Amanda Sage’s New York terror art: built and ruined

Amanda Sage’s collaboration artwork of the 2001 New York terror attack in surreal and abstract style, is similar to some rock art and ayahuasca artworks, where ‘entoptics’ appear among representations. her themes recall the Babylonian and Biblical Tower of Babel tale, including warring bee tribes; and Tarot trump 16, Tower struck by lightning; and Basil Valentine’s alchemical emblem of an island city struck by lightning. These works express type 1 Builder or Ruiner.

Some rock art works also use abstract shape as subconscious characters (see Furter 2017a; Recurrent characters in rock art reveal objective meaning, in Expression 16, June. Italy: Atelier Etno). Below is the structuralist analysis of how this artwork expresses universal archetypal features, in the standard structuralist anthropology format.

Bryan Ward’s Entheogenic Eden art as subconscious tree of knowledge

The main general theme in Bryan Ward’s artwork Entheogenic garden of Eden, is type 15 Maker or Re-creator, expressed here as nature, and the plant, animal and cultural kingdoms giving birth to one another and to mutual awareness. The high level of integration of sub-themes indicates spiritual and mental integration of the artist, and of the genre of psychedelic art’ and the high level of integration of Eden and Genesis themes in myth, surreal styling, ritual and language; but due mainly to the rigorous way that archetype expresses itself through nature, cultural media, and the works of gifted artists.

Martina Hoffman’s art spins a web of life and meaning

Martina Hoffman’s artwork, Caught in the web, consciously develops graphic themes of creation, knowledge, ecology and ayahuasca visions; and subconsciously expresses the universal structure of space, time and meaning, as all complex artworks do. This post includes a guide to how to identify archetypal features in artworks or built sites, in the standard format for structuralist anthropology data.

Crop circles are natural artworks

Nature and culture both compulsively, subconsciously express five layers of eternal, archetypal structure that predate creation, and inform perpetual re-creation. Crop circles indicate nature at play. She uses biological shapes, and what we label ‘abstract’ angles and numbers, but they are as basic as space, time and archetypal meaning; what we egotistically label ‘concepts’ and ‘symbols’. Crop circles are lessons in humility.

Chemistry layers reveal biology, as typology reveals culture

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

Nazca plain geoglyphs speak structural grammar

Criss-crossing trapezium lines form a kind of ‘forest’ over the core area of the Nazca geoglyphs. The character figures are in continuous-line format, indicating a well-developed style, perhaps based on textile weaving crafts, or to enable processions. Their ecological themes speak of climate change. Here is the peripheral sequence of characters in the Nazca core area is (noting archetypal features).