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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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Archetypal structure in religious art

Gruber’s Bad Teinach art integrates astrology, alchemy, kabbalah, culture and cult

The Bad Teinach mineral hot springs resort church Baroque altarpiece, is one of the largest, most complex and most integrated visual manifestos of counter-reformation mystical Roman Catholic Christianity. The work is densely packed with Biblical, alchemical, astrological and kabbalistic imagery, integrated into the usual layer of political and social aspirations. This collaborative design was commissioned by Princess Antonia’s circle of religious and academic advisors, painted by Johann Friedrich Gruber, court painter at Stuttgart in 1659 -1663, and installed 1673. Its designs now present an opportunity to test the structuralist art analysis axial grid model, based on the anthropology of Claude Levi-Strauss; and the psychology of Carl Jung; and the philosophical concept of archetype, as a pre-existent potential that guides natural and cultural expressions by subconscious inspiration. Triptychs have three views, perhaps analogous to the three planes of time and space and time (see polar triangles in the axial grids below).

Demonstration of a universal, subconscious standard structure in all complex art, and in some other cultural media (particularly myth and ritual) of all cultures and eras, from extant Ice Age art to contemporary art, challenges the conscious paradigm of all the human sciences. The triptych in Bad Teinach, in the Black Forest, was designed as a visual manifesto of counter-reformation mystical Roman Catholic Christianity. The design is a Kabbalistic teaching board, six metres tall, dominating the small church interior. Gruber was court painter at Stuttgart. Antonia’s brother, Duke Eberhard, had established the church as a private family chapel, partly to house the artwork. The family took summer holidays in the bath town.

Royal patronage of esoteric philosophy, or scientific mysticism, was first recorded under kings Ur Nanshe and Gudea in Sumeria (Furter 2016); and was also prominent in the politics of medieval Italy and Renaissance Europe. Conscious and subconscious agendas in all cultural media perpetually divide economies, religions, and culture into stylistic differences. In addition, mainstream culture always fractures into craftic counter-cults. Gnosticism and Sufism remain distinct cults in Christianity and Islam. Speculative Masonry and other cults perpetually attempt vertical integration, but religion and crafts remain as repellent as science and esoterica.

While alchemy was developing into science, its labels, tables and formulae became conscious technology and academia, while its correspondence theories retained popular currency, notoriety, and at times suppression. The esoteric or Gnostic motto that Phil Norfleet cites about the Bad Teinach artwork, acquires new meaning in the context of subconscious expression: “It is the glory of God to conceal a thing, but the honour of kings to search out such a matter,” after Proverbs 25;2.

Gruber’s Bad Teinach triptych covers and case (after Esoterik Astrologiedhs de). See the subconscious archetype imprint in its Bridal procession; and three interlocking imprints in in its interior central panel; and the imprint in its interior wings, in the structuralist analyses below.

Princess Antonia of Wurttenberg, her sisters, and the women of Bad Teinach, were mainly widows after the Thirty years’ War. They embraced charitable and esoteric causes. Under its integrated layers of Judaeo-Christian, alchemical, astronomical and kabbalistic symbolism, the Bad Teinach altarpiece subconsciously expresses four sets of the universal standard ‘grammar’ or ‘DNA’ of art; three of these are stacked vertically in the central panel. Each cycle includes the sixteen archetypes; in their standard semi-circular sequence; with the eyes of typological characters on an axial grid connecting the pairs of opposites; and with the usual tri-polar structure of two mirrored triangles on five points, marked by certain limb joints. This subconscious structure, rigorous as usual, confirms that the core content of any complex artwork is standard; and that five layers of structure, and about 60% of 100 known optional recurrent features, are predictable in cultural works from any place and time. The same applies to rock art, modern art, and future artworks.

The structure of expression, and mechanisms of culture, is not an idle game. These features also appear in natural media, and thus in archetype. They reveal the structure of meaning itself, and offer a unique opportunity to raise subconscious behaviour to conscious study. On consciousness, Jung noted: “Without the existence of conscious concepts, perception is impossible. This explains numerous neurotic disturbances which arise when certain contents are constellated in the unconscious [named subconscious in the present study]; but cannot be assimilated, owing to the lack of perceptive concepts that would grasp them. It is extremely important to tell children fairy-tales and legends, and to inculcate religious ideas and dogmas into adults, because these things are instrumental symbols with whose help unconscious contents can be canalized into consciousness, interpreted, and integrated. Failing this, their energy flows off into unconscious contents which, normally, are not much emphasized, and intensifies them to pathological proportions. We then get apparently groundless phobias and obsessions; crazes, idiosyncrasies, hypochondriac ideas, and intellectual perversions, camouflaged in social, religious, or political garb”.

Alchemists always have an intuitive grasp of the need to study the inherent structure of nature and culture, as they did before psychology was a science or even a word. Freud and Jung brought the eternal craft of spiritual therapy into science, where it lives uncomfortably close to secular chemical medicine. The Bad Teinach altarpiece, alchemy, astrology and kabbalah all seem distant from the conscious crafts of philosophy, self-improvement and scientific culture today. However the periodic table, at the root of chemistry, physics and medicine; and the standard model of physics (Furter 2016), are fruits of structuralism.

The structure of expression and perception, though camouflaged among our conscious obsessions, is more consistent than conventional symbolic features, such as vague correspondences between gods, stock characters, ritual gestures, devices, planets, constellations and colours. Subconscious expression never co-incides with conscious designs (as their different ‘perspective’ centres confirm). Expression usually partially confirms, and partially contradicts the conscious symbolism in artistic ‘programmes’ such as religious texts, alchemical stages, planets, and kabbalistic sephirot tableau.

In the alchemical work titled ‘Cabala as mirror of art and nature’ (Furter 2014) is an astrological cycle and a planetary cycle; both entirely contradicted by the artist’s subconscious expression. In Poussin’s Helios and Phaeton, his subconscious expression entirely contradicts an astrological band, which is mere decoration (Furter 2014). Most alchemists are artists rather than chemists; and most artists are not philosophers or esotericists. Culture operates on two distinct levels of consciousness, confirming some of the findings of Carl Jung regarding archetype (after Plato and others) in our psychic motivations. Structuralist analysis of artworks and built sites (Furter 2016) confirm some of the findings of Claude Levi-Strauss regarding our innate tendency to isolate elements of experience into natural categories. But the structure of perception and expression is now revealed to be much more detailed than Plato, Jung, or Levi-Strauss found. The combination of simplistic features (bent forward, or arms up, or juvenile, and so on); and complexity of combination of features (optionality, sequence, eye position, axial grid, relative orientation of polar elements), indicate that our subconscious mind ‘sees and speaks’ in natural categories of archetypal meaning; and is much better at spatial composition than our conscious minds could be.

The eye-hand-mind co-ordination of artists, including recognised masters, gifted amateurs, and unknown rock art masters, is an instrument for archetypal expression. Isolation of layers of rigorous recurrent features in cultural media, raise the need for a more comprehensive form of art analysis, terminology, and definitions of what art and culture is.

Princess Antonia and her advisors had made a fine art of esoteric crafts, at a more intuitive level than science. Art history, anthropology, psychology, sociology and the other humanities now has a model to isolate categorical archetypal core content, from ambiguous symbols, and from superfluous styling. A provisional scoring system to test the quality of structural art analysis, confirm that about 60% of the claims made about the hidden structure of artworks, are usually correct. Analysis scores range between 40% and 80%, or 40% variance, on a sigma curve. Scoring indicates only the quality of analysis, not the quality of artworks. Some works are remarkable for containing two, or three (as in the Bad Teinach central panel), or even four adjacent and interlocking mindprints.

Archetype in the Bad Teinach Philosopher’s garden foreground

The Bad Teinach altarpiece central panel bottom register, or foreground, pictures a Philosopher’s garden, with twelve sons of Jacob as patriarchs of twelve tribes; below some prophets at the allegorical college building. The caption below reports the underlying archetype, in the standard structuralist axial grid model and labelling format, here adding subconscious astrological analogues to the generic type names.

Structuralist analysis of the triple imprint in the Reformation Bad Teinach altarpiece triptych by Gruber, for princess Antonia’s church.

Type Number, Label, Decan; Garden character (noting archetypal features):

1 Builder or Taurus; Prophet Isaiah, as Rosicrucian leader Andreae (hero), in the mountain (cave) gate, with cup (rain), crown, scroll (book), spear (former spring marker).

2 Builder or Taurus; Prophet Ezekiel (hero) in the mountain (cave) gate, with survey plan (book), trumpet (thunder) and skeleton (more typical of 13).

2c Basket or Algol; Sephiroth’s Glory (instrument, secret, school).

3 Queen or Aries; Sephirothic (school) Glory as a woman (queen), golden statue.

4 KingA or Pisces; Statue of Joseph (furnace) dreamer, at the right corner (rectangle).

4 KingB or Pisces; Christ (king, sun, ‘twin’ of John) on throne (squat, rectangle).

4 KingC or Pisces; John Baptist (‘twin’ of Christ. More typical of 5).

5a Priest or Aquarius; Healing snake (reptile) of Moses (priest) on a cross. And Moon (water) priestess (priest, assembly) half-cloaked (sash. See Tarot trump 21, World; 21 is a magnitude of 5 in base-8 with two fives).

5b PriestA or Aquarius; Sephirothic Eternity (assembly?), in green and brown (varicoloured), axis to his chest (heart, of 13 opposite).

5b PriestB or Aquarius; Statue of Joshua (judge), at the left corner, axis to chest (heart, of 13 opposite).

5c Basket Tail or Piscis Austrinus; A prophet, in prayer, with scroll (weave, reveal. See also the Heaven register), on a phoenix or dragon (tail).

6 Exile or Capricornus; A prophet, in the field gate, with scroll and oracle pot (sacrifice, U-shape).

7 ChildA or Sagittarius; Evangelist with eagle.

7 ChildB or Sagittarius; Evangelist with angel’s (juvenile) head (beheaded, manifesting).

7g Galactic Centre; Agave flower on stem, hemp plant for making rope (rope).

8 Healer or Scorpius; Tribe Naphatli’s antler hind deer (trance. See Tarot trump 9, Hermit with antler, or wearing antlers), with cornucopia (heal) on a tree stump (pillar).

9 Healer or Scorpius; Tribe Dan, with scales (of 10), with sword (strong), serpent (snake, heal) at his feet.

9c Basket Lid or Serpens; Dan’s serpent (snake, reveal).

10 Teacher or Libra; Tribe Asher, prosperous (trade), shoes of iron and brass (metal, trade), linked to Phoenicia; one arm up (arm-up), a baker holding wheat (more typical of 11), near the gate (guard).

11 Womb or Virgo; Asher’s midriff (‘womb’), with bread? (wheat?)

11 Womb or VirgoB; Ewe’s midriff (womb).

11 Womb or VirgoC; Princess Antonia’s midriff (womb), as virtue (virginity) in the gate (interior).

12 Heart or Leo; Tribe Zebulon, ‘Of single heart (heart), no double heart (IChron12:33), ‘Fully armed’ (weapons); ‘Fought (war) at Merom to death (death)(Judges5:18); his axis to his chest (heart), with anchor (weapon, more often scythe).

13 HeartA or Leo; Tribe Judah, axis to his chest (heart), with lion (felid), sword (weapon).

13 HeartB or Leo; Tribe Issachar (of 14), axis to his chest (heart), with ass (of 14) and globe (summer?).

13c Basket Head or Leo Minor; Tribe Ruben, with shield (lid), near the centre (ingress, of 14).

14 Mixer or Cancer; Tribe Simeon, with two staffs (more typical of 9/10), wolf (canid, also of 9/10), near the centre (ingress).

15 MakerA or Gemini; Evangelist with a bull (more typical of 1 adjacent).

15 MakerB or Gemini; Evangelist with a lion (rampant. More typical of 13). Two types 15 (doubled), hold bull and lion (churn, order).

15g Gate; City gate (path, juncture).

 

Axial centre; Moon water font edge (juncture).

4p Galactic South Pole; Christ’s foot (limb-joint).

11p Galactic Pole; Central Christ’s elbow (limb-joint) at his cross. And Princess Antonia’s dismembered heart in her hand (limb-joint).

Summer or Celestial Pole (cp); Luna’s knee (limb-joint), horizontal to the axial centre. Theses markers place summer on axis 15 or Gemini, thus spring and the cultural time-frame in Age Pisces. The top central position of type 4 or Pisces, as Christ, and as John, confirm the time-frame.

A general theme in the garden register is type 4 King; typical of rectangle (here flower-beds); garden (see Tarot trump 19, Sun over a walled garden. A higher magnitude of 4 in base-8 with two types 5, is 19); furnace (college as alchemical furnace); and twins (axes 4v11, 5a v13, 6v14, and 7v15 are all doubled here). All five layers of structural expression are subconscious to artists, and members of any culture.

The analysis score in the garden register is 57/68 archetypal features; 26/16 axial points (excessive scores are accounted, usually neutralised by off-grid characters); 10/4 c-type sector features; 2/2 g-gate sector features; 3/5 polar markers; 2/2 planar or cardinal orientations; 1/1 correlation with the Age or Age prior to the work; 2/2 general themes; thus 103/100, minus 11 extra characters off the axial grid; total 92%, one of the highest scores found among about 750 analyses.

Archetype in the Bad Teinach Philosopher’s college building

The Bad Teinach altarpiece central panel middle register pictures a philosopher’s college. The list below gives the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Structuralist analysis of the triple imprint in the Reformation Bad Teinach altarpiece triptych by Gruber, for princess Antonia’s church.

Type Number, Label, Decan; College character (noting archetypal features):

01 Builder or Taurus; OFF THE GRID Golden ibis at an obelisk.

02 Builder or Taurus; Evangelist with lion (monster) and book (book).

02c Basket; A prophet in the city gate, with cup (container) and scroll (book, texture).

03 Queen Aries; A prophet with jug (sacrifice), a plan (book, of adjacent 2), and a scroll (school), head inclined (neck bent).

04 KingA or Pisces; Statue of Joseph? (sun?), at the hall right corner (rectangle), paired with Joshua (‘twin’).

04 KingB or Pisces; Right crucifix (‘king’), paired with another (twin).

05a Priest or Aquarius; Aaron (priest) at an altar (assembly) recalling golden calf (bovid, hyperactive).

05b PriestA or Aquarius; Left crucifix, axis to its chest (heart, of 13 opposite), of snake (reptile).

05b PriestB or Aquarius; Statue of Joshua? (war, or 13 opposite), as cup-bearer (decan Aquarius, rare; water); at the hall left corner.

05c Basket Tail; Wall engraving (texture) of Queen Sheba (exile, of 6) of incense and myrrh (tree).

06 Exile or Capricornus; A prophet in the field gate, scroll, divination pot (sacrifice, U-shape), sextant (triangle).

07 Child or Sagittarius; Tabernacle of cloth (bag, rope, unfold), formerly Ark of Covenant (chariot?), later empty (eyeless).

07g Galactic Centre; Mt Sinai base (path, juncture).

08 Healer or Scorpius; OFF THE GRID Peacock bent forward, at obelisk. And engraving of Daniel in furnace.

09 Healer or Scorpius; St Michael in battle (strong) over Mt Sinai (pillar?).

09c Basket Lid; Angel with trumpet (instrument, metal, reveal, enforce, armlink). And Phoenix  in nest (weave, disc) on obelisk (pillar).

10 Teacher or Libra; Justice (of 10 or 11), shield, sword (metal), arms up (arms up), at dome (disc) among procession (carousel).

11 WombB or Virgo; Love or Sephirothic Beauty’s midriff (womb).

11 WombA or Virgo; Mercy’s midriff (womb), at engraving of annunciation of her pregnancy (womb).

12 Heart or Leo; Blue angel (angel) with harp, axis to his chest (heart).

13 HeartA or Leo; Crane, axis to its chest (heart), with ? (weapon?), on spire of element water (water-work).

13 HeartB or Leo; Angel (angel) with trumpet (of 5 opposite), of heaven (death).

13c Basket Head; Halo (hat, lid, head) of secret book (time, oracle).

14 Mixer or Cancer; Microcosm of God’s secret book (time), near the centre (ingress).

15 Maker or Gemini; Angel (winged) with Gospel (order, book of 1) and wand (sceptre). And (doubled) angel (winged) with millstone (churn).

15g Gate; Zion city gate (path, juncture), under God’s microcosm (juncture).

 

Axial centre; Patriarch Jacob’s throne.

4p Galactic South Pole; Crucifix hand (limb joint)

11p Galactic Pole; Beauty’s foot (limb joint)

Summer; Pillar Jacin. Midwinter; Carved phoenix tail (limb joint). The horizontal plane confirms the summer marker between axes 15-1 or Gemini-Taurus, thus spring and the cultural time-frame in Age Pisces-Aquarius. However the vertical plane of the axial centre is in Pisces-Virgo, with Christ and St John as types 4 or Pisces, confirming and Age Pisces spring.

A general theme in the central or college building’s register, is type 11 Womb; typical of gestation, domes or furnaces. Six women are on the lintel and facade, and two of these express type 11 Virgo, with prominent wombs on the axial grid; and one also expressing 11 in the upper register mindprint. All five layers of structuralist expression are subconscious to artists and members of any culture.

The analysis score in the mid register is 47/68 archetypal features; 18/16 axial points; 18/4 c-type sector features; 5/2 g-gate sector features; 3/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 95/100, minus 8 extra characters off the axial grid; total 87%, above the top of the average range.

Archetype in the Bad Teinach Heaven register

The Bad Teinach altarpiece central panel top register pictures Heaven. The list below gives the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Structuralist analysis of the triple imprint in the Reformation Bad Teinach altarpiece triptych by Gruber, for princess Antonia’s church.

Type Number, Label, Decan; Heaven character (noting archetypal features):

01 Builder or Taurus; Wind angel, flying (twist, bird).

02 Builder or Taurus; Praise angel playing violin (twist).

03 Queen or Aries; Cherub in green.

04 King or Pisces; Yod letter on sephirot Crown (king. See Tarot trump 4, Emperor).

05a Priest or Aquarius; Cherub (winged) in red (colours, sash).

05b Priest or Aquarius; High order angel (winged), multi-winged (hyperactive, large).

05c Basket Tail; Cherub flying (horizontal, of 5), off the grid, as most c-types are.

06 Exile or Capricornus; Angel with long scroll (of 5c), far from the centre (egress).

07 Child or Sagittarius; Cherub (juvenile).

07g Galactic Centre; Golden angel sitting. And sun on dome top.

08 Healer or Scorpius; Cherub with palm branch, diving (bent forward).

09 Healer or Scorpius; Daniel’s giant (strong, large) of steel (metal) with sword, at obelisk (pillar) of fire (smelt).

09c Basket Lid; Holy Spirit (reveal). And dome (lid, metal) with engravings (texture). And Ezekiel’s four throne angels (instrument). And Justice (of 10/11) with shield, sword (metal), arms up (of 10), among procession (carousel).

10 Teacher or Libra; God?, arms up (arms), central (balance), in a trio (polar function), central on the dome (disc, guard, carousel), under the crown of God (metal), flanked by crowns of Holy Spirit and Son (council).

11 Womb or Virgo; Mercy’s midriff (womb).

12 Heart or Leo; Cherub (angel) with palm branch (scythe shape), diving (invert).

13 Heart or Leo; Praise angel (angel) with harp, axis to his chest (heart).

13c Basket Head; Crane (oracle) with ? (weapon? Of 13) in nest (weave), on spire of element water (water-work).

14 Mixer or Cancer; Mt Zion base, eternal (time), tree-shaped (tree. See alchemical arbores), far from the centre (egress).

15 Maker or Gemini; Red angel (winged) with lute.

15g Gate; Green angel. And red angel (doubled, of 15), smiting (smite).

 

Axial; Unmarked, near Enoch.

4p Galactic South Pole; God’s monogram, A/V (juncture).

11p Galactic Pole; Angel’s foot (limb-joint), on the dome (juncture).

Summer; Unmarked, near the burning bush of Moses, horizontal from the centre. This marker places summer on axis 15 or Gemini, thus spring and the cultural time-frame in Age Pisces, confirming the other two registers. The top central crown as type 4 King or Pisces, confirms the time-frame.

A general theme in the heaven register is type 10 Teacher (here God the Father), typical of balance, elements, cycles, wheels (here the central rosette under type 10). All five layers of structural expression are subconscious to artists, and members of any culture.

The analysis score in the heaven sector is 34/68 archetypal features; 16/16 axial points; 12/4 c-type sector features; 2/2 g-gate sector features; 2/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 3/2 general themes; thus 71/100, minus11 extra characters off the axial grid; total 60%, on the universal average, despite some conscious and subconscious compromises with competing programmatic elements; perhaps compensated for by baroque opulence.

Archetype in the Bad Teinach triptych Egypt and Moses wings

The Bad Teinach altarpiece triptych wings interiors picture the holy family’s Flight to Egypt with baby Christ; and an Egyptian princess finding baby Moses in the Nile. Some scholars (Rohl 2007) see Abraham as an Egyptian pharaoh; and Christ’s foster father Joseph’s name as more than coincidence, since prophet Joseph was vizier or acting prince of Egypt; and had invited his estranged family to visit, perhaps to stay in the Nile Delta. Some see Moses and the Exodus as Egyptian royal and Akhenaton priestly exiles; Jewish Testament books as hiding their Egyptian legacy from Babylonian masters; Christ as Egyptian royal descendant in exile; the New Testament as hiding this Egyptian legacy from Rome; and the Flight to Egypt as a futile attempt to seek asylum with estranged family. Renaissance scholars and astrologers were familiar with Egyptian esoterica, thus the triptych wings may have consciously intended to integrate Biblical history into this religious, cultural and artistic manifesto.

The two wing panels are fixed further apart than shown here, but they form a standard archetypal cycle and axial grid when spaced moderately, indicating that they were designed on one surface. General themes in this design include type 6 Exile, typical of egress (here of a design split into flanking panels); sacrifice (baby in basket, and baby escaping Heroid’s genocide but destined for crucifixion), small (babies), tree (in both panels); and its axial opposite, type 14 Mixer, of egress, time (here similar episodes in the era of Abraham, Moses and Christ), transform (virgin to mother). Another general theme here is the four transitional or ‘Basket’ fields, 2c v9c and 5c v13c; typical of woven texture (here the basket, reeds, trees, lamp glass); container (basket, lamp); secret (identity of the child, or of the parents, hidden in oracles). The list below notes features of the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Gruber; Bad Teinach altar triptych wings interiors picture Christ’s family’s Flight to Egypt; and an Egyptian princess finding baby Moses in the Nile (archetype labels and axial grid by E Furter).

Type Number and Label; Egypt character (noting archetypal features):

1 Builder; OFF THE GRID Egyptian princess prefiguring Mary with courtiers (see Egyptian legacy notes above).

2 Builder; Egyptian slave (builder) gesturing (twist) from a tight group (cluster).

2c Basket; Princess’ cloak (weave, arm-link).

3 Queen; Egyptian queen (queen) at the Nile (pool).

4 King; PrincessB (twin?) kneeling (squat) with golden cloak, her right eye.

5a Priest; PrincessB with red hair (colour), golden cloak (sash), her left eye (tailcoat-head).

5c Basket Tail; Key (secret, container, reveal) of princess. And princess C with hat or braids (weave, disc) finding Moses (reveal).

6 Exile; Baby (small) Moses, far from the centre (egress) in a basket (U-shape, sacrifice), later pictured with ram’s (caprid) horns (horned).

7 Child; Donkey steed (chariot) with passenger (bag), child (juvenile), reins (rope); both eyes on the axial grid.

9 Healer; Joseph’s lamp (lamp, trance. See Tarot trump 9, Hermit with a lamp. Recurrent features arise from archetypal inspiration, rarely from learning or conspiracy).

9c Basket Lid; Lamp cover (disc, lid, instrument, reveal, metal) held by Joseph (arm-link).

10 Teacher; Joseph holding (arms up) lamp and staff (staff), with hat (disc), escort (guard) of Mary and Christ.

11 Womb; Mary’s midriff (womb).

12 Heart; Baby Christ’s chest (heart), descendant of David of Judah, lion (felid), destined to die young (death).

13c Basket Head; Christ as prophesied (oracle), with halo (hat, weave); off the grid as c-types usually are.

14 Mixer; Mary, virgin yet mother (transform).

15 Maker; Egyptian courtiers A and B (doubled), empire (order) and slave masters (mace, smite).

15g Gal.Gate; Egyptian courtier C.

 

Axial centre; On the left inner frame or cut-line (juncture).

4p Gal.S.Pole; Egyptian princess’ hip (limb-joint).

11p Gal.Pole; Mary’s elbow (limb-joint), not labelled here to avoid clutter.

Summer and winter; Probably on the left inner frame or cut-line (juncture), thus on the vertical plane, placing summer between axes 14-15 or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces. Age Aries may be confirmed by the Egyptian queen on the right, who is uniquely shown in small perspective.

The analysis score in the two Bad Teinach wings is 34/68 archetypal features; 12/16 axial points; 14/4 c-type sector features; 0/2 g-gate sector features; 2/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 66/100, minus 2 extra characters off the axial grid; total 64%, near the global average. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Archetype in the Bad Teinach Bridal procession

The Bad Teinach altarpiece triptych cover top two registers, picture a Bridal procession. The list below gives the underlying archetype in the standard structuralist axial grid model and labelling format, adding subconscious astrological analogues.

Gruber; Bad Teinach altar triptych cover top two registers of angels and Bridal procession (archetype labels and axial grid by E Furter).

Type Number, Label, Decan; Procession character (noting archetypal features):

1 Builder or Taurus; Golden angel musician in group (cluster) on scroll (book).

2 Builder or Taurus; Brown angel trumpeter (twist, cluster).

2c Basket or Algol; Two trumpets (instrument, arm-link).

3 Queen or Aries; Blue angel trumpeter.

4 King or Pisces; Purple angel beating two (twin) drums.

5a Priest or Aquarius; Tan angel (winged) trumpeter (trumpet. See Tarot trump 20, Judgement with trumpet; 20 is a magnitude of 5 in base-8) in group (assembly).

5b PriestA or Aquarius; Dark blue angel (winged) reclining (horizontal).

5b PriestB or Aquarius; Purple-orange (varicoloured) angel (winged), axis to his chest (heart, of 13 opposite), in group (assembly) at scroll (sash).

5c Basket Tail or Piscis Austrinus; Scroll (texture) part three (reveal). And woven (weave) vase (container). And door into heaven.

6 ExileA or Capricornus; Woman in red and blue, neck bent (more usual at 3), further from the centre (egress).

6 Exile or Child extra; OFF THE GRID Woman with apple and skull.

7 Child or Sagittarius; Women kneeling with two children (juvenile).

7g Gal.Centre;Child’s foot (limb-joint) on route (path) in cloud (water).

8 Healer or Scorpius; ChildB, squatting (bent forward).

9 Healer or Scorpius; Bridesmaid, sister Sybilla, named after an oracle (trance) in blue, inclining (bent forward), holding thorns or scourge (strength, ‘heal’).

9c Basket Lid or Lupus; Scourge (weave, instrument, enforce) and anchor (instrument, metal) held by women (arm-link).

10 Teacher or Libra; Bridesmaid (guard, council), sister Anna Johanna, holding up (arm up) an anchor (metal, market, ‘staff’).

11 Womb or Virgo; Princess Antonia’s midriff (womb), crowned (law) bride of Christ.

12 Heart or Leo; Princess Antonia’s chest (heart).

13 HeartA or Leo; Princess Antonia, bride of Christ of Judah or lion (felid),

13 HeartB or Leo; Christ of Judah or lion (felid) crowing Princess Antonia, carrying curved palm branch as scythe (weapon, death).

13c Basket Head; Scroll (oracle, weave) fist section (head).

14 Mixer or Cancer; Pink angel (angel) holding scroll.

15 Maker or Gemini; Red angel (winged) trumpeter.

 

Axial centre; Golden angel’s elbow (limb-joint).

4p Galactic South Pole; Purple angel’s shoulder (limb-joint).

11p Galactic Pole; Antonia’s shoulder (limb-joint).

Summer; Pink angel’s lower hand (limb-joint).

Winter; Unmarked.

The marker and the horizontal plane place summer between axes 13-14 or Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, about BC 1400. This era, between the generally alchemical and astrological time-frames, support the theme of heavenly eternity. The golden angel as type 1 Builder is in the middle top, perhaps a spring marker confirming the time-frame as the perceived alchemical or eternal past.

A general theme in the Bridal procession is type 13 Heart, of death (afterlife), eternity (heaven), or platforms (registers of clouds). All five layers of structural expression are subconscious to artists, and members of any culture.

The analysis score is 35/68 archetypal features; 18/16 axial points; 15/4 c-type sector features; 2/2 g-gate sector features; 4/5 polar markers; 0/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 1/2 general themes; thus 76/100, minus 5 extra characters off the axial grid; total 71%, in the top half of the sigma curve of averages.

Structuralist data confirm visual ‘grammar’

Structuralist analysis scores in the three mindprints in the central panel is 92%, 87%, 60%; in the Flight to Egypt wings 64%; in the Bridal procession 71%. Their total average is 75%, in the upper range, against currently known subconscious features in visual expression. If more universal average elements are discovered, score weighting between the layers may change. The scoring was designed to identify whether an analysis had identified the subconsciously ‘intended’ typological identifications; sequence; axial grid; polar markers; and time-frame elements. Any result above 80%, or below 40%; or consistently high or low results in artworks that could be grouped by place, time, style, or media, would indicate bias in the identified structure, or in the scoring. Given the complexity, and the consistency of about 700 test results in artworks from a wide range of cultures, styles, and eras, the method is deemed sufficient for confirming subconscious expression of archetypal structure. The unusually high score in the bottom two registers of this dense esoteric work by a team of advisors, could be ascribed to meditative integration.

Art expresses conscious and subconscious meanings

Over-conceptualisation alone (as in some paintings by Blake, and Poussin) do not achieve excessive scores, but lower some scores due to conscious interference between inspiration and design. Over-stylisation (as in many Mayan, Aztec, and some modern works) could also damage the structure of visual expression, unless it is integrated into the content and design by meditation, which in artists (as in poetry) could be defined as a process to suppress conscious involvement, and enable subconscious eye-hand-mind co-ordination. ‘Conceptual’ art typically has fewer than eleven characters, and express single types, not archetypal visual ‘grammar’. Mindprint is as innate as Zipf’s law (the frequency of words in any language follow a regular scale); or the periodic table of stable isotopes and transition elements; or the universal syntax and sub-systems in language, as Chomsky identified; or irregular cosmic geometry as Gombrich identified. Natural structure informs all of nature, including cosmology and culture. Thus most recurrent features in different works and in different media, are sustained by subconscious inspiration; while very few features are sustained by arbitrary convention (Furter 2016, in refutation of the trance convention theory). The Bad Teinach esoteric teaching board scheme contains many consciously recognisable universal features, such as planets, angels and gods, but no conscious construct or convention could explain the five layers of semi-optional features in hundreds, and probably in all artworks, built sites and other spatial media worldwide.

Double and triple grids usually interlock

Interlock between the three mindprints in the central panel, confirm each analysis, and confirms the middle register or ‘college’ mindprint twice. Interlock is never perfect, and adjacent axial grids never share any continuous axis; as if there were some lapse of orientation or time between every imprint. In complex works, the analysis scores are often lower due to lesser integration of conscious symbolism into the subconscious structure. But the Bad Teinach triptych is a masterpiece and a triumph of mediation, integration and esoteric craft.

Protestant, pagan, secular art, and rock art, has similar works, of similar subconscious complexity. No culture and no era has a monopoly on art, philosophy, alchemy, astrology, esoteric crafts, culture in general, or the expression of archetype.

Bad Teinach church exterior (after Pamela Coleman Smith).

Some Sources and References

Alchemia, 1615. Cabala as mirror of art and nature

Chomsky, N. 1986 Knowledge of Language. USA. Greenwood

Coetzee, Cyril, 2016; Princess Antonia’s Lehrtafel. Arts Society public lecture; Johannesburg

Dixon, Laurinda. 2003. Bosch. Phaidon

Endicott, K.M., & Welsch, R.L. 2005. Taking sides. Third ed., Iowa, McGraw-Hill/Dushkin

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

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’. http://www.stoneprintjournal.blog

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. 2019a. Rennes le Chateau stoneprint tour. Stoneprint Journal 6. USA, Lulu.com

Furter, E. 2019b. Ayahuasca artists express universal structure. DMT Times /Archetypes.

Gombrich, EH. 1979. 1984 Sense of Order: A Study in the Psychology of Decorative Art. Cornell University Press

Jung, C.G. & Jaffe, A. 1965. Memories, Dreams, Reflections. New York: Random House

Jung, C.G. 1945. Philosophical tree. In Collected Works 13: Alchemical Studies

Jung, CG. 1951. Alchemical Interpretation of the Fish. Aion, CW 9, 2

Levi-Strauss, C. 1969. Raw and the cooked. Chicago. University of Chicago Press

Levi-Strauss, C. 1973. From honey to ashes. London. Jonathan Cape

Levi-Strauss. C. 1981. Naked man. New York. Harper & Row

Neugebauer, O. & Parker, R. 1969. Egyptian astronomical texts 3; Decans, planets, constellations and zodiacs. USA: Brown Univ Press

Norfleet, Phil. 2015. The altarpiece of Princess Antonia. pamela2051tripod.com

Roche, G.T. 2018. Temptation of St Anthony; on chemical mysticism. Academia.com

Rohl, D. 2007 Lords of Avaris. Century

Thompson, S. 1928, 1961. Motif index of folk literature. Ellis ref GR 67.T52. http://www.StorySearch

Uther, H.J. 2011. Types of International Folktales: A Classification and Bibliography. Helsinki: Academia Scientiarum Fennica

Zipf, G.K. 1949. Human behavior and the principle of least effort. USA: Addison-Wesley

Categories
Archetype in New Age and ayahuasca art

Ambrose and Atlantia’s tree of subconscious connections

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).

Kuba Ambrose and Vera Atlantia; Rainbow tribe (after DMT Times. INNER cycle mindprint labels and axial grid by Edmond Furter). The two cycles (see the outer cycle below) run anti-clockwise by hour decans, or clockwise by seasons; but their orientations are flipped by 180 degrees. In the innter cycle, types analogous to summer months are on top.

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.

Kuba Ambrose and Vera Atlantia; Rainbow tribe (after DMT Times. OUTER cycle mindprint labels and axial grid by Edmond Furter). Both cycles (see the inner cycle on top) are anti-clockwise by hour decans, or clockwise by seasons; but their orientation is flipped by 180 degrees. In the outer cycle, the winter ‘months’ are on top.

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.

Categories
Archetype in New Age and ayahuasca art

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/

Categories
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
American stoneprints Dogon mindprints natural archetypal structure

Archetypes in modern Hopi and Dogon ritual art

Here is a Hopi Candle Night ritual scene by the modern artist Raymond Naha, in hyper-realistic style (compare to peyote- or mescaline-styled art, and ayahuasca-styled art, and other old and modern Hopi artworks, at https://mindprintart.wordpress.com/2016/10/02/peyote-or-mescaline-art/ ); and to a Dogon ritual mud relief mural. Universal, archetypal features in these works are demonstrated below. The characters are not ‘constellations’. Art, and probably all cultural media, is sustained by individual and social compulsion to re-express a specific set of features, in apparently different styles.

Hopi Candle Night ritual, by Raymond Naha. Members and students would recognise some stock kachina characters, rituals, and items. Structuralist analysis could reveal five layers of subconscious ‘design’ here, and in any artwork.
Dogon mud relief mural, re-modelled and re-painted every year. Astronomers could not find a comprehensive star map in Dogon art, ritual or myth. Five layers of structure indicate that artworks and other media are archetypal, thus subconscious. See the section on initiation below.

 

Hopi Candle Night ritual (Raymond Naha. Typology labels and axial grid by Edmond Furter). The work is homogenic (one species, one activity), and minimalist in structuralist terms, yet still the number of predictive universal cultural features is within the predicted range.
Dogon mud relief mural in Mali (after Michele Afeirei. Typology labels and axial grid by Edmond Furter). The number of predictive universal cultural features is within the predicted range.
Hopi dance ritual scene by Raymond Naha (axial grid between eyes and two focal points by Edmond Furter, indicating that the usual typology is present, in the standard sequence, with the standard polar features and time-frame markers). See a list of the standard labels, and standard caption format, in some other posts.

Artists, members and students of any culture, could now identify archetypal features in any artwork, by using the axial grid between eyes, and the list of known recurrent archetypal features and spatial elements (Furter 2014, 2016).

The Dogon mural is often photographed by tourists, and explained by Dogon guides as “astronomical”. Two astronomers who visited here in 2009 believed the guides, but could not explain how Dogon art relates to Western constellations. They noted that meteor showers and comets were somehow involved, but assume that the “knowledge” is “lost”.

Structuralist analyses of this Hopi artwork, and this Dogon artwork, are posted above. There are cosmic elements in culture, but direction, season and myth are not primarily astronomical.

See the list of known archetypal features, and a definition of mindprint, and a guide to identifying the five layers of archetypal structure in artworks; and more old and modern Hopi artworks; on

https://edmondfurter.wordpress.com/2014/04/13/how-to-identify-archetypes-and-structure-in-art/

Here is an extract from Stoneprint (2016);

Initiation prompts natural and cultural inspiration

Cultural media contain a kind of secret that is difficult to divulge, because it runs against common assumptions. Eleusis in Greece never published its secrets, because it traded in ritual experience, pilgrimage, stories, emotion, perhaps drugs, and tribal bonding. These are not recordable in conscious terms.

Rites of passage are not philosophy, science, or oracles. Initiation implies ‘transfer’ of ‘knowledge’, but this view is doubly misleading, unless the initiate realises that the system grants permission to express his or her own inspiration, and incidentally to re-calibrate and maintain the social system. Tribal initiation carries a mixture of history, politics, legend, myth and religion, partly to maintain spiritual authority.

Marcel Griaule’s expedition in Mali on the Upper Volta River from 1931 to 1947 waited sixteen years as Dogon sages explained their symbols (Griaule 1965; Conversations with Ogotemelli). The secrets were “open to all who show a will to understand, and by social position and moral conduct is judged worthy, patient, and in a required state of mind.”

In 1931 some Dogon elders started explaining at a simple level at Ogol, a double village. Sanga region totemic priests were involved in the counter-missionary ritual. Ogotemelli explained for 30 days at first, stretching into years. A successor followed up.

The subject of water gods alone required several days of a meandering flow of information (Griaule 1965; Le Renard Pale). The elders probably adapted spiritual visions to political and diplomatic strategies, as shamans always do.

The supposed ‘knowledge’ is not in rational form, but coded in myth and art, some in sand drawings and some on buildings. Disguise and camouflage is part and parcel of inspiration and expression, since conscious questions and answers could not reveal the full context of subconscious structure.

Initiation is understood as secrecy, while it implies a different rationality. Those of ‘ready mind’ are encouraged to see the vision themselves. Days of explanation prompt the candidate’s own inspiration. It takes time to unlearn common sense. Initiates require tribal bonding and some assurance and permission to graduate.

It could take years of membership, or rambling by a healer, to unlearn supposedly logical assumptions and to see the pattern implicit in shapes and everyday attributes.

Culture, like race, is a state of mind. Dogon, Amerindian, and other sand drawings, typically cruciform and axial, get some teachers and initiates in the right frame of mind.

Anthropologists took the spiritual tales as ‘accumulated tradition’, as popular culture understands sacred books. They had assumed the stories to be motivated by events, and sustained by memory and records. But prevalence of the identical subconscious imprint in all cultural media or all eras, indicate that there is no conscious, unbroken, astronomical, astrological, iconographic, alchemical or artistic tradition in any culture, nor worldwide. The eternal source is our compulsion to re-express archetypal structure in all our media.

American skin painting ‘legends’ (after Notley. Axial grids by Edmond Furter). Subconscious expression of the five layers of archetypal structure, within narrow ranges of variation, is already demonstrated in 650 artworks and 50 building sites of all media, all cultures, and all known eras. See also http://www.Stoneprintjournal.wordpress.com and http://www.mindprintart.wordpress.com
Categories
natural archetypal structure

Crop circles are natural artworks

Art is more natural, and nature is more artistically creative, than ‘common sense’ and the human sciences assume. Natural forces lavish some structure on inviting surfaces, over and above the necessities of geology, chemistry and biology. Nature is generous with patterns on shells, wings, feathers and skin. One of her canvases for geometry and abstract shapes, are crop fields on chalk, over water-bearing greenstone. Formations of stalk node bends are her signature stamps.

Our doodles, artworks, building sites, myths and rituals, resemble nature at work and at play. Nature and culture both compulsively, and subconsciously, express layers of eternal, archetypal structure that predate creation, and inform ongoing re-creation. When at play, nature uses biological shapes, and what we label ‘abstract’ angles and numbers, as basic as space, time, and what we egotistically label as ‘concepts’.

Her digital doodles express repertoires that resemble ‘our’ geometry and calendars. If crop formations were archetypal emblems, then clusters of formations unfolding over several years in ‘active’ fields are her ‘albums’. It takes about fifteen years of re-plantings and harvests for nature to complete a coherent cluster of about 18 formations in a each active field.

Formations of previous seasons are lost to human memory, but our photographic and satellite scan records could restore the ‘ghosts’ of former seasons. Restorations of crop circle clusters now reveal that nature designs her doodles in four dimensions; two dimensions of the practically flat field; a third of height, including some woven textures; and the fourth of time, where the sequence seems less important than the combined and invisible result. Nature’s landscape doodles vary in scale from a few metres to a few hundred metres, in clusters about equal to the size of a large village.

Crop circles have come to mean many things. Cameras, aircraft, satellite scans, drones and increasing numbers of fake formations have raised crop circles into the partly conscious interplay between nature and culture. If there were any contradictions between natural energy and natural art; or between the sources and motivations of nature and culture; such contradictions are only in our conscious minds.

This article demonstrates that the visual and spatial structure named mindprint, revealed in art in 2014, in building sites and geoglyphs in 2016 (where it is labelled stoneprint), is also present in crop circle clusters (identical in structure to artworks, but here it may be labelled geoprint or ecoprint). We, like natural forces, re-express, or re-create, and not ‘create’ shapes, numbers, pictures and meaning itself (see a recent article on semiotics in rock art; Furter 2017 B). One of the many lessons inherent in crop formations, and in the controversies they invite, is that our understanding of nature, culture, and of our place in nature, is an incomplete understanding.

Extract from Furter, E. 2017. Crop circles are natural artworks. Stoneprint Journal 2.

‘Any apparent contradiction between nature and culture is only in our conscious minds.’

Crop circles form axial clusters over years

Natural forces imprint clusters of crop formations, each with about eight pairs of opposites on an axial grid, at the ‘active’ corp circle sites in Western Europe (see another time lag restoration, of the Windmill Hill cluster, below). The archetypal five-layered structure, including some of the known optional features in the sequence of the ‘characters’ on the grid, and including specific ‘polar’ markers near the centre, unfold over about fifteen years. The clusters become visible, and testable by the new structuralist art analysis named mindprint or stoneprint, when reconstructed on a map of adjoining fields, using an application such as Getmapping.

An accumulated cluster appeared at Milk Hill, a mile north of Alton Barnes, from about 2000 to 2014 (see the image above). Successive clusters are likely to appear there, and at all the active sites. The recent Milk Hill crop circle cluster expressed some of the attributes of all sixteen archetypes; in the standard sequence; with their focal points on a single axial grid (where all the invisible lines between pairs of opposites cross); with two shorter polar axles between a different kind of feature, named junctures or ‘limb joints’.

The shorter of these two axles indicate the precessed celestial poles, or ‘summer-winter’ position, as if the structure were a cosmogram (see the star map below, again with the caution that the structure does not come from the sky, but is also expressed in the sky). The same multi-layered structure was found in cultural artefacts, and demonstrated in hundreds of artworks, rock art works, and building sites, to be the human universal subconscious visual ‘grammar’ of archetype. Expressions of the archetypal structure in nature and culture are named mindprint in artworks (Furter 2014), and stoneprint in building sites (Furter 2016).

Several cultural media re-express archetypal structure (art, geoglyphs as at Nazca, buildings, cites such as Rome and Quebec, myth cycles, and ritual). Similar imprints in nature include the periodic table of elements (see below), and the abstract properties of numbers (see below). In cultural media, nature and human behaviour collude to re-create the natural structure within which our hyper-active species manifest.

In crop circles, culture colludes with nature instead (see the section on fake crop formations below). Thus crop circles are rare examples of natural ‘artworks’, apparently by-products of practical functions such as atoms, compounds, crystals, the plant kingdom, species and stars.

The Midlands crop fields canvas

Milk Hill ridge extends to Walker’s Hill on the west, near Lockeridge road. This hill and nearby Tan Hill are the two highest points in Wiltshire, at 294m. There once was also a white horse on Tan Hill. The cluster is near near Windmill Hill (see its own crop circle cluster reconstruction and structuralist analysis below).

The wider English Midlands area has several ‘active’ or annual crop formation sites. Just south-south-east from Milk Hill lies the double village of Alton Priors and Alton Barnes. South lies East Field. Just south-west lies Stanton St Bernard.

Some of the formations adjacent to the Milk Hill cluster (visible at the edges of the illustration), are probably parts of an adjacent Alton Barnes and Stanton St Bernard cluster. Just south of the two Alton villages lies Honey Street. South-east from Milk Hill lies Avebury stone circle and Silbury mound, also an annual crop circle area, with many man-made features that express a stoneprint of their own (see a map of the Avebury cultural landscape cluster below, or Stoneprint p254 -255).

Using the standard mindprint or stoneprint structuralist caption format (and noting some of the relevant recurrent features in brackets), the sequence of archetypes among the Milk Hill crop circles of recent years is listed below, by archetypal numbering and familiar astronomical labels (with the caution that the formations, and the structure, and numbers, do not emanate or derive from the sky, or calendar, or planets, or from any craft or science, but all express the eternal structure of archetype):

Milk Hill and Alton Barnes -Stanton St Bernard crop circle collage of about 1995 to 2014 (after Borziani 2014. Axial grids by ED Furter). The plan view is more exact than the oblique view below.
Alton Priors crop circle collage from about 1995 to 2014 (after Borziani. Tentative axial grids by ED Furter). This map lies directly east of the Alton Priors map. Adjacent stoneprints (expressions of archetypal structure) are often ‘geared’ to one another by way of mirrored of ‘flipped’ sequences.

 

 

 

 

Milk Hill crop circle time cluster collage reconstruction (after Borziani 2013, in Getmapping format. Type labels and axial grid added by E Furter). Borziani added coloured circles around the restored formations, by his interpretation of the reflexology theory of the seven yogic chakras (wheels). Structuralist analysis demonstrates a much more detailed, layered, universally consistent, and thus archetypal structure. Nature expresses a similar structure in many other media, including chemical elements, DNA, human iris, palm, ear and organ reflexology.

1 Builder; Hexagram of pentagonal stars, 1997 08 08.

1 Builder B; Hexagonal flower over concave flower, 2000 07 01. OFF THE AXIAL GRID, probably fake.

1 Builder C; Triangle of 7-shaped weave (twisted) in standing crop, over two rings of standing crop, in Celtic style, 2011 07 06 and 08, in phases. OFF THE AXIAL GRID, probably fake.

2 Builder; Hexagonal spiral aperture (twisted), on the hilltop. One of the largest formations known, of 409 circles (cluster). A ‘seed of life’ Julia geometry set, of six unfolding to twelve. 2001 08 14? Its position on the hill is further north-east than on the image (left and upward, off the collage image), and its axis down the hillside should be bent, but an oblique perspective better demonstrates the cluster.

2c Basket; Milk Hill prehistoric building site (hidden), perhaps a grain silo (container), formerly with wattle fence, roof and baskets (woven textures). C-types are usually off the grid.

2c Basket B; Seven-sided form, at the field edge.

2c Basket C; Cross of four discs, one with a crescent, space station shape, 2017 (not shown on the collage above, since it appeared later). Fake?

3 Queen; Nine-sided form, petals rectangular, 2001 07 12.

4p Galactic South Pole; Tracks and fields border corner (juncture or ‘limb joint’).

4 King; Hexagonal thorus.

5 Priest; Vesica eye, a hint of colour (varicoloured).

6 Exile; Envelope, or pants, or Y-shaped (tree) tessellation puzzle, 2005 05 29.

7 Child; Hexagonal foldout (unfolding, bag). Another formation in the adjacent field is on the same axis (doubling is more typical of 15 opposite).

8 Healer; Bar-and-dot (in the adjacent field).

9 Healer; Infinity ring, 2008 08 08, hinting at ‘888’, typical of spiritual power (strength). A Venus eight-year cycle began on that date, when the Beijing Olympics started at 8PM. Eight means prosperity and confidence in the East. In gemartia, 888 equals Iesous (Jesus, who was a healer) in Greek. Tarot trump 8, Strength, wears a hat with a wimple, relevant to the Venus cycle as calibrator of erratic solar magnetic cycles (Collins and Cotterell 1995). In the central medallion are eight circles around a central circle. A relief carving of this formation was made on a pebble allegedly found in Mexico. And a small hexagonal circle that lay in the same position.

9c Basket Lid; Tetrahedron?

9c Basket Lid B; Compass, pointing at a former long barrow? (not shown on the image)

10 Teacher; Seven dolphins [pseudo-‘canid’] in hunting ‘school’ (school), vortex (ecology), 2009 06 02. Overlaps 11, as constellation Libra overlaps Virgo. Correspondences between media are due to archetype, not to inter-media rendition.

11 Womb; Central chakra (womb) of swift-shaped bird, 2010 07 25 (the axis goes to the centre of the formation, not to its ‘head’ as seems in the oblique view. See a plan view of the field below, which enables a few corrections to the identifications and the axial grid).

11p Galactic Pole; Head or hand (limb joint) of a small design squeezed between 11 and 12.

13 Heart; Heart chakra (heart) of a curved (rounded) monster with vesica eye, 2012 06 25. Opposite the eye at 5 21.

14 Mixer; Swifts with seven chakra trails, tree-shaped (tree), 2003 08 04? Far out (egress). Below Adam’s Grave long barrow.

14-15 extra; Nine-petal flower with spiked tracks, 2001 07 12, fake?

15 Maker; Sextant with sprung weights or planets, 2009 06 21, 23 and 30 in phases, adding an asteroid or comet near Mars and Jupiter (comet Ison was seen four years later), then adding five trails of architectural shapes (ropes, churn, creation, order). On June 21, Mercury, Venus, Mars, Uranus, Jupiter, Neptune and a new moon lay between Aquarius and Taurus, around Aries constellation. Two years later, near Mayan calendar 13.0.0.0.0 (2011 06 02), sun, Mercury, Venus, Mars, Jupiter and Uranus aligned opposite earth and moon in May and June, around Aries-Taurus constellations (their border is in Perseus, at the star Algol, which expresses type 2c Cista. (The axis goes to the centre of the formation, not the ‘head’ as it seems in the oblique perspective. See a plan view of the collage below).

15 Maker B; Tetrahedron polar, 2007 06 07, fake?

15g Gate; Milk Hill white horse geoglyph (path).

15g Gate B; Wasp hatching from a oak gall, hinting at gall ink, 2004 06 25 and 26. Below the white horse. [See an article about this crop circle, gall wasps and ink, on http://www.stoneprintjournal.wordpress.com]

15g Gate C; Three-armed vortex. Below the white horse, fake?

15g Gate D; Hexagonal flower around star of David, below the white horse; fake?

The axial centre, analogous to the ecliptic pole in cosmology, is unmarked as usual. Midsummer marker is on the central custacean formation’s tail (limb joint), analogous to Gemini, placing spring and the cultural time-frame in Age Pisces, contemporary to the work. Age Pisces ended in 2016 (Furter 2014, 2016).

Nature may be less inclined to use time-frames of previous ages, than human artists do, as if we paid homage to the age of the apparent formation of the culture in which we believe our inspiration lies. However about 50 crop circle time-lapse clusters should be re-constructed and structuralistically tested, then compared to the larger database of artworks and building sites, before such differences could be tracked.

Alton Priors crop circle collage from about 1995 to 2014 (after Borziani 2014. Tentative axial grids by ED Furter). This map lies directly east of the Alton Priors map. Adjacent stoneprints (expressions of archetypal structure) are often ‘geared’ to one another by way of mirrored or ‘flipped’ sequences.

All five layers of structuralist expression are subconscious to nature, artists, architects, builders and members of any culture. The number of known archetypal features in this work are probably less than the average of 40% to 80% found in artworks. Abstract geometric characters require rules of interpretation and scoring that differ from figurative art. Since the structuralist study of crop circles is new, some recurrent attributes different from those found in cultural media may yet be identified.

Milk Hill white horse (after Lucy Pringle), with the hexagonal formation in the 15g area in the cluster of recent years. It was probably a fake, positioned to make a good photo.

The Uffington white horse was re-carved and re-chalked many times (photo after Webb Aviation). It may have been a stylized horse or lion in Pictish style. It probably inspired all the other horse geoglyphs in the UK. A Chinese design could be the inspiration.

White horse geoglyphs could imitate a stylish lion

Milk Hill’s white horse was made in 1812 by Robert Pile, of Manor Farm at Alton Barnes. Him or his son may have also made the first Pewsey horse. Pile had paid a painter, John Thorne, twenty pounds to design and cut out a horse image. Thorne contracted John Harvey of Stanton St Bernard, but left with the money…. etc…. See Stonerpint Journal 2.

Nature and culture express archetype

Nature and culture both express archetypal structure at several layers of scale, each in distinctive combinations of elements and shapes. Below is a list of structuralist scale sets, from large to small, with some notes on the way that crop circles express shapes typical of each natural scale level.

Andromeda galaxy is a multiple spiral vortex. This type is usually flat. Lenticular galaxies are even flatter, while globular galaxies are oval spheres.

Barbury Castle hexagonal vortex crop formation, 2007 04 19. Several formations resemble typical galaxies.

Universal scale of innumerable galaxies

Universal scale is variously defined, ranging from ‘infinity’ down to a cluster of galaxies exploding from one another. The universe contains an apparently infinite number of galaxies, most with spiral arms, as if they were residues of rotating manifestations or transformations of matter and energy, or ‘little bangs’. Some crop circles express galactic shapes, or their cultural versions, such as yin-yang discs.

Apparent motion tracks of stars in a binary system, here of Sirius A, Sirius B, around their centre of mass, C. The elliptic circles demonstrate their relative orbits.
Chilbolton radio telescope site formation, including a binary pair image of antenna dishes, 2000 08 13.

Galactic scale of pairs of stars

At galactic scale, millions of star systems, mostly binary pairs, are locked in rotation, some far apart and very slow, some close together and incredibly fast, where the boundaries between matter, energy, space, time and gravity are warped. Our sun probably also has a double, perhaps Sirius in Gemini (which itself is a trio of stars in rotation), or perhaps Alpha Centauri. Some crop circles express star system shapes in binary designs.

Cambridge Gog Magog hills formation may express a ‘Ptolemaic’ earth-centered solar system of apparent orbits, as a maze. The offset from the joint centre may express the alternative, sun-centered view, more familiar to us.

 

Planetary orbits reduced by a logarhythmic scale, in relative positions of 2012 December at one of the Mayan calendar zero points (After Horace Drew). Pluto or one of the many planetoids is in a much earlier or later position.
Avebury Manor solar system formation, 2008 07 15. See an analysis of its archetypal structure, and of hits apparent calendar dating, below.

Stellar scale of solar systems

At stellar scale, many star systems have planets and satellites, as our solar system has. Some crop circles express solar systems on the familiar logarhythmic scale, with rings as orbits, and small circles as oversized planets. Some anomalous markers hint at irregular meteorites or comets among the regular planets. Some formations apparently mimic ‘planets’ or ‘chakras’ (see the reflexology scale below).

Crop circle of earth as a tree and sphere, resembling Norse cosmology. It also resembles alchemical diagrams of elements, such as the Boehme emblems.

Planetary scale of geography and geology

At planetary scale, earth has continental plates, oceans, and circulation patterns of air, water, magma and magnetic fields. Some crop circles express these elemental layers by abstract geometric shapes.

Stockbridge Down spiral, ratchet, sprocket, escape mechanism or lambdoma, 1995.
Mathematical lambdoma model after Pythagoras. Some chemists chart the elements on a spiral with steps down from the simplest and more abundant elements at the centre.
Periodic table of elements (after Peyroux, with type labels added by E Furter). Many chemists chart the elements as a spiral. Rigorous natural structure is now demonstrated in cultural media, implying that perception and expression is innate, allowing thin layers of optionality and styling.

 

Spiral, ratchet, sprocket or escape mechanism in a crop circle (after Wired). Jumps enable storing and releasing potential energy at set intervals. The geometry also expresses Pi (as noted by Mike Reed). Jumps resemble groups in the periodic table of chemical elements, and could express the eccentricity of the elliptic orbits of planets, or calendar adjustments.

Atomic scale of elements

At atomic scale, matter consists of about 100 elements, each formed of atoms with a different number of protons, neutrons and electrons. The sixteen simplest elements, from 1H Hydrogen to 15P Phosphorus (including a ‘blank’ between 5B Boron and 6C Carbon), express the sixteen archetypes in an abstract way. The next six elements, from 16S Sulphur to 21Sc Scandium, express part of the next level of magnitude (including two magnitudes of 5, at 5a Ca Calcium, and 5b Sc Scandium). Some crop circles seem to express atomic structure in geometric terms, but both should be seen as expressions of archetype.

Atoms are made up of nuclear particles, where matter and energy are in constant flux. Sub-atomic properties come in pairs, like charges. Some crop formations express this flux by adding to or erasing some expressions in phases, usually a day or two after the initial formation (see the phases in the solar system crop circle detailed below). Flattened and standing crop often alternate in complex patterns.

Atomic numbers map iso-types

At atomic scale, number and geometry play pivotal roles. Numbers indicate the total of positrons in the nucleus of a stable atom (isotope) of an element. This number is equal to the number of electrons, of negative charge, in the shell or shells of atoms. There is usually also an equal number of charge-less neutrons in the nucleus, thus atomic mass is usually twice the atomic number. This equation applies from 1H Hydrogen up to 20Ca Calcium, which has a mass of 40 (except 4Be Beryllium at a mass of 9 instead of 8). Heavier elements all have a few additional neutrons, and thus atomic masses of slightly more than twice their atomic numbers (electrons have negligible mass). The number before a chemical symbol indicates protons or atomic mass (such as 1H). The number after a chemical symbol indicates a bond of several of the atoms (such as H2).

Archetypes are listed here with their corresponding chemical isotopes, noting some of their typical bonds and properties (and noting relevant archetypal attributes in brackets):

1 Builder; 1H Hydrogen. Flammable in air, eight times more energy than wood. Common in H2O Water, which could split (sometimes expressed by rain or lightning in art), into H and O, Hydroxide. Typical of water.

1:16 Builder; 16S Sulphur. Higher magnitude of 1H. Common at oil sources. Bonds with its lower magnitude 1H to form H2S Hydrogen Sulphide. Used in gunpowder. Of lightning and fire.

2 Builder; 2He Helium, inert gas, second-most abundant element. No taste, colour, odour. Coolant, treats asthma, thins air. Of fuel.

2:17 Builder; 17Cl Chlorine, strives to be Ar18. Higher magnitude of 2He. Steriliser, bleach, releases oxygen in water, reacts with impurities (cluster). Toxic in CCl4, chloroform.

2c Basket; Helium-Lithium and Chlorine-Argon transition.

3 Queen; 3Li Lithium, lightest solid. Against gout, epilepsy, diabetes. Of cures.

3:18 Queen; 18Ar Argon, inert gas, formed by Cl17 Chlorine. Via its opposite 10Ne, argon combines with 11Na to form NaCl. Of salt formation.

4 King; 4Be Beryllium, atomic weight 9. In hard alloys. Of metal.

4:19 King; 19K Potassium, higher magnitude of 4Be. In compounds and organisms (like its opposite, 11 Virgo Sodium). Lost by urine and sweat, from fruit and sea salt, for nerve and muscle action. Of life.

4p Galactic South Pole between Beryllium and Boron; the first extra neutron (juncture)

5 Priest; 5B Boron, antiseptic, nerve poison; thins water. Of cleansing.

5a Priest; 20Ca Calcium, a higher magnitude of 5. In mud and bone (skull, skeleton, tomb). Of kidney stones (varicoloured), mud and bone.

5b Priest; 21Sc Scandium, also a higher magnitude of 5. Oxidising (hyperactive). Elusive, of dispersion.

5c BasketTail as the Boron-Carbon transition.

5c:22c BasketTail or Wing as metals, perhaps the higher magnitude of 5c. From 22Ti Titanium (also used in hard ceramics) to 30Zn Zinc, and their heavier magnitudes including gold. Conductors, electrical, durable. Of shells. Types 6, 7, 8, 9, 10, 11, 12, 13 and 14 apparently do not have known higher magnitudes in cultural media.

6 Exile; 6C Carbon, formed in stars by He3 resonating in heat (see Tarot trump 6, Lovers, as three women). In mineral oil and coal, deep seams (ingress /egress); in biology bonds (tree, satyr, double-headed). Versatile life-seed. Of minerals, oil, coal flesh.

7 Child; 7N Nitrogen, 78% of air. Of atmosphere (lungs, air bag)

7g Galactic Centre; Nitrogen-Oxygen transition. Of atmospheric change and evolution.

8 Healer; 8 O Oxygen, usually in O2 bonds. Ozone O3 is made by ultraviolet. Shields red and yellow, allows blue. Most abundant element. Of corrosion, and of typology (see the model below).

9 Healer; 9F Fluorine, hyper-calcification (bent forward), lethal, but trace elements strengthen bones (strength feat, or with a pillar). Of teeth.

9c BasketLid; Fluorine-Neon transition, gas to bone? Of mutation.

10 Teacher; 10Ne Neon, inert gas. In glass. Formed by 11Na Sodium? Outer shell a cube of touching circles, with electrons at most of the twelve touch-points, forming a squared circle. Of shapes.

11 Womb; 11Na Sodium, in compounds and organisms. Strives to be 10Ne Neon (cube). With 17Cl, sodium forms salt. Crucial for land animals, lost in sweat and urine. In seafood, celery, vegetables. Of salt and gestation.

11p Galactic Pole between Sodium and Magnesium, Life and sea. A grail type.

12 Heart; 12Mg Magnesium. Of corrosion and sea (currents, heart).

13 Heart; 13Al Aluminium. Matrix for ceramics and metals. Of oxidisation, soil, inversion, death.

13c BasketHead; Aluminium to Silicon. Of conglomeration, soil to rock.

14 Mixer; 14Si Silica; of clay and rock (time, alchemy). Tarot trump 14, Time, shows an elastic current between two jugs.

15 Maker; 15P Phosphorus; Of urine (bladder, fluid bag)

15:00 Maker; Weightless, free electrons, lower or infinte magnitude of 15. Indestructible elements of creation. Linked to atoms (bag with up to seven electron shells), by bonds (rope). Of material re-creation.

15g Gate; Phosphorus to Hydrogen /Sulphur; H>S, P>S. Of occasional impacts and ice floods.

16 to 21;  See 1:16, 2:17, 3:18, 4:19, 5:20 and 5:21 above.

Elemental properties reveal some of their structural logic in various ways, just as character attributes in myth, art and buildings do. Abstract logic such as mathematics and string theory could describe invisible elements, as it did by predicting 2He Helium before its discovery in the sun and stars, by its spectral fingerprint, and eventual isolation by technology.

Intervals of matter are named ‘periodic’, while intervals of energy are named ‘quanta’. The universe oto-manifests, by continually transforming matter, energy, space and time into one another. Culture is equally ‘emergent’, thus perpetually original, despite its apparently ‘cumulative’ styling. When crossing the gaps between stable isotopes of matter, particles shed or absorb light of predictable wavelengths. Likewise, visual archetypes transform by shedding and adopting traits, such as postures, functions, tools, or species. Some of these properties are described in the stoneprint list, its sequence, its frequencies of probability, its spacing as pairs of opposites, and its tri-polar features. Our conscious minds rebel against the implications of quanta, and the thought that energy forms have internal structure (Connell 2016). Likewise there is no apparent cause for the pervasive structure in cultural media; or for close structuralist correspondences between different media; or for cultural modelling on invisible aspects of natural structure. Our conscious mind also rebels against evidence of its exclusion from our vast range of subconscious behaviour.

Atomic numbers reveal base-16 math

Abstract qualities such as quantity, thus number, also express archetypal structure, involving a series of scales, more complex than a sequence of addition, but rather similar to the progression of electron shells. The search for the inherent properties of prime numbers has occupied mathematicians for centuries (assuming that composite numbers are sufficiently explained by their factors)…. etc…. See Stoneprint Journal 2.

Biological levels of scale (anti-clockwise): Four amino acids combine in pairs with their opposites, as rungs in a double helix, forming genes, which are wound up into nucleosome discs, forming histones, woven into chromosomes, clustered in nuclei, of cells, in organs, in bodies, in species, in ecosystems that re-express archetype.

 

 

The mindprint model of archetypal characters as social functions, with their sequential, spatial and polar relationships (after Furter 2014, 2019). A table of archetypal structure in nature and culture. There are sixteen archetypes (some with two magnitudes), in pairs of opposites, in sequence, which each have optional attributes, allowing variant expressions, in several media, including behaviour, of people, in cultures, in societies, of humans, in ecosystems that re-express archetype.

Biological scale of spirals and ladder rungs

The scale of magnitude in biology resembles the layers of cultural structure: amino acids=archetypes; pairs=pairs; genes=sequence; nucleosomes=optional attributes; histones=variants; chromosomes=media; nuclei=behaviour; cells=people; organs=culture; bodies=societies. Both systems function in ecosystems that re-express archetype.

Living organisms consist of sequences of combinations of four amino-acids (Guanine, Cytosine, Adeninie and Thymine), arranging themselves as pairs of opposites (G v C, and A v T), forming ‘rungs’ on a spiralling ‘ladder’. Sections of this ‘ladder’ form genes, which in turn from larger units in cell nuclei. Some crop circles express sections of biological shapes, including the illusion of perspective, hinting at longer vertical structures, as if their bio-chemical shapes extended from below ground into the sky (somewhat like the dynamic energy beams that Freddy Silva proposed as physical causes of crop circles).

Artworks and building sites express this structure in left- or right-handed versions, sometimes both, in the form of two adjacent and mutually ‘geared’ stoneprints. In nature, some composite atoms occur in left-handed or right-handed forms. Nature prefers left-handed forms, but she allows some ‘mirrored’ forms, for example, oranges versus lemons…. etc see Stoneprint Journal 2.

Barley ear on a coin. Grains have a standard average length and volume, enabling direct trade metrology. Coins standardise indirect or abstract trade.Physical scale of sand grains, corn ears, light beams

Human reflexology reflects natural structure in lymph node links between body organs, irises and palms. Some crop circles express the same structure as human reflexology, by abstract shapes of body ‘chakras’ (wheels, or nodes). These formations are ambiguous with planets (see the solar system scale level above), for the same reason: all media express aspects of archetypal structure. Esoteric crafts attempt to tap into archetypal structure by mimicking natural structures.

Wheat stalks and grains, at the level of ‘digital’ texture in crops, are inextricably bound to weights and measures. A sufficiently large number of barley grains are on average the same length, volume and weight (slight fluctuations over centuries appear to have been uniform worldwide. See references relevant to grains below). Wheat species formed the basis of trade, exchange, and metrics itself, since Sumerian time (Knight and Butler 2010.

Also the Babylonian building projects chapter in Stoneprint, p177 -194). The bushel of the modern era derives from grain. Thus organic compounds standardises metrics and aspects of culture. Crops include sodium (see 11Na in the table above), in compounds, organisms and salt (which was also a standard of exchange. Salt bars were a form of coinage, from which we retain the word ‘salary’). Sodium expresses type 11 Virgo, typical of gestation (see Tarot trump 11, Justice, a woman with scales to account for intangible values such as behaviour). Metrics also used average dimensions of human bodies (ells and feet), and recently fractions of average earth dimensions (metre).

Now, in the global technology era, standards are based on the wavelength of a specific colour of light, and on the electro-magnetic energy in an electron (by measurable changes of resistance in a metal conductor), and on the weight and a certain number of atoms of silica (see 14Si in the table above, typical of clay and rock). Silica expresses type 14 Mixer, typical of time and alchemy (see Tarot trump 14, Time, an angel with an elastic current or silica glass between two jugs).

The proverbial ear of corn, beam of light, and grain of sand, still standardises the world at the scales of nature critical to life. The metric mills may grind even finer yet as we develop tools to measure the minute but multiplied forces in atoms.

Grains standardise length, volume, weight, food and beverage

A grain is one of the earliest standard units to measure length, weight and volume. At  0.065g, or 1/7000 pound avoirdupois, it unifies the apothecary system and troy system. Any substantial number of  dry wheat or other edible grain kernels from the middle of the ears, could be designated as a standard. The Sumerian shekel weight was 180 wheat grains.

The British Troy system included a pennyweight (24 grains), an ounce (20 pennyweights), and a pound (12 ounces). The name may derive from the market city of Troyes in France, or from the former name of London, or from England as a triangular island (as Julius Caesar noted, probably from classical maps).

Three barley-corns end to end, at 2.54 cm, were the basis for the medieval English inch. British silver penny sterling was 32 wheat grains. The Metric grain of 50mg is used to weigh precious stones. The USA Mint adopted the Troy pound for coinage in 1828.

Crop formations express abstract and thus archetypal standards, in the form of shapes and numbers, that invariably include some crystalline, chemical, and biological shapes. Thus the grain fields where the imprints appear are canvases of the sources as well as the products of universal standards, or natural expressions of eternal archetype.

The Greek term derives from ‘arche’ (ancient or eternal) and ‘tupos’ (imprint), conveniently visible in every year’s harvest. Mutation is as much part of nature, and her various art forms (such as feather and skin colours), as it is of culture (such as coinage).

All cultures artificially germinate grains into sprouts, by applying moderate moisture and heat, usually in a heap, cavity or cistern, at about 13 degrees C (55̊ degrees F, or room temperature) for two to three days; then spreading out to germinate; then drying. Malting produces various enzymes, including diastase, which converts starches into sugar. Maltose sugar partially digests or brews grain into baby food, bread or beer, among the hallmarks of civilisation, and integrated with more detailed calendars and more abstract rituals…./// ….etc see Stoneprint Journal2….

Landscape scale of stems on fields

Crop circles are rare ‘natural culture’ events requiring a specific combination of chalk geology, groundwater, earth-sun magnetic, electro-static or microwave energy layers; and crops evenly spaced by man or machine. They depend on accumulation of survey or aerial photographic records and mass printing media to reach our consciousness. Their semi-regular geometry and emblematic format invite conscious interpretation. Their structuralist interpretation became possible only after discovery of natural and cultural structuralist analysis in 2010 (Furter 2014), first applied to crop formation clusters in 2017. Crop circles are not an open book, but the express meanings more calibrated than culture, as eternal as geometry, and as digital as mass technology.

Life occupies many scale levels

Human behaviour, and thus culture, is closely modelled on archetypal structure. The results are best demonstrated in artworks (Furter 2014) and building sites (Furter 2016). Among the expressions of natural structure that bridge nature and culture, are liver map or iris divination, where part of the body is the canvas (Stoneprint p99 -114); geoglyphs where landscape is a cultural canvas (Stoneprint p328 -334); or cosmology, calendar, myth, ritual or crafts such as astrology, alchemy, emblem sets, or kabbalah, where abstract structure in space, time and concepts are the canvas.

Some crop formations express this nature-culture interplay in shapes resembling geometry, plants, species, artworks, emblems, characters, building plans, temples, pyramids and towers. Crop circles offer a rare natural medium with many parallels to cultural media, despite its contamination by fakes. Or perhaps enhanced by inspired fake formations.

Wheat extracts gold from soil

Biological scale includes ecosystems filled with genera and species, each in a ‘periodic’ niche defined by the possibilities of bio-chemistry, climate, and one another. Changes in climate and environment coax an endless range of variations from DNA, as Darwin found by studying organisms such as vegetables, barnacles, finches and fancy pigeons. Humans exploit mutational variety by artificial selection of fruit, grain and stock species.

The oldest records of husbandry are in eastern Turkey, where edible grains survived the Ice Age, and at nearby Gobekli Tepe, where images of at least one sheep and three cattle are among the wild species engraved in relief on T-shaped pillars (see the Ice Age chapter in Stoneprint). Even today, in the era of laboratory patented seeds and genetically modified organisms (GMOs), some uses of flora and fauna, and the bacteria that transform elements such as phosphorus and nitrates into nutrients for plants, are still being discovered and turned into technology (sometimes with dire consequences, such as nitrate toxification, as penalties for working against nature).

The South African Department of Trade and Industry experimented in 2016 with extracting gold from wheat, grown in soil containing gold ore. They seek economic viability in using wheat grain for food, wheat waste for heating, and recovery of residual gold at low grades, below the reach of coarser chemical processes.

Crop circles are known to require specific geological conditions, including chalk, groundwater, and microscopic particles of magnesium, typical of former sea-beds or marine deposits. Crop circle areas, including those in England, France, Italy and the Americas, also contain traces of gold, as does former sea-beds. The unique ability of wheat to absorb gold, adds another metal to the crop circle equation.

Alloy of 81% gold and 19% silicon melts at 363 ˚C. At 600˚C, under the thin layer of gold, a weak spot in the silicon dioxide base allows gold-silicon reaction, spreading (dark gray) until surface tension opens a zone of silicon dioxide, around a small square of gold-silicon alloy. The eventual droplet diameter (black) is about 30 micrometers. The alloy square moves to the centre.

 

 

 

 

 

 

A gold-silicon alloy droplet breaks up to leave a bare circle of silicon oxide (left). The small central square of gold-silicon alloy (middle), is the top of a droplet in the silicon crystal base, where low-energy planes in regrown silicon form a small inverted pyramid (right). A similar process may cause crop circles on a larger scale.

 

 

 

 

One of the variations of theoretical ‘trumpet lightning, drawn by an Oxford chemist in the 1600s, is a square in circle (Prof Robert Plot, LLD; A Natural History of Staffordshire, 1686). Plot was a contemporary of Isaac Newton.

Gold-silica alloy forms micro circles with square pegs

The Molecular Foundry at the USA Department of Energy’s Lawrence Berkeley National Laboratory experimented in 2009 with layers of gold, just nanometers (billionths of a meter) thin, over a silicon oxide base. When heated and cooled on a flat silicon surface, “peculiar features expanded and changed” through various patterns, ending up as a field of circles a few nanometres in diameter, each with a square in the centre. The lab noted that the microscopic structures resembled crop circles (Physical Review Letters,  http://prl.aps.org/abstract/PRL/v108/i9/e096102).

When two solids are combined in just the right proportions, changes in chemical bonding may produce an alloy that melts at a temperature far lower than either could melt by itself. Such alloys are ‘eutectic’, or ‘good melting’, after a Greek metallurgy term. An alloy of 81% gold and 19% silicon (AuSi) is used in making nano-scale semi-conductors, such as nano-wires, to connect devices in circuits. It melts at only 363˚ Celsius (while gold melts at 1064°C, and silicon at 1414°C). Gold-silicon alloy can solder chip layers together, or form microscopic wires by flowing into channels in the substrate, without damaging surrounding material, said Berkeley Lab’s Junqiao Wu.

The finding may support theories that crop circles are part of the effects that natural microwave bursts have on crop stem nodes or ‘knuckles’.

Wu said silicon nano-wires could be grown from beads of alloy, by adding tiny droplets of gold. Alloy beads prompt silicon to deposit from a chemical vapor, and ‘ride’ on top while it lengthens into ‘whiskers’.

At micro scale level, the ratio of surface area to volume increases. Nano-scale structures have large surfaces compared to their material mass. Berkeley Lab started with a substrate of silicon (similar to the earth mantle), then a thin barrier of silicon dioxide (similar to earth crust), then a layer of gold (similar to gold traces in crops). Heating the layers for a few minutes cause natural pinholes in the silicon dioxide barrier to enlarge. Alloy forms at the pinholes, replacing part of the gold layer with droplets, which grow and break up into yet smaller droplets, leaving bare flat circles of  silicon dioxide, each with a small square of gold-silicon alloy in the middle (similar to some crop circle formations, see Windmill Hill crop circle type 4. See the 1686 illustration of a ‘sky trumpet’ with a square interior tube above).

The thinner the gold layer, the faster the alloy droplets break up, and the faster the bare circles expand. The diameter of a bare circle is always equal to the length of a side of the alloy square, to the power of 3, divided by two (for example, a square with sides of 4 units, forms in a circle of 4x4x4 =64, /2 =32 units diameter). As they cool, the squares leave small inverted pyramids of gold in the silicon dioxide ‘crust’. One of the factors is silica’s rectangular crystal lattice (see clips at http://youtu.be/c1v_uL9gzBU or http://youtu.be/PfuMkaWvtyk or  http://youtu.be/9gJYfvTyuJY).

Most silicon is oxidized into silica

Pure silicon is rare, but common in oxidized form, as in silica. Silicon’s electron shells are 1s2 2s2 2p6 3s2 3p2, thus able to remove four electrons to form a +4 charged cation; or to share these electrons to form four covalent bonds. Pure silicon is metalloid, with mineral and metal properties. Silica (silicon dioxide, SiO2) is protected by its outer oxide layer, and thus largely inert. Yet it reacts with fluorine even at ambient temperature, or with concentrated alkalis. Pure silicon is a semiconductor, also used in computers. Silica does not conduct electricity, since it lacks free electrons. Silica’s sulphur and oxygen atoms form a more elaborate crystal structure than silicon’s lattice.

Each sulphur atom is surrounded by four oxygen atoms. Silica is abundant in earth crust, and in bones, cartilages, nails, tendons, teeth, skin and blood vessels. It is naturally present in water, carrot, wheat, rice, banana, raisin, and other foods, thus relevant to wheat and to crop circles. When molten and cooled at a certain rate, silica forms glass. This element of transformation is subconsciously expressed in emblematic form in Tarot trump 14, Time, as a flow of either molten glass or electricity between two jugs.

Southern England geology map, indicating that crop circles of 1993 to 1998 closely match arable chalk, greensand and fissure flow aquifer groundwater areas, minus urban areas (after Northcote 2003).
Southern England crop circles of the 1990s closely match groundwater areas (grey. After Silva 2002).
Northcote’s rough distribution map of 100 crop circles of 2002, using Vigay’s list of nearby towns and fields. Northcote noted a correlation with prehistoric mounds, and arable land, but ignored geology, which corresponds much better with crop formation distribution.

Crop circle theories

Several theories attempt to explain the materials and energies involved in crop formations. In the 1600s to 1800s, theories focused on known energies; whirlwind, lightning, meteoritic tektites. Theories became more complex as the data did. The number of formations have increased in recent decades, and so have fakes, hoaxes, pranks, graffiti and advertising logos, in an apparently symbiotic relationship.

Fakes are made near natural circles, often apparently in collusion with nature (see the note on compulsive inspiration by Colin Andrews below, and the comment by the best known crop circle makers, Doug and Dave below), sometimes interfering with natural expression of structure (see the ‘extra’ formations in scenic positions in the structuralist analyses of two field clusters). Crop circles are relevant to the study of nature and culture, and thus to sciences such as psychology, structuralist anthropology, and art history, since they appear in clusters that take some years to complete, just as building sites do.

Geo-chemical formation theories

Soil containing chalk and green-sand (a mixture of sandstone and green earth), hold much groundwater. This combination is the common denominator between sites of frequent formations. Southern England’s aquifer, the deepest in the world, is alkaline from chalk, and piezoelectric, thus building up electrical charge in water under pressure. Crop formations tend to appear over aquifers, ponds, wells, underground tanks and shallow groundwater, but the energy involved may spring from deeper below the surface. In dry summers, as in 1989 and 1990, crop circles appeared closer to the edge of the aquifer, where patches of groundwater were more isolated.

Most of England has a shallow layer of small fossilised sea creatures, each with a tiny speck of magnesium that once enabled them to orient to the earth’s magnetic field. This ‘canvas’ could be energised by groundwater.

Chemical elements in soil and crops include (listed by number of protons):

00 electrons in bonds or free, or in spontaneous manifestation and disappearance (part of Heisenberg’s atomic uncertainty principle);

1H hydrogen 2H2;

5C carbon12, formed in stars by 2He3 resonating in heat;

7C2 carbon14;

7N nitrogen in 78% of air (nitrate levels rise in formation soil, a natural fertiliser requiring high electrical charge to form);

8 O, oxygen, usually O2, or O3 made by ultraviolet from lightning, or in compounds typical of dry soil;

9F fluorine in trace elements causing calcification;

10H2O water;

10Ne neon formed by 11Na sodium, its crystal a cube of touching circles;

11Na sodium in organisms, with 17Cl chorine it forms salt;

12Mg magnesium;

13Al aluminium;

14Si silicon (a semi-conductor metalloid, some as +4 charged cations, some in four covalent bonds, some oxidised);

15P phosphorus;

17Cl chlorine, with 11Na sodium it forms salt;

19K potassium in compounds and organisms;

28NaCl salt, cubic crystals, electrical conductor in solution;

30 SiO2 silica or silicon dioxide, an electrical insulator, with sulphur and oxygen4 in elaborate crystals, reacts with 9F fluorine and alkalis such as chalk);

Au gold, some in AuSi alloy.

Dehydration theories

Dry, hard, powdery or crunchy soil is typical of crop circles, even in irrigated rice paddies, while soil outside formations tend to be moist and sticky. Insects or animals who do not escape in time, are dessicated or mummified during crop formation. A flattened porcupine was reported. Flies have been found flash-burnt and stuck to stalks. A malty smell was noted, perhaps from selectively heated plant nodes. A clump of ‘carbon’ or perhaps fermented plant material was noted in one circle.

Oak leaves facing a crop circle changed to autumn yellow, indicating that the plant sugar had fermented, as milk does after lightning. A jelly-like substance was found in and near two crop circles in 1991. In sound farming, corn exposed to certain frequencies resulted in higher heat in soil, and a slight burnt appearance in plants. Dehydration causes oxygen atoms to deplete, soil composition and radiation to fluctuate. Soil in formations shows variations in alpha radiation, from 27% below average to 198% above.

Innoculation theories

Crop yield in formations could increase up to 40% for several years. Malkowski (2000) noted that microwaves innoculate crops and seeds. He theorised that granite radiators were used in Egypt, Ethiopia and Ireland (in round towers) to amplify and radiate natural and artificial microwaves. Pressure pulses from gravity water pumps below some pyramids may have induced microwave bursts into granite chambers and beams above chambers. Crop yields have a close relationship with light, sound and electro-magnetic frequencies. Crops in formations remain productive. The energy imprint lingers for up to five years.

Crops symptoms

Bending of corp stems at nodes, occurs in a few seconds or minutes. Bends could be in any direction. Often stalks are bent in several layers, each in different directions, with some woven in a pattern. Fake physical bends always occur between nodes. Natural bends are always on stalk nodes, which normally give stems their strength. Nodes also gather moisture, aiding in rigidity. In formations, some nodes are quickly dehydrated by heat, some with holes where steam escaped. Nodes are bent selectively, most often at the lowest knuckle, but sometimes at different heights in different directions in the same formation. Bent crops look dehydrated, and some cell walls are enlarged, as if by internal heating. Wheat stems vibrate. Bells in a church tower at Avebury rang before the ‘DNA’ spiral of 94 circles was formed.

Plant symptoms are more intense, and ‘designs’ more complex, at the height of the growth season.

Bent stalks rise again, two to seven days after formation, depending on maturity, due to photo-tropism, or sun-seeking. Some crops rise in structured patterns, at selective stem nodes. Roots in crop circles re-align to grow stronger on the side opposite the stalk bends, thus the plants assume S-shapes, instead of the usual concentric Y and inverted Y-shapes.

Crop species

Crop circles from mostly in regularly spaced stalks of barley, wheat, canola, rye and linseed, but also in maize, grass, sorghum, rice, Brussels sprouts, potatoes, sugar beet, strawberries, tobacco, sand and snow. Some trees in Wisconsin and Ontario were affected by unknown energy. Formations are selective, for example, leaving poppies standing among bent crop stalks. Younger plants are sometimes unaffected, thus the energy also discriminates by maturity.

Magnetic fields formation theories

Growing grain has a natural positive charge by day, and a natural charge by night. But grain in crop formations seem to have been discharged, or even negatively charged, as if electrons were added from surrounding crops. Electrostatic measurements revealed that crop left standing inside a formation were coated with a charge of about 10 to 100 volts per square inch.

Earth’s magnetic field shifts 3 degrees to 5 degrees in crop circles, noted Colin Andrews. The Hartmann grid forms a regular net of squares over earth, perhaps resulting from a combination of dynamic earth and sun magnetism, gravity, and atmospheric material. Within this grid, geodetic or telluric lines meander, forming concentric or spiral nodes at crossings, of positive or negative polarity, anticlockwise descending or clockwise upwelling. Both are seen in contra-rotating swirls of some crop circle floors. These earth energy nodes also have radials, like clock faces. Numbers 3, 7 and 11 seem important in geo-magnetic nodes. Magnetic vortices cause EM fields in groundwater.

Metal stuck into the soil at the centre of a crop circle, is magnetised. Compasses in crop circles tend to point to the formation centre, instead of to the earth’s magnetic north pole. But the magnetic centre, often marked by a spiral texture, is off-centre to the overall shape of the formation, just as the five polar points are all off-centre to one another (see the star map), and just as their analogous limb joints in artwork designs, or junctures in building site plans are (see the structuralist analyses).

A spinning vortex can generate a magnetic field, especially in saline water that conducts EM energy, and in water in plant stems. Some crop circles have four energy vortices.

Soil samples from the centre of formations, tested by Colin Andrews, yielded up to double the normal electro-magnetic (EM) levels. Military spectrum analysis had detected localised magnetic field disturbances 24 hours before some crop formations. Natural energy fields include electric, magnetic, radio, microwave, ionic, nuclear radiation and moisture signatures, which often disrupt one another. Hovering lights of various colours, notably red or blue, have been reported at formation sites.

Crop formation geometry is slightly irregular

Geometric shapes in crop circles are never exactly regular. Nature favours irregularity regularity. As Leonard Cohen wrote in a song: “There is a crack, a crack in everything, that’s how the light gets in.” Most circles are slightly elliptical, distorted from about 8 inches to about 15 feet, more pronounced on hillsides.

If crop circles are by-products of natural functions, such as the interplay between various levels of energy, matter and time, they incidentally express natural geometry. If the formations are inspiring and beautiful, it is a functional and practical beauty. Artist John Ruskin was mistaken in concluding that “the most beautifully things are the most useless.” Cultural media, such as myth, ritual, art and architecture all express and rehearse some practical functions, including order, some of it camouflaged as decorative flourish. Thus natural and cultural media echo one another in their various purposes and forms, often hidden under their exploration of all the possible varieties of styling.

Animal crop circle symptoms

Animals near potential crop formations are distressed and behave erratically. Birds stop singing. Animals avoid areas where crop circles are about to form, as they also flee from areas about to be struck by lightning. Horses would not cross crop circle perimeters, and become nervous. Sheep and cattle avoid the spot for a year. Dogs become playful or act strangely in crop circles, or mark the energy centres in anxiety by droppings.

Whale and dolphin song themes change over years, much like crop circle themes do. Seen in the context of ecology, crop circle could be a kind of plant-song, a by-product of vegetable life, fulfilling various functions, just as bees, insects, birds, plants, animals and humans all have ideal functions in nature.

Ice Age rock art include about 25 abstract shapes (after Von Petzinger 2016. Graphics after National Geographic. Typological labels by ED Furter). Theses shapes express a set of inherent meanings. Corp imprints express the same range in various combinations.

Corp imprints express the same range in various combinations. Formations may be triggered by disruptions in the natural sun-earth energy field.

Human symptoms in crop circles

Abstract shapes generated by the visual cortex, named entoptics, may result from changes in brain frequencies triggered by dancing, humming, dehydration and social activity. Crop circles seem to be nature’s version of entoptics, in collaboration with human behaviour (including agriculture), just as human entoptics collaborate with abstract aspects of nature, entoptics appear in all art, rock art and artefacts worldwide, including Ice Age cave art). Some researchers in the ‘trance school’ have linked entoptics to migraine headaches (Lewis-Williams 2010).

The onset of symptoms could occur up to 100 feet from the perimeter, and linger after a visit. They resemble radiation sickness: disorientation, vertigo, nausea, headache, dizziness, tingling, various pains. These together indicate Alpha radiation, of electrically charged particles, one of three types of radiation emitted by radioactive substances, but in short bursts, unlikely to damage health.

Ultraviolet (UV) or gamma radiation exposure symptoms were reported by a molecular biologist familiar with it, who visited a Julia Set formation near Stonehenge. He felt lingering nausea, but after some sleep, an intense well-being and mental clarity.

Some people feel compelled to eat seeds from crop circles, feeling sensations of speed, energy, nervousness, flying, electrical interference, deep body vibrations, heat from hands and head and solar plexus, appetite loss and disorientation.

Some feel skull base tension, followed by chest pressure, as of water on lungs. Some prophets, such as Siener van Rensburg, who lived in South Africa near an iron deposit known for electro-magnetic effects, felt skull base pain at the onset of visions, and clasp their hands behind their heads (Raath 2001). Van Rensburg’s visions started with swirling pattern, dissolving into “flowers, cosmos or devils”, then more familiar scenes, often of symbolic shapes: wheels, pits, ladders, doors, animals, people dressed in different colours.

Some people feel only a tickling in the feet, or a ‘sprung floor’ trampoline sensation, and some crunching of dried soil.

Some people feel a sense of deja vu, reminders of something vaguely familiar, in a crop circle. Some studies ascribe this sensation to a small delay in sensory input to the two brain halves, causing a kind of ‘echo’ when the brain halves compare their interpretation of experience twice.

Equipment symptoms in crop circles

Ferrous metals have been magnetised. Tyres have deflated. Electronic devices, mobile phones, cameras and watches have failed. Compasses on airplanes overhead have spun randomly. Credit cards have been wiped clean. Clocks were delayed by several minutes. Time seemed to pass quickly. Shadows cast by some trees could be at odds with others, while the person who noticed this lost half and hour, and regained it when returning to the same spot before or during crop formation. These effects are typical of type 14 Mixer or Time (see Tarot trump 14, Temperance, as an angel holding a flux between two jugs). In the Arthurian romances, two knights riding across a field on a quest remark that “here, time moves backwards”.  Merlin supposedly lived his life backwards. Time may be governed by gravity, and both remain elusive to science, and doubly so to ordinary consciousness.

Sound frequency theories

Sonic cymatics pioneered by Chladni in the 1770s, demonstrated by sand, particles or liquids on metallic disks, that sound imprints geometric patterns on flat surfaces. The human voice is particularly attuned to imprinting a great variety of patterns on the immediate atmosphere, as measured by a tonoscope. Captured voice patterns change from textures to shapes of flowers such as pansy, primrose, geranium, rose, fern, wheat heads, or trees, more complex at higher pitch. The reverse may apply, in that the range of possible distinctive textures and shapes acted as archetypal shapes that allowed and enabled plants, animals and humans to express these shapes.

Hans Jenny (1967) found from photographs that low frequencies tend to form circles, and higher frequencies to form tetrahedra (triangular pyramids, the simplest possible shape with volume of 3D); then mandalas, and the five regular solids. Many of the Jenny photo patterns appear in crop circles, including star fractals. Most human sounds are dynamic in shape. For example, the sacred chant ‘AUM’ forms a circle, that changes into a triangle, then into hexagonal and pyramidal shapes, as in mantra artworks named Sri Yantra in India.

Ultrasound, above our hearing threshold of 20 kHz,can be aimed, focused, reflected. Certain frequencies vibrate certain molecules. The high MHz range, on human mind’s frequencies, affect states of awareness, heals muscular ailments and bone fractures, like sacred sites do.

A four kHz high trilling sound, varying between 3.2 kHz to 5.2 kHz, and a low trilling sound from 0 Hz to 500 Hz, is typical of crop circles. These sounds, like birdsong at about 4 kHz, stimulate plant growth and moisture absorption. A 5.2 kHz trill is used in wheat growth acceleration in Canada by Weinberger and Measures . They also happen to be the two frequency curves that bagpipes make, about 4 kHz from the double-reeded pipe (see the Pictish -Dacian connection in Stoneprint Journal 1), and about 400 Hz from the set of upward drone pipes.

Our brains in wakeful state operates at about 30 Hz.  Resonances of about 7.8 Hz were found at Delphi, Stonehenge, and the Giza pyramids, on the brainwave pattern of mystics and healers. Some crop formations radiate vibrations rising from 7 Hz to 21 Hz (Giovanni and Jean 2008), known as Schumann resonances, associated with 3D, 4D and 5D densities. Octahedral or doubled pyramidal crystals (as of dense carbon in diamonds), are associated with 7 Hz (see microscopic gold-silica alloy in wheat above). Cubes (as of salt crystals) are associated with 21 Hz.

Infrasound, below our hearing threshold of 30Hz, interacts directly with biological processes, if combined with high pressure, could produce permanent changes in substances, including chromosomes, and thus cause health effects or even mutations. A low oscillating hum caused by two out-of-phase frequencies, at 440 Hz and 460 Hz that seems to jump from ear to ear, like Tibetan bowls used in mediation. F# has been noted to prompt brainwaves into greater receptivity.

Low Gregorain chants combined with an EM field (said to be produced in cathedrals), stimulate the brain and body’s magnetic field, and brains generate electrical charges 46 times above average, into psychic activity, allowing access to a collective consciousness. Infrasound could atomise water molecules into mist.

An Etchilhampton farmer saw columns of mist rising like cannon shot on a dry summer afternoon in 1996, where 13 crop circles connected by a winding avenue appeared. At Findon, West Sussex, steam rose like a series of fountains at 6AM from a 1985 crop circle. Infrasonic vapour cavitation creates pressures of up to 500 atmospheres. Lumps of carbon are sometimes found on the soil. Iron powder was found glazed to stems at an Oldbury Hill Fort formation in 1993. Synthesised amorphous iron does not crystalise as it cools, leaving a powder like a soft ferromagnet, leaving stems attractable by a magnet.

Bursts of music in fields in India caused seeds to sprout in a third of the normal time, yields to increase by 61%, and chromosome count in plants to increase. Indian devotional songs increased stomata (surface pores) by 66%, thickened epidermal walls, caused palisade cells to lengthen up to 50%. Seeds during germination under ten minutes of ultrasound (above 20 kHz), or short bursts of light, showed increased growth. Crops were found to bend towards the metallic vibration of sitar music, at an angle of 60 degrees. Sound also affects the evaporation rate of water.

Radio waves and light formation theories

Radio waves range from about 20 kHz (the upper threshold of hearing) to 300 GHz, with wavelengths from 15km to 1mm (after Illingworth). Below visible light lies infrared (300 GHz to 5x 10_5 GHz; wavelengths 0.8micron to 1mm). Visible light ranges from 3x10_5 GHz to 10_6 GHz (wavelengths 300nm to 900nm). Our eyesight, and the energy for photosynthesis in the leaves of plants, is determined by the range that best bypasses earth’s atmospheric filtering.

Microwave formation theories

Just above the broad spectrum of radio waves (wavelength 15km to 1mm), lie microwaves (1mm to 300mm). Microwaves include the average spacing of crop stalks, raising the possibility of sympathetic vibration, with stalks acting as a kind of antenna or canvas for either sending or trapping natural and man-made microwave energy.

Man-made satellites in earth orbit use microwave beams. Heating stems of wheat with a short intense burst of microwave energy can produce wilting similar to that in a crop circle. Flattened stems often have the bend just below stem-nodes, and also may feature blackened burn holes where steam escaped. Microwave heating is capable of producing these effects. The USA Pentagon’s Star Wars program has a satellite capable of delivering such a microwave beam. However, there were no traces of radiation detected in the crop circles. Crops that were bent by microwaves, showed signs of various radiations and moisture differences, but remain productive.

Mega-Hertz formation theories

Frequencies of 150 MHz to 260 MHz range were recorded in the Silbury Koch fractal formation in 1997, rising to 320 MHz at the centre. At Hackpen Hill nine-crescent formation in 1999, 540 MHz up to 650 MHz was recorded. At Golden Ball Hill in 2000, a background of 180 MHz and lotus circle perimeter frequency of 320 MHz was recorded, with a turn by 90 degrees changing the reading to 170 MHz, indicating directional energy. Alkaline batteries died, while lithium batteries continued working.

Giga-Hertz formation theories

At some formations a specific narrow band of signal interference was measured at 1.5 GHz, only 1Hz broad. The interference had a banding effect about every 6 inches (also within the crop stalk spacing range), as if on an agitated pond. This frequency is typical of a hydrogen gas radio wave, which astronomers use as a carrier wave for interstellar transmissions.

LCD displays such as watches darkened, but when rotated by 90 degrees lit up again, perhaps due to polarisation in of liquid silicon crystal. Camera circuit boards have fried.

The strongest local source of almost all energy frequencies is the sun, filtered by earth’s magnetosphere, atmosphere, moisture and plants, which all could act as lenses. Sun and earth rotate, resulting in stretched vortices of energy, with their wave elements compressed on the incoming leading edges, and extended or stretched out on the trailing edges; as well as on the rotational edges (named Doppler shift, or red- and blue-shift). In earth’s moving atmosphere, magnetosphere and crust, some frequencies may be further retarded, and their particle elements and wave elements may be separated, polarised, or phased. The net result are energy vortices with various textured ‘eddies’, of which crop formations may be horizontal snapshots in the microwave frequency range.

Newton solved some physical riddles

Isaac Newton, mathematician, wrote in his notes (Keynes 1965) of a “Riddle of past and future events… a cryptogram set by the Almighty.” Newton had found evidence of a Bible code that he thought was human encryption of history, not realising that the code was implicit in meaning, language and perception, thus natural and archetypal. Newton “looked on the whole universe and all that is in it, as a riddle which could be read by applying pure thought… clues could be found partly in the heavens and in the constitution of elements… he himself wrapt the discovery of calculus in a cryptogram when he wrote to Leibniz.” (Keynes 1947).

If Newton saw cultural codes as natural laws (several of which he had formulated), he may have codified cultural laws as well. Most researchers who came close to discovering the natural code in human behaviour, including Newton, opted for conspiracy theories, such as a supposed “ancient document and brotherhood”. Psychologists such as Jung, and structural anthropologists such as Levi-Strauss, looked instead for inherent patterns in human nature. The discovery of stoneprint in groups of crop circles (see the reconstruction illustrations), now add evidence that the culture code lies within our conscious reach.

If there were revelations “in Babylonia” (or at Gobekli Tepe much earlier around BC 8000), they were lost by the same conscious assumptions that we have to penetrate by number, geometry, deductions and tests, usually prompted by intuition. Newton and others have lifted the camouflage from most natural structures, but human re-expressions remain veiled by our flawed self-image. Structure is the stock in trade of nature, also subconsciously expressed by artists and builders. Yet despite the abundance of ‘code’ in nature and culture, it is our conscious habit to search for inventors and teachers.

Formations in engravings and inspirations

Designs of crop circles were claimed to have been found engraved stones or metal plates buried in the same field, one claimed to have been brought from Mexico. The most notable of these claims is the Grasdorf gold, silver and bronze plates said to have been dug from the symbolic formation field in Germany. More numerous are claims of inspired artworks drawn on the evenings before similar crop formations appeared.

Subconscious human collusion with nature

Colin Andrews (2015) are among the researchers who raised the issue of inspiration versus conscious motivation. “The ratchet design… was manmade, but why? Why did they make that design? And why there? Many unexplained events can surround the making of circles, unknown to the people involved. Sometimes several people are prompted to make formations on the same night, even in the same fields (see my book, On the Edge of Reality). The big question is, What are the implications of human activity, due to non-human [not individual] influence? This is a profound idea… and has huge implications for social structures and beliefs… My first public presentations about these findings were made in 2012, and some of the audience and researchers present ‘got’ it… a non-human [collective] mind influences many humans… The communications are akin to intuitive nudges, subtle, quiet, yet clear and decisive. I would say all-knowing. The ‘chess player’ knows the end game, but makes many seemingly illogical moves… the first people to claim making crop circles said, “It was as if we were being told to make them. We could never quite  understand that feeling” (Doug Bower and Dave Chorley 1991).”

Colin Andrews posted the above on his website in 2015 December 30.

Doug Bower and Dave Chorley said they felt ‘compelled’ to make some crop formations.

Hoaxers, fakers, or agents of nature?

Retirees Doug Bower and Dave Chorley claimed in the early 1990s to have made many crop circles. Mass media and public opinion instantly assumed that the mystery was solved. The topic died in mass media, and was relegated to internet niches. Yet some formations appear in restricted areas, difficult and pointless for pranksters.

Jeremy Northcote (2003) emphasises the cultural context, as if all crop circles were man-made landscape art. He does not even mention geology, and “rules out” natural causes. Northcote wrote: “The area is littered with ancient and modern attempts at what archaeologist Peter Fowler (1995) refers to as “conscious landscape architecture.” The area is well known for the Avebury and Stonehenge monuments, and for burial mounds, long barrows, and of particular relevance to the crop circle phenomenon, its white horse formations carved into hillsides… inspired by the ancient ‘horse’ [or feline] formation at Uffington, just 5km west-south-west of the mean centre of the 2002 crop circles… There is a long history of landscape artistry in Wiltshire that preceded the crop circle phenomenon.” But these statements are all disputable.

Northcote finds it “tempting to see the crop circles of Wiltshire as a continuation of this “sacred art” tradition (Fowler 1995)… Sussex also has a local tradition of landscape artistry, featuring the Wilmington Long Man or Giant, and the white horse at Litlington. The concentration of crop circles… seem to relate to what Baldia (1995) found at megalithic tombs in Europe along pilgrimage routes…  crop circles may be produced in sacred areas to appeal to spiritually oriented visitors.” These views are also disputable. Northcote used only 2002 crop circle location data, for about 100 formations, from one source, Paul Vigay’s Independent Research Centre for Unexplained Phenomena (IRCUP). The data did not include map grid positions, thus Northcote used approximate locations based on the names of the fields or nearest towns, within about 3.5 km on average.

Despite the small sample, Northcote ignores the clear geological and natural energy correlation, and supports a vague modern Druid tourism theory, based on the location of “ancient” structures which may be post-Roman (Furter 2016), and which also followed geology, at least in terms of arable and populated land. Sciences, in their specialised and fragmented disciplines, do not have adequate data, theories, terminology, or even concepts to study the interaction of natural and cultural structures, including artworks, building sites, landscapes, and crop circles. Mindprint and Stoneprint proposed such tools based on an inter-disciplinary approach involving philosophy, alchemy, chemistry, psychology and structural anthropology. Crop circles have acquired a reputation for being outside the bounds of science, and even for being somehow ‘unscientific’. But the splinter, or the beam, is not in nature or in culture, but in the eyes of science.

Avebury Manor ‘solar system’ crop circle, July 2008 (after Lucy Pringle). In the mid background left is Avebury bank, ditch and stone circle. In the far background is Silbury Hill, an artificial mound.

A solar system crop map fluctuates between sun and earth

Orbs, pendulums and planets are one of the apparent themes in crop circles. Every year a dominant theme seems to guide the abstract and semi-figurative shapes; insects, cubes, spirals, cells, birds, symbols, game boards, and more.

The solar system is nearly a flat plane, since most planets orbit relatively close to the earth-sun orbital plane, named the ecliptic. Maximum apparent deviations north and south of our orbital plane are one or two degrees for the large outer planets and Mars; 3 degrees for Venus; 5 degrees for our moon; and 7 degrees for Mercury. The ‘solar system’ crop circle is an apparent orrery, or model of the planets, but condensed, on a logarithmic scale, as we also have to map the solar system for practical reasons. Several commentators have noted that the relative positions of the ‘planets’ seem to reflect the winter solstice of late December 2012 (astrosociety.org, Alice Enevoldsen), when the Mayan calendar clicked over to zero. There was nothing apocalyptic about that date, or that calendar. The Mayan cultural apocalypse had followed the Spanish conquest about 500 years ago.

This crop impression had appeared in two phases, some days apart. In the second imprint, the central flattened area became larger, overtaking the Mercury orbit. The planets appear in their sidereal positions, or real constellation background on the ecliptic of December 2012 (John Walker; Fourmilab); but some planets apparently reflect their celestial positions, thus their angular distance from the spring equinox, or astrological ‘sign’ positions as seen from earth (Astrosociety).

Several contradictions in this map confirm that it is not entirely heliocentric (in sun-centred or ecliptic polar projection). Since the current celestial poles are on the ecliptic meridian between Gemini and Taurus, and between Sagittarius and Scorpius, planets in these four constellations have nearly the same celestial and ecliptic positions (see the star map below). Thus it is nearly impossible to tell by which grid nature expresses planets on and near those constellations. In the imprint (see below), Saturn is in Jupiter’s orbit, perhaps to maintain earth-centred logic. They are nearly opposites, and their axes are close together. The swop may reflect their recent wide separation in celestial declination (north-south); Jupiter was +21 degrees north of the celestial equator, close to the northern tropic, while Saturn was plodding along  -12 degrees south of the celestial equator, near the southern tropic.

Most cosmology models, such as armillary spheres, assume that sun and earth are both at the centre. However solar system maps, or orrerys, have to show these as separate points. Astrological maps or horoscopes place earth at the centre, which may swop some outer planets near the earth-sun axis, as they are on this date map. Stoneprint analysis reveals the axial centre to be off the ‘design’ centre, as usual (the same applies to the mindprint in the irises of our eyes. See Stoneprint p102 -103). Thus several factors are causes or effects of swopping Jupiter’s and Saturn’s orbits.

The celestial north pole is closer to the Jupiter crop dot than the Saturn crop dot, perhaps ‘bumping’ it outward by celestial projection. Orbital tracks in this crop circle are not without logic if they involve ‘jumps’ between ecliptic and celestial projections; or jumps between quarters of the quite eccentric orbits of the outer planets, from aphelion (nearest the sun), to perihelion (furthest from the sun). Due to their distance, their orbits have more influence on their own ‘seasons’, than their obliquity has (obliquity rules our seasons on earth).

The diffuse blob between 3 Aries and 4 Pisces lies between the orbits of Jupiter and Saturn (or Saturn and Jupiter). The white mark is probably chalk, ancient seabed underlying the shallow local soil. Minute magnesium (12Mg) particles in this chalk may act as a lens projecting earth energy, in patterns that express digital pictures by selectively bending crop stems at about knee height (Sylva 2002). Microwaves seem to be involved in the formation of crop circles, some of which have been found to inoculate seeds or soil against crop diseases (Malkowski 2010).

Between types 10 Teacher and 11 Womb, far out, are two blobs; probably not planets but stars, since they are scintillating (twinkling, as stars do, and planets do not). These are in the right positions to express the stars Virgo alpha (alpha Virginis in Latin), named Spica, Corn Ear (remarkable since the canvas consists of crops); and Bootes alpha, Arcturus, Bear Tamer, who in myth is a farmer. Bootes in Egypt is a spearman marking Ages (Bauval 2006). His invisible spear point is currently on the hoof of Ursa Minor, which is the small bull foreleg in Egypt (see the Senmut ceiling in the Early Civilisations chapter). These two blobs are thus explained, but there is no notable star at the opposite blob, between 3 Aries and 4 Pisces constellation, and between the Jupiter and Saturn orbits.

However between Aries and Pisces signs always lies a distinctive feature; the moving spring point. The celestial grid moves with the spring equinox, as the first point of Aries sign (not constellation). This point is between Aries sign (now lying over the first 20 degrees of Pisces constellation), and Pisces sign (now lying over the last 30 degrees of Aquarius constellation, see the star map above). Spring currently lies between Pisces and Aquarius constellation, north of the Cetus (Whale) spout and the galactic south pole.

The spring point is often marked in art and buildings. But ecliptic spring is on a tramline, labelled [Gs] in the image. The archetypal spring host, Aries constellation, ends at the Medusa head, cut off by the backward-looking Perseus. Astrology identifies it as the star Algol, held in the hand of Perseus. Stoneprint recognises it as type 2c Basket [labelled Cis for Cista, Basket, in early illustrations]. It marked the start of Age Aries once, at the spring sun that had since precessed backward from the last point of Aries to the last point of Aquarius, or 50 degrees (now at Gs). The blob could mark the first point of Aries constellation, the anchor point from where the celestial first point or spring moved Aries sign backward through Pisces constellation in the last 2000 years. Could the blob express this interplay, and the theme of the start of a new Age?

Astrology takes insufficient account of the interplay between celestial signs (twelve equal slices or concepts of 30 degrees each); and unequally-spaced constellations with their various stars, or ‘Ptolemaic’ astrology. Each planet activates stars in turn by moving through their ecliptic meridians. The blob is opposite the Virgo womb star and Bootes genitals star, that could express the ‘birth’ of Age Aquarius in 2016, eight years after the crop circle. If about 60 other features in this natural map confirm the slow calendar of Ages as part of the ‘meaning’ of a natural ‘picture’, what could we learn here about ‘meaning’ itself? The answer has to involve archetypal structure and its quirks.

Type 14 Mixer or Cancer in this crop circle is inside a tractor tramline loop, forming a bull foreleg shape (typical of Ursa Minor), that the crop circle imprint enhanced by interior concentric lines. Ursa Minor lies far north of Cancer and Gemini, between the ecliptic and celestial north poles. Type 14 Cancer expresses its usual polar ingress or egress, here far from the axial centre. Its polar decan, Ursa Minor, is a bull foreleg shape, from which hoof the celestial pole would soon precess towards 1 Taurus Auriga. In this natural ground plan, near Ursa Minor lies an oval with eleven lugs and one dot, which may express a polar gauge of precession (see semi-oval lines of stone grinders in Gobekli Tepe House C, marking out celestial precession lines). Type 14 Cancer here also resembles a stone axe or mace. Senmut’s ceiling includes such a shape, also in concentric lines, but over adjacent type 15 Gemini (see the Egyptian section).

Stoneprint analysis identifies that axe-shape as 15 Gemini’s usual mace, and as the brightest star in the sky, Gemini Canis star alpha, Sirius or Dog eye. Sirius is a double star with an oval orbit of about 51 years. All cultures mythologise Sirius as calendric (Robert Temple 1976). Here, the potential ratchet gauge lies on the Gemini axis. Near it is a large, slightly eccentric, concentric lug on the nearly blank ‘moon’ circle. This feature could also express Sirius (see Sirius as a concentric circle in Painted Rock, in the Americas chapter in Stoneprint).

Nature and culture do not spell out archetype in conscious terms. Any attempt to impose simplistic conscious logic on natural intelligence would fail. Nature is not talking to us in the personal or conscious sense. We may listen in the synchronistic sense, and try to fathom some of her structural and poetic wisdom, through our plodding conscious minds.

Avebury Manor crop circle, July 2008 (after Galacticconnection.com. Potential planet labels, type or decanal labels, and axial grid by E urter).

The sequence of archetypes in this natural imprint is (with the universal average frequencies of relevant attributes in brackets):

1 Builder or Taurus as Earth? The marker is on the adjacent Mars orbit, perhaps indicating our aphelion or apsis, furthest from the sun, in nearby Gemini (here with a moon or earth orbit diagram near it).

2 Builder or Taurus as Jupiter, in the Saturn orbit (twisting). Their transition or conjunction may lie at the blob between 3 and 4

2c Basket at a minor planet?

3 Queen or Aries as a minor planet?

4 King or Pisces as Uranus, in its ‘house’, in its orbit

5a Priest or Aquarius as Neptune, in its ‘house’, in its orbit, oblique (more typical of Pluto), outermost (large)

5b priest or Aquarius as a minor planet or conjunction? Or crop damage by visitors

6 Exile or Capricornus as Mars, in its orbit, near the centre (ingress/egress). Another Mars at 5, also in a tramline, may be a Mars retrograde marker

7 Child or Sagittarius as Pluto (which may be a moon of Jupiter), in a tramline ‘island’ filled with crops (bag), resembling a lasso or ox goad (rope)

7g Galactic Centre on the tramline island bend. Potential galactic equators are added here (thin white lines), the top one northern, the bottom one southern, as if projected through a transparent star globe. Some artworks trace parts of these equators by limb joints. Some building sites trace part of these equators by roads, paths and streams. Here the galactic equator partly runs along tramlines, which the natural energy field apparently regards as ‘limb joints’ in crop fields.

8 Healer or Scorpius as Sun? with a diminishing spiral tail (bent forward), large (often large). The sun may have been at the centre in an initial crop imprint, then enlarged, as it was in the second imprint when it overtook the Mercury orbit (see 10c Cista Lid). This ‘outer sun’ may express the winter solstice, or sunspots (active in 2012), opposite the moon cycle outside 15 Gemini.

9 Healer or Scorpius as Saturn, in the smaller Jupiter orbit (bent forward, as the ‘aged’ Saturn is in art), large (often large)

9c BasketLid or Lupus at Mercury, in its orbit, a small reversed dot (often a lid shape) in the large flattened crop weave (often a woven texture)

10 Teacher or Libra as Venus, in its orbit. Libra constellation is indistinct, or pictured in adjacent Bootes over Virgo, where Venus was in December 2012.

11 Womb or Virgo also as Venus, her crop dot obliterated by a tramline, or by the expanded Sun of the second crop overprint, thus inside the circle ‘body’ (interior). Virgo contains Bootes, the figure of 10 Libra, since there is not an appropriate gestalt stick figure in its own slice of sky. Venus was in Virgo constellation, south of Bootes, in December 2012. Between 10 and 11, outside the ‘solar system’, are two diffuse grapeshot circles, one on a slight outcrop of white chalk, perhaps expressing Virgo alpha star Spica, ‘Corn Ear’ (a bright white star), and Bootes alpha star Arcturus, Bear-Tamer, herder and farmer.

12 Heart or Leo as ? In the central sun ‘body’ (interior, often a platform in buildings)

13 Heart or Leo as Moon?, on Earth’s orbit, with a concentric core (interior)

14 Mixer or Cancer as a tramline loop, which interior concentrics formed into a bull foreleg shape, typical of Ursa Minor in Egyptian iconography. Its constellation lies far north of Cancer, between the celestial and ecliptic poles (see the Senmut ceiling in the Egyptian section). Here it is far out or ‘south’ of the axial grid (ingress /egress).

15 Maker or Gemini as Asteroids, in their orbit. They are a string (rope), a former planet destroyed by a comet impact (smiting, mace). Also as an orbit diagram, eleven lugs and a dot on a bag shape (bag)

15g Gate at Canis alpha star Sirius, a large grapeshot circle.

The ecliptic pole or axial centre is unmarked, and away from the design centre as usual. The celestial poles may be on the Earth-Sun axis, placing summer in Taurus 1 and winter in Scorpius 8, as they are since 2016, when the spring equinox entered Aquarius (see the star map above). The conscious layer in this solar system diagram, is partly conscious to us, but ‘subconscious’ to nature. Most of the implications of the diagrammatic picture or map, take patient study to reveal. Ironically, some apparently simple dots on concentric circles, with a few embellishments and textural differences, reveal more archetypal features than most elaborate crop circles do.

Cosmology has natural and cultural structure

Cosmology is inevitably a combination of properties of nature, and of our innate perception. The best canvas for cosmology is a sphere, such as the sky, containing three equators and three sets of polar axles…. etc. See Stoneprint Journal2….

Milk Hill letters, 1991 08 02 (after Andrew King). They could be read as two Latin words in Masonic script: (o)||OPPONO||ASTOS||(o), I oppose deceptions (Hawkins 1993); or Oppono Artor, I oppose acts of artifice. The motto may imply that natural structure could not be faked, and that even concepts and words are creations of nature.

Nature spelled out a motto on crop tram lines

American tourist Erik Beckfjord had trampled out crude letters in wheat on the side of a hill, ‘Talk to us’, also implying a challenge; Who are you? Some days later, an apparent answer appeared nearby at Milk Hill, in what may be Latin letters. Prof Gerald Hawkins, author of a book on Stonehenge, assembled a team of twelve scholars to decipher the apparent answer. It could be two words in post-Augustan Latin, in celestial Masonic script, 55 meters long and 5.5 metres wide. The last letters, -OS, is an accusative plural, thus AST-OS means Acts of craft and cunning (plural of astus).

Nature, in her infinite capacity, seemed to say, ‘I differ from fakes’. Disinformation, conscious assumptions and loose media consensus at the time had discredited crop circles as hoaxes, leading to general public scepticism, and to more actual hoaxes. However hoaxers snap crop stems, and cannot bend crops at the stem nodes, nor leave them growing as natural crop circles do (Silva 2002). Crop formations have long appeared throughout southern England and elsewhere in the world, some in intricate designs.

In Greek it speaks against corruption, for civil rights

If read as Greek, ‘astos’ means tamed, broken, conquered or bribed, as if by a foreign empire. In the context of genetically modified crops, the reading of ‘tamed’ also invokes the theme of language, perhaps warning of ‘mistranslation’ of DNA and natural structures in conscious use of language. A related Greek word means the civil rights immigrants, apparently relevant to the invasion of Europe by Syrian refugees.

A Hebrew -Basque -Babylonian interpretation invokes towers

If read as Hebrew, right to left, the letters could spell Basque words for an Egyptian god and a Babylonian god; ‘Phehthi, Ptah, Creator; and Ea-cheche, Ea-Enki, Wisdom (Michael Green 2001). These gods or principles express type 15 Gemini, physical creation, and the adjacent structural point of type 15g, Galactic Gate. This gate lies at the crossing of the ecliptic and galactic equators, flanked by type 1 Orion, guardian of weather, lightning and towers, and his higher decan 1:16 Auriga (see Tarot trump 16, Tower struck by lightning). Types 1 is also expressed as Thoth (see Tarot trump 1, Juggler). An /Enki is one of the three cosmic equators (see Ur-Nanshe in the Early Civilisations chapter), two of which cross in the 15g Gate. Towers and languages are linked in the Babel myth (see a discussion of the Maikop silver bowl in Stoneprint).

Mirrored code for ‘hidden’, type 2c Basket of Mysteries

If read as a supposed Essene anti-Roman code, in mirrored letters (like Da Vinci used in his notebooks), if for examples L and N are interchanged, the shapes resemble UCCULUI NUNC, or OCCULUI NUNC, perhaps readable in Latin as ‘I have hidden now’ (Simon Burton 1995). This interpretation invokes type 2c Cista Mystica, and its opposite type 9c Basket Lid, which in artworks and buildings express concealment and potential discovery. The adjacent type 2 decan Perseus, which holds the star Algol, or Medusa Head, in a cloth bag or basket, has one foot on the Pleiades. Diviners reading livers stand with one foot on a rock, as the Etruscan diviner, Chalchas, is shown in art.

Diviners establish a connection to earth, while sprouting wings of prophecy to transact between heaven and earth via natural structure reflected in a liver (see the Piacenza liver divination model double concentric sequence imprint in Stoneprint). In Nicolas Poussin’s painting, Shepherds of Arcadia (which also expresses a stoneprint as usual, see Mindprint p144-145), one of the shepherds stand on a rock, as the group read an inscription; Et in Arcadia Ego (Also in Arcadia I am). In the context of death art (ars moriendi), the tomb implies that Death is in paradise and in heaven, and that even gods die and resurrect.

Baigent, Leigh and Lincoln (1983) decoded the Arcadia motto as Tego Arcana Dei; ‘Begone, I conceal God’s secrets’. This may imply that God’s will is not easy to divine or to read, or may not have literal meaning. If a short motto on a rural tomb expresses divine secrets, it requires only practical experience to understand. As the Gospel says, children could enter the kingdom. The woman behind the shepherd places her hand between his shoulders, over his heart. She may be Sophia, Wisdom. Thus the enigmatic tomb in the famous painting includes a universal heart and womb, ‘also in Arcadia’; and all people have access to contentment, wisdom and innate knowledge.

The apparent Arcadian warning to ‘begone’, and the crop circle’s vague threat of ‘I oppose’, could indicate that their meanings lie in ‘Arcadia’, outside conscious logic, in the realm of archetype. Conscious assumptions and learned cunning must ‘begone’ if we want to read the book of nature.

Among nature’s infinite pages of wisdom, are species, materials, events, all expressing archetype; and pictures that present archetype in abstract form. The format of shapes, geometry and figure abstracts, is familiar to culture as ‘sacred’ geometry, art, emblems and seals, which alchemists use to reveal the secrets of nature and culture. Perhaps crop circles are among the many reminders that some aspects of nature remain hidden to our limited consciousness, and that we glimpse these larger meanings by our subconscious, in dreams, visions and inspiration. Thus crop circles may be seen as natural dreams, requiring crafts such as divination, astrology, ritual and alchemy to raise some of its content to our conscious minds and our limited faculty of language.

Typical of heresy and debunking

If read in the context of response to the challenge (‘Talk to us’), and of fakes, theories and ‘debunking’, the words Oppono Astos, I oppose (or mirror) artifice, creation, images; or perhaps Oppono Artor, I oppose artifice or falsehood; recall the eternal academic tradition of anti-heretical treatises. Bishop Irenaeus of Leon (Lugdunum), France, in AD 180, published ‘Detection and Overthrow of False Knowledge’, a title now commonly abbreviated as ‘Against Heresy’. There was more Gnostic and esoteric writing to debunk at the time, than in our more sanitised, standardised, ‘educated and rational’culture.

Some church fathers had attacked the Gospel of Judas, apparently on hearsay. The work was long lost, but recovered and published by national Geographic in recent years. Thus some crop circles evoke well-known meanings and attitudes, often directly relevant to the problem that crop circles pose to culture and knowledge, or to crafts and sciences. As in most mottos, the supposed truth is in the eyes and mind of the beholder. Theosophy, for example, a scientific approach to esoteric, has the motto ‘There is no religion higher than the truth’. What is artifice, and who are the artificers? Thus crop circles function as the classical oracles did in spreading riddles that exercised and educated the public mind.

Crop graffiti against Anthony

If read as Oppono Anton, the words mean ‘I oppose Anthony’, who had many opponents against his war for Cleopatra’s sake.

In Greece, votes were cast by taking two round kylix wine cup bases, or ostraca, each inscribed with a different name or response, and voters dropped one into a ballot vase, and one in a discard vase. The kylix bases were concave, black, and holed in the centre, resembling the three (0) sigils starting and dividing the two words in the crop formation. The ostraca were strung together and and counted, and the losing person was ‘ostracised’. Voting as often rigged by placing prepared kylix bases in the ballot vase, again invoking astos as ‘acts of cunning’.

Religious ostracising or ec-communciation implies banning from the kingdom of heaven, noted in the Bible (Jer34;6 Jos10;3,10 2Chr11;5,9 2Chr32;9). The circles may also spell out alpha and omega, first and last letters of the Greek alphabet. Again potsherds are involved, joined by skulls or gehninnom, implying a curse for being of ‘empty head’, a fool, raca, in the acheldama or field of blood, potters field outside Jerusalem, of foreigners. Tarot trump 13 pictures this allegorical field of potsherds, skulls and bones, under the hoofs of the horse of Death with a scythe (type 13 Leo, of death, weapons, war, bastions, water works and hearts).

The themes in the various readings of this crop circle seem to express type 13c Basket Head, between types 14 Cancer and 13 Leo, at the archetypal position of the north celestial pole, between decans Ursa as a horse or bear, and Ursa Minor as a fox or bird. Type 13c is one of the four half-types, and requires more study. Since secrets, revelation and texture are involved in 2c and 9c, the themes of ballots, ostracising, peer pressure, vote-rigging, prison, and keys to the kingdom may apply to 13c.

Crop bunk versus debunk

If viewed with the tramlines on top, and read as the bottom halves of modern capital letters, the formation could spell MEADON TALKS SHIT, referring to polemics between rival crop circle fakers. Hawkins and the academics found Oppono Astos to be post-Augustan Latin, but perhaps also referencing the month of August, in which the formation appeared. If it were a hoax, said the Hawkins team, they would like to quiz the claimed formation makers on historic changes in Latin grammar and some other issues.

If the three (0) sigils are read as Alpha, Present, and Omega, the formation could spell ‘Alpha Opposes Present Artificial Omega’, or ‘Original Opposes Currently Crafty End’. The punctuating circles could also picture scroll ends.

If the words are read as Ommo No Artor, Man is Not Creator, the formation’s motto also indicates that nature is supreme, or that nature opposes genetic modification (GM) of crops, or of stem cells, or of any DNA, by artificial means.

If the words are read as Oppono Arthor, I oppose Artur, the Bear, they could imply the constellation Draco, Dragon, who holds the celestial north pole in on its bent back; or Bootes, who in Egyptian myth and decans control Ursa and thus the celestial north pole (Bauval 2006). Or if king Arthur is implies, some post-Roman Dark Age politics linger among the UK’s Pictish and Norse graves, that modern fancy ascribe to supposed ‘druids’.

Crop genetic labelling?

If read in the context of genetically modified organisms (GMOs) entering agriculture about the 1990s, the motto of ‘I oppose artifice’ could be a slogan against genetic engineering. Increased crop circles could even be a kind of DNA self-labelling function, as nature adjusts to enforced new varieties. Culture mimics this effect by labelling codes and regulations.

Windmill Hill crop circle time cluster collage reconstruction (after Borziani 2014, on Getmapping. Type numbers with decanal labels, and axial grid by E Furter). Borziani had artificially colour-coded the cut and pasted formation images, after chakras (wheels) reflexology theory. The new analysis demonstrates a more consistent, detailed, layered structure.

Windmill Hill crop circles, a canvas of controversy

Windmill Hill fields are just north-west of Avebury (see the cultural landscape map above). The hill itself has several Late Stone, Bronze and Iron Age barrows and walls. It is the largest known  causeway camp in Britain, provisionally dated BC 3700. One of the four Bronze Age round barrows may have borne a windmill. One may have been opened by William Stukeley in the early 1700s, to reveal a collared urn upside down over a cremation (Pastscape). Excavations before 1849 revealed seven skeletons, perhaps Saxon re-use, and a grape cup, and a stone battle axe. Mound2, named Picket Barrow, was excavated in 1935 after a rabbit exposed a cremation urn, and three stone axes, a bronze dolphin brooch of Roman date (perhaps Pictish, see the White horse notes below Milk Hill), Roman potsherds, and a perforated sarsen stone mace-head.

The field is at latitude n51 26’ 14.68” and longitude w1 52’ 35.35”, on the ‘Michael and Mary’ male and female ley-lines. The female initiation procession starting point could be a mile west, at a burial site with many tumuli, in former woodland. The male initiation procession starting point could be at the Sanctuary, a mile east of here, just beyond the artificial Silbury hill.

The sequence of archetypes in Windmill Hill crop circles in recent years is:

1 &2 Builder; Two entwined ‘snakes’, S-shaped (twisted posture), 2009 05 25, in barley. Both have opposites at 8&9 wormholes, thus they express ‘worms’.

2c Basket; Thunderbolt, 2012 10 14, fake? In a small wildlife conservation patch of mixed crops for bird seed and ground nesting (woven texture). The farmer had politely asked people to avoid this field. It is right below Windmill hill (the natural type 2c of the site) and its ‘fort’ structures, and due north of the invisible centre (as one of the cista axes often is). See also the ‘extras’ between 14 and 15.

3 Queen; (blank, or expressed after 2013?).

4 King; Square (rectangular) of Koch series fractals, 1999 07 16. Three of the four Pisces cardinals in this field (see 7, and 15), express rectangles.

4p Galactic S. Pole; Edge (limb joint) of type 5:20.

5a Priest; Hexagonal flower, 2010 07 26. Comet Ison? Mayan date 0.0.0, or two sets of 13 circles for 13.0.0.0.0, or outer two sets of 14 or 18 circles for 12.19.18.14.18, or 2011 10 28, a Mayan Tzolkin end date. The central large thin circle could express comet Ison near the sun on 2013 11 28. Mercury and Venus positions confirm that date, as the researcher Drew noted.

5b Priest; Two pairs of snakes biting tails, the inner heads offset by 90 degrees, 2011 07 26? 2012 10 14? A median ring holds two planets, the larger one ringed; Saturn and Uranus, or Jupiter and Mars on Mayan date outward 13.0.2.14.18, or 2015 10 5 /7?

6 Exile; Three-legged spiral, triskelon, 1996 07 29.

7 Child; Square cross cloudburst (manifestation), 2003 07 26? Formed in rain, in a natural dew pond depression, in barley. Some stalk breakage, mud, messy smaller circles, path lines between inner and outer features, widths inconsistent (Fussel and Dike).

8 &9 Healer; Two wormholes, 2006. Opposite 1 &2 ‘worms’.

9c BasketLid; Horslip long barrow, stones mostly removed to Horslip (Oslip stream) bridge, and to Swan Collage garden walls in Bray Street. Unploughed rectangle with 50m side ditches, chalk blocks revetments. Mound of chalk, humus  and ox bones, including two antler spades, topped by sandstone slabs from the Mendips. Excavated 1959.

10 Teacher; Head of a small chakras body, in crescent (arms up), as a staff (staff), 2012 07 25.

10 Teacher B; Head of a large chakras body, in crescent (arms up), as a staff (staff), 2004 or 2014?

11 Womb; Central circle (womb) of a large chakras body, 2004 or 2014?

11p Galactic Pole; Edge (limb joint) of an S-shaped with two yin-yang S-shapes.

12 Heart; Centre (heart) of the inner of two linked double spirals (concentric), 2011 07 13. A pair of single spirals were formed at Chaddenwick hill on the same day.

13 Heart; Edge of two small concentrics (interior) overlapping, far from the cluster centre (egress is more typical of 14). There may be a small spacing error in the collage reconstruction here, or opposite at at 5b, to show part of the underlying type 6.

14 Mixer; Triangle or tetrahedron (Y-shaped), small (small), near the centre (ingress/egress).

ExtraA; Pentagon thorns in ring thorus, fake? 2003.

ExtraB; All five formations off the axial grid (four between types 14 and 15, and one at 3c), are in irregular positions in the archetypal sequence.

ExtraC; The ‘extras’ lie just south of the hill, perhaps planned as a photo backdrop.

ExtraD;  Hexagon loops or ball in a net, infilled in phases, 2002 07 18.

15 Maker; Clown face, 2009 08 06. Four dumbbells (maces or sceptres) as four years? Near the centre was a small clump of four crop knobs, perhaps four of the five poles of this formation’s own stoneprint (see inset). Outer orbit of eight planets and comet Ison on 2013 11 28? Drew compared the inner orbits of a meteorite or comet Ison, earth-moon, Venus, Mars and Mercury.

The axial centre or ‘Ecliptic Pole’ is unmarked, as usual. The Celestial Pole is on type 14’s edge (limb joint), east of the axial centre, placing ‘summer’ in Leo-Cancer, thus ‘spring’ and the cultural time-frame in Age Taurus-Aries, confirmed by celestial north, and the hill with its ancient features. An Age Taurus time-frame is typical of alchemical works of all ages. An Age Aries time-frame is typical of most artworks and building sites of Age Pisces (of the last 2000 years). All works usually express the time-frame of the previous Age. The transitional frame thus may express our current transition, two archetypal Ages ahead of the cosmic frame of nature, and of most cultures. The time-frame of natural artworks is likely to change to Pisces or Pisces-Aquarius after 2016.

Avebury and Silbury cultural cluster

The sequence of archetypes in the Avebury and Silbury landscaps is…. ect…. See Stoneprint Journal 2.

Crop circles have natural and cultural histories

1678: ‘No mortal man’ could have made crop circles

A woodcut broadside pamphlet of 1678 reported on the Hertfordshire Mowing Devil, with an illustration of a creature with a scythe. The text describes plants that have been flattened, not cut. Under the heading, Strange news out of Hartfordshire, the tale unfolds. “A typical farmer bargained with a poor mower about cutting down three half acres of oats. But the mower asked too much. The farmer swore that the devil should mow it rather. So that night the crop of oats showed as if it were all aflame, but next morning appeared neatly mowed by the devil or some infernal spirit, that no mortal man could do this in one night. The oats lie now in the field, and the owner is in fear, and has no power to fetch it.”

1686: Prof Plot, father of crop circle research

Prof Robert Plot, LLD, was the first crop circle investigator. In his book, Natural History of Staffordshire, the Keeper of the Ashmolean Museum, and Prof of Chemistry at the University of Oxford, reports digging into soil under 50 crop circles. He noted that animals tended to stay away from crop figures. He also cited several by then already historical reports. Plot hypothesized that crop circles were formed by hollow thunderbolts, or deer, or mosses. His most practical note was that crop yields in former circles, increased by up to 30% for several years. Many of his findings were confirmed in the 1900s. Plot’s record was revived in the 1980s. Plot was also one of the first palaeontologists. He had published evidence of the first fossil bone, now known as part of a dinosaur, in 1676. Formations were already well known in the fields of Staffordshire. Some grass formations are now supposed to be caused by a fungus, perhaps after weakening of nodes by another cause.

1880: No firm conclusions on fairy rings

Brewer’s Dictionary of Phrase and Fable (1880) noted that Matthew Hopkins of Manningtree, Essex, was witch-finder in the counties of Essex, Suffolk, Norfolk and Huntingdonshire. He had hanged sixty reputed witches in one year in Essex alone. Dr Z Grey noted that about 3500 people suffered death for witchcraft between 1643 and 1661. The dictionary noted that no firm conclusions were reached regarding a cause or meaning of fairy rings.

1790: Hints of natural causes of crop circles

A series of letters by several authors in Gentleman’s Magazine (1790 -1793), under the heading ‘“Hints towards natural history of fairy rings, include many descriptions of crop circles and geometric formations, with some diagrams. The articles apparently confuse crop circles in grass or grain, and fungus rings, yet there may be a natural link. One letter notes a paper published by the Royal Society that attributes fairy rings to lightning.

1880: A spectrosopy view of crop circles

A letter on crop circles in Surrey by early photographer and spectroscopist John Rand Capron, titled Storm effects, was published in the journal Nature (vol 22, p290-291, 29 July 1880). Capron wrote: “The storms about this part of Surrey have been lately local and violent, and the effects produced in some instances curious. At a neighbour’s farm, we found a field of standing wheat considerably knocked about, in patches forming circular spots… all with a few standing stalks as a centre, some prostrate stalks with their heads arranged pretty evenly along a direction, forming a circle around the centre, and outside these a circular wall of stalks which had not suffered. I send a sketch made on the spot… The soil is a sandy loam on green-sand. The crop is vigorous, with strong stems. I could not trace locally any circumstances accounting for the peculiar forms of the patches in the field, nor indicating whether it was wind or rain, or both. They were to me suggestive of some cyclonic wind action, and may perhaps have been noticed elsewhere by some of your readers.” Capron was an early scientific photographer, solicitor, and coroner. He had a private observatory at Hog Back ridge, West of Guildford, near these corp circles.

1805: Swirled wheat in Ohio

In ‘The Sherrard Family of Steubenville (1880s, p53-54), Robert Andrew Sherrard and Thomas Johnson Sherrard note that in 1805, there was a rattlesnake incident while harvesting a wheat field three miles from Smithfield, Jefferson County, Ohio. He notes in passing a circle of flattened, swirled wheat, now named an RDF-type crop circle. “The wheat in this field was blue stem, the first of the sort I had seen. As the ground was newly cleared, this new crop lay twisted and swirled in all directions, which made it hard to reap.”

1932: The first crop circle photograph

Archaeologist Eliot Cecil Curwen published the first crop circle photograph with a short piece in Sussex Notes and Queries, published by the local Archaeological Society. Curwen was a surgeon and ‘gentleman scientist’ who wrote two books and many articles on Sussex. He noted that in August 1932 he was taken to see a group of circles in a field of barley below Bow Hill, visible from Neolithic barrows on the grassy summit. He was interested in crop marks revealing more possible archaeological remains below. He took a photograph, sketched their approximate size and positions in the field, but found no subsoil factors when he dug in the circles. The crop was bent, beaten down, or ‘lodged’ in regular patterns. The largest circle was about 40m diameter. One of the circles overlapped a path and fence, and the intersection appears to have prevented the circle from continuing in the adjoining field.

1963: A crater and oval crop circles

The famous astronomer Sir Patrick Moore wrote a letter to New Scientist (1963 07 15) about crop formations at Manor Farm, Charlton, Donhead Wiltshire, near Shaftsbury, Dorset. He found a round crater and flattened corp circles, perhaps due to a meteorite impact, in a field of potatoes and barley. These were also reported in three articles in The Times. The crater was 8ft wide. A cow nearby had its hide peeling, as if scorched. Moore noted several circles of flattened wheat nearby, circular or elliptical. “One circle, very well defined, was an oval fifteen yards long and four and three quarter yards broad… with spiral flattening, and… a circular area in the centre in which the wheat had not been flattened.”

1960s, 1990s: More crop formations in mechanised fields

In the 1960s, crop circle numbers increased, perhaps partly due to mechanised ploughing and planting. In 1991, hoaxers make some changes and additions to some crop circles. In the 1990s there was a dramatic upturn in crop circle numbers, perhaps partly  due to more precise mechanised planting, or to fertiliser. Lines become more prominent among curves.

Crop circles remain one of the major challenges to both natural and human sciences, or ‘hard’ and ‘soft’ sciences. Their eventual mutual resolution may change some of our conscious assumptions. Such changes are as rare, as gradual, as rationalised, and as undocumented in science as they are in popular culture.

= This post is an extract from Stoneprint Journal 2; Crop circles are natural artworks. A supplement to the book Stoneprint (2016). Lulu.com

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Categories
Archetypes in Ice Age art and building sites

Gobekli Tepe art is archetype, not a zodiac

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. Five different identifications extensively contradict one another. The artwork is not consistent with the interpretations of Stephany (who offers two different options), Burley (supported by Hancock), Collins, or Sweatman and Tsikritsis. Yet there is some consensus that four species on other Gobekli pillars could be seasonal ‘beasts’ or cardinal constellations. As in artworks worldwide, the design on pillar D43 subconsciously expresses the five layers of archetypal structure, that we also imprint in myth, ritual, emblems, building sites, calendars, various sets of 16, 18, 24 or 36 hour decan asterisms (see the Babylonian example below), and constellations.

Characters expressing archetypes always have an axial grid between their eyes, as demonstrated below. Various zodiacs worldwide express some elements of time, symbol, ritual and myth, but cultural media expresses archetypal structure; they do not illustrate the sky. Babylo-Assyrian boundary stones, and the Mul Apin (Starry Plough) list, demonstrate that icons are apparently varied, yet structurally rigorous. Culture is compulsively sustained by the structure embedded in nature, in our perception, and in our subconscious behaviour; not by ‘tradition’.

Iconography offers some conscious access to the structure of perception and expression. No single artwork or cultural set contains all the variants. And no single science could interpret cultural behaviour. Inter-disciplinary study is required to study our subconscious connection to nature, including time and space. Simplistic correspondence theories are inadequate to the role that archaeo astronomy should play in the human sciences.

By Edmond Furter, Author of Mindprint, and of Stoneprint

Comments to any article are welcome in the Comment function below.

Figure 1 A and B. Gobekli pillar D43 with two different astronomical interpretations by Stephany.

STEHANY SEES THE VULTURE AS PEGASUS, OR SAGITTARIUS

Timothy Stephany (2009) was among the first astronomical interpreters of Gobekli Tepe art. On pillar D43 he initially saw (clockwise from top left): bird hut as Perseus; furrowing fox as Cassiopeia; its hut as Cepheus; spider’s hut as Draco head; spider as Hercules; heron as Cygnus; reed wall as galaxy; bird forepart as Lyra; rearing chick as Aquila; scorpion as Aquarius north and Capricornus tail; big bird as Piscis Austrinus; wolf as Aquarius south; snake as Pisces; dot as Lacerta; vulture as Pegasus. He did not picture the celestial equator of about BC 9500, which lay across Pegasus north; nor the three poles, which were aligned at the time. In another proposal, Stephany uses the other half of the galactic equator, and sees the bird, fox, spider and three birds as small asterisms in the galaxy, over vulture as Sagittarius, scorpion as Scorpius, and the rest in the Ara and Pavo area.

On other pillars, Stephany sees a pig as Ursa; a cup-hole above its eye as the then distantly future celestial pole at Polaris (where it is now, 11 000 years later), and ‘misplaced’ to Camelopardalis. But the Giraffe is 20 degrees south of Ursa Minor. And in Gobekli times the pole was at Ursa’s tail.

On pillar A2 he sees the cow as a macro asterism north of Virgo, Libra and Scorpius, its horns in Virgo at the star Spica, its back in Bootes, body in Corona and Hercules, feet in Ophiuchus. The fox he sees as Scorpius Claws, its body over the Ophiuchus feet; crane as Scorpius, its tail over the galactic centre; another fox and crane as Lynx tail over Cancer.

On another pillar he sees five rearing cranes as three stars in Cepheus, and Draco neck star Altais, and Draco’s hip, with a cup-hole as Polaris. But Polaris had no special function in the Gobekli sky. If this artwork were a ‘time capsule’, they could have used more clearly defined asterisms, or a grid.

Gobeklians probably had hour decans (see the Babylonian set below, and three kinds of Egyptian decans in Furter 2016: Stoneprint; and in an article in the anthropology journal Expression edition 13). They may have had a zodiac, probably including some of these animals, but Stephany focuses on the galaxy.

On the central pillars of the houses, Stephany sees the foxes jumping forward from the elbows of the ‘pillar people’, as a macro combination of Leo, Coma, and Virgo, with jaws at star Regulus, to tails at Spica. But Leo is never canid. Virgo may have a dog (see the Assyrian decans below), but the sky version of that canid is Lupus (see type 9c in the archetype table below).

There is no consistent scale, projection, stars, or polar context in Stephany’s scheme. He finds shreds of incidental, undeveloped, ‘un-evolved’ conscious logic. The wild goose chase for correspondences reveals popular and ‘scientific’ archaeo astronomy to be stuck in a narrow fundamentalist, developmental and diffusionist paradigm.

On dating, Stephany goes further back than any other author. On pillar D38 he sees the thin bull-fox as summer in Capricornus; pig as winter in Ursa head and Cancer; birds as autumn in Triangulum, Aries and Pleiades. Thus he implies spring and the Age in Libra-Scorpius, impossibly early.

Rampant lions in house H, Stephany sees as Gemini-Orion combinations, their bodies across the galactic gate. But no culture pictured a felid here, and it is usually a summer beast. Spring is more often two antithetical characters (as of Babylonian Nergal’s small serpopards, and the Mayan hero twins). And Stephany’s macro lion would cross the sky feet first, as reclining Gemini also does, but the ‘lion’ would face south-east, away from the horizons and oncoming planets, as precessional griffins in some emblems do.

The two donkeys on another pillar he sees as Bootes inverted, the upper front legs as Coma at the galactic pole; the second donkey as Canes Venatici (Hunting Dogs) inverted. However circumpolar constellations are rarely inverted (jumping down from the pole towards the zodiac). Stephany’s various schemes are cobbled together, like the ‘scientific’ paradigm of chance resemblances and gradual consensus. As if the Gobeklians tried hard to tell each other, and us, something about stars, and about our own time.

Figure 2. Gobekli pillar D43 interpretation by PD Burley (2013, repeated in Hancock 2015).

BURLEY AND HANCOCK SEE THE VULTURE AS SAGITTARIUS SOUTH

PD Burley (2013) interprets some Gobekli Tepe pillar D43 characters as (clockwise from mid right): half-bird and heron as Ophiuchus legs; rearing bird as Scorpius head; scorpion as Corona Australis and Pavo; dot as midwinter sun at the galactic crossing (‘in our current era’); vulture as Sagittarius south, one wing below the galactic centre.

Graham Hancock supports Burley’s interpretation in his own book, Magicians of the Gods (2015, p308 -325), and makes much of the supposed post-dating of the ‘star map’ to our current era. But why would the builders set their clock and their art forward by 90 degrees? The Gobekli autumn sun was in the Scorpius-Sagittarius galactic gate, where our midwinter sun is now (exactly so in 2016, as I published in Mindprint 2014, and noted on grahamhancock.com in an article in September 2015). Burley and Hancock leave the other characters on the pillar unnamed, and take no account of other interpretations.

Figure 3. Gobekli Tepe pillar D43 interpretation by A Collins (2014).

COLLINS SEES THE VULTURE AS CYGNUS, SWAN

Andrew Collins (2014) agreed with Burley and Hancock that the pillar D43 scorpion is Scorpius, but he saw the vulture as Cygnus, its head at Deneb. Both are on the galactic Dark Rift. In his scheme, the headless man (presumably at Libra?) is dying, the ball is his separated head or soul, and House D’s holed stone is rebirth. But Cygnus had no special function in Gobekli times. Collins sees many monuments worldwide as aligned to Cygnus rising or setting, including Avebury (but see a more coherent analysis in Stoneprint p254-255), and the Giza pyramids (but see a more coherent analysis in Stoneprint p201-205). Collins also assumes a stable precessional rate, and a minor oscillation in obliquity, after the Stockwell and Newcombe curve. But Dodwell (2010, see below) contradicts stable obliquity based on known historic obliquity data.

Figure 4. Gobekli Tepe pillar D43 interpretation by Sweatman and Tsikritsis (2017).

SWEATMAN & TSIKRITSIS SEE THE VULTURE AS SAGITTARIUS NORTH

Martin Sweatman and D Tsikritsis (2017) interpret the Gobekli Tepe pillar D43 artwork as a kind of calendar (clockwise from top left): Bird as Pisces. Fox “ibex” as Gemini (but it has no horns, the style is naturalistic). Spider “inverted frog” as Virgo (but two similar spiders on pillar D33’s edge do not resemble frogs. The four ‘bags’ they see as four seasons, but not spaced by their places in the supposed ‘zodiac’). Reeds as abacus for counting dates, planets or comets (but the pillar does not have apparent numerals). Flamingo and ibis as Ophiuchus. H/I-shapes as former pole stars Vega and Deneb (but they are at the edge, thus south of the Ophiuchus. Identical abstracts appear in rock art worldwide). Sitting bird as Scorpius claws or ‘an obsolete asterism’. Skin “man” as death hieroglyph (but why not also a constellation?). Scorpion as Scorpius reversed, head in tail, tail in head (but its universal feature is a tail south-east, bent north-east). Big bird as Libra. Wolf as Lupus (the asterism does not resemble any animal, thus other factors keep a canid here for thousands of years; see the Assyrian list below). Snake as comet or meteor (but meteors radiate. And why not also a constellation?). Dot as midsummer sun (but why in the polar area?). Vulture as Sagittarius (but why reversed, tail first?).

They place Gemini opposite Scorpius, implying a celestial, observational grid, with a celestial pole more or less over Libra. But their four Age Gemini cardinals are on top, thus a kind of calendar and not a zodiac. They explain the positioning as “constrained by the shape of the pillar.” But the design compares to any inspired artwork worldwide (see the archetypal analysis below), and no features seem to be crammed in.

Sweatman challenges archaeo astronomers: “How many configurations of Pillar 43… are a better fit than the current one?” But several are, judging by at least five others, and by the various options that Sweatman keeps open, including “perhaps meaningless”. They claim to have found “orientational ordering of animal symbols” around the scorpion. But no clear scheme emerges. To this shaky edifice they apply several doubtful dating methods (see the dating section below).

DIFFERENT ‘ZODIACS’ MEANS NO ZODIAC

No single ‘zodiac’ interpretation of Gobekli pillar D43 makes astronomical, iconographic, mythic, ritual, theoretical, precessional, or archetypal sense. Each different ‘astronomical’ interpretation adds evidence that the art is not astronomical. Stephany’s two proposals (labelled A or B in the tables) also differ.

Table 1. Four ‘zodiac identifications’ of pillar D43 compared, clockwise from top left.

ENGRAVING Martin Sweatman Paul

Burley

Timothy

StephanyA

Andrew

Collins

SmallBird Pisces ? ? [Pegas.?]
FoxBurrower Gemini ? Cas.Ceph [Lacerta?]
Hut bag [Cancer?] ? Perseus ?
Hut bag [Leo?] ? Draco ?
Spider Virgo ? Hercules ?
Flamingo Opihuchus Ophiuchus Cygnus ?
Ibis bird Ophiuchus Serpens Lyra [Herc.?]
Bird-snake ? ? ? [Draco?]
Bird squat Sc.Claw Scorpius Aquila [Oph.?]
Bird tailcoat Sc.Claw Scorpius ? [Oph.?]
Skin bag/man (death) TriangA ? (death)
Big bird Libra PavoBird  PiscAus [Libra?]
Scorpion ScorpRev. CoronaA AquarN ScorpRev.
Wolf Lupus Telescop. AquarS ?
Serpent (comet?) SagitrSouth Pisces [Ara?]
Circle Sun Sun Lacerta (soul)
Vulture Sagittarius Sagittarius Pegasus Cygnus

Table 2. Potential agreements between ‘zodiac identifications’.

ENGRAVING Sweatman Burley StephanyB Collins
Flamingo Opihuchus Ophiuchus Ophiuchus
Bird squat Sc.Claw Scorpius
Scorpion ScorpRev.  Scorpius ScorpRev.
Vulture Sagittarius Sagittarius  Sagittarius

The only general agreements on this pillar are the vulture as Sagittarius, scorpion as Scorpius, and the flamingo as part of Ophiuchus; but these asterisms are seen in different orientations and contexts, even reversed. Prof Vachagan Vahradyan of the Russian-Armenian or Slavonic University, and Juan Belmonte, also see the scorpion as Scorpius, but probably in the current Western configuration. These three flawed agreements, against about fourteen disagreements, raises suspicion of prejudice, and some coincidence. If there were a horse, would that be Sagittarius? Or Pegasus? Every bull is not Taurus, every fish is not Pisces, every twin is not Gemini. Correspondence ‘theory’ merely elaborates some common sense assumptions about culture. Could archaeo astronomy tell the difference between a myth cycle, a calendar, a zodiac, emblems, divination sets, and a star map? Could it reveal the core content of culture, or explain perception? Correspondences simply mix and match shapes and star lore. Archaeo astronomy needs better theories, and a more scientific paradigm, to rise above the level of a parlour game. Even crafts such as astrology are way ahead of the trans-disciplinary science. And the human sciences do not even study crafts such as ritual, myth, emblems, astrology and divination, thus removing half of human behaviour from the scope of the humanities.

There is a deeper common source of cultural meaning. There is “something more mysterious going on”, as Graham Hancock wrote in his warning against using Zecharia Sitchen’s science fiction or ‘space archaeology’ novels as ‘research data’. The entire conscious, fundamentalist, common sense paradigm of archaeo astronomy is wrong. The “mysterious” thing in the cultural record, is that we have a large universal repertoire of standard subconscious behaviour. That behaviour is imprinted all over the cultural record. But our conscious mind finds it hard to see what is hidden in plain sight. The consequences for our self-image are significant. We did not invent, develop, or change culture. Culture is part of the human package, at least since Gobekli at BC 8000, cave art about BC 20 000, Blombos shelter about BC 70 000, and perhaps even Border Cave about BC 100 000, with the usual ensemble of tools, clothing, cosmetics, and trade. Human behaviour is static, and thus predictable, down to the structure of artworks and building sites.

Figure 5. Gobekli Tepe excavation map (right) as some Cancer stars (left), after Andis Kaulins (2013).
Figure 6. Gobekli Tepe excavation map (left) as Pleiades star cluster (right), after Wayne Herschel (2013).

GOBEKLI HILL: KAULINS SEES CANCER, HERSCHEL SEES PLEIADES

Andis Kaulins (2013) extends his view of various sites as star maps, to Gobekli hill as Cancer. But where is the Hydra head? Why are there two lion houses at the supposed Lynx tail? Why would Younger Dryas people model a village on a dark zodiac constellation? Kaulins believes an ancient survey committee travelled the world to imprint constellations by way of cup marks and enhancing incidental rock profiles; an archaeo astronomy conspiracy theory.

Wayne Herschel (2013) extends his obsession with the Pleiades, and a supposedly habitable planet near its thin end, to Gobekli hill. The archaeo astronomy popular fringe likes codes, maps, time capsules and ‘alien origins’, as Hollywood movies oblige. But many of the sites where Herschel imagines Pleiades maps, express the full repertoire of subconscious structure, unknown to the builders (Furter 2016: including Far Eastern, European and Mayan sites). Pleiades is part of type 2 Builder, which expresses just one of the sixteen types, always at a smaller scale than Herschel’s mega cluster proposals, and not deriving from the sky. ‘Cluster’ is one of the recurrent features of type 2 Builder, and the sky happens to have a cluster in the appropriate place. But not all constellations happen to express archetypal features in the appropriate place. And Pleiades did not mark any seasonal point in Gobekli times. The cluster rose to mythical and ritual prominence from about BC 2300, when it hosted the spring equinox, and remained prominent through Age Aries, up to about BC 80, since it is nearly on the ecliptic, and cardinal (90 degrees) from Leo Regulus, Scorpius Antares, and Aquarius decan Piscis Austrinus.

Popular assumptions in archaeo astronomy are more consistent than their supposed evidence is. Herschel, like many archaeo astronomy and science fiction authors, impose populist myths on the cultural record, and impose various conscious motives on artists and builders, particularly lesser known cultures. Real mythographers and artists express a deeper and more consistent level of archetype. Popular science deals in shallow, rationalised and politicised myth. Even the doyens of ethno astronomy, De Santillana and Von Deschend (1969), fell victim to the ‘scientific’ common sense paradigm of culture. Did Icelandic myth cycles arise from astronomy, degraded to legend? Or do myth, ritual, art and calendars express a common source of culture, each directly from archetype, with occasional references to one another? These cross-references are easily mistaken as deriving from one another, and thus they camouflage their source.

Figure 7. Earth obliquity on a horizontal scale of 200 years per column, and a vertical scale of degrees and 5 minutes of arc per row; from ancient, medieval and historic monumental orientations and observation records (Dodwell 2010). The earliest, isolated value (lower left notation) of a Karnak midsummer sunset of BC 2045, may have been dated too early (Rohl 2007), at 25 degrees 10’, and may be an error of interpretation. The seven earliest orientations average at 24 degrees 2’, thus the curve may be shallower, and the ‘bump’ was about BC 10 000, not BC 3000. The shallow curve on top is Stockwell’s and Newcombe’s assumption, apparently supported by recent European data.

CIRCULAR DATING AND PRECESSIONAL ASSUMPTIONS

Sweatman and Tsikritsis make elaborate arguments and extravagant claims for dating Gobekli artworks: “The probability that pillar 43 does not represent the date 10 950 BC is around one in 100 million.” This date happens to agree with the probable Younger Dryas event, but not due to their methods. Some Gobekli wall plaster was dated to BC 9530 (Dietrich & Schmidt, 2010), a thousand years after the probable impact. Some Gobekli researchers have noted that the soil infill and carbon and bone items in the plaster was older than the buildings. Sweatman sees no obstacle in a thousand years, and proposes a local observational record going back to BC 16 000, about 4000 years before the earliest possible dates for any human presence at Gobekli. They use a syllogism to test their proposed ‘meteor observation records’ and “find an apparent contradiction of our first proposal; resolved when we apply the second proposal. Logically, this implies significantly improved confidence in both proposals.” Thus their ‘zodiac’ identifications, and dating based on assumed observations and certain meteors, and the geological record, all have to agree, for their proposal to work (Their title of ‘What does the fox say’, is parodied in an archaeology blog; ‘What does the bunny say’). They place midsummer in Sagittarius in BC 10 950, or rather between Sagittarius and Scorpius, judging by their graphics. But astronomy automation uses modern values for the rate of precession, which is known from Nasa data to be slightly speeding up, and may have been much slower in the distant past.

Astronomy automation programmes assume a narrow oscillation of obliquity after Stockwell, as adopted by Newcombe. But Egyptian, Chinese, Hindu, Greek, Arabic, Medieval, historic and Mayan data contradict the ‘Newcombe’ curve. Obliquity had reduced at a slowing rate, indicating a larger bump, and fast initial righting; and a semi-oscillation of 599 years (Dodwell 2010, in Setterfield). In the Dodwell graph, the curve should be wavy due to the semi-oscillation that he had found. In addition to these astronomical uncertainties, in an era 5000 years before the earliest and rarest Babylonian and Egyptian astronomical data, earth’s orbital diameter may have been larger, and the moon’s orbit larger; and time slower. There was a different equation of time, or Delta-T in geological time (Williams et al 1998), which may have extended into the Ice Age. Thus automation errors grow exponentially larger further back. But Sweatman and Tsikritsis “know of no reason to question Stellarium”.

Using equinox and solstice sunrise and sunset as calibration dates, and their software, they see a Gobekli midsummer horizon sun at BC 10 950, and a spring horizon in BC 18 000. But the pictures on pillar D43 do not apparently mark a star map horizon. All the characters are more or less upright. Zodiacs tend to picture animals facing ecliptic west. Seasons remain in the same constellations for about 2000 years, depending on how constellations are defined.

The H/I shapes at Gobekli, Sweatman sees as “former pole stars, slightly north of Serpens”, at Vega BC 11 500 and Deneb BC 16 000, “still referenced [in the Gobekli era]… to define north or a preferred direction, by the general orientation of enclosure D, 5 to 10 degrees west of north… at summer solstice sunset… at an altitude of 42 and 67 degrees.” But this is too high up, and too long before Gobeki, to have served as a meridian; while contradicting their daily and nightly visible north. And it implies two thousand years of stubborn conservatism at Gobekli. Or, if it is all “mostly abstract”, as they say, it is not astronomy. And if it is outdated by 2000 years, then it is not astrology, which works on the celestial grid, and from the moving spring point. And ancient religions probably did not last 2000 years. Sweatman adds rhetoric of a supposed Deneb in Lascaux caves (Rappengluck 2004); and of a southern view to Sirius rising (Magli 2016); near the winter sunrise and sunset (Gonzalez-Garcia 2016); and of the Taurid meteors in winter. Then they dismiss orientations as immaterial to their zodiac picture! Their rhetorical wild geese fly all over the sky, but keep their options open by remaining on the ground.

Sweatman and Tsikritsis count thirteen characters on pillar D43, but they exclude the skin bag “man”. Lunar calendars do have thirteen months (at least in recent, known epochs), but the moon does not seem prominent in Gobekli art. And the odd number runs counter to astrological geometry. ‘Thirteenth sign’ theories mistake Ophiuchus and Scorpius, one of the four doubled constellations, as two “signs”, without separating the other three doubles (Taurus Orion, Leo retro, Aquarius Pegasus legs).

Figure 8. Gobekli Tepe pillar D38: bull-fox-bear with horns down, over pig, over three cranes. They could express seasons. Is the griffin on top Capricornus or Virgo? Or are they Ursa with the celestial pole, Sagittarius, and Pisces? The apparent dent in the griffin’s lower muzzle is a cup-mark, or ancient damage.

SOME CONCENSUS ON SEASONAL BEASTS

The four houses or “bags” at the top of pillar D43 are equinoxes and solstices sunrises and sunsets in Sweatman and Tsikritsis’ view, thus four seasons. These they see as Pisces, Gemini, Virgo, and Ophiuchus below right of the others, apparently a celestial grid deviation from their Scorpius. But why is the pelican house not their Sagittarius? And their proposed pole over Scorpius should change their Virgo to their Libra. Astrological beasts and ‘houses’ are used in all cultures, but Sweatman says nothing about astrology, or about iconography itself. Should scientists study ancient ‘science’, and not ancient crafts?

Astrologers practice a broad spectrum of archetypal applications, and they outnumber archaeo astronomers by thousands to one. Yet none have volunteered an astrological interpretation of pillar D43, probably since it is not a practical zodiac.

The search for four seasonal beasts could reveal the astrological Age of the artists. Pictures of four species on two other Gobekli pillars may be the seasons. But to Sweatman and Tsikritsis they chart the changing position of the two Taurid meteor showers during observation of 10 000 years!

Pillar A2 stacks images of a cow, fox, crane. Pillar D38 stacks a bull-fox-bear, pig, three cranes. These Sweatman sees as Capricornus, Aquarius north /south, Pisces; wherein the Northern and Southern Taurids may have progressed (moved forward against background stars) during Gobekli civilisation. But a fox in Aquarius is doubtful. And there is no sign of meteorite radials or snakes in their ‘Pisces’ area, the top left house, or anywhere else. After Gobekli, the Taurid streams may have moved on from Pisces, via Aries and Cetus, to Taurus, if precession was regular, and if these meteorite orbital nodes did progress at six degrees per 1000 years (citing Asher and Clube 1998). From all of this, Sweatman and Tsikritsis “estimate the probability” that their interpretation is coincidental, at 2%, or 98% certainty. But the sky has about twelve regions that could fit these four species, either along the ecliptic or on meridians. And which of the four hosted spring? That alone makes a difference of 6000 years (or more, if precession was slower). Archaeo astronomers are lavish with time. The Ursas could picture any of these four species, and still do in some cultures, partly since Ursa is near the poles, and spans 70 degrees; and Ursa Minor overlaps 30 of these degrees, and adds another 20 degrees. Together they span 90 degrees, covering the ecliptic grid over Leo, Cancer and Gemini, a quarter of the annual sky. There are potential bovids in Taurus, Capricornus, Virgo, and the Ursas (bull legs in Egypt). And potential foxes in Aries, Gemini, Libra, Perseus, Lynx, Bootes, Ursas, and the celestial pole. And potential pigs in Auriga, Cetus tail, Cetus, Canis Minor, Sagittarius, Aquarius, Hydra neck, and Ursa. And potential cranes in Gemini, Pisces, Cancer, Hydra, Ophiuchus, Lacerta, Draco, and Ursa Minor. These options, including Sweatman and Tsikritsis’ candidates, reduce their pseudo-statistics from “98%” to about 8%; provided that pillars A2 and D38 picture two V-shaped legs of observations of the Taurids’ real motion over 10 000 years! No culture has astronomical records that long. Constellation variants do not remain in use that long. Seasonal beasts are updated every 2000 years. And the two ‘beasts’ pillars are far apart. They deserve ridicule for their dating construct, but credit for continuing the search for the four seasonal beasts, which Stephany had started.

The pillar A2 cow is pregnant, inviting structural analysis (Furter 2017, in the anthropology journal Expression; Pregnant is the most consistent typological gender. Citing massive rock art gender data on the rarity of female characters in rock art, of Laue 2015, ASAPA conference paper, in press for 2017). A womb is nearly always type 11, also expressed in Virgo constellation and her alpha star, Spica. The sun in her horns offers the best iconographic date at Gobekli Tepe, since it probably expresses, and perhaps consciously pictures, midsummer sun and celestial pole. All three poles were aligned on this ecliptic meridian in Age Gemini-Taurus (the seasons are always 90 degrees apart). If Gobeklians knew any astronomy, and if the daily celestial pole lay between the invisible galactic pole and the annual orbital pole, we could know where the four seasonal points were. The A2 pregnant cow seems to picture Bootes, who stands over Virgo, and held the celestial pole in his ‘horns’ before this axial era. A2 is a central pillar, supporting the polar interpretation.

The A2 cow’s counterpart on pillar D38 (see the image) is a thin bull-fox or lion-bear. If Gobeklians placed this griffin in the sky as well, it may have been Ursa retro, with the celestial pole in its ‘horns’ at the time (some art traditions picture constellations retro, in the context of precession, usually monsters, not the familiar figures turned backward). Bootes and Ursa held the pole in turn, and still did long afterwards; in Egypt as Bootes spearing the Ursa bull foreleg (Bauval 2006), then spearing the Draco tail, then spearing the Ursa Minor smaller foreleg or Wippet ‘mouth opener’.

Pillar D38 expresses type 4 Pisces in house D, thus the Gobekli winter (Furter 2016; Stoneprint). Subconscious expressions never fully coincide with craft applications such as myths, rituals, art, and zodiacs, but since we do not have direct access to any of their conscious or rationalised media, we have to read the iconography, and compare potentially conscious elements in its symbolism to other early artworks, particularly Ice Age and Sumerian textual legacies (see the Plough list below). If these four species were seasonal beasts, they fit Age Gemini well: A2’s cow as Virgo, fox as Gemini, crane as Pisces; D38’s griffin as Ursa, pig as Sagittarius, three cranes as Pisces (which is two birds in the Persian zodiac, and three birds or fish in the archetypal myth map I had published in Mindprint, and in Stoneprint).

Table 3. Four Gobekli species as seasonal beasts in Age Gemini-Taurus.

D43 A1; D38 FEATURES CONSTELLATION SEASON
Egg Cow, sun;

Griffin, sun

womb, polar

bear?, polar

Virgo,  Gal. Pole

Ursa,  Cel. Pole

summer
Fox Fox canid Gemini,  gate spring
Ibis Crane/s birds, twins Pisces,     solstice winter
Bag Pig bag Sagittarius, gal.centre autumn

These four animals swop positions in art, like medieval cardinal beasts in pillar decoration also do. On pillar D43, each has some features of Age Gemini and Age Taurus1, typical of transitional Age artworks. Fox burrows down over the Gemini-Taurus gate; vulture expresses Virgo and the two Leo types in the same body; skin bag rides on the Scorpius big bird’s back; ibis has the tailcoat body of type Aquarius. In iconography, the subconscious structure remains remarkably consistent, and out of conscious reach, unless systematically demonstrated. Only archetype could sustain this hologram, and its expression in various media, and its craft applications, such as astrology. Crafts do not sustain one another. Thus myth, art, ritual and architecture have their own inspiration and conscious rationalisations, including occasional illustrations, or rather references to one another. These references lure common sense, and science, into the traps of apparent diffusion. The five layers of subconscious structure, and their known elements (see the table below), is over the heads of artists, yet they all express it fluently. Like grammar, iconography is an innate, subconscious competence. Viewers also do not know how it works at deeper levels, but could instantly tell if it were absent.

In myth, fox is the trickster, as Sweatman points out. The entertaining villain may have been a pet, exterminator of vermin, hunting aid, pelt source, perhaps food at Gobekli, where many fox bones were found (Schmidt 2013). There were no dogs yet. Ethiopian, Egyptian and alchemical art makes much of red foxes.

‘ACCURATE SPECIALISED OBSERVATORY’?

Gobekli Tepe hill was “also an observatory”, propose Sweatman and Tsikritsis. But the wet climate, and annual runoffs of mud melt in the Younger Dryas, and animals such as hippo, probably necessitated mountain sites to survive, and hilltop sites (preferably facing south to the sun) to move to the slowly drying plain. Even Arabia was swampy until historic times, and Giza was an island (Gigal 2016).

They propose that “people of Gobekli Tepe were making accurate measurements of precession.” But how could we tell? There is no clear record in the art or in the buildings (but see the subconscious polar precessional tracks in house C, in Stoneprint). Their motivation? “To communicate to potentially sceptical generations… that a great truth about the ordering of the world was known… important for continued prosperity and perhaps survival.” This is science fiction, not archaeo astronomy or archaeometry. “Given the considerable lead-time in developing this knowledge,” (what knowledge? that earth crosses meteor paths all year long?), “we should not rule out even earlier demonstrations of these specialisms.” But Ice Age astronomy is rare, apart from some lunar calendars on antler bone.

Sweatman sees astronomy as the instigator of all of culture: “Symbolism encoded on D43, the date stamp… zodiac signs… H-symbols, demonstrate an early form of proto-writing… at least for astronomical observations.” Did writing develop from astronomy? Abstract shapes appear in art and rock art worldwide (Von Petzinger 2016), either badly drawn characters, or entoptics, with a surprisingly consistent repertoire (Furter 2016, Expression 13). But few known poets, artists and scientists are astronomers. If archaeo astronomy wants to contribute to the necessary interdisciplinary study of the cultural record, it needs better data, methods, terminology and theories. “Similar patterns” and “messages to the future” may be generally true, but are not scientific (Popper 1963). Sweatman’s circular logic is embarrassing: “Given the astronomical theme… the fox… should represent an asterism… to enquire whether other symbolism is also astronomical.” There is much more in the cultural record than fragments of proto-science.

CULTURE CODE IN THE BABYLONIAN PLOUGH LIST

Decanal, hourly or lunar asterisms are common in ancient art. Egypt used three different sets (Neugebauer and Parker 1969). Zodiacs of twelve characters are known from Greek times onward. The earliest known constellations are the Sumerian Mul Apin (Stars of the Plough, or Starry Furrow), of 36 or 66 asterisms. These decans added celestial authority to kudurrus (tax and contract boundary stones), often in registers that run boustrophedon (‘ox-ploughing’, rows alternating to left and right). These ‘astronomical’ artefacts express their own archetypal structure, sometimes contradicting the consciously understood asterisms, which were also subject to their own interchanges and mutations.

Figure 9. Assyrian Kudurru of Melishippak II at Susa (after Pinterest, with archetypal labels and axial grid by E Furter). Hancock (2015) notes that the asterism houses resemble Gobekli ‘bags’, implying cultural contact. Sumerian huts had similar totem animals and poles (Furter 2016), but were socio-economic rather than cosmic symbols. See archetypal analyses of several artworks and artefacts at www.stoneprint.wordpress.com and www.mindprintart.wordpress.com

Table 4. Characters on the kudurru (contract stone) of Melishippak II at Susa, by archetypal number, Type and analogous Month or constellation (noting archetypal features):

2 Builder or Taurus; Enlil ram on his house (tower. More often bovid, but the former Taurus spring had newly precessed into Aries).

2c Basket or star Algol; Anu house (secret, container, woven texture).

3 Queen or Aries; Zababa raptor (long or bent neck, dragon).

4 King or Pisces; Nergal griffin (squatting) with twin post (twins).

5a Priest or Aquarius; Marduk’s house (assembly, priest).

5b Priest or Aquarius; Marduk animal (varicoloured? tailcoat?).

5c BasketTail or Piscis Austrinus; Adad’s horns (6 is often a U-shape).

6 Exile or Capricornus; Adad Storm calf (sacrifice), scalloped post (U-shape).

7 Child or Sagittarius; Shala’s house (often indistinct). The Shumalia store house (bag) bottom left could be his determinant.

7g Gal.Centre: Ninghizidda tail (path).

9 Scorpius; Shala ram (strength, more usually an ibex), with post (pillar).

9c Basket Lid or Lupus; Nushku lamp (revelation, enforcement); and plough (more typical of 3 or 3c opposite).

10 Teacher or Libra; Ninghizidda snake with forward tooth, under a staff (guard), over a scorpion claws determinant (arms up). The claw stars often interchange between types 9 and 10)

11 Womb or Virgo; Gula’s dog’s womb (womb, mother), with a granary? (wheat), fronted by a seated woman? And a vulture? (maternal) on a post (more typical of 11p).

12 Heart or Leo; Heart (heart) of Ninurta lion (felid).

13 Heart or Leo; Ninurta lion (felid, death, war).

14 Mixer or Cancer; Ninhursag’s house with wedge (polar).

15 Maker or Gemini; Ea goat-fish (more typical of 6), leg out (rampant). Type 15 should not be a goat-fish, unless the Age Taurus-Aries midwinter transition in Aquarius-Capricornus is transferred to the top central position.

Axial centre; Unmarked as usual.

4p Gal.S.Pole; Paw (limb joint).

11p Gal.Pole: Granary guard’s hip? (limb joint).

Midsummer; Horse post’s foot (limb joint), between axes 13 or Leo and 14 or Cancer; implying spring and the cultural time-frame in Age Taurus-Aries; confirmed by type 15 or Gemini at the top centre of the spatial structure.

All five layers of structural expression are subconscious to artists, architects, builders and members of any culture. Babylonian asterisms are assumed, based on late Egyptian and modern reconstructions of the Greek zodiac. In Sumerian myth, decans were arrayed on three latitudes or equators: north Enlil 33 (galactic?), central Anu 23 (ecliptic?), south Ea fifteen (celestial?); or a heliacal 34, or a lunar 36. The Enlil 33 is best known from the Assyrian Plough list in seasonal sequence, probably hour markers (adjusted every few weeks), listed here by likely archetype numbers for comparison to artefacts worldwide (with globally recurrent features in brackets).

Table 5. Assyrian copy of Babylonian ‘Plough Furrow‘ hour decans, in seasonal sequence (opposite to the hour sequence), by archetypal Number, Generic label; analogous Asterism; and Babylonian emblem (noting archetypal features):

2c Basket or star Algol; Plough; Aries Triangulum (knife), held by type 2 Perseus or type 2 Andromeda.

2 Builder or Taurus Pleiades; Large matted star (cluster, woven texture 2c). Archetypal spring ‘house’.

2 Builder or Taurus Pleiades; Seed (cluster), ploughed funnel, wolf; perhaps Hyades (cluster), or Perseus (twisted).

1 Builder or Taurus Orion; Old Man, Enmesharra; Orion or Auriga.

15g Gate or Galactic crossing; Crook staff; Orion’s club or Camelopardalis in the galaxy.

15g Gate or Galactic crossing; Large Twins (doubled, of 15), End; Gemini feet or road (gate).

15 Maker or Gemini; Small Twins (doubled); Gemini Pollux or Canis Minor.

14 Mixer or Cancer; Crayfish in estuary, Anu’s home; Cancer, Age Aries pole, archetypal summer ‘house’.

13c Head; Leo Minor (felid of 13), Latarak.

13 Heart or Leo star Regulus; King (more typical of 4, but here a warrior, typical of 13) and Lion (felid) Leg upper bone, and Ursa foreleg (death), perhaps star Duhr (Zosma).

12 Heart or Leo rear; Tail, date palm fan of Erua and Zarpanitum; star Denebola or Coma.

11p Gal.Pole; Enlil who determines Kur mountain’s ‘aptitude’ (moving limb joint angle).

11 Womb or Virgo; Zibaanna; Virgo Spica (crop) or Bootes alpha star Arcturus.

10 Galactic Pole diversion; Before Arcturus, Chegalaju, Ninlil’s messenger.

10 Teacher or Libra; After Arcturus, Baltesha, messenger of Tishpak.

10 Celestial Pole diversion; Large Wagon, Margidda, Ninlil; Ursa or slowly moving Celestial pole.

9c Lid or Lupus; Wagon Shaft. Archetypal meridian, opposite the 2c starting point. Nergal’s Fox (canid).

9 Healer or Scorpius head; Front of Wagon, Mother Sheep (opposite 3 Aries); Scorpius star Antares.

9 Ecliptic Pole diversion; Yoke (juncture on limb joint) of Anu, great heavenly one; perhaps Ecliptic pole in Draco.

9 Healer or Scorpius head; Small Wagon; Hercules (strength) perhaps an Ursa stand-in as former Age Taurus autumn marker.

9 Healer or Scorpius head; Seed Lord. Star Antares, opposite type 2 Furrow. Star on Cable; Libra scale on Serpens chain.

8 Healer or Scorpius tail; Interior of Temple (pillar), first son of Anu; perhaps Ophiuchus (strength).

7g Galactic Centre; Standing gods, Sitting gods (limb joints).

7 Child or Sagittarius; Gula, Goat, Boat (chariot); Buck cocoon (bag, named ‘buck bag’ in archaeology).

6 Exile B or Capricornus; Before goat, Sitting Dog; a late Babylonian midwinter marker.

6 Exile or Capricornus; Goat’s eye, Baba’s messenger.

5c Tail or Lyra; Behind the goat, two stars (double-headed), Ninsar and Erragal.

5b Priest or Aquarius rear; Leopard (varicoloured, felid of 13 opposite). These ecliptic features are below the galactic asterisms of Cygnus Swan, and Cepheus Sea Monster.

5a Priest or Aquarius rear; Right of Leopard, Pig of Damu. This is a clue to what pig icons in all cultures, including Gobekli Tepe, may express.

4p Gal.S.Pole or Pegasus; Left of Old One, Horse (as Pegasus).

4 King or Pisces; Behind Old One, Stag; Cassiopeia at Pegasus or Andromeda star Alpheratz.

==plus an overlap of the first four as higher ‘magnitues’:

3:18 Queen or Aries; Stag breast (sacrifice), Weak stars, Rainbow (bent neck); star Hamal.

2c:18c Basket or star Aogol; Stag kidney, Destroyer; Perseus Algol, formerly a red star.

2:17 Builder or Taurus Perseus; Marduk (twisted).

1:16 Builder or Taurus Orion; Mobile, Jupiter-Saturn conjunctions (cluster), or eclipse cycles, at Galactic gate.

“These are the 33 stars of Enlil”, ends the Assyrian list. But the list has 35, including four poles (three at the galactic pole and Bootes, indicating an Age Gemini-Taurus tradition); and some duplications, and the overlap; and some galactic decans in Scorpius; leaving about 20 characters, typical of archetypal art (average 16, plus two poles, and/or two gates, and/or two of the four transitional types).

Thus the Plough list is at least as archetypal, and mytical, and ritualist, as it is astronomical, or rather calendric. The overlap ‘clasp’ at the end expresses four of the five higher magnitudes of typology (types 1:16, 2:17, 3:18, 4:19, identified in Furter 2014; Mindprint). The other higher magnitude is part of the main list as usual (5a and 5b), where the magnitude jumps from base16 to base17 (see the list of archetypes below). Thus the ‘periodic table’ of culture is almost as complex as chemical elements with orbitals, atoms with quarks, or DNA with haemoglobin knots.

Culture parades its structure in stories and pictures, but conscious distractions are part of their camouflage. Against the elegant complexity of archetypal logic, Schaefer’s (2006) view that the Plough decans were “zodiac precursors” seems incorrect. We do not see Greek dramas as ‘soap opera precursors’, rather as more elaborate or esoteric expressions of culture, which also has dumbed-down versions. The late Assyrian version we have, of BC 687, was contemporary with the Greek zodiac, and there is probably some referencing between them. Decans are elaborate, and zodiacs are minimal versions of archetype on a stellar canvas. Both reveal the common source of cultural media, perception, nature, and the structure that underlies nature. The sky is not the only, and not the primary canvas of culture.

There is a fox in the Plough list, among three canids: type 2 as Perseus, or his legs, as a wolf over a furrow (well known among alchemical emblems); 6 Before the Goat, Sitting Dog (shuffling midwinter marker, known in Greek lore, archetypally in Capricornus); 9c Lid or Lupus as Nergal’s fox (canid). Star lore has a few more canids, notably Canis and Canis Minor of 15 Maker or Gemini, but each is distinctive, and differentiated by their other typological features If this Lupus fox harked back to Babylonia or Sumer, that would not imply that oral traditions sustain culture. Foxes play the same roles worldwide, but that does not imply that culture only dramatises animal behaviour. Average global frequencies of recurrent features clearly indicate a subconscious repertoire. When bards tell one another ‘their’ myth cycles, they do not attach frequencies to each recurrent feature, such as twisted posture, bovid, arms up, staff, felid, womb, canid, kind of canid, and so on. There is a layered kind of ‘Zipf code’ in culture, as there is in language. Speakers and writers use certain words twice as often, and half as often, as certain other words (Zipf 1935). Archaeo astronomy needs an interdisciplinary approach, including the philosophy, psychology and iconography of archetype, to study the cultural record.

ARCHETYPE CONTAINS CLUSTERS OF MEANING

Cultural media use several kinds of symbolism, such as syllogism, synedoche, allegory; and they do so interchangeably, just as our dreams do. Ploughs, sowing, reaping, foxes, snakes, dragons, teeth and soldiers play out dramas that only our collective subconscious, within our natural environmental niche, could sustain. One of the astronomical versions, of one of the details of our cultural repertoire, is a small canid on the polar ‘plough’, as in the Greek-Egyptian Dendera round zodiac. One mythic version is Samson’s foxes with torches tied to their tails, set loose in an enemy’s corn field. An Akkadian Agade cylinder seal shows two gods ploughing with a lion and a dragon, perhaps type 15 Maker or Gemini, ‘controlling’ the pole or plough by a ‘plough rope’ via Ursa and Draco. The hand of one god is a scorpion, indicating a celestial meridian between Gemini or the gate, and Scorpius or the galactic centre gate. There is also a tooth, bird, eight-pointed star (one of the three poles, often mistaken as a planet), crescent in a field, and three furrows (equators). The dragon extends from star, to field, to plough, its teeth ploughed in, as in the Egyptian hieroglyphic pun for goddess Sirius sinking and re-arising yearly; and as in the Greek myth of Cadmus.

Myth, art, calendar, ritual and asterisms together reveal the core content of culture. It is not all about certain codes or messages from ancestors. The list of known features of recurrent characters in art and architecture, and their average frequencies, is growing (after Furter 2014, 2016, expanded in June 2017, see an update on www.stoneprint.wordpress.com).

Table 6. Archetypes by number, label and analogous constellation (not ‘sign’); some known recurrent features with their global average frequencies:

[UPDATE 2019; The list of known recurrent features and averages was expanded by adding data from ancient miniature artworks, including Babylonian, Indian and Greek seals. See Stoneprint Journal 5 2018, and some 2019 posts].

1 /2 Builder or Taurus; twisted 48%, tower 22%, bovid 19%, cluster 14%.

2c Basket; secret 17%, container 13%, woven texture 13%.

3 Queen or Aries; long or bent neck 37%, dragon or griffin 14%, sacrifice 13%, school 11%, knife.

4 King or Pisces; squatting 25%, rectangular 20%, twins 11%, king 9%, bird 6%, field 6%, furnace.

4p Gal.S.Pole; limb joint 50%, juncture, spout 13%.

5a/5b Priest or Aquarius; assembly 30%, varicoloured 30%, hyperactive 30%, horizontal 30%, priest 15%, water 15%, tailcoat head, heart (of 12), camouflage.

6 Exile or Capricornus; egress /ingress 48%, sacrifice 13%, small 13%, U-shaped 11%, amphibian, double-headed.

7 Child or Sagittarius; unfolding 17%, bag 13%, rope 12%, juvenile 10%, chariot 8%.

7g Gal.Centre: water 15%, gate.

8/9 Healer or Scorpius; pillar 50%, bent forward 30%, healer 11%, strength 9%.

9c Lid; revelation 15%, with snake or canid.

10 Teacher or Libra; arms V/W-posture 50%, staff 17%, guard 15%, canid, hunt master, ecology.

11 Womb or Virgo; womb /interior 87%, mother 60%.

11p Gal.Pole: limb joint 68%, juncture.

12/13 Heart or Leo; heart /interior 85%, felid 20%, death 33%, war 17%.

14 Mixer or Cancer; ingress /egress 50%, bird 10%.

15 Maker or Gemini; rope 30%, ordering 25%, bag 10%, face 10%, doubled 10%, canid 8%, creation, churn, sceptre, mace, rampant.

15g Galactic Gate; gate 20%, river 6%.

Certain limb joints near the centre of artworks play ‘polar’ roles:

Axial centre or ‘ecliptic pole’; single point 100%, limb joint 26%.

Midsummer or celestial pole; limb joint 50%.

Midwinter or celestial south pole; limb joint 37%.

ARCHETYPES ON PILLAR D43

The design on Gobekli pillar D43 subconsciously expresses the usual five layers of archetype, including the 16 characters, several of their optional features, their sequence, the ocular axial grid, the polar structure, and the time-frame orientation.

Figure 10. Gobekli Tepe pillar D43 (after B Steinhilber /DAI. Archetypal labels and axial grid after Furter 2014, 2016). This paper makes a small correction to the 15-7 axis, since type 15 Gemini is recognised as a canid burrowing to the right.

Table 7. Type labels; Characters on Gobekli pillar D43 (noting archetypal features):

1 Builder or Taurus Orion; Reed hut (see Inana huts of twisted reeds, with animals and totems). Some Gobekli stone figurines have loophole bodies, like Chinese ‘house’ weights for leather covers, and Babylonian ‘hut’ trade weights.

2 Builder or Taurus Pleiades; Same hut or keep.

2c Basket or Perseus star Algol; Spider (weave).

3 Queen or Aries; Flamingo (long neck).

4 King or Pisces; Water-bird or ibis (bird), squat body (squatting).

4p Gal.S.Pole; Bird neck bend (limb joint).

5a Priest or Aquarius; Water-bird heart (heart of 12 opposite), or tail (tailcoat head).

5b Priest or Aquarius; Bird sitting (horizontal), near the axial centre (ingress of 6).

6 Exile or Capricornus; Triangular body or tailcoat (more usual at 5).

7 Child or Sagittarius; Skin (bag), head blank. Perhaps a bird meat fermentation cache. Often a transforming cocoon or ‘buck bag’ in rock art.

7g Gal.Centre; Large bird’s neck (limb joint), perhaps on water.

8 Healer or Scorpius tail; Large bird, forward (bent).

9 Healer or Scorpius head; Scorpion (rare in art, but expressed in Gobekli, Western and Mexican zodiacs).

9c Basket Lid or Lupus; Wolf (canid).

10 Teacher or Libra; Snake (guard? More typical at 9c).

11 Womb or Virgo; Womb (womb) of vulture, maternal (mother, as of the Egyptian vulture Mut).

11p Gal.Pole; Vulture elbow (limb joint).

12 Heart or Leo rear; Pendant (heart, opposite heart-shaped body at 5a).

13 Heart or Leo front; Vulture or eagle, militant (war).

14 Mixer or Cancer; Small bird (bird), far from the centre (egress).

15 Maker or Gemini; Fox (canid), burrowing (rampant inverted). Some authors identify it as a felid based on the long tail, probably an error. Some authors identify it as a left-facing ibex, certainly an error.

15g; Gal.Gate; Gap (gate) between two houses.

Midsummer; Orb. Confirmed by the vertical plane. This marker places summer on the axis of Leo1, implying spring and the time-frame in Age Taurus1, as in some other Younger Dryas artworks and buildings. However the time-frame is probably before work, as usual, expressing the era of the perceived formation of the culture.

Iconographic dating in artworks is approximate. Cosmology and myths are aids to interpretation, but art is not astronomy, nor just illustrations of myth, or ‘culturally conditioned’ trance visions, as some rock art researchers believe. Art is a fully independent cultural medium. Visual and spatial expressions operate at several levels of scale in all cultures. Pillar D43 itself expresses type 4 King in house D; while house D expresses one of the two type 15 Maker houses in Gobekli village. Similar scale levels on sites in Egypt, India, Africa, Europe and Mexico have the same level of complexity, thus culture, and human behaviour, is a given quanta, independent of the level of economic and technological maturity of the society.

SUBCONSCIOUS BEHAVIOUR IS HARD FOR THE EGO TO ACKNOWLEDGE

Artists do not await or consult astronomers, astrologers, philosophers, or dreams. And artists did not, and still do not learn, teach, record or follow a programme or code down to minute detail of archetypal features. It is all innate in our eye, hand, mind, and environmental co-ordination. And it is compulsively complete. Art and culture is all or nothing. We could not tell, design or build a different ‘story’, or half a story. We did not invent culture, and we could not change it. Thus the cultural record offers access to objective meaning, but it comes with uncomfortable implications for our ego.

Structural art analysis now enables conscious access to culture, and to subconscious behaviour. Human culture outlives ‘different’ cultures, its core content and styling options intact, immune against tampering. Sweatman and Tsikritsis propose that “The implications of coherent catastrophism (Younger Dryas meteorite impact) are profound, for how we interpret evidence of past events (archaeology, geology, anthropology, climatology, etc).” They estimate that the implications of a Gobekli zodiac, or systematic astronomy, would be “staggering”. But all cultures have zodiacs, decans, calendars, astronomy, and occasional artistic geniuses. The implications of archetype in the cultural record are greater than the mere presence of the usual media. And archetype raises larger questions: what are perception, meaning, behaviour, culture, and nature?

Gobekli Tepe offers a precious halfway point between Ice Age cave art, and Sumerian civic multi-media records. It deserves meticulous multi-cultural study. A brief remark in an article on Graham Hancock’s website, labels the archetypal approach as ‘lazy’, compared to the presumably hard work of correspondence ‘theory’. However correspondence theories turn out to be idle speculation on where recurrent motifes may have ‘originated’, usually ending in favour of the earliest known cultures and sites. Thus Gobekli is now considered evidence of a ‘mysterious ancient super civilisation’, to borrow Hancock’s term.

The net result of diffusionist games of ‘broken telephone’ or imperfect imitations, and successive ‘Russian boxes’ in the search for cultural inventors, adds up to already known routes of trade, acculturations and aspirations. Diffusion may involve some research, but it reveals nothing of culture or behaviour itself. Considering the theoretical context of archetype, already developed in philosophy, reflexology, psychology, anthropology, sociology, and cultural crafts (Furter 2016); structural anthropology is not ‘lazy’. Instead, the subconscious functions of cultural media strain our common sense assumptions.

Popular anthropology could not be blamed for its theoretical deficiencies, while some of its scientists remain stuck in the eternal catch-22s of the conscious, logical, causal, diffusionist, developmental and ‘evolutionary’ paradigm of culture. There is something much more natural in culture. Human nature lies camouflaged in the forests between the footpaths of common sense logic.

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