Here are some examples of the subconscious mindprint in San Francisco art. Structural art analysis applies to any area, any culture, and any era, from the Ice Age to today.
I label and mark out the usual set of typological characters, in their standard sequence, with the eyes of opposite types on the usual ocular (eye to eye) axial grid, and with the the tri-polar structure of certain limb joints near the centre.
Mindprint structural art analysis of a graffiti mural in San Francisco, themed on cultural diversity. To see how these figures express some of the more frequent attributes of the subconscious typological sequence, use the standard format caption provided in an adjacent post. Also see a list of the features of the complex four-layered structure of visual expression, and more examples, on http://www.edmondfurter.wordpress.com. Artists are not aware that all artworks in all cultures follow a strict visual ‘grammar’, despite the apparent diversity, and distractions of subject and styling. The core content of art, myth, and ritual, is identical in all cultures.
My prompt for this post was an internet radio interview on mindprint with Cliff Dunning of Earth Ancients, based in San Francisco (broadcast January 2016, with a clip and some Mayan art and Gobekli Tepe art examples on their website afterwards).
Mindprint structural art analysis of an artwork titled Three Apostles of Jazz (San Francisco Public Library exhibition). This is one of very few slightly flawed expressions found among 570 analyses from every culture and age workdwide. Type 4 Pisces is absent, or merely part of a tree, or the Aztec sun stone copy meant to express the type (‘sun’ and ‘twins’ are among the attributes of type Pisces), is displaced. The reason for the anomaly, resembling a slight grammatical error, seems to be the extension of the work by adding some paper or canvas on the left, or contracting tine initially longer work at the apparent fold. Extended scenes are also found in rock art. Mindprint is traceable and provable in any artwork containing more than eleven characters or figures, including eyes on statues, and pictures within pictures.
Mindprint structural analysis of a Chinese festival scene on the much larger fabric of the Union Square Hyatt fountain in San Francisco. Several other scenes or groups on this fountain exterior also express visual structure. Artists are not aware of the structure, nor could it be faked. The polar triangles at the centre, usually expressed by certain limb joints, and by the horizontal or vertical plane of the figures, roughly indicate the temporal framework of the relevant culture, in terms of precesisonal Ages. Artists are not astronomers, nor astrologers, nor historians, nor merely illustrators of natural or cultural scenes or myths. The entire structure is subconscious, just as grammatical structure is subconscious to almost all speakers of any languge.
Mindprint structural analysis of an artwork titled Homeless State Prison (San Francisco Public Library exhibition). Type 12 or 13 Leo is feline (here a puma) in 14% of artworks worldwide, including rock art. He is always (85%) positioned with his heart on the axial grid, instead of his eye as most of the other figures are. A slight change in the position of some of the figures would invalidate the complex and testable claims that I make in Mindprint, the subconscious art code. The complexity and variety of structural expression in the art and myth and ritual of Stone Age, Ice Age, early cities, classical and modern cultures, is identical. Culture does not evolve, it only mutates. Despite the multiplication of technologies in cultures of high population density (such as Egypt, India, China, Europe, Mexico and other places), the core content of our cultural expressions in all media remain the same.