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.
Criss-crossing trapezium lines form a kind of ‘forest’ over the core area of the Nazca geoglyphs. The character figures are in continuous-line format, indicating a well-developed style, perhaps based on textile weaving crafts, or to enable processions. Their ecological themes speak of climate change. Here is the peripheral sequence of characters in the Nazca core area is (noting archetypal features).
Alchemy is a structural craft, based on geology, metallurgy, herbs and protochemistry. It enabled the discovery of the periodic table … More
The study of archetypal expression on a worldwide scale became possible in the last two decades, thanks to access to rock art reproductions in academic papers, field work, archives; and plans of buildings, temples, ruins, complexes, pyramid fields, geoglyphs and cities of every culture and era, posted on the Internet. Demonstration of stoneprint in these two media, raises the possibility that more features of the culture code could be discovered in more media, such as literature and personality.