The archetypal model of subconscious expression is validated against hundreds of artworks of all times, cultures and styles, including sugar, caffeine, cannabis, ayahuasca, DMT, cactus, mescaline, mushroom, psilocybin, rock art and ‘fine’ or ‘academic’ styles. The standard structuralist anthropology analysis named mindprint, follows a set format to enable comparison worldwide (see the paper Blueprint on http://www.edmondfurter.wordpress.com and on Researchgate or on Academia.net). All complex artworks express 60% of the 100 known features of archetype, in five layers (see other posts on archetypal structure in built sites, icons, hieroglyphs, alphabets, and in natural media such as the periodic table of elements). Archetype regulates the ‘grammar’ of energy, matter and meaning. Here is an example of subconscious structure in a DMT-styled artwork titled ‘Peace Pipe’.
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). Life cycles offer some insight into natural patterns, as the caterpillar smoking a hookah does in Alice in Wonderland. Below is the standard list indicating which optional features Kolster expressed in this painting.
Type Label; Character (archetypal features expressed):
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 burl or root (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.
14 Mixer; Owl A (bird), far from the axial centre (egress).
15 Maker; Buzzard A (winged), upward (rampant).
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); Buzzard A’s feet (limb-joint). Winter or celestial south pole (csp); 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 or Pisces. Most artworks express the time-frame of a 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 nature, 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.
See articles on the model, and other examples, on http://www.mindprintart.wordpress.com. Order the book Mindprint (2014, 270 pages, 200 illustrations), or select editions of Stoneprint Journal (16pages or 24pages), on Lulu.com. Mindprint is also stocked by Barnes&Noble.
Order the book Stoneprint by email to www dot edmondfurter dot gmail dot com at $/e25 plus mailing cost from South Africa.
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).
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.
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.
Our huts, houses, kivas, circles, pillars, fortune bowls, art, game boards, temples, pyramids, cities, constellations, geoglyphs and graves, say much more about us that we ever knew. Structuralist analysis reveals the universal repertoire in our subconscious behaviour. The structure also says more about culture and nature than we ever knew, but had glimpsed in nature. We imprint a natural, abstract structure of five layers, including sixteen characters in sequence, on an axial grid, in all our complex artefacts. The same structure appears in the periodic table, and in reflexology points in our hands, eyes, ears, and teeth. A similar structure informs bio-chemistry and DNA. The archetypal expression in our works, in the cultural record is now readable, with significant implications for cultural crafts, and for the human sciences of art history, archaeology, anthropology, philosophy, psychology, sociology and communication science.
The formerly ‘invisible’ layers of our perception and expression, or human code, now offer the opportunity to integrate the conscious and subconscious halves of crafts, sciences, and culture.
Our works re-express nature, and our place in it. Culture does not ‘come from’ any of our media, but from archetype, the potential that enables nature to express self-replicating and mutating energy. Our re-expression of archetypal structure could be named stoneprint, the human code.
Structure is never invented, developed, imitated, learned, taught, or lost, despite its moderate inherent variety, and the wide range of styling that we feel compelled to add when we claim culture for our society. We use it to claim and exploit natural resources, including places and times.
Archetype, structure, and culture existed before we did, and before the universe, and will outlive the cycles of its expression intact. We have grown into our place in nature, adding transformation and multiplication to the place that nature reserves for us.
Whether we are few, as when we built the houses illustrated in the Ice Age chapter; or many, as when we built the pyramid fields and cities illustrated in the historic chapters; we express all the core content of culture in all our media, with as much apparent variety as possible. Stylistic differences fade when the core content of culture is revealed. We all build, draw, talk, trade, count, strategise, pray and fight the same.
Stoneprint reveals the size and shape of the blinkers in our conscious perception and assumptions. This book lifts the ‘beam’ of self-deception from our works, and from our supposedly scientific eyes. The revelation starts with a testable definition of the subconscious structure in art and buildings. Then we query each esoteric craft, and each human science, on the abstract elements in culture and nature; and test the structure of 130 artworks, geoglyphs , buildings, temples, pyramid fields and cities.
We will continue designing art and buildings by intuition, but we will never see or study our works with half our brains again……… [order the book Stoneprint at $30 plus postage from Four Equators Media, via edmondfurter at gmail dot com ]……..
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.
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
Popular anthropology in general follows the conscious and material paradigm of culture, particularly diffusion. Authors and readers assume the transfer of culture from ‘developed’ peoples to ‘savages’, as concluded by early schools of anthropology.
De Santillana and Von Deschend (1969) were among many scientists who saw a problem in culture transfer: “Coincidence of details in cumulative thought, have led to the conclusion that it all had its origin in the Near East. It is evident that this indicates a diffusion of ideas to an extent hardly countenanced by current anthropology.”
However most popular authors see no problem with diffusion. Even the two professors who criticised correspondence theories, presented myth as degraded science, or ‘broken telephone’ diffusion. They imply that better terminology, records, and transmission, would have delivered ancient Icelandic astronomy intact to the rest of the world.
Of artefacts and buildings, De Santillana and Von Deschend wrote: “Original themes could flash out again, preserved almost intact, in the later thought of the Pythagoreans and of Plato… tantalising fragments of a lost whole.” Their premise is that a traumatic astronomical event or episode was recorded, mythologised, and gradually lost or scrambled. Thus culture is supposedly a sum of fragments. TS Eliot evokes the popular view of culture in his famous line: “These rags have I shored against my ruin.”
Archaeologists also find the illustrations of myth in art to be “apparently fragmentary”. Spiritual elements in art are understood as hallucinations that are “construed in trance”, recalled, and “no doubt formalised as they were painted.” (Lewis-Williams and Pearce 2012). These fragments are the playground of popular science. Examples of the supposedly ‘lost whole’ are rare.
The range of views in popular anthropology could be summarised as a list of hypotheses on where culture comes from. Some views gain dominance in turn, each imposing its paradigm on science or culture, or both. Nature, gods, heroes, ancestors, evolution, technology, Phoenicians, subconscious, secret societies, aliens, mutants, astronomy, drugs, trance, or a super race? Some of these could be combined, some not……. [order the book Stoneprint, at $30 plus postage, from Four Equators Media, via edmondfurter at gmail dot com using Paypal]……..
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.
Bio-chemistry is a structural science, now becoming a technology, reaching into the machinery of nature to switch mutations on or off. Our customary husbandry only used to mimic environmental factors to prompt natural mutation.
Yet we have always been capable of divining the structure of invisible aspects of nature. Some prodigies have seen visions of a double helix (as in some Jiroft carvings) millennia before Francis Crick and James Watson deducted a ball-and-stick model of the double helix of DNA. However it requires a high population density, specialization, and specialized equipment to turn visions into theory, and tests, and results, applications, technology, production, sales, and profit. Without all these enablers, new knowledge would gain little currency, and remain ‘secret’. Most people, including scientists, see the maturity cycle of material culture as ‘evolution’ in cognitive ability or consciousness, which it is not. Building methods have changed since Gobekli Tepe, about BC 8000, but our bodies, minds, behaviour, and societies have not ‘evolved’ in the intervening 10 000 years. We intuitively use abstract concepts in many media, such as building, art, language, and ritual. Nature does the same, but her ‘abstractions’ are combinations of particles and forces……..
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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 ]……….
The primary natural expression of structure is in speciation (Tressider 1999). A lion is a lion, a bull is a bull, expressing coherent clusters of attributes. Some animals are universally recognised as archetypes. The animal kingdom offers analogies to other natural features (weather, planets, processes, calendar; and to cultural features (social functions, mythic episodes, rituals).
Yet only some animals express characters in myth, indicating that the animal kingdom alone, including humans, does not form a complete set of
archetypes. Myths, and rituals, time cycles, constellations and buildings to which we attach myths, indicate a mixed set of categories; species, griffins, gender, episodes, postures, skills, functions, status, items, tools, instruments, weapons, emotions and places. Culture imprints various mixtures of these natural and human elements on time, and in the sky. Again, no single imprint is perfect or complete. Constellation stick figures do not have their eyes on an axial grid. Some are out of place, like Libra as Bootes, standing over Virgo, instead of between Virgo and Scorpius. Some do not make good pictures of anything, such as Aquarius (perhaps a badly drawn zebra), or Sagittarius (perhaps a Chariot or Teapot). Stars borrow character from nature and culture. There is no pure or original astronomical ceiling, not even in the sky (see the Senmut ceiling, in the Egyptian chapter). Egypt did not have a rigorous constellation figure tradition (see the mixture of Babylonian, Egyptian, and Greek characters in the Dendera round zodiac, under Great Zimbabwe in the African chapter). In the Dendera rectangular zodiac, many of the Greek iconic figures are on an ocular (eye-to-eye) axial grid, but some are not across from their regular opposites, raising the possibility that there, for once, the axial grid was consciously used, but used with some errors. In polar decans, which are a mixture of gods, pictures, hours, months, and asterisms; the only constant, universal, and thus archetypal elements are the stoneprint layers in each decanal artwork, not the zodiac elements. Decanal paintings all differ, partly due to their inherent optionality …………….[order the book Stoneprint at $30 plus postage, from Four Equators Media, via edmondfurter at gmail dot com using Paypal ]…………
Astrology uses the sequence of the twelve core archetypes as abstract ‘signs’, but does not split the four large types into two each, as natural and cultural media do. The major stars are not eyes of constellation figures (except for the Hyades bovid skull, Gemini heads, Leo heart, and Virgo womb), and they do not form an axial grid. Astrology is a synchronistic divination craft, based on calendric cycles of qualities. Horoscope configurations express a few options among many latent options and combinations, and in this respect it resembles nature and culture.
Stellar or ‘Ptolemaic’ astrology involves about 50 stars, too many to make an archetypal set. Astrology systems that include star positions, read them in terms of their angular distance from the spring point (which slowly moves), and of the timing and character of planets crossing their celestial meridians (see a similar mixed grid in the ‘solar system’ crop circle, in the Natural Stoneprints chapter). Some other forms of divination, based on
conventionalized correspondences between stock situations and abstract fields on livers, bowls, boards, spirals, or verses, used with ‘random’ event generators, are also synchronistic (see the Piacenza liver; and African bowls).
Natural aspects of divination, especially planets, perplex our conscious minds, which are prone to assuming conscious, individual and social autonomy in biology and ecology, especially of ourselves as self-conscious specimens and cultures. The fault of conscious assumptions and false logic is not in the stars, but in us. Links between game boards, planets, personality traits, verses (as in the I Ching, Book of Changes), yarrow stalks (a kind of dice), numbers, and events, are among the many side-effects of the holographic unity of the natural and cultural kingdoms.
Typology in myth, art and astrology may seem as artificial and stereotypical, even cartoonish, as soap opera characters, but it is instinctive, and useful to crafts such as ritual and psychology……… [order the book Stoneprint at $30 plus postage from Four Equators Media, via edmond at syrex dot zo dot za using Paypal ]…………….