Nature and culture both compulsively, subconsciously express five layers of eternal, archetypal structure that predate creation, and inform perpetual re-creation. Crop circles indicate nature at play. She uses biological shapes, and what we label 'abstract' angles and numbers, but they are as basic as space, time and archetypal meaning; what we egotistically label ‘concepts’ and 'symbols'. Crop circles are lessons in humility.
A vulture and scorpion among the animals carved on Gobekli Tepe pillar D43, attracted several interpretations as a 'zodiac'. However no coherent star map, observational record, or zodiac sequence emerged. There is some consensus that four species on two other Gobekli pillars could be seasonal ‘beasts’ or cardinal points. As in artworks worldwide, in all Ages, the design subconsciously expresses the five layers of archetypal structure, also found in myth, ritual, building sites, calendars, constellations and hour decan asterisms.
Artworks and art galleries rarely become a public socio-political battleground, as in the 2016 -2017 University of Cape Town (UCT) student bonfire, and censorship attempt. Subconscious content in Pippa Skotnes' San-styled window add to the ironies of cultural re-appropriation.
Our huts, houses, kivas, circles, pillars, fortune bowls, art, game boards, temples, pyramids, cities, constellations, geoglyphs and graves, say much more about us that we ever knew. Structuralist analysis reveals the universal repertoire in our subconscious behaviour.
Dominant typological themes in the excavated houses at Gobekli Tepe, reveal a larger encompassing structure in the hill complex.
Kiva-shaped houses on a low hill near Sanliurfa and Haran in eastern Turkey, are a halfway house to civilisation, between caves and cities, but with the full cultural repertoire.......... Carvings in House B feature two snakes, two foxes, a quadruped, and an unidentified figure.... Continue Reading →
Gender of characters in cultural media, adds a range of natural and social nuances to other typological categories, which have emerged from structural art analysis statistics. This paper demonstrates some aspects of the rigorous ‘grammar’ or ‘DNA’ of behaviour as embedded in artefacts.
Four structuralist points, and four semi-types, were first isolated in art and rock art analysis; then confirmed in organ reflexology points; and tabulated by seasons; then confirmed in buildings and site analyses; then tabulated among elements. Thus nature confirms cultural structure.
Stoneprint, the human code in art, buildings and cities (Edmond Furter, 2016, Four Equators Media, 400 pages, 170mm x 295mm, 130 illustrations) resolves the mysteries of correspondences between ancient cultures. The book reveals the core content and 'grammar' or 'DNA' of culture. We have an innate subconscious compulsion to express a specific, complex, archetypal set of features, in sequence, and on an axial grid, in all our works.