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Stoneprints in historic Western sites

Subconscious content in Pippa Skotnes’ San window adds to UCT art politics ironies

Artworks and art galleries rarely become a public socio-political battleground, as in the 2016 -2017 University of Cape Town (UCT) student bonfire, and the censorship attempt. Subconscious content in Pippa Skotnes’ San-styled window, adds to the ironies.

UCT removed, covered, draped and otherwise sacrificed some artworks to the fickle causes of transformation in education. Several ironies in this South African art debacle, offer rich data for academic culture clash debates in social anthropology.

Archetypal structural analysis of some of the banned artworks, and of some of those remaining on the walls, confirm my evidence in Mindprint (2014), and in Stoneprint (2016), that all recognised artworks worldwide subconsciously express the same core content, as a kind of visual grammar, or cultural DNA. Only styling, and apparent conscious intention, allows socio-political claims to culture. The core content offers an objective lexicon of meaning against which many human scientific terms, and even the subject and science of semiotics could be defined (See Furter on semiotics as the natural structure of meaning, in Expression 16).

Polities want to link their leaders to some recognisable symbols, to appropriate an identity (see Endicott and Welsch 2005: Taking sides). Cultural identity is invariably linked to aspirational values, such as ‘old, pure, rich, complex, open, sustainable’; while underdogs demonstrate their suffering (such as struggle theology), continuing well after gaining freedom and prosperity. Student leaders found little to appropriate in the remnant cultural record of colonialism, Western democracy, and attempted idealisation of rural life. De-colonised people worldwide demand the lie of former utopias from ‘their’ arts; while arts demand of ‘their’ sciences to legitimise cultural kitsch (Endicott 2005, citing Turner vs Hagen; Clifford vs Dutton). The streets and galleries of Paris, London, and west and east Berlin, once reflected the same identity struggles against status quo burdens, each wave of re-styling leaving its own stylistic burdens on the visual and architectural fabric. Among the worse of these burdens, by almost any measures, are the populist revolutionary and communist burdens in art and culture in formerly communist countries.

Archetypal analysis escapes socio-political relativism by revealing the subconscious, compulsive, typological and spatial and framework of visual and architectural expression, that is not taught or learned anywhere, and that all artists worldwide, in all ages, follow unawares, in great detail.

The Smuts House San window of breezy bags

Pippa Skotnes designed some of the Smuts House ‘rose’ windows at UCT, with contemporary democratic, and some indigenous themes and styling, to counter-balance the Euro-centric cathedral medium, and heraldic styling of the colonial era windows. In a similar programme at Wits University, Cyril Coetzee painted a 9-metre canvas titled T’Kama Adamastor, a visual narrative of Andre P Brink’s parody of colonial views, showing the arrival of Portuguese ships, soldiers, priests, traders and cosmogony, through Khoekoen eyes, but in Renaissance styling (Vladislavic 1997). Archetypal analysis of the Coetzee canvas (Furter 2014: Mindprint, p128 -129) reveals a tripled expression of the universal subconscious structure. For comparison, the same kind of multiple ‘geared’ mindprint was demonstrated in Egyptian Naqada designs (Mindprint p 126); in several Ice Age (p150-151 etc); African, and American (p140 -141) rock art works; and in a Smuts era political art cornice in the Pretoria old town council chamber (p159), where incidentally some of the regular type 11 wombs (literally) are of Voortrekker women, and some of black servant women.

Archetypal analysis of another artwork by prof Pippa Skotnes, ‘Down here a starless sky’ (Mindprint p209), confirmed that learned artists express subconscious structure to the same average of detail as novice artists, and as rock artist. And despite great learning in iconography and the rest of the art history curricula, including alchemy in the case of Coetzee, schooled artists likewise did not know of the existence, or any comprehensive details of the five layers of mindprint (author’s conversations and correspondence with Coetzee, Skotnes, Eljana van der Merwe, and several other artists).

Whether an artist develops an individual style or programme; or designs for a broad market or for a commission; or mimics a recognised style (such as pseudo-San art by Oscar Stoppforth, by Walter Battiss, by Pippa Skotnes in the window discussed here; or pseudo-Egyptian art by modern artists; or pseudo-Dali styling as by Michael Yakono), the resulting designs are almost indistinguishable from ‘original’ ethnic artists, and differ only in their media, textures, techniques, and provenience.

This article offers the standard format caption of the characters, in their standard peripheral typology sequence, with the archetypal features they express, the polar markers, the cultural Age. Then follows a note on the general theme; and some comments on the ironies in ‘us and them’ culture debates; and a ‘blank’ version of the standard archetypal analysis caption (updated in May 2017 by extending the number of identified typological features, from a recently extended database).

On three related websites, visitors may compare archetypal analysis of the Skotnes San window in this article, with ‘real’ San and other artworks.

Pippa Skotnes: Wind in Kabbo’s window, UCT, Smuts House window. Stoneprint labels, and axial grid, with archetypal analysis by Edmond Furter.

The sequence of archetypes in the Smuts House San-styled window, Wind in Kabbo’s window, by Pippa Skotnes, is:

Type /analogous season; Character (noting archetypal features):

1 Builder /Taurus; Antelope? (bovid) obscured by the frame, part of a ‘bag’ of seven animals (cluster).

2 Builder /Taurus; Antelope? (bovid, part of a ‘bag’ of seven animals (cluster); and a large antelope (bovid) in twisted posture (twisted).

2c Basket; Swift-person or swallow-person (more typical of 1 /2), or bag stitches (container, woven texture).

3 Queen /Aries; Horse (long or bent neck); calabash ‘head’ (long or bent neck); and on a closely adjacent axis is the large antelope with bent neck (long or bent neck, sacrifice). These three characters are on two axes, opposite the two eyes of a geometric character at 10, which also has a bent neck (typical of sacrifice in symbolism worldwide).

4 King /Pisces; Wagon profile (rectangular, not counted here since the work includes four wagons and a house); two occupants (twins, not counted here since four wagons have two occupants each), perhaps a ruler (king).

4p Galactic South Pole; Jaw (limb joint) of a leopard (varicoloured, typical of 5).

5a Priest /Aquarius; Farmer with a gun (hyperactive).

5b Priest /Aquarius; Status character in a wagon (priest?).

5c Basket Tail; Basket? (weave).

6 Exile /Capricornus; ‘Eye’ of a bag, visible in high resolution images.

7 Child /Sagittarius; Schematic geometric person (unfolding) in a formling (unfolding).

8 Healer /Scorpius; Spiral engraving on a boulder (pillar).

9 Healer /Scorpius; Sun engraving on a boulder (pillar).

9c Basket Lid; Nested V-shape cross engraving (textured).

10 Teacher /Libra; Two ‘eyes’ of an L-shaped formling.

11 Womb /Virgo; Reptile-shaped bag ‘womb’ (interior, mother).

12 Heart /Leo; Gunman (weapon, death, war) in a house (interior), front rounded (rounded, bastion).

13 Heart /Leo; Driver (weapon) in a wagon (interior).

14 Mixer /Cancer; Animal near the centre (ingress /egress).

15 Maker /Gemini; Master (order, smiting).

15g Galactic Gate; Net (rope of adjacent 15, sometimes a grid shape, as in some Zimbabwean works, and in the Coricancha gold plate mural in Peru).

Axial centre; Bag tassel (juncture).

Midsummer; Another tassel (juncture).

Midwinter; Another tassel (juncture). The solstice axle is on axis 13 or Leo, placing spring and the cultural time-frame in Age Taurus2, typical of most works made in Age Aries (framed by the foregoing Age), and of alchemical works in all ages.

General themes in this stained glass window include type 11 Womb, typical of gestation and interiors; and type 15 Maker, typical of bags (see the four large bags in the central design, and compare to bags or huts on Gobekli Tepe pillar D43), ropes, re-creation, social order, and appropriation.

All five layers of structuralist expression are subconscious to artists, architects, builders and members of all cultures. The conscious and symbolic themes here include transparency, inspiration, conservation, nature-culture balance, spirituality, and the value of minorities, as part of a commission to broaden the iconographic scope of the visual and historic texture of the university by including indigenous styling.

The analysis score [see an expanded scoring formula in later posts] is 28/70 features, 20/20 axial points, 4/5 polar markers, 0/2 planar or cardinal orientations, 3/3 thematic features; total 55/100, minus 5 extra characters off the axial grid; total 50%, in the lower average range of the global average sigma variation from 40% to 80%. More study of the San ethnography from which Skotnes drew some of the images, and the assumed narrative, and of the conventions that she adopted, could change the score.

Tyhpological labels and features

In any artwork, or on any building site map, containing eleven or more characters, rooms, or buildings; cut and paste these labels to identify characters and structural points. Pairs of opposites are given above-and-below one another. Some pairs may remain unused (often 2c, 5c, 9c, 13c; or 1v8, or 12v5a):

1Build 2Build 2cBaskt 3Queen 4King 4p
8Heal 9Heal 9cLid 10Teach 11Womb 11p

 

5aPriest 5bPriest 5cTail 6Exile 7Child 7g
12Heart 13Heart 13cHead 14Mix 15Make 15g

 

cp csp ? ? ?

 

Labelling and identification of the axial grid, always support one another. Test for pairs of opposite eyes until a centre point emerges, then identify the heart or inner ‘eye’, and womb or unborn eye, which always express type 12 or 13 Heart, and type 11 Womb.

The mindprint ,model of structuralist anthropology lists the sixteen archetypes, and eight intervening points, and five polar points, by way of about 75 known recurrent features, each with its own average frequency of occurrence [UPDATE; the list of known features and frequencies was expanded by additional data in 2018, see Stoneprint Journal 5. Here is the 2017 list];

Type label; features with their global average frequencies:

1 /2 Builder; twisted 48%, tower 22%, bovid 19%, cluster 14%, pit 13%, bird 10%, book 6%).

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

3 Queen; long or bent neck 37%, dragon 14%, sacrifice 13%, school 11%, empress 9%, pool 9%, spring 6%, equid).

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

4p Galactic South Pole; (marked 65%, limb joint 50%, juncture, spout 13%).

5a/5b Priest; assembly 30%, varicoloured 30%, hyperactive 30%, horizontal 30%, priest 15%, water 15%, %, tailcoat head, heart of 12, inverted of 12.

5c Basket Tail; (attributes not yet isolated).

6 Exile; egress /ingress 48%, sacrifice 13%, small 13%, U-shaped 11%, tree, volute, reptile, amphibian, horned, double-headed).

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

7g Galactic Centre: (gate, water 15%).

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

9c Basket Lid; revelation 15%, law enforcement 9%, disc, snake).

10 Teacher; arms V/W-posture 50%, staff 17%, council 17%, guard 15%, market 8%, metallurgy 8%, crown /disc /wheel 10%, school 8%, canine, hunt master, ecology).

11 Womb; womb /interior 87%, mother 60%, tomb 13%, water 11%, library 11%, wheat 6%, law 6%).

11p Galactic Pole: (marked 81%, limb joint 68%, juncture).

12/13 Heart; heart /chest /interior 85%, feline 20%, death 33%, water-work 30%, rounded 26%, bastion 22%, war 17%, weapon 13%, palace 11%, inverted).

13c Basket Head; prediction 11%, texture 6%,

14 Mixer; ingress /egress 50%, bird 10%, tree 6%, canid,

15 Maker; rope 30%, order 25%, bag 10%, face 10%, doubled 10%, pool 8%, canine 8%, creation, churn, sceptre, mace, rampant,

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

Axial centre; (limb joint 26%).

Midsummer; (limb joint 50%).

Midwinter; (limb joint 37%).

The solstices axle or summer-winter orientation, implies the spring point between them, thus setting the cultural time-frame in Age Taurus1, Age Taurus2, Age Aries, or Age Pisces. This time-frame is usually the Age or transitional era before the work.

The vertical or horizontal plane (or cardinal direction on building sites) may confirm one of the polar axles.

The general theme is revealed by the presence of typology features in their usual place, as well as attached to some of the other types. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.

The analysis could be scored as __/70 attributes, __/20 axial points, _/5 polar markers, _/2 planar or cardinal orientations, _/3 thematic features; total __/100, minus __ extra characters off the axial grid; total __%, usually in a sigma curve variation from 40% to 80%. [Update; The data formula changed slightly in 2018, and changed again in 2019, as new recurrent features of subconscious behaviour were revealed and added to analyses].

Ironies in art censorship

Several ironies are raised by the UCT banning or denouncement of the pseudo-San styled Smuts House window by Pippa Skotnes. Visual censorship could be labelled blank-facing, after the Johnny Clegg song ‘Hasiem Bonanga’ (I may not see his face), about the former censoring of photographs of Nelson Mandela. The ironies include:

  • Smuts was an active campaigner for finding and curating indigenous history and culture (as in the Mapungubwe saga), however patronising the initiative turned out to be in practice. Mob rule over the arts, as in the French, British and Russian Revolutions, and now in the education revolution, are strong versions of patronising, or acculturation (ironically largely to a blank wall that could be labelled ‘under development’ or ‘watch this space’), by enforcing ‘kangaroo court’ decisions on public art and thus on the cultural record.
  • Remaining San artists are few (see Khoe tapestries at Wits University’s Origins Centre, which each express a slightly flawed mindprint, perhaps due to some elements of collaboration and cumulation in the process).
  • Skotnes understood San spirituality as well as any artist of any colour, or as any UCT student. The contribution of informants to the study of self-acclaimed ‘ethic’ art is typically small (see Keesing v Trask, in Endicott 2005).
  • Students removed and burned some UCT artworks, notably a kind of ‘instamatic’ coloured drawing of themselves clambering over the podium where they had removed the Rhodes equestrian statue; thus censoring a full frontal ‘snapshot’ of their own mob rule. Perhaps some students were offended by the deft way in which the artist captured mob ethic, probably including individuals recognisable by their clothing or antics. That artwork probably also expressed mindprint.
  • The instinct of revolutionary students that the education system is too expensive, as in the Fees Must Fall slogan, is correct (due in part to the artificial cost of big name artworks and installations). But their instinct that art and science should serve ‘the people’ (that is, their new elite), is fatally flawed, to the dire detriment of art, science and their own cu-lture. Senior archaeology students and curators in Zimbabwe, who grew up in the Mugabe regime, express the same sentiment about museums and sites like Great Zimbabwe (see an archetypal site analysis of Great Zimbabwe, and the Queen’s Kraal, on stoneprint.wordpress.com, and on Academia.edu).
  • The UCT arts committee in its collective institutional wisdom, by applying censorship, implied that it understood the artworks on their campus; and udnerstood the motivations for displaying art; and that education should serve the emerging and semi-educated elite. These assumptions are not substantiated in any statement, least of all in the public relations drivel of the time, stuffed with attempted political correctness.
  • The main irony, still largely unknown to artists, academics, investors, and the public, is that all complex artworks (containing eleven or more characters in proximity), worldwide, are equally therapeutic, expressive, subconsciously recognisable, and capable of abuse (as colonial powers abused iconography), and equally capable of appropriating cultural and spiritual resources. In an earlier era of culture clash, herders painted crude white stick figures over inspired and proficient San art panels.
  • UCT anti-colonial revolutionaries did not offer alternatives to the supposedly offensive and colonial works (which I for one would have welcomed, as in my much earlier request to a private gallery in Pretoria to call for tenders to replace a certain pseudo-‘African’ mosaic by a big-name European artist).
  • Few artworks are irreplaceable and invaluable (as Ice Age Cave art is invaluable, and as Gobekli Tepe engravings are, since they are very rare, very old, and integrated into their canvases and cultures; from a time when there were too few people to sustain mob rule. As early Sumerian seals are invaluable, because they add visual meaning to poorly understood texts, and indicate the extent of cultural creolisation between Mesopotamia en India). What went up in flames, and disappeared into vaults at UCT, is not priceless, and mostly over-priced. I propose more slogans; ‘Demand for Big Name art must fall. Supply must increase’.
  • Most of the objectionably Euro-centric art risk of theft, vandalism, or both, are already in vaults all over Africa. A visit to the Johannesburg Art Gallery in Joubert Park is a depressing experience.
  • The UCT art committee had argued for a neutral space for art debate. Ironically, it is doubtful that more than one or two UCT art students per year are destined to fill the void left by art theft, student mob rule, political thuggery, and academic cultural ineptitude. Yet the attempt to discuss art, culture, identity and spirituality coherently in public view, in an era of rapid socio-economic change and migration, is welcome, and overdue. Here is my contribution; ‘Conscious concept art must fall. Study of subconscious expression must rise’.
  • I remain optimistic that a blank wall or two could light a few expressive sparks, not thanks to, but despite the cross-purposes of the arts committee and the party-dependent and party-serving arts committee.

-Edmond Furter, Johannesburg, South Africa, April 2017. Amended April 2019.

See more art analysis examples, and peyote, ayahuasca, mushroom and calendric art on www.mindprintart.wordpress.com

Comments are welcome in the Comment window below.

See articles on structural art and building analysis in the anthropology journal Expression, editions 9, 10, 13, 14 and 15, on http://www.atelier-etno.it/e-journal-expression/

Some of these articles are also posted on www.academia.com

See an article on Ice Age and Gobekli Tepe art in another post.

Order the book Mindprint, by Edmond Furter (2014), with 200 art and rock art demonstrations, including critiques of cognitive archaeology and art history, and an index of 400 tested artworks, from www.Lulu.com

or in South Africa from edmondfurter at gmail dot com.

Order the book Stoneprint, by Edmond Furter (2016), with 130 illustrations, including 40 building site maps, and a critique of the implications for relevant sciences and cultural crafts; at $30 plus postage (or in South Africa, R250 plus postage), by Paypal and via email from Edmondfurter at gmail dot com.

Sources and References

Anati, Emmanuel. 2004 Introducing the World Archives of Rock Art (WARA): 50 000 years of visual arts, in New discoveries, new interpretations, new research methods, XXI Valcamonica Symposium, p. 51-69. Capo di Ponte, Edizioni del Centro
Blackmore, S. 1989 Consciousness: science tackles the self. New Scientist, 122
Boeyens, JCA; Thackeray JF. 2014 Number theory and the unity of science. S African J. Sc. 110
Chrisomalis, S. 2015 Graduate Education in Cognitive Anthropology: Surveying the Field, Soc. for Anthropology
Furter, E. 2014 Mindprint, the subconscious art code. Lulu.com, USA
Furter, E. 2014 More examples of structural art analysis. www.mindprintart.wordpress.com
Furter, E. 2015 Art is magic. Expression 10, Dec. Atelier Etno, Italy
Furter, E. 2015 Mindprint in mushroom /psiclocybin, peyote /mescalin, sugar, chocolate art; http://www.mindprintart.wordpress.com
Furter, E. 2015 Mindprint in San Francisco public art, and other examples; www.mindprintart.wordpress.com
Furter, E. 2015 Rock art expresses cultural structure. Expression 9. Atelier Etno, Italy
Furter, E. 2015 Rock art Where, When, to Whom. Ed. E Anati. Atelier Etno, Italy
Furter, E. 2015 Structural rock art analysis. Association of Southern African Professional Archaeologists (ASAPA), Harare. Univ of Zimbabwe, in press 2017
Furter, E. 2016 Colonial artists re-style the same characters. Expression 14, Atelier Etno, Italy
Furter, E. 2016 Stoneprint, the human code in art, buildings and cities. Four Equators Media, Johannesburg, South Africa
Furter, E. 2017 Pregnant is the most consistent typological gender. Expression 15, Atelier Etno, Italy
Furter, E. 2018. Stoneprint Journal 5; Culture code in seals and ring stamps. Four Equators Media
Furter, E. 2019. Stoneprint Journal 6; Rennes le Chateau stoneprint tour. Four Equators Media
Gombrich, E. (1979. 1984) Sense of Order: A Study in the Psychology of Decorative Art. Cornell University Press
Gombrich, E.H. (1960) Art and illusion: a study in the psychology of pictorial representation. Princeton University Press, New Jersey
Jung, CG. 1934, 1954 Archetypes of the collective unconscious. CW
Jung, CG. 1950 Synchronicity; an a-causal connecting principle, treatise
Jung, CG. 1964 Man and his symbols. Dell
Kuhn, Thomas. 1966 Structure of Scientific Revolutions, 3rd ed, Univ Chicago Press
Leach, E. 1970 Claude Levi-Strauss. University of Chicago Press
Levi-Strauss, C. 1973 From honey to ashes. Harper & Row
Ouzman, Sven. 1998 Toward a mindscape of landscape. Eds; Chippindale & Taçon, Archaeology of rock art, p30-41. UK, Cambridge Univ Press
Popper, Karl. 1963 Conjectures and Refutations. London. Routledge
Price-Williams, D, 1987 Waking dream. In Edgar, IR. Cambridge Univ Press
Tresidder, Jack. 1997, 1999 Watkins dictionary of symbols. Watkins
Tsonev, T. 2016 Conceptualizing the nature of abstract representations in prehistory. Expression 13, Atelier Etno, Italy
Vladislavic, I. 1997 T’Kama Adamastor. Wits University Press
Wylie, Alison. 1989 Archaeological cables and tacking: the implications of practice for Bernstein’s options, beyond objectivism and relativism. Phil of Social Sciences 19, n1, March
Categories
Stoneprint introduction

Stoneprint book index

Stoneprint, the human code in art, buildings and cities (Edmond Furter, 2016, Four Equators Media, 400 pages, 170mm x 295mm, 130 illustrations) resolves the mysteries of correspondences between ancient cultures. The book reveals the core content and ‘grammar’ or ‘DNA’ of culture. We have an innate subconscious compulsion to express a specific, complex, archetypal set of features, in sequence, and on an axial grid, in all our works.

The book demonstrates the innate universal structure in our works, including art, rock art, houses, kivas, temples, villages, sacred sites, monuments, pyramids (Egyptian, Chinese, Olmec as well as Mayan pyramid fields), and cities.

The examples range from the Ice Age thaw at Gobekli Tepe, Malta, and Scotland; to prehistoric sites such as Babylon; semi-historic sites such as the Giza, Avebury and Stonehenge landscapes; historic sites such as Ephesus, Rome, Axum, Quebec, and Cape Town; and across all continents and cultures, including Africa, the far east, south America (including Nazca) and North America (including Mystery Hill).

Among the cultural media that carry the human code, and camouflage it from our conscious mind until revealed by structural analysis; are rock art, ‘fine’ art, ritual, myth, poetry (such as two examples of Babylonian building rites, and two poems by William Blake) buildings, sites and region (such as Babylonia).

Nature also express archetypal structure. Stoneprint reveals several direct links between subconscious cultural expressions, and the periodic table (when charted on a spiral as by Maurice Peyroux); chemical elements; reflexology charts of our palms, irises, teeth, earlobes and inner ears. Our eye-hand-mind co-ordination expresses the same universal structure in building sites, even by different architects, and different  generations of rulers and builders.

Stoneprint, the human code in art, buildings and cities, now enables conscious access to our subconscious behaviour, which is revealed as standarised, rigorous, universal, eternal, complex, yet measurable.

The book places the discovery of subconscious behaviour (first reported by the author, Edmond Furter, in Mindprint in 2014), in the context of the esoteric crafts of alchemy, kabbalah, cosmology, astrology, and art; as well as the context of each human science: art history, archaeology, anthropology (with a humorous detour into popular archaeology), psychology,  and sociology.

The implications of the discovery of the universal stoneprint structure, for popular culture (including various schools of popular archaeo astronomy) , and for the human sciences, are significant.

Order the book Stoneprint, in Europe at E30 plus postage, from Four Equators Media via [edmondfurter at gmail dot com], payment on Paypal.

Order the book Stoneprint in the USA at $30 plus postage, from Four Equators Media via [edmondfurter at gmail dot com], payment on Paypal.

Order the book Stoneprint in South Africa at R300 (including free postage to any Postnet account in South Africa; or plus R30 postage; or plus R60 per courier), from Four Equators Media via 011 955 6732 or [edmondfurter at gmail dot com], payment on Paypal.

The index indicates the broad scope and depth of 28 years of research reported in Stoneprint. Each relevant craft and science is placed in context. Natural expressions are compared to cultural expressions. Each building site is illustrated by a map, and at least two pages of detailed structural analysis.

Introduction
2 Architecture reveals our subconscious building code
3 The Five levels of structure in cultural media
3 The sixteen archetypes, in sequence
4 The axial grid of focal points
6 The four borderline types
7 The two galactic gates or cross-points
7 The polar clock of Ages
8 The six polar points
9 Structural analysis example of a site sketch plan

The cultural context of the human code
11 Alchemy: Crafts reveal chemistry
13 Chemistry reveals biology
15 Kabalah: Natural philosophy correspondences
17 Poetry: Blake’s London- Jerusalem- Golgonooza
21 Poetry: Blake’s Tyger describes expression
22 Poetry: The Stoneprint rhyme
24 Astrology: Calendars reveal divination
27 Cosmology: Direction is everywhere

The scientific context of the human code
31 Art History: Perception reveals gestalt
37 Archaeology: The World Archives challenge
42 Anthropology: Artefacts reveal structure
47 Popular Anthropology: Who did it?
52 Psychology: Behaviour reveals archetype
57 Philosophy: The universe reveals archetype
60 Communication Science: Structure is the message
63 Sociology: Behaviour reveals our self-image
66 Science and esoterica: our split consciousness
70 Why I wrote Stoneprint

73 [Chapter A] Natural elementary maps
74 The periodic table reveals atomic structure
80 Nuclear particles reveal atomic polar structure
81 Compounds confirm the axial pairs
82 Constellations chart our cosmos and myth
84 Astronomical poles in our cosmos
86 A crop circle solar system implies two grids
92 Earth imprints a motto: ‘I oppose artifice’
94 Trails of architecture in two crop circles
95 Numbers have character
96 Mars ‘face’ geology invites human gestalt

99 [Chapter B] Natural body maps
100 Our hands carry the imprint
102 Our eyes are windows to the body and structure
104 Our minds carry the imprint
106 Dental reflexology: the ‘boneprint’ in our cave
111 Our outer ear lobe reflex map
112 Our inner ear reflex map
113 Eye, palm, teeth, ear and organ map
114 Limb joints mark six poles

115 [Chapter C] Natural culture maps
116 Piacenza bronze liver double circle of gods
120 The sixth layer of culture is style conformity
121 Three sets of Etruscan gods integrated
121 Planets express poles and gates, not types
122 Gods or liver maps, which came first?
123 Piacenza city and its walls are cultural stoneprints

125 [Chapter D] Culture maps
126 The Maikop silver bowl paradise
128 Paradise, Fall, and Babel in a nutshell
129 Mapungubwe’s gold foil oracle reconstructed
130 A Venda divination bowl
132 An Italian Goose game board
134 Pedra Pintada engraving oval, and pentagons
138 The Bulgarian Karanovo tablet answers questions

139 [Chapter E] Ice Age sites
140 Turkey: Gobekli Tepe house C, polar boars
147 Turkey: Gobekli Tepe house D, type 14
150 Turkey: Gobekli Tepe house B, type 2
152 Turkey: Gobekli Tepe house A, type 3
154 Turkey: Gobekli Tepe excavation and radar maps
156 Turkey: Gobekli Tepe pillar D43, a culture portrait
158 Turkey: Gobekli Tepe grey pillar
159 Babylonia: Inana huts, Nevali Cori kiva, Kurdish huts
160 Turkey: Gobekli Tepe site perspective
161 China: An Iron Age T-shaped silk drape
162 A Greek healing pillar, and Shinto dressed pillars
163 Spain: Malta’s Mnajdra double stoneprint
164 Spain: Malta’s Gigantija double stoneprint
167 Spain: Hal Saflieni’s underground stoneprint
168 Scotland: Skara Brae plans
169 Scotland: Jarlshof wheelhouses and recycling
170 Spain: A Menorcan taula reconstruction puzzle

171 [Chapter F] Early civil sites in Sumeria
172 Babylonia was a stoneprint in clay brick
174 Babylon city, a vortex of dispersion
176 Two mythical gates
177 King-priest Ur Nanshe builds a temple
178 He built sixteen shrines
179 His crafts reveal subconscious method
180 He casts the circle of eternity, or polar ring
181 He was a visionary like Solomon
182 He works magic: as below, so above
184 He was an inspired architect, like Hiram of Tyre
185 He did not understand the building plan
188 He taxed the clans for construction
190 His allies and contractors
191 He surveys eight rooms, and erects eight doors
193 He set up six slabs as poles
194 An, Enlil, Enki: three equators to survey the site
195 Assyria: T-pillars and Y-tents in an army camp
296 Egypt: Narmer’s camp, and a school camp

197 [Chapter G] Early civil sites in Egypt
298 Sakkara, first royal campus, and a stepped pyramid
200 Teti’s pyramids form a stoneprint in Sakkara
201 Giza pyramid field stoneprint
204 Giza pyramid field is also a polar map
206 Kings Valley tombs are underground stoneprints
212 Queens Valley entrances lost and found
214 A ‘Syrian’ queen in a womb among wombs
216 Edfu temple is a double churn
218 Senmut’s ceiling stoneprint is half zodiac, half duat
220 Duats and decans are arch mutators

221 [Chapter H] Civil outpost sites
222 Nubia: Meroe pyramids speak with their doors
224 Egypt: Nabta Playa slab field counts four Ages
226 Egypt: Hawara labyrinth in Kircher’s Gnostic vision
228 Nubia: The cornucopia of minister Huy
230 Palestine: Jerusalem temple mount hybrid
233 Patriarchs, pharaohs, and kings
234 Palestine: Jerusalem, womb of three religions
236 Judea: Masada, a military stoneprint
238 Turkey: Nemrut hill, crossroad of Persians and Greeks
242 Australia: Elivna rock pavement engraving
244 Ethiopia: Axum is an ark of spiritual mysteries
247 Ethiopia: Lalibela temple field of bedrock ‘hearts’
249 Ethiopia: Lalibela’s Mary church; womb in a womb
250 Ethiopia: A reverse rock imprint spells ‘Rotas’

251 [Chapter J] Prehistoric European sites
252 Ireland: Drombeg house, a cosy double stoneprint
254 England: Avebury and Silbury landscape
256 England: Stonehenge counted three ages
263 England: Damerham circles in radar scan
264 England: Stonehenge landscape radar scan
266 England: Stanton Moor landscape; boulders and ‘ladies’
268 Greece: Phaistos palace, the other Greek labyrinth
270 Germany: Magdalenburg mound graves
273 Scotland: Stennes stone circle
274 Scotland: Cochno stone concentric engravings

275 [Chapter K] African sites
276 Zimbabwe: Great Zimbabwe, landscape with a womb
278 Zimbabwe: Great Zimbabwe queen’s yard with a womb
280 A kudurru boundary stone calendar spring bird
281 Egypt: Dendera zodiac summer bird
282 Zimbabwe: Nhunguza and Penhalonga metallurgy floors
283 South Africa: San Bushman painted stoneprints on rock
284 Mali: Nature and culture on a Dogon mud wall
286 South Africa: Lydenburg concentric engravings boulder

287 [Chapter L] Eastern sites
288 India: Buddhist wheel of life landscape panorama
289 India: Sanchi temple gate pagoda engraving
292 Nepal: Kathmandu palace square temple complex
294 China: Beijing Temple of Heaven park, an Aquarian cosmos
295 China: Choukungmu pyramid fields need more research
296 Japan: Nara Basin Horyuji temple, galactic manifestation
297 Japan: Todai temple, a living site
298 Japan: Himeji, Shirasagi-jo temple, White Heron nests

299 [Chapter M] Mexican sites
300 Izapa pyramid field and stelae, new world, same stoneprint
302 Izapa cacao tree ritual stele, a third layer of structure
304 La Venta pyramid field, spire eyes, platform womb
306 Monte Alban double stoneprint works with the landscape
309 Coba, a triple Stoneprint with interlocking ‘galaxy’
310 Uxmal was contested by a witch, a dwarf, and a king
312 Chichen Itza has temples to planets, and a stoneprint
314 Chichen Itza village scene, a busy day
315 Teotihuacan mountain stream, and rain woman mural
316 Teotihuacan pyramid avenue, Leo sun, Virgo moon
318 El Tajin pyramid field, double thunder
320 Palenque lid cosmic tree and double stoneprint
322 Palenque pyramid field, chaos among order

323 [Chapter N] North and South American sites
324 Peru: Machu Picchu, Mayan capital in the clouds
326 Bolivia: Tiahuanaco island’s Sun Gate is the sun type
328 Chile: Atacama geoglyphs with Aquarian tailcoats
330 Peru: Nazca plain geoglyphs express ecological structure
332 Peru: Cuzco’s Coricancha constellations reveal an update
335 USA: California’s Painted Rock, theatre of time
340 USA: Lower Colorado River geoglyphs has a calendar clock
342 USA: Hopi kiva 5mT2, and its village, hinge on a womb
344 USA: Colorado’s Mystery Hill metallurgy plant or tech school
346 USA: Crow Canyon kivas Block 100 has two missing features

347 [Chapter P] Historic Western sites
348 Italy: Rome, eternal city with an Age update
350 Italy: Rome’s gates and bridges are eloquent
352 Italy: Rome’s Capitol Forum, contested but constant
354 Italy: Rome’s Quirinal forums for spiritual order
356 Italy: Rome’s Vatican City, a stoneprint inside type Aries
360 Italy: Brescia has Mark’s lion, Mary’s womb, John’s bull
362 Turkey: Ephesus, former city of Amazons and Artemis
363 Icons: Serapis and Ophiotaurus, half-monsters
366 Spain: Santiago de Compostella, of a son of thunder
367 Spain: St James and Hercules, hybrid planetary characters
370 Canary Islands: Las Palmas governor’s house facade
372 Canada: Quebec, Victorian ideals in stone
374 South Africa: Cape Town’s Dutch forts claimed a footprint

376 [Chapter Q] Structural analysis formats
376 Kinds of media in the 130 examples
376 Commission impossible: design a stoneprint site
377 Emblems, icons, constellations and Tarot trumps

382 [Appendices] Structural analysis formats
382 How to find the subconscious structure on a site plan
382 The structural analysis format
384 About the author
385 Sources and references

Categories
Stoneprint introduction

Art design re-expresses innate structure

The discovery of stoneprint in ancient and modern buildings, is the second call on the human sciences, and on popular culture, to replace the fundamental and supposedly ‘common sense’ paradigm of culture as ‘developed and evolved’, with the paradigm of subconscious structural expression. The first call on popular culture was in the book Mindprint (2014), focusing on structural analysis of art and rock art, with one example in literature (a Mishnah verse on hours and religious symbols). The first call on archaeologists was made in a paper presented at the ASAPA conference in Harare in 2015 (UZ, in press, due 2017). The first call on anthropologists was in the rock art magazine Expression (2015 editions 9 and 10; 2016 edition 13).
Stoneprint in 2016 expanded the demonstration of the human code, or subconscious expression of archetypal structure, to buildings and cities, again supported by examples in literature (two Blake poems, and two Babylonian ritual praise poems on temple building projects, integrating liturgy, economy, philosophy, morality, and architectural features).
Demonstration of archetypal characters, and their clusters of motifs, and the nest of spatial structure, rests on recurrence. Birenbaum (1988) wrote; “A motif can be identified, for practical purposes, simply as any detail that recurs: a kind of character, place, structure, animal or plant, or any feature of the narrative process as it unfolds.” Recurrence and variation are the basic dual mechanisms of abstraction, expression, and meaning in culture and in nature (see protons, electrons, shells and compounds in the Natural Stoneprints chapter). Recurrence and variation enable rhythm, language, art, architecture, society, and music (especially after Bach’s popularisation of the current western scale, which allows modulation between keys). Art characters may seem too varied, and building elements may seem too repetitive, to compare to one another, or to myth. Yet stoneprint now reveals that art is sufficiently repetitive, and building elements are sufficiently varied, to express the same human code. The building blocks of culture are the five abstract layers, like the building blocks of nature are elements, their properties, combinations, and reactions; from indestructible electrons to fragile self-replicating creatures. Our replications or ‘creations’ are equally over-determined………..

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

See the archetypal structuralist analysis of the triple imprint in the artwork featured here, in another post.

Categories
Stoneprint introduction

Stoneprint confirms rock art structure

Prof Emmanuel Anati (2004) had noted a combination of innate compulsion, and communicative development in rock art, linked to economic complexity levels. However he also noted that some stylistic elements seemed cyclic.
Anati’s challenge to the World Archive of Rock Art (WARA) was ambitious;
“The study of patterns in the grammar and syntax of prehistoric art, in worldwide documentation… of complete assemblages. Single figures, like single words, do not allow interpretation of cognitive process.”

Anati had called for:

• Global rock art data;
• Separated into five economic phases;
• Distinction between figurative, symbolic, geometric, and psychogram figures;
• Identification of the grammar, syntax, or structure of composition;
• Identification of common environmental, historic, and cosmic components.
Stoneprint answers Anati’s call, and demonstrates that:
• Art and rock art share the same core content;
• Illiterate cultures and literate civilisations express the same core content in visual and other media, including myth, ritual, and buildings;
• Economic phases are irrelevant to the core content of culture;
• Figurative characters and abstract ‘signs’ are interchangeable (as Anati had also found);
• The syntax, grammar, and structure of composition is a complex universal standard, of five layers;
• Environmental and historic components in art are unreliable;
• Cosmic components in art are inevitable (as Gombrich had found), and innate, thus subconscious;
• Innate compulsion drives cultural expression of archetypal structure, irrespective of theme or culture;
• Communication by means of art is unreliable, even in the artist’s own culture;
• Visual communication in artistic format did not develop, but remains confined to subconscious ‘meanings’, as it was in the Ice Age;
• Styling is cyclic, and mutates by fashion or fads;
• Assemblages, panels, or groups of characters, contain five layers of visual, grammar, syntax, and compositional structure. Single characters or groups of less than eleven, express some archetypes, which are difficult to demonstrate without the context of the standard subconscious ‘composition’;
• Art and other media reveal subconscious cognition. Conscious processes are of minor importance to most cultural media, such as art, myth, ritual, and architecture, since artists could explain only their own conscious rationalisations, of visible themes, and of styling.
There is only one art, and one culture, and we did not invent, design, or develop it. Culture, its media, and its artefacts, are shaped by the natural order of things that precede things. We re-express that order in our works, and thus transform materials into artefacts, as well as into universal structure. Culture is a natural given, just as the periodic table, chemistry, DNA, technology, ecology, and economy manifest themselves, and mutate to their own dictates, and maturity cycles, and interactions with other, equally structured media (what Gunderson labels ‘panarchical discourse’). Conscious thought and free will are overrated, while our subconscious minds and behaviour are underrated in the cultural record………….[order the book Stoneprint at $30 plus postage from Four Equataors Media, via edmondfurter at gmail dot com using Paypal ]……….