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/

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