Artist Rudy Gutierrez illustrated music album covers for jazz, rock and reggae artists (John Coltrane, Gerald Albright, Roy Hargrove, Pablo Moses). He also painted the Jimi Hendrix 2014 memorial postage stamp, and many book covers. His painting of a guru or music producer with a collage of musicians is typical of his dynamic and multi-sensory, surreal style, sharing many features with ayahuasca and DMT art, such as spirals and vines. Structuralist analysis against the archetype model of universal subconscious expression, demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings in this Gutierrez work.
Gutierrez sees art as therapy, visual art and music as connected, and is anti-drugs, like DK Dyson. He is also an arts academic and teacher. The dominant general theme in the Musicians painting is revealed by extra features of type 10 Teacher, typical of raised arms (here of all ten characters), staff (flower stalks and guitars), metal (trumpet, guitars), market, disc (halos, spirals), council (collage), ecology (plants), and school (choir ‘buds’). Another general theme is the polar triangles, typical of limb-joints (here raised arms, and active postures).
Type Label; Character (noting archetypal features):
2 Builder; John Coltrane (hero) with trumpet (twist).
2c Basket; Geometric (weave) bird. And guru’s ear (maze).
3 Queen; Guru’s left eye.
4 King; Guru’s implied third eye.
5a Priest; Guru’s right eye (‘priest’, hyperactive, assembly), pouring water (water).
5b Priest; Musician?, face frontal, sits on a sunflower.
5c Basket Tail; Two sunflower (weave) heads (plant, disc).
6 Exile; Bryan Adams or Bruce Springsteen, on a rose flower (tree).
7 Child; Whitney Houston points at her palm (unfold), on a throne (chariot?).
9 Healer; Bob Dylan (trance?) leans (bent forward).
9c Basket Lid; Stream (weave, reveal) from guru’s hands.
10 Teacher; Beads? (school?) and heart shadow in guru’s hands (arms-up).
11 Womb; Diana Ross?’s midriff, pregnant (womb) in a flower (crop), in the stream (water).
12 Heart; Diana Ross? In the stream (water-work).
13 Heart; Barbara Streisand’s chest (heart), in a flower.
13c Basket Head; Barbara Streisand. And Sunflower spiral (weave).
14 Mixer; Aretha Franklin, pointing (dance?), in a flower (tree).
15 Maker; Carlos Santana with guitar (sceptre), in flower bud (bag).
15g Gal.Gate; Rose heart (juncture) on chain (rope of 15). And trumpet (juncture).
Axial centre; Unmarked as usual.
4p Gal.S.Pole; Unmarked, probably on the vertical plane.
11p Gal.Pole; Barbara Streisand’s hand (limb-joint).
Summer; Rose boy C’s hands (limb-joints), and source of swift birds (limb-joints).
Winter; Angel? (limb-joints) and end of swift birds (limb-joints).
The solstice axle is on the horizontal plane of the axial centre, confirming summer between axes 14-15, or Cancer-Gemini, thus spring and the cultural time-frame in Age Aries-Pisces. This ‘era’ is confirmed by the types of the main character’s left eye and implied third eye, in the top central position.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
See articles on, and examples of the archetypal structuralist model analyses, in the book Mindprint, the subconscious art code (2014), and editions of Stoneprint Journal, available on Lulu.com and in bookstores linked to Lulu.
The dominant general theme in Eugenia Loli’s Nirvana artwork is revealed by extra features of type 1 /2 Builder. Its optional recurrent features include cluster (here people and planets), tower, building (here a vault or symbolic subconscious, as recognised by the Builders of the Adytum), hero (rope climber, astronaut, scientist, explorer), book (implied science and library), spring (shadows southward towards green fields), maze (staircases to space-time), and pit (vault). Compare this design with Tarot trump 16, Tower struck by lightning, often shown with scientists and measuring instruments blasted off by lightning of subconscious inspiration. A higher magnitude of 1 is 16 in base-8, an archetypal system often used in natural media (see Furter 2016; Stoneprint p74-81, including atomic numbers in the Periodic table in spiral format after Peyroux).
Type 1 /2 axial opposite is type 8/9 Healer, where optional recurrent features include strength (here the climber and astronaut), pillar (several), heal (implied by levels of consciousness, and maturing students), disc (protractor), smelt (atom), and trance (surrealist style). Between axes 2-9 and 3-10, lie the transitional fields of 2c Basket and 9c lid, whose optional features include weave (here a plant-nest, and atomic orbitals), instrument (telescopic viewers), container (cube), hat (climbing helmet, space helmet, spinning top ‘hat’, and exploration pith helmet), secret (space-time perspective), and planet (here five). Extra expressions of transitional types, and of types 5v12/13, is typical of art styled after ayahuasca, DMT and other hallucinogen visions.
In this work, all the other types, and the polar junctures in the centre, are also strongly expressed, without the direct knowledge of the artist of the five layers of archetypal structure, as usual. Below is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork. The ‘Three minutes’ in the title, is analogous to the three planes of space and time in cosmology; and the planes of consciousness of Ego-Shadow, Anima and Self.
The artist sees trials and technology as ‘evolution’
The artist wrote that her theme here is ‘the journey of humanity towards a higher state of being. The building and universe are all we could comprehend in human form… In the process, and part of progress, is war and misery. The cube is a teaser of the ultimate prize, placed by ascended people on the top level. The second level is about expanding our horizons towards enlightenment. The woman in black is ready to make the leap. The man on the staircase tries to call her back, but too late. Two people attempt to reach the third level, one climbing, one using trans-human space technology’.
Loli continues: ‘The climber and the astronaut would both evolve beyond human. The trophy in the cornice between painted angels, is just a trap, since climbers would have to leave behind vices, delusions, limitations and pride. Most never manage that. A skull is hidden in the flying spaghetti monster flower. At the very top, ascended people wait for newcomers to see the bigger picture beyond time and space.’
The presence in Loli’s work of all five levels of archetypal structure, as they are present in artworks and rock art works of the Ice Age, Younger Dryas, Bronze, Iron and modern eras, ironically contradicts the general assumption of ‘evolution’. But the need for individual maturity is part of the rationale of every human life, and perhaps of life itself. This artwork, and the archetypal ‘grammar’ within it, thus raises the unresolved issue of the extent of ‘evolution’.
Eugenia Loli; Three minutes to nirvana (after firstname.lastname@example.org with permission. Archetype labels and axial grid by E Furter). The work subconsciously expresses about 83% of the currently known archetypal structuralist features; an unusually dense expression for art, but common in complex, psychedelic, New Age, ayahuasca or DMT art where theme, design and inspiration are highly integrated.
Below is the structuralist analysis, in the standard format, of how archetype finds its own expression in Loli’s Nirvana artwork.
Type Label; Character (archetypal features):
1 Builder; Ascended or ‘evolved’ group (cluster) seeing the vault (pit) of several levels (tower, built, maze).
2c Basket; Tropical plant (weave) hanging like a nest (container, throne), holding a skull (monster, as of decan star Algol).
3 Queen; Spinning top, UFO or hat (more typical of 10 opposite, or 9c).
4 King; Venus or planet, its axis to its centre (womb, more typical of 11 opposite).
5b Priest A; Explorer (hyperactive) calling back the woman from leaving.
5b Priest B; Explorer’s second axis (hyperactive) on chest (heart, of 13 opposite).
5c Basket Tail; Air exit (maze).
6 Exile; Child A (small) using viewer (double-head) in U-mount (U-shape).
7 Child; Child B (juvenile) viewing fire vortex (unfold).
7g Gal.Centre; Fire vortex (vortex, juncture).
8 Healer; Child C using geometry projection (‘strong’, ‘pillar’) at protractor (disc) to imagine (trance) an atomic (smelt) cube.
9c Basket Lid; Atom (disc, reveal) with orbitals (weave) in a cube (lid, instrument) levitated by child (armlink). And protractor (disc, lid, instrument).
10 Teacher; Child D operating viewer (arm up, school).
11 Womb; Woman scientist (law), axis to her midriff (womb) in monument (interior) with cosmic knowledge (library), leaving the vault.
12 Heart; Woman scientist leaving or rising.
13 Heart A; Respirator case (‘heart’) of astronaut (angel).
13 Heart B; Astronaut’s (angel) chest (heart) and tanks (rounded).
13c Basket Head; Astronaut’s head (head) and helmet (hat, lid).
14 Mixer; Rope (more typical of 15) climber between spaces and times (time, transform, angel).
15 Maker; Cornice angel or genie (re-creator) in a pair (doubled, churn, order) at a trophy cup (more typical of 14).
15g Gal.Gate; Sun over vault opening (juncture). And a skull (more typical of 15).
Axial centre; Unmarked, as usual.
4p Gal.S.Pole; Unmarked.
11p Gal.Pole; Woman or scientist’s shoulder (limb-joint).
Midsummer or celestial pole (cp); A pillar capital (juncture).
Midwinter or celestial south pole (csp); A pillar base (juncture).
The solstice markers are on a vertical plane. These polar triangles place midsummer between Gemini and Taurus, implying spring and the cultural time-frame in Age Pisces-Aquarius, confirmed by the presence of three types 5 (5a, 5bA, 5bB), which is analogous to Aquarius. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
The tentative structuralist analysis score is 45/68 archetypal features; 16/16 axial points; 12/4 c-type sector features [excessive scores are counted, to compensate for other fields where full scores are impossible due to inherent optionality]; 3/2 g-gate sector features; 3/5 polar markers; 2/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 2/2 general themes; thus 84/100, minus 1 extra character off the axial grid; total 83%. This total is above the upper average margin of the sigma curve of about 35% to 75%. See another unusually detailed expression of known archetypal features, in structuralist analysis of archetype in Marc Alexander’s artwork Prophetic antics, in a post on www.stoneprintjournal.blog).
Here are some examples of the standard mindprint typology, sequence, and axial structure, in ayahuasca art, or artworks styled after ayahuasca visions; compared to five Lapp shamanic drums.
An Age Aquarius world skambha
Pablo Amaringo; Spinning dome (after http://www.grahamhancock.com. Mindprint labels and axial grid by Edmond Furter, updated 2019). A dome with geometric texture and various colours, indicates entry to visionary hyperspace, typical of oto-visual emissions by the visual cortex and other brain functions, if stimulated by certain practices or chemicals. All experience is indirect, via senses, nervous system, and the brain, thus internal experience seems as real as conventional ‘reality’. Some oto-visuals and sensations agree with archetypal features that artists in all places and times, subconsciously express in complex artworks.
Type Label; Character (archetypal features):
1 Builder; Water angel D (twist, bird, spring, rain, cluster).
2 Builder; Water angel C (twist, bird, spring, rain, cluster).
2c Basket; Crowd (cluster) on the cliff at left.
3 Queen; Water angel B as rain (queen?, spring, pool).
3 QueenB; Rain? Dragon?
4 King; Water angel A as cloud.
5a Priest; Ritualist B (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).
5b Priest; Ritualist C (priest, assembly) with feathers (winged, colours, sash, reptile, hyperactive, tailcoat, large), consulting (judge).
5c Basket Tail; Feather B (weave, tail). And sunburst (disc).
6 Exile; Ritualist D. And angel B on a vine trunk (tree), far out (egress).
7 Child; Water angel E as cloud (bag, unfold).
7g Gal.Centre; Water angel F at waterfall (water).
8 Healer; Hermit? under waterfall (heal, trance).
9 Healer; Waterfall head (bent forward?, heal, trance).
9c Basket Lid; Crowd on plain at vine trunk (pillar, snake) of angel B (leglink).
10 Teacher; Crowd member far right (council, ecology, school).
11 Womb; Crowd woman’s midriff (womb).
12 Heart; Man in green spinning a dome (rounded). And his chest (heart). And man in blue. And his chest (heart).
13 Heart; Levitator’s chest (heart), over dome (rounded), over a roof (‘invert’, angel). And dome (rounded, interior).
13c Basket Head; Spinning dome (oracle, hat, lid, weave). And ayahuasca pot (tree, oracle). And person D at broken pots (death, of 13).
14 Mixer; Person C, further out (egress).
15 Maker; Person B, with A (doubled).
15g Gal.Gate; Person A.
Axial centre; Wrist grip (limb joints).
04p Gal.S.Pole; Ritualist A’s jaw (limb joint).
11p Gal.Pole; Crowd woman’s hand? (limb joint).
Cel. Pole or Midsummer; Levitator’s jaw (limb joint). Cel. South Pole or Midwinter; unmarked. The solstice axle is on the vertical plane, confirming midsummer in 13-14, analogous to Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries. But the top central position of types 5, analogous to Aquarius, and the general themes of types 5v13, indicate that the time-frame may not express the spring point as usual, but the Age Aquarius midsummer point, which is in Taurus. This subtle iconographic ‘slippage’ may indicate that the usual Taurean time-frame of works themed on transformation and alchemy, may in future be moved to an Aquarian time-frame.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
General themes in Pablo Amaringo’s cosmic vision of a spinning dome, many-coloured cover, or skambha, are indicated by extra features of type 5 Priest, typical of colours, priests, hyper-activity, tailcoats or sashes (here feathers), assembly (here rituals, and crowds), water (here waterfalls and pots), reptile (here serpentine forms), winged (here angels); and of the opposite type 13 Heart, typical of death (here broken pots on the left), rounded (here the top, and pots), waterwork (here waterfalls), and angel (here angels, and feathered priests). Icelandic cosmology myth used similar icons in epic poetry (De Santillana 1969).
Type 13 Heart or Leo is levitating in the lotus position, a feature more usual at its opposite, 5b Priest or Aquarius. Icelandic myths of a ‘many-coloured cover’ and salt mill (reviewed by De Santillana and Von Deschend in Hamlet’s mill), here churn in dayglow colours. The equator of eyes forms an outline of butterfly wings, incidental with the theme of transformation and flickering motion.
Symmetry in the equator, named ecliptic in this study for convenience, is uncommon in art, and usually subtracts from galactic symmetry, as it does here, as if expression were projected through either one or the other.
Type 5b Priest or Aquarius as an underworld guide (Lapp drum skin drawing with ritual celebrants. Archetypal labels and axial grid by Edmond Furter). The drum cosmogram healing and trance tradition had updated its visions with Christian elements, but the cosmic tree is rooted between 4 King or Pisces, and 5 Priest or Aquarius, as spring now is, in our current axial era.
Here the flanking figures both have double staffs to calibrate the spring equinox, subconsciously in anticipation of the axial era. The ritual officials are named Juksakka, Sakarakka and Madderakka. Their fish pond or ice fishing hole has an astronomy counterpart in 5 Priest or Aquarius, decan Pegasus, here displaced to the 2c Basket position (see a Roman sarcophagus in Mindprint Chapter 11), the only sequence irregularity in the work. See Nordic Amlethus myths of a ‘many-coloured cover’ and salt mill (De Santillana and Von Deschend; Hamlet’s mill).
Type 10 Teacher or Libra here is a tree or branch, as it is in a South African Amatola work (see Mindprint examples in chapter 5), but branches are more usual at its cardinals, 14 Mixer or Cancer, and at 6 Exile or Capricornus (see Egyptian and Mexican palettes, and the Externsteine carving, in Mindprint examples in chapter 4).
This study adopts the principle that there is no limit to what artists, and thus all people, subconsciously know; and that language, art, music and conscious or semi-conscious symbolic codes are all inadequate to fully express human experience. Structuralist analysis now raises about 100 optional features to conscious understanding; of which an average of about 60 (40 to 75) are expressed in complex works.
Individual experience could only partly comprehend nature or archetype. Display of art supports the human need to express, create, celebrate and share inspiration, cast in terms of experience, as the ritual celebrants in the image imply. This drum and its mindprint, with its implied social ritual, are as adequate or inadequate as any myth or art could be.
Celestial polar markers on a calibrated ladder, as a gauge, tag a series of Ages, up to the hand of the central celebrant and the hand of World man (yet another 5b Priest or Aquarius stand-in) at the Age Aquarius start, perhaps an error due to the offset galactic register (level), or an inspiration of our immanent iconographic future. This is one of very few works in this study probably tagged to Age Aquarius.
Angels pulling spring into Aquarius
Type 7g Galactic Centre is expressed centre left, as two globes and a tutelary spirit pointing to a scroll. Parts of the features analogous to the cosmic galactic equators across the sphere (forming a fish shape), are marked by a string of angels in a horizontal S shape, as if figuring half of the one half, then half of the other half, in turn. Their central S-shaped flip section also mark midsummer, and thus celestial polar positions in a gauge from the Leo axis on the vertical plane (thus Age Taurus spring), through Cancer (Age Aries spring), Gemini (Age Pisces spring), to the first Taurus axis on the horizontal plane (Age Aquarius spring, slightly ‘prophetic’ for the work, but typical of ayahuasca visions).
Type 5a Priest or Aquarius is a focal group in the ayahuasca brewing hut, as a spring marker. 12 Heart or Leo is a lion (top centre), taking the place of the usual 1 Builder or Taurus bull of most mindprints and of alchemy of the last 6000 years. 1 Builder or Taurus with its gate and churn, here is a grail (mid right) dragged from 12 Heart or Leo, decan Crater (Grail). The summer sun and celestial poles are also dragged from 12 Heart or Leo, to 1 Builder or Taurus.
Type 8 Healer or Scorpius, formerly an eagle, now acquires the Aquarian angel. 4 King or Pisces is a snake with reared head, formerly of 3 Queen or Aries, adding the smaller cog change of about 30 degrees as the spring equinox is about to move from Pisces into Aquarius. 3 Queen or Aries becomes devoid of cosmic drama, here just six children in a pool (the seventh invisible), a former 2 Builder or Taurus, decan Pleiades icon. The two Amaringo snake paintings in this study express sweeping forthcoming Age Aquarius iconographic adjustments, each artwork using different figures and orientations to do so.
[Caption to follow….]
See an adjacent post on mindprint in peyote or mescaline art.
Art does not come from drugs, and art does not come from number, myth, decans, zodiacs or any media in particular.
See more examples of how the mindprint list of types, and the irregular axial ocular (eye to eye) grid, are used to raise the subconscious structure of visual expression within reach of conscious understanding; www.edmondfurter.wordpress.com
See an article about mindprint in Ice Age and Gobekli Tepe art, on www.grahamhancock.com under Author of the Month, September 2015.
Order the book Mindprint (Furter, E. 2014) from Lulu.com; 200 illustrations demonstrating the identical visual ‘grammar’ or ‘cultural DNA’, in all the known cultures and eras of the world.
My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar is innate, and readable in all our works, including building sites.]