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).
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.
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.