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Archetype in New Age and ayahuasca art

Lilian Kolster’s Peace Pipe art of the DMT vine

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). As the caterpillar smoking a hookah in Alice in Wonderland, life cycles teach insight into natural patterns. Below is a structuralist analysis of the archetype model against Kolster’s Peace Pipe 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):

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 root wood (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, upward (rampant, winged).

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) marker; Buzzard A’s feet (limb-joint). Winter or celestial south pole (csp) marker; 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, analogous to Pisces. Most artworks express the time-frame of the 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 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.

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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, and the plant, animal and cultural kingdoms nested in one another, and in mutual consciousness. Type 15 Maker is typical of subconscious expression of churns (here a circle of life); ropes (here roots and intestines); order (natural kingdoms); bags (bulbs); doubling (genders); reptile (snakes); and wings (of Adam). Type 15’s axial opposite is type 7 Child, also typical of bags and ropes (as above); juvenile; and 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.”

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 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 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’.

Categories
Prehistoric European stoneprints

Stonehenge landscape is a chalk skin tattoo

The sequence of features in the Stonehenge landscape periphery as revealed by excavations and radar (noting archetypal features):

1 Builder or Taurus; One of two clusters (cluster).
2 Builder or Taurus; A bell barrow; on its axis was a large rectangular feature.
2c Basket or Algol; Bush barrow row on the field edge; and Normanton Down barrows group. Southward lies North Kite enclosure.
4 King or Pisces; A cluster (under fields, near road A303); and Stonehenge; and a long barrow. This axis is opposite type 11 Durringon Walls, the largest feature.

4p Galactic South Pole on a group forming a rectangle (typical of 4 and 5).
5a Priest or Aquarius; Winterbourne-Stoke cluster, varied (varicoloured), large (large).
5b Priest or Aquarius; A barrow and a pit (varicoloured).
6 Exile or Capricornus; Fargo henge bell barrow, near the cursus west end; near the invisible axial centre (ingress); near road A344.
7 Child or Sagittarius; A group of circles; and the Lesser Cursus.
7g Galactic Centre; Cursus centre, and cursus group of bell barrows, and a bell barrow (compare to the Axum terraces, in the Civil Outposts chapter).
8 Healer or Scorpius; Durrington Down long barrow.
9 Healer or Scorpius; A cluster (more typical of 2 opposite); to the north is Larkhill.
9c Basket Lid or Lupus; A cluster and a pond barrow.
10 Teacher or Libra; A circle.

11 Womb or Virgo; Durrington Walls, a large round walled village (interior). Its opposite in this landscape is at type 4 Stonehenge. North-east lies Durrington village.
11p Galactic Pole; Old King barrows; on its axis east is Woodhenge.
12 Heart or Leo; A long barrow south of the Woodhenge series, near the Durrington south road; and a large feature, perhaps concentric, near road A345.
13 Heart or Leo; A circle?, near road A345.
14 Mixer or Cancer; A small cluster.
15 Maker or Gemini; New King barrows row; ENE lies Vespasian’s camp; east lies Amesbury; SW lies the river end of the procession.
15g Gate near the Avenue past the 15 row; and as a bell barrow.

The ecliptic pole or axial centre is apparently unmarked as usual. The celestial pole is on a barrow. The celestial south pole may be west of the invisible axial centre, placing summer in Leo-Cancer, thus spring and the cultural inspiration in Age Taurus-Aries, about BC 1500, long before most of the work (see dating issues below).

After Roman evacuation, Britons harked back to Celtic culture and sites (Fergusson 1872), but with a Roman eye for civil grandeur. Their Norse conquerors built most of these structures, perhaps with Pict labourers, as they did in Orkney (Wickham-Jones 2011). Stonehenge’s last phase expresses Age Aries-Pisces (see the Stonehenge monument analysis above), thus the last work may be after BC 80.
The general theme in the Stonehenge and Durrington Walls landscape is type 4 King or Pisces, typical of sun, monuments (see Tarot trump 4:19, Sun, with twins at a wall or furnace), fields, and kings (see Tarot trump 4, Emperor). The Tarot is not Celtic or Norse, but medieval Italian, and capable of any styling…………[extract from the book]

[order the book Stoneprint at $30 plus postage from Four Equators Media, via edmondfurter at gmail dot com]