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.
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 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 60% of the 100 currently known optional recurrent motifs in complex artworks, built sites, and other cultural media (the average range of expression of optional recurrent features, is between 40% to 80%, with a prominent sigma curve peak at 60%. In addition, each feature has a specific average percentage of expression, confirmed in tests of groups of about 30 or more randomly chosen artworks or built sites, ideally about 50 works upward). 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 enabled, and thus determined or limited 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/). in 2019 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.
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.
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:
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 ,,,,,,,,,,).
,,,,,, [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]
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.
Social groups always re-express a specific structure in every complex building site, including villages, temple fields, campuses and cities. Known elements of the archetypal structure of culture include some of their characteristic features; their peripheral sequence; and spacing of communal buildings as pairs of opposites, with their focal points on an axial grid with one centre point. We maintain this invisible structure even on sites built and re-built over centuries (Furter 2016). Individual artists do the same in complex artworks, subconsciously using the attributes, sequence, and spacing of the eyes of characters in their artworks (Furter 2014, and Stoneprint Journal 1 2017). Nature does the same in particles, elements, DNA, species, and in the reflexology of our irises, palms, teeth and organs (see inside).
Paris is a particularly dense example of the universal compulsive structure. The city of light re-expresses the same archetypal structure already demonstrated in fifty building sites, including Gobekli Tepe Ice Age village, Babylon, Sakkara, Giza, Kings valley, Queens valley, Meroe pyramid clusters, Nabta Playa, Jerusalem, Masada, Nemrut hill, Axum, Lalibela, Silbury area (see Stoneprint Journal 2), Magdalenburg mound, Great Zimbabwe, Sanchi, Kathmandu square, Beijing Temple of Heaven park, Horyuji, Todai, Himeji, Izapa, La Venta, Monte Alban, Coba, Uxmal, Chichen Itza, Teotihuacan, El Tajin, Palenque, Machu Picchu, Tiahuanaco, Nazca geoglyphs, Crow Canyon kiva village, Rome, the Forums, Ephesus, Brescia, Piacenza (see below), Santiago de Compostella, Cape Town and Quebec.
Furter, ED. 2017. Stoneprint Journal 3. December. Four Equators Media, Johannesburg. Sixteen pages A4, four in colour. $6 plus postage. Order from Edmondfurter at gmail dot com, or via the Comment function on this blog. An extract will be added to the second edition of Stoneprint.
Buildings are durable copies of eternity
Buildings are apparently the most concrete, yet spatially the most abstract of physical media. They divide contesting voids, requiring our minds to hold functional maps. Even in plan view, their spatial structure is more difficult to visualise than a complex artwork. Buildings, camps and cities serve many functions, including protection, exploitation, and as canvases for ritual and abstract protection. Thus buildings are also talismans to influence intangible forces. Imprints of social functions are also divining boards with moving characters and a limited set of optional events. Insurance companies understand events well enough to predict average numbers of events. Divination attempts to discover overdue influences.
As there is no perfect or complete magic ritual, so there is no perfect or complete building, artwork, myth, pantheon or culture. Cities involve several media (see Babylonian temple building materials, trade, rituals, religious, state and economic functions in Stoneprint Early Civilisations chapter). The Bible also notes a list of different crafts required for the temple, with tutelary angels who inspire the relevant skills: “Bezaleel was appointed to make artefacts for the tabernacle. God had filled him with all manner of workmanship.” (Exodus 31:2). Building specialisation, as in the Lanjia Saora tribe in rural India (Dash 2016), requires social structure and a calendar, a social clockwork that synchronises more than work shifts. The USA constitution requires social institutions to enable “the pursuit of happiness”. King Ur Nanshe, King Gudea and their people found the same rewards in their strenuous and expensive building projects, including “separating heaven and earth”, or resolving concepts.
The difference between characters on a rock face, pavement, engraving, paper or canvas; and building members on a site or landscape, is primarily a difference in scale. Art is individual work, and building is social work. Both are enabled by abstract shapes (Dieter 2016) and recognition of analogy. Cities express cultural structure by our collective eye-hand-mind co-ordination. Hints of our ability to subconsciously “act as one” (as King Gudea’s people did on his building site), are also visible in collaborative or cumulative artworks. Like ants, we are capable of instinctive collaboration, but unaware of most of the design parameters of collaboration.
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 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, teeth and ears. A similar structure informs bio-chemistry and DNA. The archetypal expression in our works, or the cultural record, is now readable. Its subconscious elements carry significant implications 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 natural 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. The core content of any old or new culture is now revealed to be as predictable as chemistry, as readable as the periodic table, as translatable as language, as visible as art, as varied as mythology, and as recyclable as building material.
Architects, engineers and builders are not aware of the visual grammar that they could not see, but could never contradict. Archetypal structure and culture existed before we did, and before the universe, and will outlive the cycles of its expression in art and cities intact.
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 the core content of culture in all our media, with as much apparent variety as possible. But 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 lifts the ‘beam’ of self-deception from our cities, and from our supposedly scientific eyes. We will continue designing art and buildings by intuition, but we could never see or study our works with half our brains again.
Cosmology is a canvas of natural and cultural structure
Cosmology inevitably combines properties of nature, of innate perception (which is also a reflection of nature), and experience (within natural and cultural contexts). The best canvas for cosmology is a sphere, such as the sky, containing three equators and three sets of polar axles (thus six polar points); and random dots to mark space; and moving luminaries to calibrate time. Our inherent compulsion for seeing wholes among potential parts, or gestalt, invite us to imprint species, functions, myths, rituals and conceptual correspondences on the sky, as it does in art, myth, ritual, and buildings.
Most of the 28-odd near-ecliptic constellations (in and next to the zodiac), do not have their eyes on a grid of opposites centred at any pole, as they do in art and architecture. The sky is therefore not a stoneprint, but a good canvas for natural and cultural categories, such as species, characters and concepts. Constellation figures are strong in typology and in sequence, due to their mythic labels. Their outlines are abstract and highly optional, as archetypes are. Constellations are also strong on cosmology, thanks to the three equators and sets of poles. Instead of an axial grid between characters, cosmology has a strong grid of division lines between characters. Every section is a homogenous field or ‘sign’, enabling movement with precession of the celestial poles, as a kind of moving clock face (as used in astrology). However nature, artworks and buildings remain fixed on the ecliptic grid, while allowing only two limb joints or junctures near the centre to express the approximate precessional Age (usually the Age preceding the work).
The sequence of archetypal concepts in Western constellations is (noting known archetypal attributes in brackets):
7g Galactic Centre; River (water) 8 as Scorpius tail (long tail); Ophiuchus giant (large, strength feat)
9 Healer; Scorpius head with claws (strength feat); Hercules who briefly carried earth (bent forward, pillar)
9c BasketLid; Lupus, Wolf (canid) or Centaurus legs; Serpens
10 Teacher; Libra, figured by Bootes over Virgo; Corona arm (arms in V/W posture, or wheel); Serpens Caput (Head) or snake on staff (staff)
11 Womb; Virgo; star Spica (Wheat) as her womb (womb); under Bootes
11p Galactic Pole; Coma (Hair), L-shaped (limb joint)
12 Heart; Leo retro (feline, inversion); Crater (Grail); Hydra (waterwork)
13 Heart; Leo (feline); star Regulus on his heart (heart); Ursa (Bear) as sword or scythe (weapon)
13c BasketHead; Leo Minor, or Leo forepaws? (attributes not yet isolated)
14 Mixer; Cancer, Y-shaped (sometimes a tree); Ursa Minor between two poles (ingress /egress); Lynx (sometimes a small canine or feline); Hydra head
15 Maker; Gemini (doubled), standing on the galactic gate (churn), holding Ursa’s head (rope); Canis; Canis Minor (canid), mace shape (smiting, sceptre); Lynx and Ursa Minor shared with 14 (bag)
15g Galactic Gate; Gemini foot (path), star Tejat; at Orion’s rear hand or club; at Auriga’s rear foot (path).
The ecliptic pole or axial centre is unmarked as usual in all media. The celestial poles slowly move. The northern celestial pole is currently at Ursa Minor’s hoof (limb joint). The southern celestial south pole is currently on a Dorado (Goldfish) fin (limb joint). Celestial poles cause summer and winter, always 90 degrees ahead of spring and autumn, as they move in tandem.
No culture ever consciously knew the extent of the archetypal structure that enables and sustains cultural expression in all their media, from myth to buildings and constellations. These sets do not arise from one another. They sometimes swop out some features, sustaining the common view that myth illustrates ‘the sky’. Stoneprint demonstrates that there is an invisible common cause to all media.
The abstract chart of archetypes
Natural manifestation seems to start in galactic planes, as it does in the universe. Either table, or both, could manifest in left- or right-handed versions. Space-time and energy-matter are also ‘emergent’. Culture is equally ‘emergent’, since every expression is original, despite its apparently ‘cumulative and developmental’ stylistic context. 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; predicted by 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 constants have internal structure (Connell 2017). Likewise there is no apparent cause for the pervasive structure in cultural media; or for close structural correspondences between media; or for cultural modelling on invisible natural structure. Our conscious mind rebels against its exclusion from what now emerges as a wide range of subconscious behaviour.
Five layers of cultural structure
Every complex artwork, artefact, building site, geoglyph, pyramid field, or city, expresses five inter-related levels of subconscious structure (A to E):
(A) Types. Characters, rooms or buildings, express sixteen types, each with a small set of specific optional attributes. Some works combine eight of the types into four, thus express only twelve. Most characters express only one of their typological attributes in a work. Some attributes appear at known average frequencies. More attributes of each type may be discovered.
(B) Sequence. The types are near the edge of the work, intervened by four borderline types (c), and two polar points (p), and two galactic points (g):
Types 1 /2 and 8/9, or 5a/5b and 12/13 may each be single or double.
The two galactic poles, 4p and 11p (or pG and pGs), are usually on limb joints or junctures.
(C) Axial grid of eyes or focal points, are formed by pairs of opposites (v):
1v8 2v9 3v10 4v11 4p,v11p, 5a,v12 5b,v13 6v14 7v15 (v for versus).
Type 11 has her womb on the grid. Type 12/13 has his heart on the grid.
The four cista (c) borderline types often lack axial opposites. The grid resembles the mill, or ‘many-coloured cover’ of Icelandic myth.
(D) Six polar points are often on limb joints, each at fixed frequencies.
The two galactic poles, 4p and 11p, are near the ‘equator’ of types.
The two ecliptic poles are on the axial centre, appearing as one point, pE.
The two celestial poles, pC and pCs, are near the centre, often on limb joints.
(E) Horizontal or vertical orientation of the work (east or north in buildings), is often parallel to either the celestial or galactic polar axle.
The celestial polar axle indicates the solstice positions of the Age of the culture or the inspiration, usually the Age prior to the work. Ages are named after the spring equinox position (90 degrees before the solstice). Artefacts express either Age Gemini, Taurus1, Taurus2, Aries, Pisces, or a transition between two of these.
Each of the five layers adds meaning, and removes ambiguity; like diction, syntax, tenses, genders and context add meaning in language.
Sixteen archetypes, in sequence
Characters or focal points in every complex artwork, building site or city, containing more than eleven figures, express a minimum of twelve, usually sixteen, sometimes up to 22 archetypes, in the standard sequence. Types are expressed by public features with a mixture of functional, symbolic and historic meanings, notably religious, monumental, commemorative and iconographic features. Railway stations do not seem to form part of the structure. The known optional features of the types, some with known average frequencies, include the four borderline types (c), and the two galactic polar points (p), and the two galactic gates (g).
Type label; features with average frequencies (used in early analyses; to be updated by 2019 data):
15 Maker; rope 30%, order 25%, bag 10%, face 10%, doubled 10%, pool 8%, canine 8%, create, churn, sceptre, mace, rampant,
15g Galactic Gate; gate 20%, river 6%,,,
The axial grid of opposite pairs
There is only one possible way to connect the maximum number of eyes of characters, on an artwork or map, by an axial grid (or two adjacent grids where there are more than about 25 characters, as on several Mexican building sites).
Placing sixteen eyes, doors, spires, statues or tombs on an axial grid, as pairs of opposites, is less difficult than it may seem at first. The artist or architect could place the first four eyes or buildings according to practical considerations of the canvas, or site, ideally in a more or less X shape. The two invisible axes between them may cross anywhere, ideally near the middle of the canvas or site. The fifth character or building could also be almost anywhere, thus –X shaped. Only from the sixth character or building onward, thus –X– shaped, every eye or defining feature has to find an opposite, with the axis between them crossing over the point established by the first two axes. Some works may start with up to eight characters, without any axial opposites; and find their opposites from the ninth character onward.
Sixteen axial points, on eight axes, require precise eye-hand-mind co-ordination, or surveyor-architect co-ordination, in placing characters sixth to sixteenth; a total of eleven feats (or more on complex sites such as Paris). The axial grid also confirms the peripheral sequence. Builders could place a type 1 /2 opposite any type other than 8/9 (twelve possible contradictions), or a type 3 opposite any type other than 10 (fourteen possible contradictions), and so on with types 4-11, 5a-12, 5b-13, 6-14 and 7-15 (another 52 possible contradictions). There are 78 chances for contradiction, against only eight chances to express the standard set of sequential opposites on an axial grid. A shift in the position of two or three eyes, could erase the sequence and the structure, but almost never does so.
A testable definition of stoneprint
The definition of stoneprint is a testable series of conditional or inter-dependent claims about cultural artefacts, offering an over-determined result:
“In any artwork or building site, containing eleven or more characters or focal features in relative proximity;
AT LEAST twelve eyes or focal points are on an axial grid with one focal point;
AND about 60% of the characters express one or more of their known optional typological attributes;
AND some attributes have fixed frequencies in random samples above 100;
AND the characters are in the standard peripheral sequence;
AND axially opposite their usual counterparts;
AND some limb joints or corners (not eyes or foci) are on one of the two implied galactic poles, or on one of the two implied celestial poles;
AND the celestial axle is on the implied solstice axis of the precessional Age or Age transition, of the relevant culture, usually prior to the work.
One of the polar axles may be parallel to the ground-line or vertical of the artwork, or cardinal direction of the site.
The implied spring point, a quarter of the cycle before the relative summer solstice, may be marked by a feature linked to sacrifice or rejuvenation.
The conscious theme of the work may amplify one of the character types.”
The analysis test formula of ,,,,,[see later posts],,,, results in an average of 60%, with a sigma curve of 30%; the lower average at 50%; the higher average at 80%. Any score below 40% indicates analysis failure. Structuralist failure is less than 1% on average. Any score over 80% indicates cultural or conceptual bias to recognise attributes and themes that are not categorically visible, or repeated revisions of artefacts, such as cities.
The cumulative definition of stoneprint is statistically impossible to attribute to learning or conscious design. Our subconscious eye-hand-mind co-ordination is therefore structured, compulsive, but subconscious. Individual and social behaviour is more inspired, detailed, and abstract, than any craft or science had described.
Axial grids are not Morley’s or Napoleon’s angles
Axial grids are not inherent in any collection of about twelve to twenty items. Morley’s miracle (1899) applies only to the equilateral shape of an inner triangle, formed by the intersections of lines that trisect the corners of any irregular triangle into three equal parts. In axial grids, all adjacent angles are unequal.
Napoleon’s theorem applies only to some predictable properties of equilateral triangles, based on the edges of a triangle. Axial grids are not based on lines of equal length.
No property of axes, or eyes, or building focal points, requires pairs of eyes to be on any kind of grid.
Average leeway for each character reduces by half with every pair added (from about 180 degrees, down to about 22 degrees). Yet even at the least leeway, a change as small as one degree in the angular position of a focal point in a city, could leave two characters unaccounted for. The average chance for non-alignment is about 20:1.
Two galactic points, and six polar points
The two implied galactic gates, or cross-points of the galactic equator over the ecliptic, are listed among the types, since they are the primary ‘border’ points. They are listed in italic letters, to distinguish them from the types:
7g Galactic Centre; Vortex, or water
15g Gate; Path, or net, or grid, or churn group.
The two implied galactic poles are also listed among the types, since they are near the equator of types, and also act as border points. They are also listed in italic letters, to distinguish them from the types:
11p Galactic Pole; 81% marked, 68% limb-joint,
4p Galactic S.Pole; 65% marked, 50% limb-joint, [see later data]
The galactic south pole, when expressed, usually appears inside the ‘equator’ of types, indicating that our subconscious cosmology is like a transparent sphere, or ‘beach ball’, with the lower hemisphere under the top half (see images in the Astronomical section).
Celestial polar markers are near the ecliptic pole (axial centre), also both inside the structure, confirmed by frequencies of limb joints here. In analysis texts, the two celestial poles are listed last:
pC Celestial Pole, on the ‘summer’ axis; 60% marked, 50% limb-joint,
pCs Celestial South Pole, on the ‘winter’ axis; 55% marked, 37% limb-joint,
Studies of the visual effect named Subjective Visual Vertical, found that orientation of the head relative to gravity is constantly signalled from the otolith organs, above all by the utricles, to the central nervous system. Any linear acceleration displaces the otoconial mass, and thus shears the embedded sensory hair bundles against the otolith maculae. This results in a potential change in the sensory cell and in the afferent discharge rate of the cell. Thus a viewer could accurately estimate the Subjective Visual Vertical, unless if suffering from utricle dysfunction.
The polar time-frame
The position of the two celestial poles move with precession, and so do their markers in art and architecture (and probably in myth and ritual, however a categorical test of subconscious structure in texts has yet to be found).
For example, a few recent artworks and building sites have polar markers near the Taurus-Scorpius axis, thus summer; implying spring and the time-frame as Age Pisces-Aquarius, usually confirmed by a spring marker between Pisces and Aquarius (see Pablo Amaringo’s art in Mindprint).
In Age Pisces artworks or buildings, from about BC 80 to AD 2016, astronomical celestial polar markers were on or near the Gemini-Sagittarius solstice axis. However most works made in Age Pisces, express the configuration of the prior Age Pisces-Aries, or of Age Aries, with celestial poles on or near the Cancer-Capricornus solstice axis. Likewise, most works made in Age Aries, express the prior Age Taurus, with their celestial polar markers on the Leo-Aquarius solstice axis.
Most works made in Age Taurus, (which are rare due to decay and renovation), express the prior Age Gemini-Taurus, with their celestial polar markers on or near the Virgo-Pisces solstice axis.
Some Ice Age cave art, and some Gobekli Tepe kiva-type pillared houses, express an Age Gemini polar configuration (see the Ice Age chapter. See a discussion of precession and astronomical Ages, in the Astrology section below).
Poles and limb joints are angles
In art, some of the five polar points are on limb joints, such as a hip (or rump in animals), shoulder, knee, elbow, hand, foot, or jaw. Characters and postures essentially consist of limb joints, thus of angles. Artists habitually use limb joint angles to redirect the wandering eyes of viewers back to the conscious focal points of a design, but are not aware of the subconscious structural roles of some specific joints. The ‘galactic‘ equators in art and buildings lie along two interlinked ovals, sometimes partly along a row of joints, plants, ropes or paths. Some illustrations in this book mark these ovals by large curves, with the northern and southern halves both extended into two wholes. Their intersection appears to form a vesica piscis, or ‘fish’ section. Inspiration may arise from or via type 7g Galactic Centre.
In buildings, the polar points are on corners, T-junctions, or posts. This variation makes the polar points in architecture more uncertain than in art. ‘Joints’ abound in the built environment, as they do in art (thirteen limb joints per person or animal), yet there is often something notable about the ‘polar joints’ in art and in building sites or cities.
Natural maps in our limbs and works
Many versions of structural expression in nature and culture are in front of our eyes. Some natural and cultural types are synonymous, such as a heart and womb being directly pictured in art as a prominent chest and a womb. We build many of the elements of archetypal structure into architecture, in more or less abstract form in myth and ritual.
The sequence of archetypes in our left palm is (noting archetypal features in brackets):
1 Builder; Senses
2 Builder; Throat
2c Basket; Hands and forearms
3 Queen; Left brain arteries
4 King; Left eye
4p Galactic South Pole; Jaw (limb joint)
5a Priest; Right eye (varicoloured, hyperactive)
5b Priest; Left leg (large)
5c BasketTail; Feet
6 Exile; Right leg
7 Child; Skin (bag); and liver (bag)
7g Galactic Centre; Windpipe (bag); and on the ‘horizontal’ plane (juncture)
8 Healer; Kidney
9 Healer; Gall
9c BasketLid; Pancreas
10 Teacher; Appendix
11 Womb; Womb (womb)
11p Galactic Pole; Kidney
12 Heart; Bladder (water-work)
13 Heart; Heart (heart)
13c BasketHead; Chest?
14 Mixer; Left lung, near the centre (ingress)
15 Maker; Liver; and Lymph (rope?)
15g Gate; Left shoulder (limb-joint).
The ecliptic pole or axial centre is on the solar plexus (juncture). The celestial pole is on a heart muscle. The celestial south pole is on the throat. The horizontal plane places midsummer in Gemini-Taurus, thus spring and the time-frame in Age Pisces-Aquarius, our current Age. However time-frames may apply only to cultural expressions, and not to natural works. Priest (Aquarian) types on two of the fingers, seem to confirm the orientation of the stoneprint in our iris (below), where the Priest types are nearest one another, flanking the nose. This orientation is also confirmed by the stoneprint (or rather boneprint) in our mouths (see below).
Eyes are windows to organs and structure
The sequence and relative spacing of iris connections to other body organs offer a physical map to the looped arrangement of our vital organs and functions. The natural typology in our left iris is (noting archetypal attributes):
15g Gate; Equilibrium centre (juncture) or medulla.
The ecliptic pole or axial centre is in the pupil, but offset to the lower inner side, towards the body centre. The celestial poles may be on the horizontal plane, on the heart-throat axis, placing midsummer in Leo, thus spring and the archetypal human time-frame in Age Taurus, confirmed by the top central position of Taurus. However time-frames may apply only to cultural artefacts, not to natural expressions, where slow mutations may be inherent and thus timeless.
Our ‘boneprint’ in dental reflexology
Teeth, the only semi-exposed bone, are our most instinctive analogy for stone pillars or walls in a cave, hut, broch, kiva or village. A set of teeth is symmetrical on two planes, thus split into mirrored quarters, and used as two hemispheres.
Teeth are linked in myth to the calendar, and to monsters, like the dragon teeth that Cadmus sowed to sprout soldiers. The calendric analogy is to the growing moon, and to changes in the number of our teeth from temporary juvenile 10+10 =20 (as in the unbroken 20-day ‘month’ cycle in the Mayan calendar), to the adult 16+16 =32 (decanal hours, and approximate days in a solar month). The average age when our teeth erupt follow a ragged, bottom-top (B/T) sequence, with some skips or jumps, in these months; 8B, 9T, 11T, 13B, 16B, 16T, 19T, 20B, 27T, 29B. The average age when teeth shed and replace, also follows an interrupted sequence, in years 6.5, 7.5; 10, 10.5, 11. Eruption and replacement make a total of fifteen events, resulting in 16 teeth on each jaw. Our teeth also chart our organs, but in a more compact, replicated, and redundant form. Teeth are also parts of a limb joint, and mimic oblique equators.
Cities resemble teeth
Most buildings, towns and cities are divided into quarters, like teeth are. Each quarter is usually a functional unit. Our buildings and cities are clusters of mostly cuboid materials in interlocking planes, with their third dimension in the spacing between flat planes, allowing rooms, doors, streets, squares, and thus functionality. Likewise, molecules could be modelled as clusters, or a collection of energy tracks, where space is as functional as material. Electron ‘traffic’ in the outer orbital determines chemical reactivity, thus expressing their characters and enabling their compounds. Cells are usually modelled as spheres, but actually resemble hexagonal discs, as in mud, DNA bases, and collagen (Robert Temple 2003). Analogies, or inter-media translations, reveal some aspects of invisible potentiality, or structure itself. We have traced and used that structure in nature, using physics (expressed in quanta and laws), chemistry and biology. But we have been slow to codify the structure of culture, despite the efforts of structuralists such as Plato in logic, JG Frazer in myth, Jacobsen and Chomsky in language, Levi-Strauss in social behaviour, Freud and Jung in motivations, and Gombrich in art analysis. Stoneprint extends the periodic table of culture from art, to buildings and nature. It allows the study of structure itself, thus of archetype, which enables elements to manifest and co-exist in the range of natural expressions that we are intimate parts of, and wherein we express some minor wonders of the world, including wondrous buildings and cities.
Our buildings, temple complexes and cities could be read as ‘abstract’ two-dimensional maps of archetype, thus more simplistic than our intricate three-dimensional bodies. But maps are deceptively simple. Building sites express an interrupted symmetry that could be charted by a T-shape in a circle, like the ancient T-O or ((+)) world map convention. Our teeth form such a map. Jaws express cosmology in terms of space, and in practical functions of digestion they perform. Two half-equators of teeth form digitally calibrated ecliptic and celestial arcs, of variable obliquity to one another, much like the celestial rotation of about 23.4 degrees (formerly larger). Opened wider, our dental plates resemble the galactic obliquity of about 61 degrees.
The most direct bridge for reconciling or ‘tacking’ our teethprint with our eyeprint, handprint, earprint, mindprint and stoneprint, is our body map. There is some variation in reflexology allocations of body parts to teeth, due to near complete replication in every quarter. Yet some differences between the four quarters of our teeth, reveal the sequence of dominant reflexology points. The same applies to buildings and cities. Every quarter, or at least two halves, each have a gate, temple, well, and the rest of the usual features; yet there are clues to which teeth most directly link to the organs ascribed to them.
We should first attempt to find consensus between rival teeth reflexology charts; then between eye, hand, ear, and teeth reflexology.
Potential consensus between the adult dental reflexology charts of Kliegels, Pugh, Natural Matters, and Furian, invites allocation of stoneprint types, here clockwise to the observer, starting from the bottom incisors:
1 RT07 Incisor2+1; Kidney, Genitals; Mouth, Ears
2 LT09 Incisor1+2; Kidney; Genitals; Mouth, Ears
2c LT11 Canine; Liver; Eyes; Hips, Knees
3 LT12 +13 Premolar1+2; Intestine +Colon
4 LT14 Molar1; Spleen, Thyroid; Feet
4p LT15 Molar1; Stomach, Spleen
5a LT16 Molar3; Small Intestint, Nerves Central, Brain, Heart; Knee
5b LB17 Molar3; Small Intestine; Nerves Peripheral, Brain, Heart
5c LB18+19 Molar2+1; ?
6 LB20+21 Premolar2+1; Spleen, Stomach; Mouth
7 LB22 Canine; Liver
7g LB23 Incisor2; Bladder?
8 LB23 Incisor2+1; Bladder, Genitals
9 LB24 Incisor1+2; Bladder, Genitals
9c RB27 Canine; Liver, Genitals?, Gall
10 RB28+29 Premolar1+2; Pancreas, Liver, Stomach
11 RB30 Molar1; Valve? Veins?
11p Galactic Pole; RB31 Molar2; ?
12 RB32 Molar3; Heart, Small Intestine, Nerves Peripheral; Shoulder
13 RT01 Molar3; Heart, Small Intestine; Shoulder
13c RT02+03 Molar2+1; Pancreas, Stomach, Thyroid
14 RT04 Pemolar2+1; Lung, Intestine
15 RT06 Canine; Liver, Gall; Eyes.
Our last three teeth eruptions indicate part of a natural maturity cycle:
Type 7 Child and its opposite 15 Maker, erupt late, both doubled
Type 3 Queen and its opposite 10 Teacher erupt later, both doubled
Types 5a and 5b Priest, and their opposites 12 and 13 Heart, erupt last. The ‘wisdom’ teeth are analogous to the heart.
Cities express more half-types
Hard media, such as stone, wood and mortar, more often express the four Cista (Basket) borderline types, than soft media such as art, myth and ritual do. Some decanal figures in Egyptian calendric art also include borderline types.
Characters are patient
The regular sixteen character types are harder to spot on plans and maps than in art, where living creatures parade with identifiable names, postures, items, and functions. Types in buildings manifest more slowly than in art, usually from collaboration, and from compromises between functions, design, engineering, budget and other ‘teething’ problems. Some attributes could take many years to manifest, like cathedrals. Several layers of remodelling may obscure one another. Yet the result is always predictably structured.
Two body maps in our ears
Inner ear lobe reflexes offer yet another body and cosmology model for mapping attributes in peripheral sequence:
2c endocrine gland
3 adrenal gland
4p Galactic South Pole on lower jaw (limb joint)
5 mouth (hyperactive)
8 large intestine
13 heart (heart)
14 lung?; near the centre (ingress /egress)
15 brain stem (with a rope)
15g Gate at upper jaw.
The ecliptic pole or axial centre is at the esophagus (windpipe). If the celestial poles were on the horizontal plane, as in cultural media, they place our inner ear lobe’s summer in Leo, thus its spring and temporal framework in Age Taurus. However time-frames probably do not apply to organisms.
The outer ear lobe reflexology chart has yet another reflexology map of our internal organs (Cocoandcowe). The outer ear lobe reflexes also offer astoneprint model of limbs, instead of organs (in peripheral sequence):
1 lower jaw
2 left eye
2c forehead or inner ‘eye’
3 right eye
4 inner ears and nose
4p Galactic South Pole on lumbar or sacral spine
5b ankle and knee
6 toes, far from the centre (ingress /egress)
9 little finger
10 hand (staff)
11 abdomen (womb)
11p Galactic Pole on elbow (limb joint)
12 chest (heart)
15 shoulder (smiting)
15g Gate; Neck.
The ecliptic pole or axial centre is on the thoracic spine. The celestial pole is on the occiput. The celestial south pole is on the solar plexus, or nerves joint (limb joint). The horizontal plane confirms our ear lobe summer in Virgo-Leo, thus spring and the temporal framework in Age Gemini-Taurus, at the Gate. Time-frames probably apply only to cultural expressions, not to nature.
Reflexes include our body organs sequence
Organ reflex sequences in our palms, eyes, teeth and ears, reveal a doubled typology sequence in our bodies, as infinity curves or Moebus rings. DNA studies indicate that our bodies were formed by a combination of four primitive worms.
A ‘reality’ game on a Bulgarian liver pegboard
Divination tablets and game boards trade in stock questions and answers, for stock situations. A peg-board from Karazhalia village in Bulgaria, named Karanovo tablet, probably used markers for divination or ‘reality’ games. Tracing out the invisible axial grid reveals that one hole is misplaced. Typological identification reveals the reason: the hole expresses the eye of type 11 Womb, but the grid line is on her ‘womb’ as usual. The format resembles clay liver map tablets used in oracle systems since Sumerian times, up to the Roman era. Divination bridges the apparent contradictions between universal and local, general and specific, simple and complex, natural and cultural. The physical functions of culture include legitimising exploitation. The abstract functions include expressing and attempting to resolve apparent contradictions between our conscious and subconscious minds (Leach 1970, citing Levi-Strauss 1981).
Piacenza bronze liver OUTER edge gods (names after Morandi. Stoneprint labels and axial grid by ED Furter).
Piacenza bronze liver INNER fields gods (names after Morandi. Stoneprint labels and axial grids by ED Furter).
Two circles of gods on a liver model
Sixteen sections divide the outer rim of the Etruscan Piacenza bronze liver divination chart, and 22 fields divide the interior, which includes some polar features. These two axial grids are secure, but the identities remain uncertain, probably scrambled by political customisation. However the sets of attributes, and thus divination outcomes, were probably less affected. Pliny and Cicero understood both sets as ‘astrological houses of gods’, thus a cosmology, but not necessarily of constellations. Several planets are named, thus there are as many ‘hands as ‘hours’. God names on the Piacenza liver were adopted from three cultures, revealing how Etruscan diviners subconsciously maintained universal structure by selective mixing and matching. The Etruscan League in its collective subconscious carved out a stylistic multi-cultural identity, as a trade mediator. The two cycles of gods here (as in Etruscan art), are from three different sets of gods. Ironically, the subconscious sequence of characters in Piacenza city, mostly of saints; and among its gates, mostly of family names, are much more distinctive than the sequence of consciously re-worked and rationalised planetary entities on the liver model, which include door or gate gods. Conscious interference does not scramble conscious artworks or building sites, but it could scramble a palm-sized divination device and a religious training school subject to political uses.
Piacenza city, a stoneprint of saints and bastions
Piacenza lies just south of the Po River. A bronze liver divination model was found about 15 miles from the city. The sequence of archetypes in the city is:
1 St Vincenzo. OFF THE GRID, without an apparent opposite at 8
2 St Antonio
2c St Arostino?; Municipal Theatre (off the grid, as usual)
3 Filodrome Theatre annex (long or bent neck)
4 ? near the theatre
5a St Carmel
5b St John (camel-skin with tailcoat head); and Castle (large)
6 St Sepoler Hospital, far out (ingress /egress); and St?; and St? (double-headed), near the centre (ingress /egress)
7 St Sepoler; and St Mad di Campagna
9 St ?
9c Civic Museum (often off the grid)
10 St Bufenia
11 St Sisto
13 Palace Farnese (sometimes royal)
14 St Savino, far out; and St Francis, nearby (both ingress /egress)
15 St ? dome.
The celestial pole is near Palace Gotico Elonisi, east from the axial centre, placing midsummer in Leo-Cancer, thus spring and the inspiration in Age Taurus-Aries, about BC 1500, at the perceived formation of Etruscan culture.
The sequence of archetypes among Piacenza city gates is:
2 south-east bastion
2c half-bastion on the Vauxhall wall
3 south bastion
4 military hospital outside the wall, rectangular
5b castle south bastion (large)
5c castle’s north-west bastion
6 gate Antonia, far out (ingress /egress)
7 west-north-west bastion
7g Galactic Centre; Outer bastion NW, on the river (water)
9 bastion Borghetto, with a large belvedere (bent)
9c Gate St Sisto
10 north bastion
11 gate Podesta
11p Galactic Pole; Podesta Road /10 June Road (limb joint)
13 north-east bastion with a belvedere wall (heart)
14 half-bastion (13c?) at the station
15 east bastion, near St Morricela?
15g Gate; Gate St Luzzaro.
The east-west latitude places polar and solstice markers in Cancer-Capricornus, thus spring in Age Aries, contemporary with Etruscan culture. All cities express the standard five subconscious layers of stoneprint. Piacenza does so twice, as the liver map does, not due to any special properties of sheep livers, or the Etruscan pantheon, or local architecture.
Paris stoneprint tour point by point
The French capital’s historic and spiritual womb is in Notre Dame de Paris cathedral, on City Island in the Seine. Its military and cultural heart is adjacent, in the Louvre on the interior bank. All its notable public, monumental, memorial and symbolic buildings, including the main entrance to its underworld of catacombs in stone quarries, are on its stoneprint, which was more or less fixed in the Middle Ages (see a map of earlier Roman Paris below). Railway stations do not seem to form part of the stoneprint structure in the cities tested up to late 2017. Visitors could start a typological tour at any point, ideally exploring features on each axis in turn, either in number sequence, or in the opposite, seasonal direction. The sequence of archetypes in the Paris stoneprint map is (noting archetypal attributes in brackets):
1 Builder; Eiffel Tower (tower, builder. See Tarot trump 1, Tower. See 1 in Rome, and in London)
2 Builder; Large Palace and Small Palace exhibition and museum complex (cluster). Four statue groups on the facade have twisted postures (twisting). And Concorde Square, with the Luxor obelisk (tower). Former guillotine site.
2c Basket; Triumphal Arch for the Austerlitz Battle, and Unknown Soldier’s tomb (mystery); Champs Elysees on the solar angle of a revolution date (secret or revelation. Astronomy observation points are never on the subconscious grid, see Stonehenge, and Magdalenburg). And Place Vendome with Napoleon’s spiralled column (bent neck) also for the Austerlitz Battle. And Magdalene church; she caught Christ’s blood in a cup (container), has long body hair (Medusa monster), placed a basket (container) of eggs (moons, of adjacent 3) below the cross, lived in a cave (of adjacent 2); and the crypt (cave) for weekday masses; Ten Commandments (revelation) on her doors. Former Napoleonic Army monument, formerly thrice re-planned, former synagogue. Furter out lies La Defence, including a cubic arch (typical of 2) and the Phare tower resembling a woven grain store basket (Basket, weave).
3 Queen; St Augustine church; and statue of Joan of Arc (see Tarot trump 3, Empress)
4 King; Opera Garnier, two Pegasus statues (decan Pegasus). The ceiling painting by Marc Chagall expresses a visual stoneprint. And Masonic lodge Grand Orient.
4 King B; Trinity church; and Masonic Grand Lodge.
5a Priest; Montmartre cemetery (of its opposite 12/13, death)
5b Priest; Basilica Sacred Heart (of its opposite 12/13), large 475m sq mosaic (varicoloured) of Christ in Glory (ascension; see Tarot trump 21, World, as a master ascended in microcosmic halo), large bell (large), equestrian statues (5 or 4 are sometimes equid). And Notre Dame de Clignacourt.
6 Exile; Zenith pop arena (music is typical of Pan, the god of type 6. His statue is on the adjacent 7 axis), far from the centre (egress), between science and music buildings (double-headed), on Canal Ourcq, in Villette Park (tree).
5c BasketTail; Ganesha, elephant temple on Rue Pajol.
7 Child; Buttes-Chaumont outcrop (more typical of 8/9). Former execution site, abattoir, dump, sewage basin, now clean. Pan’s statue belongs in Villette Park (see 6). Pierro De Cosimo’s painting of satyrs harvesting honey between a city and a butte (Mindprint p52-53) may be set at Solutre butt, where Stone Age hunters stampeded horses, but the scene of nature-culture interface is also expressed in this park.
7g Galactic Centre; Buttes-Chaumont park cavern springs, waterfall, pool (water).
8 Healer; Buttes-Chaumont Park Bolivar gate and Brigadier pavilion (pillars).
9 Healer; Belleville Park, hill with health springs (healers), formerly religious communities. Former Mardi Gras site on Fat Tuesday in February, before the fast.
9c BasketLid; Pere Lachaise cemetery of the famous, and execution wall. And former Templar Temple, south of Republic Square; and St Martin; and St Nicholas.
10 Teacher; Bastille Square; Liberty genie of the 1830 three-day revolution, arms in W-posture, holding a wreath (decan Corona), on a ball (wheel), with a torch (more typical of 9). Former fountain of Isis with arms in overlapping VV-posture, below her breasts, spouting water. And Square Vosges /National /Royal jousting track, where Henry2 died from a lance splint in his eye (as Nostradamus may have predicted) while celebrating a peace treaty with Spain (diplomacy). Henry4 rebuilt the track for mounted games and processions, named carousels (see an antelope carousel in the Egyptian Hierakonpolis tomb 100 mural, in Mindprint p220-221, and in a USA rock art work, in Expression 10). Prototype of townhouse squares. Former statue of Louis14 holding a staff, crowned (decan Corona) by Fame (his current statue is on a horse). Napoleon planned a replica of Egypt’s Dendera temple of Hathor, Mother of Horus (decan Bootes is the adult Horus) for a general killed in Egypt. And Hotel Force prison. And Victories Square, winged Victory with arms up, holding two wreaths (decan Corona, Crown). To the south is the remaining tower of St Jaques, who remains on top holding a staff.
11 Womb; Notre Dame de Paris, of St Mary (womb). Its facades include several stoneprints (Mindprint p195). Its floor axis lies 25 degrees south-east, to sunrise on two feast days, and perhaps the heliacal rising of Sirius (later paralleled in the Louvre fort and Champs Elysees). Site of former temples on City island (womb). And Salpetiere (Salt) hospital, former gunpowder factory, insane hospital, and prison for 300 prostitutes (womb).
11 Womb B; Roman stadium, concentric (womb); and St Etienne du Mont, of Mary (womb), later of John, with relics of St Genevieve (Kin-wife, Guinevere, womb), patron of Paris, god-daughter of Lutetia (City of Light), carried in procession to Notre Dame (see 11) to cure rye fungus ergotism (decan Spica, Wheat ear). And first Gaul settlement (womb). And Palace of Justice (see Tarot trump 11).
11p Galactic Pole; City Island’s north bridge (limb joint).
12 Heart; Paris Pantheon, round dome on a hill (heart), formerly St Genevieve (see 11B). And French College. And St Michael Square, archangel over a devil or Death inverted (inversion), over a leonine dragon (feline). A City Island western tip, oldest bridge in Paris; statue of playboy king Henry4 on a horse (equid).
12 Heart B; Paris meridian (north-south ‘zero’ line) or ‘heart’, set by the observatory just north-east of Denfer Square. It does not run over the subconscious centre of the city, nor of the subconscious centre of the gates (conscious survey features never do, see Stonehenge). The first meridian monument, with a hole at the top (see Gobekli) was moved south to Montsouris park, or Mont Ysore, after a legendary defeated giant. Several nearby features were named ‘Ysore’s Tomb’ (death), near the Roman cemetery. The railway was formerly inside the fortifications (platform). Former Revolution statue (weapon, death), melted by German occupiers, replaced by Peace Armed (weapon) moved from d’Anvers Square. Five statues: A Lion’s Death (feline, Death, here three men carrying a dead lion, by Edmond Desca, 1929); Desert Drama, of lion versus python (decans Leo over Hydra, feline) with dead cubs (death); Mine Accident (underground, death); Col Flatters and company massacred by Tuaregs in Algeria (weapon, death); Gen Jose de San Martin, liberator of southern South America (weapon). Lake and cascade (water works).
13 Heart; Denfer Rochereau Square, nicknamed ‘Hell’ after some catacombs caved in; a military lion statue (feline. See lion-headed underworld foundation pegs under Gobekli, and the Babylonian chapter). Near the catacombs main entrance (Death). And Luxembourg gardens, Liberty statue, model for the gift to New York (Delacroix, whose own statue is also here, painted Liberty to expresses the heart and womb, see Mindprint p219); several lion statues (feline), and Diana with a bow (weapon). And St Sulpice, with an obelisk for timekeeping (its ‘meridian’ is a few hundred metres west of the Paris meridian); fountain with four lions (feline). And St Germaine des Pres abbey, former Roman temple site. And the Louvre (Window) southern bastion at the river (water works), a former fort (weapon, bastion); and Louvre interior, heart of Paris and France (heart). And Royal Palace (feline).
13 Heart B; Louvre glass pyramid skylight, upward and inverted (inversion) in the roof platform (see 12/13 in Rome, and several Mexican pyramid fields). Three former plans had proposed a pyramid here. Axes 11 and 12/13 impose their themes of birth, death, weapons and tunnels on many cities, on Paris in particular.
13c BasketHead; Miraculous Conception Medal chapel in Bac Street, where St Vincent’s heart (adjacent type 13) and Mary appeared to St Zoe (Life). or Catherine Laboure, buried here. The medal reverse has a +cross with a baseline interwoven (the cistas are often woven) in the top of a letter M, over two flaming hearts, one in a crown of thorns, one pierced by a sword (see cross and lion under Axum).
14 Mixer; Unesco office, Y-shaped (a rare attribute of 14, see Narmer’s chisel); and Military School. And former Tuileries palace, now a statue of a lion mauling a crocodile (decan Hydra). And Invalides (Veterans) chapel dome, tomb of Napoleon and others, statue of Napoleon as summer sun (polar) between two women holding palm branches (calendar or Time devices in Egypt, as of Seshat; see Tarot trump 14, Temperance, Angel of Time).
15 Maker; National Assembly or Parliament (sceptre or mace)
15g Gate; Champ de Mars (path or crossing, as a ’limb joint’).
Many city maps are slightly inaccurate due to exaggerating the width of streets and public squares. Some features of types 6, 7, 8 and 9 are not marked on the map. Further testing may reveal an inner periphery of these types, thus two expressions on the same axis, as found at types 10, 11, 12 and 13.
The ecliptic pole or axial centre is west of the old National Library. Several celestial polar markers are possible. The east-west cardinal direction may place summer in Taurus, thus spring and the cultural time-frame in Age Aquarius, confirmed by the unusual top central position of types 5 Priest. Prophetic time-frames are rare, usually in works that seek to perpetuate a culture, or human culture. The Louvre and the Museum of Man are among several sustained efforts to practice, curate and study culture in this perpetually renovated city.
The general themes in the Paris gates imprint are types 12/13 Heart and 11 Womb (see 11, 11B, 12, 12B, 13 above), typical of interior spaces, protection, nurture, gestation, as well as defence, death and transformation. The two themes combined express what many capitals strive to be: protected yet open, nurturing yet enterprising. Some feminine features are on the Leo axes (such as the Roman Isis site at St Germaine; and statues of famous women in Luxembourg park), while some Heart features are on the 11 Womb axes (such as the lions statue group in the Botanical garden; however type 11 has some minor felid features). Roman Paris had its forum and temples in the Sorbonne area, between axes 12/13, and a Jupiter temple on the Notre Dame site; thus a smaller stoneprint, probably also dominated by types 11 and 12/13.
All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.
See the larger stoneprint formed by the 45 gates of Paris below. Its axial centre is in a different place, as in the two grids of Rome, Brescia, and other walled cities.
Photo guide to the Paris stoneprint
Paris type 2 Builder; Concorde Place obelisk. And Petit Palace Seasons and Elements (twisting); and Louvre museum Medusa mask (decan Medusa).
Paris type 3 Queen; Joan of Arc (a kind of empress) at St Augustine. Other types 3 Aries include Napoleon column with spiral (bent neck).
Paris types 2c, 2c, 4, 5, 6, 6
Paris types 2c Cista; St Magdalene’s cruet (container); Commandments doors (revelation). Type 4 King; Garnier opera Apollo (Sun); (and Pegasus, of decan Pegasus).
Type 5b Priest; Sacred Heart’s Christ in Majesty (World, or Transformed Soul).
Type 6 Exile; Zenith music (Pan) hall, in a park (Pan), logo of double cross (double-headed); and Pan (who is misplaced in the adjacent Buttes Chaumont park).
Paris types 8 Healer; Buttes Chaumont park outcrop (pillars) and springs (healing); Statue of Adamastor or Green Man (with a pillar, bent forward, strength feat). Type 10 Teacher; Bastille Square Liberty (arms up) with crown (decan Corona); Liberty pillar; former Isis statue (arms W-posture, and minister with arms up); and Vosges square former carousel (wheel).
Paris types 11 Womb; Notre Dame (womb) cathedral; with many reliefs and statues of Mary (womb). Salpetiere gunpowder factory, asylum, and prison for prostitutes (womb). Types 11 Womb B; Roman arena; St Genevieve (Kin-Wife, womb); Justice Palace with statues of virtues (Justice, see Tarot trump 11, Justice).
Paris types 12 heart; Masks of Death (death) on island bridge bastions (bastion); Michael Square, St Michael on a devil inverted, over griffin lion (felid); Pantheon (dome).
Paris types 13 Heart; Louvre pyramid on a platform (platform), paired with an inverted pyramid (inversion); Luxembourg garden lion (felid) and Diana hunting (weapon);
Paris types 13 Heart; Luxembourg garden lion (felid); Denfer Rocehreau square lion (felid) over catacombs (platform, death); Montsouris park Dead Lion (death, felid); Lion versus Python (felid, death); Armed Peace (weapon); Meridian marker (heart); St Sulpice fountain lions (felid).
Paris type 13c BasketHead; Miraculous Conception Medal (weave).
Paris types 14 Mixer; Unesco building (Y-shape); Tuileries lion versus crocodile (decan Leo Minor over decan Hydra); former Hercules versus Hydra (decan Hydra); Invalides veterans home, Napoleon as sun (polar) with two Time angels (Temperance).
Paris types 15 Maker: National Assembly (sceptre, order, creation), fronted by Law (order, creation) with the hand of justice (smiting) sceptre (sceptre); Facade of virtues, including Strength with a club (sceptre, smiting), a throne with armrests of thunderbolts (sceptres, creation), and a wand of order (sceptre); Heritage Colonnade including a sculptor chiselling (smiting) a large face (face), and Prometheus as creator (creation) with a small club (sceptre).
The Paris coat of arms includes a trade ship, subconsciously expressing type 15 Maker decan Argo, in the southern or underworld galactic river; framed by ropes (rope), between two women (doubled), in drapes (decan Argo Vela, Sail). The Seine enters Paris at gate 11 Womb, and exits at gate 15g Gate.
The 45 gates of Paris form another, larger stoneprint
In its last wall, Paris has about 45 tax gates, of which 35 are on an axial grid. The usual exceptions at types 12/13 Heart and 11 Womb, which are always on different features (typically bastions, platforms, gardens or waterways), explain four of the exceptions in the southern wall. Where more than sixteen types are expressed in one ragged oval (here unusually regular), the four double types are tripled or quadrupled; and single types are doubled (here some are tripled). The half-types are all expressed, as usual on complex building sites: 2c Basket on Gate Maillot, 5c BasketTail on Ourcq canal, 9c BasketLid on District Twelve gardens, and 13c BasketHead on Gate Plaine). However the c-types are not always on the grid, thus the grid points may be additional types instead. Six gates are unaccountably off the grid (notably type 9 Healer, two types 8 Healer, and one of the types 7 Child, all in the eastern wall). One of the four types 15 Maker is on the ‘annexed’ sports park, instead of a gate. Former gates in the older, smaller city, expressed a simpler outer stoneprint, however medieval maps are usually inaccurate.
Polar markers within the gates, have the same orientation as polar markers within the cycle of major buildings. Type 11p Galactic Pole is on Italy Square. Type 4p Galactic South Pole is on Montmartre cemetery. The ecliptic pole or axial centre is on City Island (limb joint), south of the Palace of Justice. Several celestial markers are possible. The current celestial south pole may be on the Hotel Cieu bridge (limb-joint), placing summer in Scorpius, thus spring and the cultural time-frame of the walls in Age Taurus1, before the work as usual (the time-frame of the buildings inside the current city are later, even anticipating the future).
The general theme among the gates could be type 11 Womb, as it is in the city itself. See concentric stoneprints also in the Piacenza liver, Piacenza city, Rome, and elsewhere. All five layers of structural expression are subconscious to artists, architects, builders and members of any culture.
How to find the subconscious structure in a site plan
To find the sequence of archetypes in an artwork or on a site plan, list the peripheral elements that are near the outer edge, with their apparent features, either clockwise or anti-clockwise. Add potential type numbers after the features, to find potential anchor points for the highest number of correspondences with the standard stoneprint sequence (see the list in the Introduction). Try to complete the sequence by researching the characteristics of buildings and features. If the sequence is not confirmed by about half the characters or buildings, try adding type numbers in the opposite direction, or from different starting points.
Test whether axial opposite pairs confirms the sequence, by drawing an axial grid between their eyes of functional centres, such as altars, or entrances, or centres. Draw two or three lines from each feature, to two or three possible opposites, until the axial centre reveals itself by the crossing of five or more axes at one point; then redraw the grid with only the axes that cross at the same point. Most of the pairs of opposites should express the standard cycle of sixteen types, or at least the basic twelve types, as six pairs of opposites. If there are more than four strong contradictions (types opposite the wrong counterpart, or more than four characters off the grid), search for a better axial centre. Identify the borderline half-types; and the four remaining polar points, usually on limb joints. Use the standard caption format to write a structuralist analysis of the building, complex, city or artwork.
Use the standard analysis scoring formula to determine variation from the expected average of 60%. If the score is below 40%, repeat the analysis on a different map, or with other variants. If the score is above 80%, confirm whether each element accounted for, is categorically visible.
Cut and paste these labels to identify characters and structural points on a map or artwork image. Pairs of opposites are given above/below one another. Some pairs may remain unused (often the Cistas, or 1-8, or 12-5a). Use question marks for extra figures that do not express a type or border or pole:
The same set of labels is used in these and earlier illustrations, but that the format of the labels is now changed by placing the numbers before the mythic name, and replacing constellation mythic names by generic social functions. The format used in illustrations up to December 2016, was ta1, ar3, and so on, which is less intuitive to read. Future illustrations will follow the new format above.
About structuralist anthropology research
In 2016, Stoneprint, the human code in art, buildings, and cites, confirmed a new direction in the exploration of our cultural record, of our nature, and of nature. The book takes readers on a journey through all the famous cultural sites of the world, and the intuitive crafts and human sciences, towards integrating the subconscious and conscious paradigms of whom and what we are. The book breaks the bonds that held science and popular culture to fundamental, causal, common-sense explanations of our works, such as ‘development, diffusion, and cultural evolution’. We have always been a super race, with a large capacity for working structural wonders, but with limited self-knowledge. Stoneprint is an indispensable aid to exploring the art, artefacts, tombs and cities of any culture, and opens a new field of enquiry to crafts and human sciences.
Furter, E. 2015 C. Rock art: Where, When, Why, to Whom. Ed. E. Anati. Atelier Etno, Italy
Furter, E. 2015 D. Structural rock art analysis. Association of Southern African Professional Archaeologists (in ASAPA 2017)
Furter, E. 2016 Stoneprint, the human code in art, buildings and cities. Four Equators Media, Johannesburg. First edition
Furter, E. 2016A. Abstract signs in art as shorthand for cultural structure. Expression 13, Atelier Etno, Italy [the magazine layout scrambles captions and text, corrected in the book: Meaning of abstract signs]
Furter, E. 2016B. Colonial artists re-style the same characters. Expression 14, Atelier Etno, Italy
Furter, E. 2017. Pregnant is the most consistent typological gender. Expression 15, Atelier Etno, Italy
Furter, E. 2017B. Recurrent characters in art reveal objective meaning. Expression 16, Atelier Etno
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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 ]…………….