry DNA combinations that may have arisen from four worms joining their cells and organs with protozoa, bacteria and viruses. Our irises mirror one another in forming two circular body maps, with slight differences in the heart and womb area (Furter 2016). Our teeth mirror one another doubly; top and bottom jaws, left and right; each quarter carrying reflexes or lymph nodes to our major organs (Furter 2016).

Recurrent features in nature and in culture, indicate that matter and energy use certain building blocks at many levels of scale, reversing and inverting some to mutate into larger and more complex species. But successful omnivores who reach the top of a food chain, stop using mutation to change, and use it to remain the same instead. They rotate a repertoire of features to stay a few steps ahead of competing species, parasites and natural disasters. They ‘run to stand still’. Among those species are viruses, bees, mosquitoes, predators, and humans. One of the main differences between hominid apes and us, is variety. Apes, including hominids, evolve fast, most remain prey to other mammals, and compete with one another. Humans became survivable in Ice Ages, and have remained one species ever since.

The ultimate aims of nature are familiar to chemistry, biology, ecology, sociology and economy; self-replication, by exploitation and transformation of maximal energy and matter by least effort (Zipf 1949). Species, artworks and buildings also use these strategies, with more energy invested in apparent differentiation. Species use inherent mutation to explore vacant niches, and retain features that enable exploitation. This process is named conversion. American vultures are unrelated to Eurasian vulture, but came to look similar by the dictates of available food.

Categories
Archetype in New Age and ayahuasca art

Amanda Sage’s New York terror art: built and ruined

Amanda Sage’s collaboration artwork, Wind in the meat, pictures the 2001 New York terror attack in surreal and abstract style, similar to some Ice Age, rock art, Cubist, 1970s Modern, and some ayahuasca artworks, where ‘entoptics’ appear among representations. General themes in this work are indicated by extra features of types 1 /2, 3, 4 and 12/13:

1 /2 Builder, typical of cluster (here as debris in the fireball), bovid (elephant at 1), bird (raven at 14), tower (World Trade Centre and Manhattan), build (towers), ruin (terror), hero (firemen? at 11-12), book (TV at 12-13), pit (at 9-10), rain (ironically fire);

3 Queen, of long or bent necks (here at 13), sacrifice (fire), pool (river and ocean);

4 King, of twins (here Twin Towers), rectangle (buildings), sun or furnace (fireball);

12/13 Heart, of heart (here the fleeing antelope’s visible heart), death, rounded (fireball and debris), weapon (terror), war (terror), water-work (ocean vortices), angel (spirits leaving at 15).

Compare the themes in this work to the Babylonian and Biblical Tower of Babel tale’s ‘prophetic’ version, including bee tribes; and Tarot trump 16, Tower struck by lightning (16 is a magnitude of 1 in the natural number system of base-8); and Basil Valentine’s alchemical emblem of an island city struck by lightning; and Credo Mutwa’s New York art scenes. These themes all express type 1 Builder or Ruiner.

Some rock art works also use abstract shape as subconscious characters (see Furter 2017a; Recurrent characters in rock art reveal objective meaning, in Expression 16, June. Italy: Atelier Etno). Below is the structuralist analysis of how this artwork expresses universal archetypal features, in the standard structuralist anthropology format.

Amanda Sage collaboration; Wind in the meat, themed on the 2001 New York towers terror attacks (after DMT Times. Mindprint labels and axial grid by Edmond Furter). The style mixes surrealism and abstraction, similar to some Ice Age, rock art, Cubist, 1970s Modern, and some ayahuasca artworks, where ‘entoptics’ appear among representations.

Type Label; Character (archetypal features):

1 Builder; Elephant (bovid). And burning person (twist, hero). And flash C (cluster, lightning). An elephant carrying a tower or obelisk expresses type 4p; see the note under the polar markers below.

2 Builder; Flash A (cluster, lightning).

2c Basket; Tower A (weave, container, throne).

3 Queen; Red fireball (sacrifice).

4 King; Grey ash-ball B of a pair (twins, furnace). And central stone.

5a Priest; Blue-grey stone B (weapon, of 12 opposite).

5b Priest; Blue-grey stone A (weapon, of 13 opposite) in pink rings (colours).

6 Exile; Bound parcel (rope and bag are more typical of 7), far out (egress).

7 Child; Rubble rock (mace, eyeless; not counted here due to repetition).

7 ChildB; Round rock nodule (bag, unfold, mace, eyeless; not counted here).

8 Healer; Oblong rock nodule (disc, smelt; not counted here).

9 Healer; Bird-shaped flame trail (smelt; not counted here). Swifts or swallows and mud nests are more typical of 1 2/ opposite.

9c Lid; Ocean drain pits.

10 Teacher; Sailboat.

11 Womb; Antelope’s midriff (womb).

12 Heart; Antelope’s heart (heart). And yellow flower (rounded) or wreath (death).

13 Heart; Antelope, rear eye. And onlooker, perhaps an artist.

14 Mixer; Antelope (antelope) front eye, near the centre (ingress).

15 Maker; Raven (winged), hooded (bag), pecking a building (smite).

15 MakerB; Four (doubled) fire-fighters with hose (churn, ‘rope’). And a jumper’s soul flying (winged, rampant).

15g Gal.Gate; (juncture, limb joint).

 

22 Axial centre; Unmarked as usual.

04p Gal.S.Pole; Red stone.

11p Gal.Pole; Diamond framework (juncture). An elephant (see 1 above) carrying an obelisk (a diamond is a mirrored obelisk), expresses type 4p opposite, in some illustrations in the Hypnerotomachia Poliphili in the 1500s; and in some of Salvador Dali’s artworks.

Midsummer; Small banded gem, or larger banded gem. Midwinter; Pebble, or tiny pebble. Both polar axle options are near the horizontal plane; in the 15-1 field, or in the 2-1 field, placing midsummer in Gemini-Taurus1, or Taurus1-2. These imply spring and the cultural time-frame in Age Pisces-Aquarius, or Age Aquarius 5a-5b. The top central position of types 4 and 5 in the ruin ball, confirms the transitional Age. The 2009 event memorialised here, occurred seven years before the ecliptic or archetypal transition from Age Pisces to Age Aquarius. Most artworks express the foregoing Age, but transitional and memorial works tend to express the current or future Age. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Archetype is the ‘DNA’ in all cultural media

The standard format of structuralist analyses of artworks inspired by ayahuasca visions, confirm that all cultures and counter-cults subconsciously express about 100 known recurrent motifs in complex artworks, built sites, and other cultural media. The only possible explanation for the presence of the complex and quirky detail or ‘meta-data’ of the inherent structure of expression, is that all artists, societies, perception, ‘mind’, nature and meaning itself, is pre-determined by archetype.

Recurrent optional features, and axial spacing of the eyes or focal points of characters in artworks and built sites, enabled the discovery of five layers of perception and expression in all styles and cultures. Below is a guide to how to identify the subconscious structure, or visual and spatial ‘DNA’, in any complex artwork or built site. Archetype guides the way that nature and culture expresses matter, energy, and meaning. Thus structuralist anthropology analysis raises the innate blueprint of archetype to conscious understanding for the first time. The rigorous underlying regularity in apparently random behaviour is named mindprint in artworks (Furter 2014), or stoneprint in built sites (Furter 2016).

Demonstrating this natural, inborn imprint in artworks, reveal how themes, symbols, styles and even ‘different’ media, all use the same repertoire of features.

See more examples in other posts. See more ayahuasca art analyses on https://mindprintart.wordpress.com/2016/10/03/ayahuasca-art/ or on DMT Times; Ayahuasca artists also express universal meaning.

The only structuralist difference from other art styles, is that the inherent time-frame in ayahuasca art tends to be in Age Pisces-Aquarius, or in Age Aquarius. This framework was formerly found mainly in monumental public works intended to perpetuate an event or culture. The current Age transition is confirmed by the prominence of type 5 Priest or Ritual, or its opposite, type 13 Heart or Death, in the artworks; and by extra features of type 5 in the artworks. For the last 2000 years, from about BC 80 to AD 2016, the dominant time-frame was either Age Pisces, or the foregoing Age Aries. Artists in every Age mostly express the time-frame of the former Age, wherein they believe their culture was rooted or formed. Age transitions are always subtle and gradual. Some themes in recent New Age art, reveal a sense of dread and expectation of immanent change.

See an article on Ayahuasca Oracle of the Dead as counter-cult to Divide and Kill culture, on www.stoneprintjournal.wordpress.com).

Art comes from archetypal inspiration, prompted by nature, innate perception, and some examples; not from number, myth, decans, zodiacs, drugs, or any media in particular. See some Surrealist artworks, and some DMT-styled artworks in structuralist analyses on https://mindprintart.wordpress.com/2016/10/02/peyote-or-mescaline-art/

Categories
Archetype in New Age and ayahuasca art

Bryan Ward’s Entheogenic Eden art as subconscious tree of knowledge

The main general theme in Bryan Kent Ward’s Entheogenic garden of Eden, is type 15 Maker or Re-creator, expressed here as nature, or plant, animal and cultural kingdoms nested in one another as mutual consciousness. Type 15 Maker recurrent features in subconscious expression include churns (here a circle of life), ropes (roots and intestines), order (natural kingdoms), bags (bulbs), doubling (genders), reptile (snakes), or wings (here of Adam). Type 15’s axial opposite is type 7 Child, where recurrent features include bags and ropes (as above), juvenile, or unfolding (here as foetuses and hominids). The high level of integration of sub-themes indicates spiritual and mental integration of the artist, and of the genre of psychedelic art.

Ward himself sees this work as “Subversion of the garden of Eden and Adam and Eve; a serpent tempting by forbidden knowledge in natural life, fruit and plants; visual play with ideas of alien consciousness in insects; and shapes common to jellyfish, psychedelic mushrooms, and a nuclear fusion cloud, as manifesting symbolic transubstantiation of Christ consciousness.” (See Ward’s general view of his work in the Comment window below).

Several general typological themes are directly pictured here, due in part to the high level of integration of Eden and Genesis themes in myth, surreal art, ritual and language; but due mainly to the rigorous way that archetype expresses itself through nature, cultural media, and the works of gifted artists. General themes here include:

2c Basket, of shoulder humps and armlinks (Adam and Eve’s nine shoulders); containers (bulbs, bodies). The time-frame or ‘spring’ position in this work is also 2c (see notes under the polar markers bleow).

05 Priest, of colours, priest, hyperactive, tailcoat head, assembly, horizontal, water, heart, large, bovid, reptile, winged, invert, weapon, sash, judge, felid of 13 opposite, equid); opposite type 13 Heart (Adam’s creative heart).

9c Lid, of discs and lids (skulls); pillars (tree); secret and revelation (here of invisible connections made visible in holographic vision). Ayahuasca artworks tend to express c-types unusually strongly.

10 Teacher, of raised arms (Adam, Eve and the tree); council and school (species instructing one another); ecology (holographic nature).

11 Womb, of midriffs (Adam’s and Eve’s wombs, foetuses); crops (bulbs, fruit); water (pool); law (here natural integration itself); tomb (ancestral species).

14 Mixer, of time (species); transform (re-creation); and tree.

The work subconsciously integrates several general themes, identified by archetypal axes in the structuralist analysis, in standard format below.

Bryan Kent Ward; Entheogenic garden of Eden, no fruit forbidden, or Snake that giveth knowledge, delight, bright glory, and stirs the heart of men (after BK Ward, with permission. Archetype labels and axial grid by E Furter).

Type Label; Character (archetypal features):

02 Builder; Sun or moon (spring).

02c Basket; Third eye (secret) of the animal head on forehead (hat, container?) of tree (weave).

03 Queen; Tree (long and bent neck) with root tongue (dragon?), right eye, instructing (school) Adam.

04 King; Tree left eye (twins) with tongue of flame? (furnace).

04 King B; Tree fruit, eaten by bird (bird).

05b Priest; Mantis (colours), ‘praying’ (priest) and aiding in making Eve (hyperactive), oversized (large). See other type 5 mantids in Amatola rock art, resembling Egyptian Naqada style (Furter 2014; Mindprint p,,,,,,); and in Willem Snyman’s Light bulb Eden (forthcoming).

06 Exile; Butterfly (small), far from the centre (egress). And tree (tree) tongue snake (reptile), near the centre (ingress).

07 Child; Eve developing (unfold, bag, juvenile) from a root (rope), her head outside the frame (beheaded, eyeless). And a tree root person (rope) in a group.

07g Gal.Centre; Roots and bulbs (juncture, water).

09 Healer; Snake (bent forward) of Adam’s spine (pillar), engendering (heal) Eve.

09c Lid; A bird skull (disc, hat, lid) in a heap (hump). And coiled (wave) snake (snake, reveal) between Adam’s left arms (armlink).

10 Teacher; Hominid (huntmaster?) skull (disc) in a heap (council, ecology, school).

11 Womb; Foetus B in heap (womb, tomb). And Adam’s midriff (womb) linked to Eve.

11 Womb B; Foetus A in heap (womb, tomb). And Adam’s midriff (womb).

13 Heart; Adam’s throat wound where his heart (heart) is inserted or removed (death);  winged (angel).

14 Mixer; Adam (time?), winged (angel). And his third eye (transform); splitting from a tree (tree), into a couple (transform).

15 Maker; Adam’s heart removed (churn) by branched hands (rope), creating (order) Eve (doubled).

15g Gal.Gate; Pool (juncture, water).

 

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Tree’s ‘jaw’ (juncture).

11p Gal.Pole; Adam’s chest wound (juncture).

Summer; Adam’s upper left shoulder (limb-joint).

Winter; Tree’s ‘jaw’ hinge-point (juncture).

These seasonal markers are very near the horizontal plane, confirming summer on axis 13-13c, placing spring and the cultural time-frame in Age Taurus-Aries or Basket. Transitional time-frames are typical of works consciously themed on cultural renewal. The top central position of type 2c, and the small distant ape or person as another 2c, confirm the time-frame. C-types are off the axial grid, but between specific axes.

The ape-man (limb-joints) in a small tree (juncture) is an alternative summer marker, near the vertical plane, opposite the alternative winter marker as Adam’s upper left wrist (limb-joint). This solstice axle (as traced on the image) places summer near axis 2 or Taurus, thus spring and the cultural time-frame in Age Aquarius, perhaps confirmed by the prominence of type 5 Priest or Aquarius as a large mantis.

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

Archetype is the ‘DNA’ in all cultural media

The standard format of structuralist analyses of artworks inspired by ayahuasca visions, confirm that all cultures and counter-cults subconsciously express about 100 known recurrent motifs in complex artworks, built sites, and other cultural media. The only possible explanation for the presence of the complex and quirky detail or ‘meta-data’ of the inherent structure of expression, is that all artists, societies, perception, ‘mind’, nature and meaning itself, is pre-determined by archetype.

Recurrent optional features, and axial spacing of the eyes or focal points of characters in artworks and built sites, enabled the discovery of five layers of perception and expression in all styles and cultures. Below is a guide to how to identify the subconscious structure, or visual and spatial ‘DNA’, in any complex artwork or built site. Archetype guides the way that nature and culture expresses matter, energy, and meaning. Thus structuralist anthropology analysis raises the innate blueprint of archetype to conscious understanding for the first time. The rigorous underlying regularity in apparently random behaviour is named mindprint in artworks (Furter 2014), or stoneprint in built sites (Furter 2016).

Demonstrating this natural, inborn imprint in artworks, reveal how themes, symbols, styles and even ‘different’ media, all use the same repertoire of features.

See more examples in other posts. See more ayahuasca art analyses on https://mindprintart.wordpress.com/2016/10/03/ayahuasca-art/ or on DMT Times; Ayahuasca artists also express universal meaning.

The only structuralist difference from other art styles, is that the inherent time-frame in ayahuasca art tends to be in Age Pisces-Aquarius, or in Age Aquarius. This framework was formerly found mainly in monumental public works intended to perpetuate an event or culture. The current Age transition is confirmed by the prominence of type 5 Priest or Ritual, or its opposite, type 13 Heart or Death, in the artworks; and by extra features of type 5 in the artworks. For the last 2000 years, from about BC 80 to AD 2016, the dominant time-frame was either Age Pisces, or the foregoing Age Aries. Artists in every Age mostly express the time-frame of the former Age, wherein they believe their culture was rooted or formed. Age transitions are always subtle and gradual. Some themes in recent New Age art, reveal a sense of dread and expectation of immanent change.

See an article on Ayahuasca Oracle of the Dead as counter-cult to Divide and Kill culture, on www.stoneprintjournal.wordpress.com).

Art comes from archetypal inspiration, prompted by nature, innate perception, and some examples; not from number, myth, decans, zodiacs, drugs, or any media in particular. See some Surrealist artworks, and some DMT-styled artworks in structuralist analyses on https://mindprintart.wordpress.com/2016/10/02/peyote-or-mescaline-art/

Categories
Archetype in New Age and ayahuasca art

Martina Hoffman’s art spins a web of life and meaning

Martina Hoffman’s artwork, Caught in the web, consciously develops graphic themes of creation, knowledge, ecology and ayahuasca visions; and subconsciously expresses the universal structure of space, time and meaning, as all complex artworks do. Its near-symmetry, typical of many DMT vision-styles artworks, hints at an invisible axial grid, but the conscious design centre and the subconscious structuralist centre never co-incide. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

The general subconscious theme here is type 5 Priest, typical of colours, priestly ritual, hyperactivity, tailcoat heads (here of visions emerging from a body), assembly, horizontal, reptiles, and inversion; and its axial opposite, type 12/13 Heart, typical of hearts, felid (here the large tiger face), death (here as the otherworld), rounded (here in the outline), and inversion. These two types are often prominent in ayahuasca and oracular works. Below is a structuralist analysis of known archetypal features in this work, in the standard format.

Martina Hoffman; Caught in the web (2003, oil on canvas, after http://www.martinahoffmann.com with permission. Axial grid and mindprint labels by Edmond Furter). The theme and design is based on a web linking the vegetative, reptilian, mammalian and spiritual kingdoms. The universal axial grid and typology is subconscious to all artists.

Type Label; Character (archetypal features):

1 Builder; Yellow snake A, both eyes (cluster). And green snake B emerging (twist, cluster). And human loose eye B, skew (twist).

2 Builder; Violet snake A (twist, cluster).

2c Basket; Design centre of the life web (weave).

3 Queen; Green snake C (neck long and bent). And human loose eye A, inclined (neck bent, dragon). And orange snake D (neck long and bent) swallowing loose eye A (dragon, sacrifice).

4 King; Armband snake B (twins).

5a Priest; Violet snake D (colour, reptile) around (sash) the trancer (priest), flat (horizontal).

5a -5b Priest; Lime green snake (reptile) over trancer downward (invert).

5b Priest; Trancer (priest) vomiting visions (colours, hyperactive, tailcoat head, assembly), of a tiger (felid of 13 opposite) and snakes (reptile); lying down (horizontal) head forward (invert).

5b PriestB; Violet snake C (colours, reptile) around (sash) trancer (priest) flat (horizontal),

5c Basket Tail; Armband (weave) snake A from a vine (tree herb, reveal).

6 Exile; Violet snake B (reptile).

6 ExileB; Yellow snake B (reptile), nested outline (U-shape), near the axial centre (ingress).

7 Child; Orange snake A, small (juvenile), perhaps a mole snake? (eyeless).

8 Healer; Green snake C.

9 Healer; ?

10 Teacher; Green snake A, outside the outline (guard, snake).

11 Womb; Midriff (womb) of yellow snake A.

12 Heart; Tiger (felid).

12 -13 Heart; Bee person A.

13 Heart; Chest (heart) of yellow snake A.

13 HeartB; Flower pollen (heart) and nectar.

13c Basket Head; Insect-eating flower sprout (container).

14 Mixer; Tree (tree) frog or toad (reptile), poison or hallucinant skin, nearer the centre (ingress).

14 MixerB; Bee person? (angel?), far from the centre (egress).

15 Maker; Two people? (doubled) arm in arm (churn), meditating?

 

22 Axial centre; Unmarked, as usual.

04p Gal.S.Pole; Lime green snake body (limb joint?).

11p Gal.Pole; Leopard ear (unmarked).

Midsummer; Leopard eyebrow (juncture?).

Midwinter; Leopard jaw (limb joint). This marker places midsummer in Leo12, thus spring and the cultural time-frame in Age Taurus1, confirmed by prominence of yellow snake B, and a loose human eye, as type 1. Taurean time-frames are typical of alchemical works.

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

Archetype is the ‘DNA’ in all cultural media

The standard format of structuralist analyses of artworks inspired by ayahuasca visions, confirm that all cultures and counter-cults subconsciously express about 100 known recurrent motifs in complex artworks, built sites, and other cultural media. The only possible explanation for the presence of the complex and quirky detail or ‘meta-data’ of the inherent structure of expression, is that all artists, societies, perception, ‘mind’, nature and meaning itself, is pre-determined by archetype.

Recurrent optional features, and axial spacing of the eyes or focal points of characters in artworks and built sites, enabled the discovery of five layers of perception and expression in all styles and cultures. Below is a guide to how to identify the subconscious structure, or visual and spatial ‘DNA’, in any complex artwork or built site. Archetype guides the way that nature and culture expresses matter, energy, and meaning. Thus structuralist anthropology analysis raises the innate blueprint of archetype to conscious understanding for the first time. The rigorous underlying regularity in apparently random behaviour is named mindprint in artworks (Furter 2014), or stoneprint in built sites (Furter 2016).

Demonstrating this natural, inborn imprint in artworks, reveal how themes, symbols, styles and even ‘different’ media, all use the same repertoire of features (see the list of known features, and the axial grid model below).

In 2010, after 26 years of study in the human sciences (anthropology, psychology, sociology, archaeology, art history) and crafts (astrology, I Ching and other forms of divination), I found previously unknown recurrent features in rock art, and started testing other art forms, styles, and media. By 2011 I had confirmed the specific structure, and the average frequencies of optional features, in Renaissance, ‘Ethnic’, Religious, Modern, Surreal, Abstract and all other recognised art styles. By 2013 some of Pablo Amaringo’s ayahuasca-styled artworks were part of the evidence (Furter 2014; Mindprint p157). By 2017 I found that several artists inspired by ayahuasca visions (such as Nic Warner), were designing works as complex in conscious concept, and in subconscious structure, as masters in any other style or school (see https://mindprintart.wordpress.com/2016/10/03/ayahuasca-art/). Recently I demonstrated how three aya-styled artists subconsciously express the universal structure (Furter 2019; DMT Times). This article adds more artworks and artists to the database of subconscious expression of the core content of culture.

The only structuralist difference from other art styles, is that the inherent time-frame in ayahuasca art tends to be in Age Pisces-Aquarius, or in Age Aquarius. This framework was formerly found mainly in monumental public works intended to perpetuate an event or culture. The current Age transition is confirmed by the prominence of type 5 Priest or Ritual, or its opposite, type 13 Heart or Death, in the artworks; and by extra features of type 5 in the artworks. For the last 2000 years, from about BC 80 to AD 2016, the dominant time-frame was either Age Pisces, or the foregoing Age Aries. Artists in every Age mostly express the time-frame of the former Age, wherein they believe their culture was rooted or formed. Age transitions are always subtle and gradual. Some themes in recent New Age art, reveal a sense of dread and expectation of immanent change.

One species, one culture, programmed to divide

Cultural media allow superficial differences to support competing socio-economic interests via tribal bonding. Our hard-wired compulsion to express the same innate story worldwide, is ironically as strong as our compulsion to rally around the slightest differences. These cultural ironies are also inherent in our eternal obsession with the afterlife and the subconscious (see Ayahuasca Oracle of the Dead as counter-cult to Divide and Kill culture, on www.stoneprintjournal.wordpress.com). We fear and repress the subconscious, yet we seek some assurances and interaction from it. Our rituals, diagnoses, healing, drugs, maturity cycles, myth, drama, art, theology and science, invoke and use conscious and subconscious logic. Individual and social maturity cycles strive to reconcile life and mortality, and painful differences between our conscious and subconscious compulsions.

Art comes from archetypal inspiration, prompted by nature, innate perception, and some examples; not from number, myth, decans, zodiacs, drugs, or any media in particular. See some Surrealist artworks, and some DMT-styled artworks in structuralist analyses on https://mindprintart.wordpress.com/2016/10/02/peyote-or-mescaline-art/

How to identify archetypal structure in artworks

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. Here is a guide to how to identify the subconscious structure, or visual ‘grammar’, in complex artworks containing eleven or more characters.

The axial grid model of archetypal characters, labelled as generic social functions, with their sequential, spatial and polar relationships (after Furter 2014, 2016, 2019). Nature and culture projects archetypal structure on a plane, around an axial centre, with some features analogous to cosmology.

The 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. Here is the set of mindprint labels to identify archetypal characters. Axial opposites 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 13Heart 13cHead 14Mixer 15Maker 15g

 

cp csp ? ?

 

Characters expressing archetypes always have their eyes (except a womb at 11, and a heart at 12/13), on an axial grid, formed by standard pairs (1v8, 2v9, 3v10, etc). Artworks also express two ‘galactic’ polar points (4p v 11p); 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 (unlabelled to avoid clutter). Polar points are not on eyes, but on limb joints.

The four main types could be doubled, as they are in the axial model (1v8, 2v9; 5a v12, 5b v13); or they could be single (2v9; 5v13). The total is usually twelve, fourteen or sixteen. Some other pairs may also be doubled in complex artworks. The axial grid always confirms the sequence of eyes along the edge.

Structuralist analysis of artworks could be tested and compared in the standardised mindprint format to fill in, with optional features to confirm or delete, as known by May 2019:

 

,,,,,,[Artist]; ,,,,,,[Artwork] expresses ,,,,,,,

General themes in ,,,,,,,,’s ,,,,,,,,,, artwork, are type/s ,,,,,,,, typical of ,,,,,,,,,,, (here ,,,,,) and ,,,,,,,,,,, (here ,,,,,,,,,,).

[[image]]

,,,,,, [Artist]; ,,,,,, [Artwork title] (image after ,,,,,,,,. Mindprint labels and axial grid by ,,,,,,,,,,,,,,). The general theme in this work is indicated by extra features of type ,,,, typical of ,,,, and ,,,, and ,,,,.

Type Label; Character (archetypal features):

[delete the optional features that are not expressed]

1 /2 Builder; ,,,, (twist, cluster, bovid, bird, tower, build, sack, hero, book, spring, maze, pit, rain).

2c Basket; ,,,, (weave, shoulder-hump, instrument, container, hat, weapon, throne, snake, secret, planet, arm-link, leg-link).

3 Queen; ,,,, (neck long/bent, dragon, sacrifice, queen, spring, school, fish, ram, pool).

4 King; ,,,, (squat, king, twins, rectangle, sun, bird, fish, furnace, field).

5a/5b Priest; ,,,, (colours, priest, hyperactive, tailcoat head, assembly, horizontal, water, heart, large, bovid, reptile, winged, invert, weapon, sash, judge, felid of 13 opposite, equid).

5c Basket Tail; ,,,, (weave, tail, container, tree/herb, reveal, maze, disc).

6 Exile; ,,,, (ingress, egress, horned, sacrifice, small, U-shape, double-head, caprid, reptile, tree, disarmed).

7 Child; ,,,, (bag, rope, juvenile, unfold, beheaded, chariot, mace, eyeless).

7g Gal.Centre; ,,,, (limb joint, juncture, path, gate, water).

8/9 Healer; ,,,, (bent forward, strong, pillar, heal, disc, smelt, trance, canid).

9c Basket Lid; ,,,, (disc, hat, lid, instrument, reveal, hump, planet, weave, enforce, pillar, snake, metal, arm-link, leg-link).

10 Teacher; ,,,, (arms up, staff, hunt-master, guard, metal, market, disc, council, snake, ecology, school, carousel, canid).

11 Womb; ,,,, midriff,,,, (womb, wheat, water, law, felid, tomb, interior, library).

12/13 Heart; ,,,, chest,,,, (heart, felid, death, rounded, invert, weapon, war, water-work, angel).

13c Basket Head; ,,,, (oracle, head, hat, lid, weave, tree, tail).

14 Mixer; ,,,, (ingress, egress, time, tree, bird, angel, antelope, felid, reptile, fish, canid, dance).

15 Maker; ,,,, (churn, rope, rampant, order, bag, mace, weapon, doubled, smite, sceptre, face, canid, reptile, winged).

15g Gal.Gate; ,,,, (juncture, limb joint).

 

Axial centre; Unmarked /on ,,,, (limb joint /juncture).

04p Gal.S.Pole; (limb joint, juncture).

11p Gal.Pole; (limb joint, juncture).

Cp Midsummer; ,,,, (limb joint /juncture).

Csp Midwinter; ,,,, (limb joint /juncture).

Midsummer is on the horizontal /vertical plane /north-south meridian /east-west latitude.

These markers place midsummer in Leo /Cancer /Gemini /Taurus, thus spring and the cultural time-frame in Age Taurus /Aries /Pisces /Aquarius, confirmed by ,,,,,, prominence.

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

[Delete the optional features that are not expressed in your example]

 

Polar markers usually place midsummer on or near type 12, 13, 14, 15 or 1, implying spring and the cultural time-frame 90 degrees earlier (in seasonal terms), in Age Taurus1, Taurus2, Aries3, Pisces4 or Aquarius 5a. The spring type is often confirmed by some kind of prominence of the character expressing type 1, 2, 3, 4 or 5.

See some structuralist analyses reports on artworks in related styles, and examples of the absence of mindprint in photographs, on https://mindprintart.wordpress.com/2016/10/01/mushroom-or-psilocybin-art/

By Edmond Furter. Visit www.edmondfurter.wordpress.com and www.mindprintart.wordpress.com

Some sources and references

Boole, G, 1854 /2003. Laws of thought. Buffalo:  Prometheus Books

De Santillana G. and Von Deschend, H. 1969. Hamlet’s Mill: An essay on myth and the frame of time. Boston: Gambit

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. (Extracts are posted on www.stoneprintjournal.blog)

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. In Gobekli Tepe art is archetype, not a zodiac. https://stoneprintjournal.blog/2017/06/08/gobekli-tepe-art-is-not-a-zodiac/

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

Furter, E. 2019. Ayahuasca artists also express universal meaning. DMT Times

Levi-Strauss, C. 1955. Mathematics of Man. Paris: Bulletin International des Sciences Sociales 6:4.

Temple, R. 2003. Netherworld. London: Century

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

Categories
Archetype in New Age and ayahuasca art

Marc Alexander’s ‘Prophetic’ art meditates gloom

Some themes in New Age art reveal expectation and dread of immanent change. Artist Marc Alexander graphically questions perceptions of doomsdays and real disasters, after the 2011 Japanese quake and tsunami. Some politicians and cults use inherent catastro-phobia to their own ends.

Biblical prophets warned that no one would know the day or hour. The red spiral is some lyric from Leonard Cohen’s song, Future: “Take the only tree that’s left, and stuff it up the hole, in your culture. Give me back the Berlin wall, give me Stalin and St Paul, give me Christ or give me Hiroshima… the blizzard of the world has crossed the threshold, and it has overturned the order of the soul. When they said; Repent, Repent, I wonder what they meant… There will be breaking of the ancient Western code, your private life will suddenly explode, there’ll be phantoms, and the white man dancing.”

A sense of repressed immanent doom was palpable in popular culture understatements of the 2000 millennium; 2001 9/11 terror attacks; 2012 Mayan Long Count zero; global financial crises; Arab spring waves; pollution; and Age Aquarius (type 5) start (since 2016; See Furter 2014). There was an expectation of larger changes to come, which astrologers saw in 2020 charts involving air, water, society, science and Internet (ASSA 2019). The 2019 autumn mass protests (assembly, type 5) worldwide, for freedom (varicoloured 5) and environment (water 5) against ‘extinction’ (5v13), heralds the Age of science, ritual (administration), hyperactivity, global friendship and political standards.

Marc Alexander’s death and oracles collage subconsciously expresses archetypal structure in unusual detail, with several types using more than one character.

Marc Alexander; Prophetic antics, 2011 (after http://www.marcalexanderart.com, with permission. Archetypal labels and axial grid by E Furter). All artists subconsciously express the same underlying structure, or meta-data.

Type label; Character (archetypal features):

1 Builder; Scientist (hero) with book (book) warning of solar flare or meteorite (ruin).

2 BuilderA; Osama bin Laden, of a construction family (builder, tower), terror leader (ruiner), legs crossed (twist), at Dome of the Rock and city (towers).

2 BuilderB; Drug junkie (ruin) injecting with arm-cord (twist).

2c Basket; Hooded (hat) junkie?, holding her knees (leg-link). And plaque? (texture) or implant? (secret, weave) with hole (weave). And number 666 riddle (secret). And junkie’s syringe (instrument, container) and bound arm (arm-link). C-types are usually off the grid, between specific axes.

3 QueenA; Horse B (equid, long neck) of apocalypse (sacrifice).

3 QueenB; Horse A (equid, long neck) of apocalypse (sacrifice).

3 QueenC; Skulls heap (sacrifice).

4 King; Radiant (sun) eye capstone on pyramid (rectangle base), USA seal (king) reverse.

5a PriestA; Below statue?, in veil? (tailcoat head?).

5a PriestB; Statue?, mother and baby in swaddling? (sash).

5b PriestA; Sumo wrestler or boy (hyperactive).

5b PriestB; Chest (heart) of Pope (priest) with vestment (sash).

5c Basket Tail; Vatican chest? (container?).

6 Exile; Boy (small) abandoned (sacrifice, scapegoat?), near the axial centre (ingress).

7 Child; Signage (eyeless).

7g Gal.Centre; Nuclear waste and radiation signs. And Judgement Day poster dated 2011. And overturned car (path).

8 Healer; Nuclear waste (smelt) and radiation scientist or politician; or detractor (heal), with signage (discs).

9 Healer; Buddha statue meditating (bent forward, strong, heal, trance).

9c Basket Lid; Posters and T-shirt (texture) against homosexuals and aircraft (container, metal). And cast (metal, wheel) of Shiva destroyer (enforce, lid of destruction lifted) with cap (hat), dancing (arms up) with arm circle (arm-link, disc).

10 TeacherA; Canabis pusher (market) tattoo man, hands at chin (arms up).

10 TeacherB; Couple kissing (). And goat head (more typical of 6) in circle (disc).

10 TeacherC; Two space heroes? on a medallion (disc, metal).

11 Womb; Face (more typical of 15) on Mars? (tomb?), on medallion (disc, more typical of 10), lower position (womb?)

12 HeartA; Chest (heart) of Zeus with thunderbolts (weapon, war).

12 HeartB; Chest (heart) of Eastern person.

13 HeartA; Eastern person B.

13 HeartB; Eastern person C.

13c Basket Head; reeds? (oracle? weave? tree?) of Eastern woman C.

14 Mixer; USA president Obama (transform).

15 Maker; Two (double) heroes twisted (more typical of 1, adjacent) in battle, one climbing (rampant), under a book (order?).

15g Gal.Gate; Strong couple’s legs (limb joint, path).

 

Axial centre; unmarked, as usual.

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

11p Gal.Pole; Ruin’s top corner (juncture).

Midsummer or Cel.Pole; Ruin right edge (juncture).

Midwinter or Cel.S.Pole; Ruin left edge (juncture). The horizontal plane places midsummer in type 1 Builder /Ruiner, analogous to Taurus, thus spring and the cultural time-frame in Age Aquarius, slightly ahead of the work (which was made before 2016).

Archetype is the ‘DNA’ in all cultural media

The standard format of structuralist analyses of artworks inspired by ayahuasca visions, confirm that all cultures and counter-cults subconsciously express about 60% of the 100 currently known optional recurrent motifs in complex artworks, built sites, and other cultural media (the average range of expression of optional recurrent features, is between 40% to 80%, with a prominent sigma curve peak at 60%. In addition, each feature has a specific average percentage of expression, confirmed in tests of groups of about 30 or more randomly chosen artworks or built sites, ideally about 50 works upward). The only possible explanation for the presence of the complex and quirky detail or ‘meta-data’ of the inherent structure of expression, is that all artists, societies, perception, ‘mind’, nature and meaning itself, is enabled, and thus determined or limited by archetype.

Recurrent optional features, and axial spacing of the eyes or focal points of characters in artworks and built sites, enabled the discovery of five layers of perception and expression in all styles and cultures. Below is a guide to how to identify the subconscious structure, or visual and spatial ‘DNA’, in any complex artwork or built site. Archetype guides the way that nature and culture expresses matter, energy, and meaning. Thus structuralist anthropology analysis raises the innate blueprint of archetype to conscious understanding for the first time. The rigorous underlying regularity in apparently random behaviour is named mindprint in artworks (Furter 2014), or stoneprint in built sites (Furter 2016).

Demonstrating this natural, inborn imprint in artworks, reveal how themes, symbols, styles and even ‘different’ media, all use the same repertoire of features (see the list of known features, and the axial grid model below).

In 2010, after 26 years of study in the human sciences (anthropology, psychology, sociology, archaeology, art history) and crafts (astrology, I Ching and other forms of divination), I found previously unknown recurrent features in rock art, and started testing other art forms, styles, and media. By 2011 I had confirmed the specific structure, and the average frequencies of optional features, in Renaissance, ‘Ethnic’, Religious, Modern, Surreal, Abstract and all other recognised art styles. By 2013 some of Pablo Amaringo’s ayahuasca-styled artworks were part of the evidence (Furter 2014; Mindprint p157). By 2017 I found that several artists inspired by ayahuasca visions (such as Nic Warner), were designing works as complex in conscious concept, and in subconscious structure, as masters in any other style or school (see https://mindprintart.wordpress.com/2016/10/03/ayahuasca-art/). in 2019 I demonstrated how three aya-styled artists subconsciously express the universal structure (Furter 2019; DMT Times). This article adds more artworks and artists to the database of subconscious expression of the core content of culture.

The only structuralist difference from other art styles, is that the inherent time-frame in ayahuasca art tends to be in Age Pisces-Aquarius, or in Age Aquarius. This framework was formerly found mainly in monumental public works intended to perpetuate an event or culture. The current Age transition is confirmed by the prominence of type 5 Priest or Ritual, or its opposite, type 13 Heart or Death, in the artworks; and by extra features of type 5 in the artworks. For the last 2000 years, from about BC 80 to AD 2016, the dominant time-frame was either Age Pisces, or the foregoing Age Aries. Artists in every Age mostly express the time-frame of the former Age, wherein they believe their culture was rooted or formed. Age transitions are always subtle and gradual. Some themes in recent New Age art, reveal a sense of dread and expectation of immanent change.

One species, one culture, programmed to divide

Cultural media allow superficial differences to support competing socio-economic interests via tribal bonding. Our hard-wired compulsion to express the same innate story worldwide, is ironically as strong as our compulsion to rally around the slightest differences. These cultural ironies are also inherent in our eternal obsession with the afterlife and the subconscious (see Ayahuasca Oracle of the Dead as counter-cult to Divide and Kill culture, on www.stoneprintjournal.wordpress.com). We fear and repress the subconscious, yet we seek some assurances and interaction from it. Our rituals, diagnoses, healing, drugs, maturity cycles, myth, drama, art, theology and science, invoke and use conscious and subconscious logic. Individual and social maturity cycles strive to reconcile life and mortality, and painful differences between our conscious and subconscious compulsions.

Art comes from archetypal inspiration, prompted by nature, innate perception, and some examples; not from number, myth, decans, zodiacs, drugs, or any media in particular. See some Surrealist artworks, and some DMT-styled artworks in structuralist analyses on https://mindprintart.wordpress.com/2016/10/02/peyote-or-mescaline-art/

How to identify archetypal structure in artworks

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. Here is a guide to how to identify the subconscious structure, or visual ‘grammar’, in complex artworks containing eleven or more characters.

The axial grid model of archetypal characters as social functions, with their sequential, spatial and polar relationships (after Furter 2014, 2016, 2019). Nature and culture projects archetypal structure on a plane, around an axial centre, with some features analogous to cosmology.

 

Axial grid of the sixteen types (1 to 15, but repeating 5 as 5a and 5b), and four transitional types (2c 5c 9c 13c) in artworks. Orientation and radial diameters are random, as in most artworks.

The 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. Here is the set of mindprint labels to identify archetypal characters. Axial opposites 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 13Heart 13cHead 14Mixer 15Maker 15g

 

cp csp ? ?

Characters expressing archetypes always have their eyes (except a womb at 11, and a heart at 12/13), on an axial grid, formed by standard pairs (1v8, 2v9, 3v10, etc). Artworks also express two ‘galactic’ polar points (4p v 11p); 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 (unlabelled to avoid clutter). Polar points are not on eyes, but on limb joints.

The four main types could be doubled, as they are in the axial model (1v8, 2v9; 5a v12, 5b v13); or they could be single (2v9; 5v13). The total is usually twelve, fourteen or sixteen. Some other pairs may also be doubled in complex artworks. The axial grid always confirms the sequence of eyes along the edge.

Structuralist analysis of artworks could be tested and compared in the standardised mindprint format to fill in, with optional features to confirm or delete, as known by May 2019:

 ,,,,,,[Artist]; ,,,,,,[Artwork] expresses ,,,,,,,

General themes in ,,,,,,,,’s ,,,,,,,,,, artwork, are type/s ,,,,,,,, typical of ,,,,,,,,,,, (here ,,,,,) and ,,,,,,,,,,, (here ,,,,,,,,,,).

[[image]]

,,,,,, [Artist]; ,,,,,, [Artwork title] (image after ,,,,,,,,. Mindprint labels and axial grid by ,,,,,,,,,,,,,,). The general theme in this work is indicated by extra features of type ,,,, typical of ,,,, and ,,,, and ,,,,.

Type Label; Character (archetypal features):

[delete the optional features that are not expressed]

1 /2 Builder; ,,,, (twist, cluster, bovid, bird, tower, build, sack, hero, book, spring, maze, pit, rain).

2c Basket; ,,,, (weave, shoulder-hump, instrument, container, hat, weapon, throne, snake, secret, planet, arm-link, leg-link).

3 Queen; ,,,, (neck long/bent, dragon, sacrifice, queen, spring, school, fish, ram, pool).

4 King; ,,,, (squat, king, twins, rectangle, sun, bird, fish, furnace, field).

5a/5b Priest; ,,,, (colours, priest, hyperactive, tailcoat head, assembly, horizontal, water, heart, large, bovid, reptile, winged, invert, weapon, sash, judge, felid of 13 opposite, equid).

5c Basket Tail; ,,,, (weave, tail, container, tree/herb, reveal, maze, disc).

6 Exile; ,,,, (ingress, egress, horned, sacrifice, small, U-shape, double-head, caprid, reptile, tree, disarmed).

7 Child; ,,,, (bag, rope, juvenile, unfold, beheaded, chariot, mace, eyeless).

7g Gal.Centre; ,,,, (limb joint, juncture, path, gate, water).

8/9 Healer; ,,,, (bent forward, strong, pillar, heal, disc, smelt, trance, canid).

9c Basket Lid; ,,,, (disc, hat, lid, instrument, reveal, hump, planet, weave, enforce, pillar, snake, metal, arm-link, leg-link).

10 Teacher; ,,,, (arms up, staff, hunt-master, guard, metal, market, disc, council, snake, ecology, school, carousel, canid).

11 Womb; ,,,, midriff,,,, (womb, wheat, water, law, felid, tomb, interior, library).

12/13 Heart; ,,,, chest,,,, (heart, felid, death, rounded, invert, weapon, war, water-work, angel).

13c Basket Head; ,,,, (oracle, head, hat, lid, weave, tree, tail).

14 Mixer; ,,,, (ingress, egress, time, tree, bird, angel, antelope, felid, reptile, fish, canid, dance).

15 Maker; ,,,, (churn, rope, rampant, order, bag, mace, weapon, doubled, smite, sceptre, face, canid, reptile, winged).

15g Gal.Gate; ,,,, (juncture, limb joint).

 

Axial centre; Unmarked /on ,,,, (limb joint /juncture).

04p Gal.S.Pole; (limb joint, juncture).

11p Gal.Pole; (limb joint, juncture).

Cp Midsummer; ,,,, (limb joint /juncture).

Csp Midwinter; ,,,, (limb joint /juncture).

Midsummer is on the horizontal /vertical plane /north-south meridian /east-west latitude.

These markers place midsummer in Leo /Cancer /Gemini /Taurus, thus spring and the cultural time-frame in Age Taurus /Aries /Pisces /Aquarius, confirmed by ,,,,,, prominence.

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

[Delete the optional features that are not expressed in your example]

 

Polar markers usually place midsummer on or near type 12, 13, 14, 15 or 1, implying spring and the cultural time-frame 90 degrees earlier (in seasonal terms), in Age Taurus1, Taurus2, Aries3, Pisces4 or Aquarius 5a. The spring type is often confirmed by some kind of prominence of the character expressing type 1, 2, 3, 4 or 5.

See some structuralist analyses reports on artworks in related styles, and examples of the absence of mindprint in photographs, on https://mindprintart.wordpress.com/2016/10/01/mushroom-or-psilocybin-art/

By Edmond Furter. Visit www.edmondfurter.wordpress.com and www.mindprintart.wordpress.com

Some sources and references

Boole, G, 1854 /2003. Laws of thought. Buffalo:  Prometheus Books

De Santillana G. and Von Deschend, H. 1969. Hamlet’s Mill: An essay on myth and the frame of time. Boston: Gambit

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. (Extracts are posted on www.stoneprintjournal.blog)

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. In Gobekli Tepe art is archetype, not a zodiac. https://stoneprintjournal.blog/2017/06/08/gobekli-tepe-art-is-not-a-zodiac/

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

Furter, E. 2019. Ayahuasca artists also express universal meaning. DMT Times

Levi-Strauss, C. 1955. Mathematics of Man. Paris: Bulletin International des Sciences Sociales 6:4.

Temple, R. 2003. Netherworld. London: Century

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

See more New Age and ayahuasca art structuralist analyses on https://mindprintart.wordpress.com/2016/10/03/ayahuasca-art/ and on DMT Times in the article ‘Ayahuasca artists also express universal structure’.