Albrecht Durer’s emblematic and allegorical engraving of Melancholia, has inspired many interpretations. Its minimalist design uses several objects, particularly scientific instruments, as ‘characters’. Esoteric multimedia artist William Blake had a print of this engraving all his life (Word and Silence 2019). Blake’s own artworks also tended to be emblematic and structuralistically minimalist (Furter 2014). Durer’s Melancholy contains only four living characters (woman, cherub, dog, bat); far fewer than eleven, and thus outside the scope of structuralist analysis (Furter 2014, 2016). But minimalist artworks such as seals, cylinder seals, stamps and jewels, express all five layers of natural and cultural structure by using some items and limb-joints, which usually express polar markers in more complex workss (Furter 2018; Stoneprint Journal 5; Culture code in seals and ring stamps).
Durer’s engraving of Melancholy expresses several general themes, as indicated by extra features of several types, attached to several types. These features also happen to be part of the optional features of several types, and thus archetypally ambiguous: rectangle of types 4 or 15g; furnace or smelt or metal of types 4, 9, 10; disc of types 9,10; building or pillar of types 1v8; school or teacher of types 3v10; laws and crafts of type 10, 11; reptile of types 3v10 or 14; canid of types 9, 10, 14 (see a similar subconscious play on ambiguity in subconscious features of Henry Holiday’s illustrations for Lewis Carroll’s Hunting of the snark, in a post on http://www.edmondfurter.wordpress.com). General themes in Durer’s melancholia include;
4 King; squat (here of both humans), rectangle (magic square), sun (in view), furnace (crucible).
9 Healer; pillar (here the cube, building, and city), smelt (crucible), trance (meditation).
10 Teacher; arms up (here wings), staff (here dividers), metal, disc (millstone), school (crafts).
11 Womb; womb (here the prominent woman, and the sphere), water (here a bay), law (sciences and crafts), library (crafts skills).
14 Mixer; time (here an hourglass, and Temperance), transform (alchemy), angel (two humans), reptile (bat), canid (dog).
Transitional types 2c 5c 9c and 13c Basket, is the strongest general theme here, typical of instruments (here a workshop), revelation (sciences and crafts), disc (millstone, and implied by dividers), planet (sun in view), and metal (crucible and tools).
Ambiguity is a general archetypal theme, typically expressed in emblematic artworks (as in Babylonian, Indus and Egyptian seals), and by esoteric minimalist artists. Recent revelations that Indus seals function as rebus logos for metallurgy suppliers and traders (http://bharatkalyan97.blogspot.com) deserve more study to examine how some writing conventions came to be used with double meanings. Below is a structuralist anthropology analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019), noting its structuralist deficiencies, mainly for replacing eyes by other focal points.
Structuralist archetype model analysis of Durer’s Melancholy, in the standard format (Furter 2016, 2019). Minimalist artworks often use items as characters.
Type Label; Character (archetypal features):
2 Builder; Hourglass nail on the building (tower); time as accomplisher (build) and unraveller (ruin). NO EYE.
2c Basket; Scales pan B (instrument, container, arm-link or pivot-link).
3 Queen; Scales pivot (more typical of 10 opposite 3). NO EYE.
4 King; Sun (sun). And cherub sitting (squat). He also has polar functions (see 4p and Midwinter below).
5a Priest; Bat (reptile, winged, hyperactive) with banner (sash) and tail (tailcoat head), under rainbow (colours).
5c Basket Tail; Crucible (container). And cube with tetrahedron removed. Hammer. Dog tail (tail). And lamp?
6 Exile; Dog as lamb of God (sacrifice), curled ( U-shape). Canid is more typical of 14 opposite.
7 Child; Tongs rivet ‘eye’ (eyeless). The shape is more typical of 8.
7g Gal.Centre; Planer (juncture). And saw (juncture).Mallet or inkpad? (juncture). And foot (path).
9 Healer; Divider point A (bent ‘forward’, implied disc) of steel (metal). NO EYE.
9c Basket Lid; Purse (‘lid’, reveal).
10 Teacher; Divider point B (metal, ‘arms’, ‘staff’, implied ‘disc’).
11 Womb; Woman’s midriff (womb) or Science (gestation of knowledge).
12 Heart; Woman’s chest (heart).
13c Basket Head; Woman’s head (head) with wreath (weave, tree, hat), of Science (oracle).
14 Mixer; Woman as Temperance (time, angel) or Alchemy (transform) or the vice Melancholy (passing time); near the centre (ingress).
15 Maker; Bell attachment (churn?) with a rope (rope).
15g Gate: Magic square (grid) of 34. A grid is more usual between 15 and 1, here displaced to between 14 and 15.
22 Axial centre; Unmarked as usual.
4p Gal.S.Pole; Boy angel’s jaw (limb joint).
11p Gal.Pole; Woman’s hip (limb joint). More often inside the outline of types.
Midsummer (cp); Woman’s jaw (limb joint).
Midwinter (csp); Boy angel’s heel (limb joint).
The solstice axle is near the horizontal plane. These markers place midsummer in types analogous to Leo-Cancer, thus spring and the cultural time-frame in Age Taurus-Aries, confirmed by the two types at top centre, expressing the central themes of time and balance. The time-frame is before the work, as usual. A Taurid time-frame is typical of alchemical works.
The analysis score is 25/68 archetypal features; 6/16 axial eye points; 13/4 c-type sector features; 4/2 g-gate sector features; 3/5 polar markers; 1/2 planar or cardinal orientations; 1/1 correlation with the Age, or Age prior to the work; 6/2 general themes; thus 59/100, minus 0 extra characters off the axial grid; total 59%, close to the general average of 60%. Some excessive scores reveal that the current formula is adequate only if the indicated ‘maxima’ are ignored; and if excesses are considered as compensation for the impossibility of full scores in other structuralist layers. Thus the current analysis scoring formula requires further refinement.
Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.
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).
Peyote or mescaline art is a visual styling that resembles luminous oto-visual emissions, phosphenes, or entoptics. However these artworks also contain the universal subconscious standard structure of visual expression, named mindprint (Furter 2014). Here are some examples, in addition to another post on www.edmondfurter.wordpress.com. And some artworks by Dali, and rock art of aloe ferox laxative, for comparison. Art does not come from drugs, or constellations, or trance (see a discussion below the examples).
A cave of mystery and a Basket Lid
The types are marked by the standard set of numbers, and their cosmology counterparts; and by the standard subconscious axial grid between their eyes (with the two standard exceptions to the 12/13 Leo heart, and the 11 Virgo womb).
A NOTE ON TYPE LABELS: Illustrations in this post use the initial cosmology labelling format as in the book Mindprint, after analogous constellations, and archetypal numbers, for example Ta2, Ar3, Pi4. Since 2018, archetypal structuralist analysis uses the same numbers, but with generic social functions, for example 2Builder, 3Queen, 4King, etc, to better demonstrate that nature, culture and all media, symbols, icons and meaning itself, express archetype, and not any particular expression or media of archetype. The sky, and the myths we allocate there, also express archetype. Captions in this post note generic as well as cosmic labels.
Type labels; Characters in a Frasheski mescaline-style textile work (noting archetypal features):
02 Builder or Taurus; Wolf (more typical of type 15 adjacent, just preceding 1 /2 in the cycle), twisted (twisted).
02c Basket; Mountain cave (see alchemical, Rosicrucian, and Hopi art in another post).
03 Queen or Aries; Butterfly with ‘eyes’ on long bent feelers (more usually long or bent neck). Next to a bird with a long neck as ‘determinant’.
04 King or Pisces; King (king) or healer?, rectangular (rectangle).
05 Priest or Aquarius; Lumiated maize seed head (NO EYE).
06 Exile or Capricornus; Fish (a rare feature here), near the centre (ingress), wet tail (decan Capricornus tail).
07 Child or Sagittarius; Juvenile (child) animal.
09 Healer or Scorpius; Wolf (canid), bent tail.
09c Basket Lid; Chest or altar or basket (container, secret).
10 Teacher or Libra; V-posture (arms up).
11 Womb or Virgo; Octopus abdomen (womb).
13 Heart or Leo; Wolf-man, and a rosette centre (interior, concentric).
14 Mixer or Cancer; Wolf (small canid or felid). Decan Lynx is shared with type 15.
15 Maker or Gemini; Wolf (canid).
Numbering of the labels is necessary because some artworks split each of the four ‘large’ types into two (1 /2 Builder or Taurus, v 8/9 Healer or Scorpius; 5a/5b Priest or Aquarius, v 12/13 Heart or Leo. The number 5 is repeated, since archetypal numbers follow octal base9, not decimal base9. The next magnitude level of archetype resolves 5a:20 and 5b:21. This artwork expresses only one each of the four ‘beasts’, thus the 1v8 and 5a,v12 axes are in ‘reserve’, just as some genetic material is ‘recessive’.
Compare the subconscious mindprint in this artwork with some subconscious mindprints in other art and rock art works, posted on www.edmondfurter.wordpress.com.
The range of recurrent features, their sequence, their individual average frequencies, the axial grid between eyes, and the polar structure, is the subconscious standard of cultural expression, indicating archetype itself, which could be known only through its expressions, as Plato explained in his Cave analogy (Furter 2014; Mindprint.)
See the structure in some ayahuasca art by Pablo Amaringo, with the invariable mindprints marked out, in Furter 2014; Mindprint (Lulu.com). There are three or four examples in similar ‘dayglow’ styling, among the 200 illustrations from every known culture, in the book. Some Ice Age, Gobekli Tepe, Renaissance, rock art, and modern examples are in my papers in the anthropology journal Expression, and in two articles on http://www.Grahamhancock.com (one under Author of the Month, the other on the stoneprints in the Rennes le Chateau landscape),
Dali as Angel of Time
The types are subconsciously expressed by optional features, and by the axial grid between their eyes (with two standard exceptions, to the 11 Womb or Virgo, and 12/13 Heart or Leo), in their standard sequence, here in the seasonal direction instead of the numerical or hours direction. Artists subconsciously use either direction.
Type label; Character (noting archetypal features);
01 Builder or Taurus; Hero twisted (twisted), sometimes a female ‘Perseus’ or gorgon.
03 Queen or Aries; Banner (see Agnus Dei banners, a rare feature globally), on a foot (NO EYE, or displaced to the long-necked giraffe at 10 opposite).
04 King or Pisces; Brown pigeon.
05a Priest or Aquarius; Blue (varicoloured) pigeon (angel).
05b Priest or Aquarius; Spider, colourful (varicoloured).
06 Exile or Capricornus; Needle point or ‘eye’ (NO EYE).
07 Child or Sagittarius; Fly (unfolding?).
09 Healer or Scorpius; Giant (large) bug (healer?).
10 Teacher or Libra; Bee, wings in V-posture (arms up). And giraffe with eyes on ears in V-posture (arms up).
11 Womb or Virgo; Abdomen (womb) of headless woman in bowl.
12 Heart or Leo as a monkey, and decapitated head (invert).
13 Heart or Leo; Ball or chest (heart).
14 Mixer or Cancer; Salvador Dali on a flowing clock face (time. See Tarot trump 14, Temperance).
15 Maker or Gemini; Skull (skull) or white face (face), its body holding a syringe as a mace (mace). And a monkey twisted (twisted).
Axial centre; Unmarked as usual, on the absent hand of the statue.
11p Galactic pole; Monkey hand (limb joint).
4p Galactic south pole; Statue hip (limb joint).
Midwinter; Rock ‘limb joint’.
The vertical plane confirms these polar triangles (marked in black lines), placings midsummer between axes 14-15 or Cancer-Gemini, thus spring and the time-frame in Age Aries-Pisces, typical of religious art of the last 2100 years. Aries itself is not expressed, unusually, perhaps displaced to the syringe as a kind of cross (sacrifice).
Compare the subconscious mindprint in this pseudo-Dali styling, with some more Dali paintings on www.edmondfurter.wordpress.com and with other artworks and rock art works. The range of frequent features, their sequence, the axial grid between eyes, and the polar structure, is a subconscious standard of cultural expression (Furter 2014; Mindprint.)
[….. All the standard types are expressed, by some of the optional features of the types; in their usual peripheral sequence; on the usual ocular axial grid; with the usual polar structure.]
When typological features in any random collection of 50 or more artworks are added up and converted to percentages, they conform to percentages as listed in the book, Mindprint, and in Stonerpint, and expanded and updated in 2019 editions of Stoneprint Journal. Thus even the frequencies of the most common options (such as 9 Healer or Scorpius bent forward, 11 Womb or Virgo womb, 15 Maker or Gemini rope, or impact weapon, 12 /13 Heart or Leo heart, or felid; and many more), are predictable in collections of artworks within the reach of manual statistics.
The three layers of visual structure are too complex for artists to express consciously. No trace of recognition of the structure of culture could be found prior to publication of the book Mindprint in 2014 (demonstrating 200 expressions in illustrations, and listing 400 in the index). Peyote art, mescaline art, rock art, ‘fine’ or academic art, and political art, of every culture, continent and region, contain the same structure, hidden in plain sight, invisible until demonstrated by a pencil, a ruler, and a list of about 100 inter-dependent features. Most complex artworks, even by novice artists, express about 60 of the currently known features.
An ark and covenant mother
Type 11 Womb or Virgo as the womb of a polar woman, her navel expressing type 11p Galactic Pole (Salvador Dali; Spain, or Ampurdan Plain. Typolgoy labels and axial grid by E Furter). Characters seem to emerge from a chest of drawers in the 9c Basket Lid (container, revelation) sector, inverting the ark theme where figures enter a box, typical of the 2c or Basket sector. The Spain woman’s rectangular chest or drawers echoes the opposite buildings on a dusty street, above sector 5c or Basket Tail, near type 5 Priest or Aquarius and 4 King or Pisces (often recttangular), analogous to decan Pegasus (which is often a horse, pond or field grid). Here Spain’s Ampurdan plain is gridded by field lines (top left).
Plains are always more alive than meet the eye. Type 10 Teacher or Libra is a see-saw rider, the concept of balance as turner of the wheel of life, doubling as nipples on the transparent breasts that overlay the landscape as the body of the beloved land.
A celestial pole on a rider’s hand tag the inspiration as Age Taurus-Aries, incidental with the conscious theme of passing events and evaporated time.
Balance of nature and culture
Eyes of the types are on the usual subconcsious axial grid, with the usual two exceptions to the 11 Womb or Virgo, and 12/13 Heart or Leo; in their standard sequence.
Type label; Characters in a Myztico work (noting archetypal features):
01 Builder or Taurus; Animal, twisted? tail, near a rainmaker?
03 Queen or Aries; Goat (more usually ovid).
04 King or Pisces; Eye.
04 King or PiscesB; Rectangular (rectangle), squatting (squat). Doubling of type 4 is unusual.
04p Gal.S.Pole; Hip (limb joint) and a small figure’s foot (limb joint).
05a Priest or Aquarius; Rectangular (of 4, or here as decan Pegaus).
05b Priest or Aquarius; Coloured (varicoloured) water beast (water, horizontal).
06 Exile or Capricornus; Bag on rope (displaced from 7), wet tail (decan Capriconus tail knot, of 5c).
07 Child or Sagittarius; Rope (rope) over bag (bag).
08 Healer or Scorpius; Leaning (bent?), large (large).
09c Basket Lid; Cross (more often a disc, here displaced to type 8).
10 Teacher or Libra; Teacher (school), arms in W-posture (arms up), staff (staff), nature-culture (balance).
11 Womb or Virgo B; Geometric figure’s abdomen (womb). Doubling of this type is unusual but not unique. See several type 11 aces in London, in Stoneprint Journal 4).
11 Womb or Virgo; Animal skin with abdomen mark (womb).
11p Galactic Pole; A head-staff (juncture or limb-joint).
12 Heart or Leo; Wolf (more usually felid), decapitated (invert), spiked.
13 Heart or Leo; Man hyperactive (of 5 opposite).
14 Mixer or Cancer; near the centre (ingress), small (small).
15 Maker or Gemini; With a rope (rope), two-headed (doubled), near his double (doubled).
Axal centre; Limb joint?
Midsummer; Footprint (juncture or ‘limb-joint’), near the vertical plane (orientation) of some of the pseudo rock art characters. These markers place ‘midsummer’ between axes 12-13 or Leo12-Leo13, thus ‘spring’ and the cultural framework in Age Taurus1-2, typical of alchemical art in all ages.
Compare this subconscious mindprint, with the subconscious mindprint in the large rock art engraving panel from which some of the semi-geometric figures are copied (above the peyote artworks, and in more detail on www.edmondfurter.wordpress.com), and with a subconscious Chinese Tien Shan range rock art engraving (adjacent to the American engraving on that web page, and in the book). The range of frequent attributes, their sequence, the axial grid between eyes, and the polar structure, is a subconscious standard of cultural expression (Furter 2014; Mindprint.)
All art is art
Mescaline styling is recognisable in some rock art loosely labelled ‘trance art’. The style is named ‘pseudo’ rock art if the artist copies a recognisable rock art styling. There should be no distinction between ‘taught /untaught’, or trance /conceptual, or ‘own /borrowed’ culture, styling or media, since all art is art. It is impossible to ‘fake’ structural expression, and thus it is a kind of hallmark of inspiration.
Merry Christmas and a happy Age Aquarius
In 2014 I found Bannon’s retro-styled artwork and made a Christmas card of it. The usual structuralist analysis demonstrates the standard but subconscious mindprint typology sequence, and the usual lines to reveal the ocular (eye to eye) axial grid, and ‘polar’ triangles. Whether the work is a copy of a rock art panel, or a modern work, is immaterial to archetypal expression. This artwork was one of many tested after the book Mindprint, that confirmed that the structure applies to all artworks, of all cultures, and predicts the core content of newly found ancient works, as well as future artworks.
I emailed the analysis to some archaeologists, anthropologist, artists, and drumming circle members, and received mixed responses. Most people are still not consciously aware of the role of archetypes in nature, perception, or behaviour. Popular culture and sciences, even anthropology and psychology, have a blind spot, or layers of blind blots, for archetypes.
Type 15 Maker or Gemini as two Rope People (rope), resemble a trio of type 15 character in a South African San (Bushman) rock art panel, nicknamed ‘Vapour trails’, where their ‘sky ropes’ (a recognised archaeological term) are attached to the back of their spines (see Tarot trump 15 versions with two souls roped to a worldly creator or daemon, usually unnamed, or labelled ‘Devil’.)
Tribeways drumming circle uses mescaline art in its advertising, which I added to the growing number of analyses, in further proof that all cultures and styles speak a collective visual language.
Clues; Type 3 Queen or Aries has a long or bent neck in 42% of artworks;
Type 15 Maker or Gemini has or is a rope (33%) or bag (21%), or both. Its ‘magnitude’ is type 0 (zero), corresponding to Tarot trump zero, Fool with a bag;
Type 13 Heart or Leo is on a heart (85%);
Type 11 Womb or Virgo is on a womb (87%);
Type 7 Child or Sagittarius is a bag (25%), sometimes with a rope, and/or juvenile;
Type 4 King or Pisces is sometimes a sun. Its higher magnitude is 4:19, as in the number of Tarot trump 19, Sun.
Structuralist anthropology and iconography research reported in Mindprint, and Stoneprint Journal, incidentally revealed details of the cosmological division of ecliptic (constellation) divisions, that allowed a calculation of the date of the Age Pisces to Age Aquarius transition, by the exact positions of the four seasonal points and the exact borders of archetypal constellations. That date is 2016, when the spring-autumn points were on two Pegasus stars and the Cetus spout; and solstice points were on the galactic gates (Furter 2014; Mindprint. Lulu.com). However artists are not consciously aware that some of the secondary or incidental detail in the holographic structure that anchors their visual expression, also expresses a cosmic and precessional temporal framework. This clock of ages could not be used to date artworks, since most artists express inspiration framed by the previous age, or one of the previous ages, of varying length, during which precession moved at slower rates (see a post on http://www.stoneprintjournal.blog for a discussion of the problems inherent in assumptions of precessional metrics, obliquity, and the Newcombe curve).
Marsha Walker; Where spirit meets goddess. Cosmology labels and axial grid by E Furter 2015.
Type label; Character (archetypal features):
01 Builder or Taurus; Swallow or swift-person (bird, swift-person).
02 Builder or Taurus; ? and ? (cluster. Their opposites at 9 are also indistinct).
03 Queen or Aries; Long-necked animal icon (long neck), topping a mask.
04 King or Pisces; Large mask (more typical of 15).
04p Gal.S.Pole; Mask jaw (limb joint, a frequent polar marker).
05a Priest or Aquarius; Chest (heart, of 12 opposite) of a priest (priest).
05b Priest or Aquarius; Chest (heart) of a geometric character.
06 Exile or Capricornus; Coyote? (more often caprid), near the centre (ingress).
07 Child or Sagittarius; Snake skin (bag), NO EYE, but lack of an eye is not penalised at type 7, since it is often a bag.
7g Galactic Centre; Palm-tree top (juncture).
08 Healer or Scorpius; Hut.
09 Healer or Scorpius; ? and ? (their opposites at 2 are also indistinct).
10 Teacher or Libra; Central character’s chest (heart, unusual at type 10). Some elements hint at overwork or re-work of the design, as found in the artworks of William Blake, Poussin, and a few other esoteric artists.
11 Womb or Virgo; Salmon abdomen (womb), swimming upstream to spawn.
11p Galactic Pole; Central woman’s jaw (limb joint, a frequent polar marker).
12 Heart or Leo; American Indian warrior’s chest (heart).
12 Heart or Leo; American Indian warrior (war).
14 Mixer or Cancer; American Indian woman.
15 Maker or Gemini; American Indian person.
15g Gate; Five dots (juncture).
Test your own artwork, or your own art analysis
These ‘peyote’ artworks are from a quick internet search. I downloaded the first six works containing eleven or more characters. They all express the five layers of mindprint structure, with the usual apparent variation and pleasant surprises, while remaining true to archetypal ‘grammar’ or ‘DNA’.
Artworks with less than eleven characters (people, animals, geometric figures, etc), usually express only some of the sixteen types, and are difficult to prove as typological, since some lack axial opposites, and minimal or ‘sparse’ artworks lack the full and complex context of multiple points of evidence, and axial geometry, to prove subconscious expression of the structure. However mindprint art could be used to reveal archetypal elements in sparse works by any artist, in any culture, since the compulsive inspiration for visual expression, is from the collective subconscious.
Mindprint thus enables conscious appreciation of our surprisingly detailed subconscious access to archetype, which informs nature, as well as perception, and all cultural expressions.
Art does not ‘come from’ drugs
Art is not inspired by any drug, be it peyote cactus, mescaline, ayahuasca, DMT, ‘flight’ mushrooms, cannabis or another plant or compound. These may all semi-artificially promt or sustain natural visions, which may take special skill and practice to remember and to incorporate in an artwork. Art does not come from trance either; most artists are not aware of undergoing trance states. Healers usually art, but most are not artists. Most artists are not healers. Most artists work from imagination, or dreams, or by transforming exposure to other art, scenes, myth, music, ritual, or events.
Visual technique is a gift, as some of the skills needed in ritual, myth-making, healing and other cultural expressions are a gift. Artistic techniques may improve with meditation, practice, and teaching, however conscious efforts improve mainly styling and texture, while the inherent structure and core content of art, and all culture, appears in the complex artwork of most novices and masters alike.
Art does not ‘illustrate astronomy’
Correspondence theorists and archaeo astronomers should note that cultural structure arises from archetype, just as the periodic table of chemistry, or the double helix of bio-chemistry, arises from the inherent structure in nature. Art does not illustrate astrology. Seasons, myths, rituals, icons, and all cultural ‘goods’, express archetypal structure, as a kind of compulsion. None of these expressions precede or ‘teach’ the others.
Compare the subconscious mindprint any style or media of visual artworks, with some subconscious mindprints in other art and rock art, at www.edmondfurter.wordpress.com
The book also reveals that the same structure applies to myth and literature, and demonstrates mindprint in a verse from the Mishnah. However it notes the difficulty of extracting the subtext from a written or recited text, that tends to fluctuate between characters, motivations, typology, and episodes. Visual art unerringly reveals its ‘subtext’ in visible attributes of characters, and their complex spatial relationships.
Built sites express the same structure
See structuralist analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities at http://www.stoneprintjournal.blog or at http://www.stoneprint.wordpress.com. My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar, or the periodic table of culture, is innate, and readable in all our works, in several media.
California’s Painted Rock includes a very long rock art panel in a semi-geometric style typical of herder cultures generally, comparable to much of western North American art. Some of the features and styling are distinctive to this site. Despite the length, and apparent separation of the long panel into four separate groups, there are only about eighteen semi-naturalistic characters (people or animals) in the panel, inviting structural analysis of their attributes and relative spacing (Reconstruction from photographs and drawings by Campbell Grant. Type labels and axial grid added by Edmond Furter. Colour inverted for clarity. Image length condensed to separate relative spacing).
[UPDATE 2016; See structural analyses of buildings, villages, temples, complexes, pyramid fields, geoglyphs and cities at http://www.stoneprint.wordpress.com. My second book, Stoneprint, the human code in art, buildings and cities (400 pages, 130 illustrations), demonstrates that cultural grammar, or the periodic table of culture, is innate, and readable in all our works.]
Some of the features of rock art, and noted in structural analysis as frequent in all art, seem cartoonish due to the styling. However all distinctive visual features, once reduced to their basic postures, or items, could be considered cartoons (see Maurice Cotterell’s demonstration of cartoon animation in Mayan art, by moving duplicate overlays around various polar points).
Campbell Grant, who meticulously reconstructed this magnificent and mysterious rock art panel, worked at Walt Disney. However styling is no indication of spiritual or cultural complexity or quality. Some San Bushmen, and Michelangelo, sculpted and painted much better than Lapp drum illustrators, yet they, and non-artists, are equally human, and get equal benefit from a good story or song or movie (see a European settler woman’s version of some of these characters, in a new mindprint, below).
Type label; Characters in California’s Painted Rock (noting archetypal features);
1 Builder or Taurus as a skin, perhaps of a buffalo (bovid).
2 Builder or Taurus as a burrower, or the hind paw of a large animal or skin in twisted posture (twisted). Some rock art express animals by their tracks or tail tufts (see Twyfelfontein engravings in Namibia, in Mindprint). The character over the animal or skin may have hoofs (bovid). The character under this could be a spider (of type 2c Basket, as it is on a Gobekli Tepe pillar, see an adjacent post).
2c Basket; Extra head of the lightning person
3 Queen or Aries as tall lightning person (neck long or bent). Lightning is more typical of type 2 adjacent, (see USA Cienega Mission turtle woman engraving, Mindprint p110).
4 King or Pisces; Peak or cliff, perhaps of Painted Rock itself. NO EYE. 4p Gal.S.Pole; Outline corner? (juncture).
5a Priest or Aquarius as a peak or cliff outside Painted Rock. NO EYE.
5b Priest or Aquarius as a shrimp or boat (varicoloured, hyperactive, horizontal).
4c Basket Tail as extra features?
6 Exile or Capricornus as a swimmer or fish (tail), with a proboscis or snorkel (see 6 as Pan with a flute or double flute, and 6 as Kokopelli or long-nosed characters, in Mindprint p160-163).
6 Exile or Capricornus B as a turtle, far from the centre (egress). Its opposite at 14 is more often a turtle, or two turtles. Splitting of this type into two is unusual, however 6 may be double-headed (Mindprint p161).
6 Exile or Capricornus EXTRA; A swimmer, more typical of 5 adjacent, OFF THE GRID
7 Child or Sagittarius as a baggy person (bag), in wavy outlines (rope). 7g Galactic Centre on large human with ‘pirate’ hat. This is the only naturalistic figure whose eyes are not on the grid, but it is pictured without eyes, with a lizard? over one eye, and with unnatural eyes on top of its head.
8 Healer or Scorpius; A skin person (common in rock art worldwide, usually at type 7), or jellyfish?
9 Healer or Scorpius; Two men, arms raised in dance (trance, ritual. This feature does not imply that artists are healers).
9c Basket Lid as a man in the dance row.
10 Teacher or Libra as the main dancer, arms in W posture (arms up).
11 Womb or Virgo as a double circle (interior), inside a plan or Painted Rock, which resembles a vagina and womb (womb). 11p Galactic Pole; Painted Rock entrance right side (juncture).
12 Heart or Leo; Axis to a chest (heart), of a man standing in the nearby mountain range. Compare this mountain, perhaps Sierra Madre (in light colour, here dark due to colour inversion), with Picasso’s light-bulb in his Guernica, in Mindprint p103. The likeness is coincidence, or archeitypal, not due to diffusion.
13 Heart or Leo; An animal climbing, axis on its heart (heart), perhaps felid (felid).
13c Basket Head; Lightning bolt, and a plant? (weave, herb).
14 Mixer or Cancer; Water woman with two containers (mix), between two snakes (water-snake, as in decan Hydra); between two trees (tree). See Tarot trump 14, Temperance, as the angel of Time with two jugs.
15 Maker or Gemini; Two people (doubled), arm in arm, on a shrimp resembling a quipo rope (rope), behind them a bag shape (bag). Two stars above them (doubled). This is probably a conscious expression of constellation Gemini, which also subconsciously express type 15 Maker, as a worldly re-creator. The only other figure here resembling a constellation, is type 10 Teacher or Libra resembling Bootes, which in the sky is north of Virgo (in the ecliptic grid). The design does not resemble a sky map in any projection. The mindprint model uses astronomical labels to tag relevant myths, seasons, and characteristics. Artists are not astronomers.
15g Gate; Two (doubled, of 15) rectangular shapes, one gridded by lines (grid. See the Coricancha mural in Peru, in Mindprint).
The axial centre is unmarked, as in most artworks. The celestial pole is on an inlet shape (juncture). The celestial south pole may be on Painted Rock interior wall (juncture). These markers, and horizontal plain of most of the figures (orientation), place ‘midsummer’ on or near Gemini, thus ‘spring’ and the cultural inspiration or formation in Age Pisces. The work as probably made about AD 1000 or later, about the middle of Age Pisces. However this aspect of subconscious expression is always approximate. All five levels of structuralist expression are subconscious to artists and members of all cultures.
The overall theme in this large panel could be type 14 Mixer or Cancer, of time and calendar; and its opposite, type 6 Exile or Capricornus, of scapegoat, Pan, music and dance.
Artworks test mindprint in turn
The informal mindprint analysis score is ….[see an update of the scoring formula in Stoneprint Journal, and in some other posts….] about 70%. The global average of structuralist tests of artworks worldwide, is about 60% of the 100 elements of the five layers of structure already isolated.
Scoring of all structural analyses may change as more elements of collective subconscious cultural expression are identified. Discovery of more high frequency features would raise the scores. Discovery of more low frequency features would lower the scores, by raising the number of non-expressions. No definitive scoring of art is possible. Scoring is an indication of the overall validity of the mindprint model, and demonstrates the high level of consistency in subconscious expressions globally.
Validity of the isolate features are already proven by statistical tests of the average frequencies of regular attributes; by about 700 examples of their sequence, and axial grids, polar structures, and temporal orientations; in various media; and by only three examples of artworks with more than 11 characters where the structure could not be found.
Long and narrow, but the structure is still there
Painted Rock is the longest, narrowest artwork among the first 556 works tested, to reveal a single mindprint set, in standard sequence, on the ocular (eye-to-eye) axial rid, with the polar structure, and its temporal ‘Age’ relative to the horizontal plane of its figures (see elongated axial grids in Da Vinci’s Last Supper, Mindprint p198; and in South Africa’s Mossel Bay rock art river scene, recorded by Jeremy Hollmann, where a mindprint test revealed a double imprint).
Painted Rock inspires myth and fantasy
Painted Rock in Californa is in San Luis Obispo county, on the Carrizo Plain. It is a free-standing marine sandstone outcrop near the Sierra Madre range, at the southern tip of the Great Central Valley. In the interior alcove of the horseshoe-shaped rock, are pictographs by Chumash, or Salinan, or Yokut Americans. Entrance to the horseshoe is on the north. The elevation profile from some angles resembles a turtle.
The main rock art panel is 250 feet across and 45 feet tall. The section analysed here is not the entire panel. The site is near Soda Lake, in the Carrizo Plain National Monument, west of Bakersfield, 70 miles (110 km) east of San Luis Obispo, 45 miles (72 km) west of Taft. The art is in red, black and white yucca pigments, and some yellow, green and blue, with rodent tail hair brushes, or finger painting. Yokut art often include large colorful figures and motifs. Some are made Chumash art of small elements, circular mandalas, and complex red, black and white panels. The Goodwin Education Center is near Painted Rock.
Fauna in the area include rattlesnake, burrowing kangaroo rat, San Joaquin kit fox, blunt-nosed leopard lizard, giant kangaroo rat, San Joaquin antelope squirrel, marine turtles, shrimps.
Some other sites are also named ‘Painted Rock’. The name Piedra Pintada could be confused with Pedra Pintada in Brazil.
Some ink drawings of the pictographs were sketched in the 1870s by pioneer resident Mary Brumley Noyes. See structural analysis of one of her drawings in Furter 2014; Mindprint p138. Lulu.com. Here is an extract;
New world, new culture, same shapes
Types 5a and 5b Priest or Aquarius are expressed as a world spirit, in this free-hand copy of some of the characters in a large rock art panel in California (by Pioneer settler, Mary Brumley Noyes. Ink pen on paper. Type labels and axial grid by Edmond Furter). The main figure is a large, horizontal, active, composite, dappled, benedicting healer, river baptiser, or nature spirit, as type 5often is, partly in his occasional vesica piscis halo, here around his head, conflated with some type 6 Exile or Capricornus features (see an African antelope man-boat with mushrooms. See a lightning woman in another USA rock art image, in Mindprint).
11 Womb or Virgo as a shrimp or boat, and autumn marker (see the Egyptian Hierakonpolis disc as stylistic parallel, above).
7g Galactic Centre as a luminary (light or pool).
Some features are semi-geometric, and many are assumed to be ‘cultural and traditional’, such as the animal skins on the left.
10 Teacher or Libra as a kachina doll, a ritual pageant mascot, as of Hopi culture (Gary A David; Orion zone). The original work has some unique features, such as the bandy legs, localised stylistic elements.
Mindprint remains independent of conscious meanings, with enough symbolic overlap to make the subconscious typological sequence apparent. The axial pattern is never apparent, revealed only in the sequence, itself identified only when reduced from its cryptic cultural disguise to universal attributes, such as shape, gender, posture and function.
The original work, and the copy, are notable for elegance (simplicity), and for hovering between geometry and figures, between ‘abstract’ and figurative. Both versions demonstrate that provenance (time, place, source and cultural context) remain subordinate to universal and timeless structure, however seemingly conceptual in inspiration.
The ecliptic pole is on the main figure’s elbow.
Celestial poles on an extra elbow on the left, and the lightning bolt or water arm, provide a gauge through the preceding Ages up to the 15 Gemini axis,
midsummer to Age Pisces, confirmed by the horizontal plane.
A celestial polar marker in the southern hemisphere (here the lower triangle) on the upper hand or club, confirms the inspirational tag as Age Pisces.
Here is a structuralist analysis of the Hierakonpolis disc for comparison;
A romantic novel, The Painted Rock: A legend, by Myron Angel in 1910, was inspired by the Californian Painted Rock site. Many of Angel’s fictitious fancies have since become regarded as historical and ethnographical fact (Whitley, DS, 2007; National Historic Landmark Nomination).
See more art analysis examples, and text on the philosophy and psychology of archetype, and on structural anthropology, on www.edmondfurter.wordpress.com
Order the book Mindprint, by Edmond Furter (2014), with 200 art and rock art illustrations, a critique of cognitive archaeology and art history, references, and an index of 400 tested artworks, from www.Lulu.com
Subconscious structure in the Paradise illustration in a book by Doctor Dahesh
Lebanese mystic and miracle worker Doctor Dahesh collected art, and probably had some illustrations of Biblical metaphors of spiritual themes made by collaborators. Naturalistic figurative styling by Arabic-speaking artists is rare, after the iconoclast ban imposed by Islam.
Structuralist analyses of illustrations in the books of this transmuter or alchemist, reveals many of the universal, collective subconscious typology of features, in the standard sequence, on the standard ocular (eye-to-eye) axial grid, with the standard polar features marked by certain limb joints, relative to Age of the artist’s culture.
The artist of some illustrations may have been Mrs Mary Chiha Haddad, sister of Laura, wife of Besharah el Khoury, former president of Lebanon. She was imprisoned in a mental institution for some time.
Type labels; Characters in the Paradise design of Doctor Dahesh (noting archetypal features):
2 Builder or Taurus; Peacock (bird) in a tree (tree).
2c Basket; Branches (weave) from a truncated stump. See the Mayan cacao tree engraving at Izapa, in Mindprint.
3 Queen or Aries; Small bird.
4 King or Pisces; One of two (twins) swifts (birds. See Persian images of Pisces as birds flanking a field. See the Mayan Izapa engraving’s type 4 as birds).
4p Gal.S.Pole; A swift’s wing (limb joint).
5a Priest or Aquarius; A swift (hyperactive).
6 Exile or Capricornus; A nymph, nearest the centre (ingress), emerging from the tree (tree. See the Mayan Izapa engraving of a tree person). With an extra woman on the left.
7 Child or Sagittarius; A dark man or baby? (child) head outline, under hair (rope).
7g Galactic Centre; Water (water) where a nymph emerges.
9 Healer or Scorpius; Spotted deer (more often an antler).
10 Teacher or Libra; Antelope, next to a butterfly (arms up). Some additional figures are ‘determinants’ of adjacent figures.
11 Womb or Virgo; Eve’s abdomen (womb). The goose is a supporting ‘determinant’.
11p Galactic Pole; Adam’s shoulder (imb joint).
12 Heart or Leo; Adam and Eve, eyes obscured (invert).
13 Heart or Leo; Eve’s chest (heart).
14 Mixer or Cancer; A bird (bird).
15 Maker or Gemini; A peacock tail feather ‘eye’, sin of Pride.
The axial centre is unmarked as usual. The 6-14 axis is slightly off the axial centre, implying some rework of either character 6 or 14 (see rework in Blake’s Dante Meets Beatrice in Paradise, in Mindprint). The work is a print (see the paper tear down the middle). It is signed G Davis or Pavis, or a similar name. It is uncertain whether this is a design after Dahesh, or dictated by Dahesh.
The celestial pole is on a branch knot (juncture). The celestial south pole is on the horizontal plane (orientation). These markers place ‘summer’ in Leo-Cancer, implying spring and the cultural time-frame in Age Taurus-Aries, about BC 1400. Most artworks are framed in the time of the perceived formation of the culture of the artists, thus always one or two Ages prior to the work. Creation themes are usually framed in transitional eras.
The general theme in this Paradise scene could be type 10 Teacher or Libra, typical of nature-culture balance and abundance. Creation themes invite cosmograms. All five levels of structural expression are subconscious to artists, architects, builders and members of any culture.
Subconscious structure in the Inferno, in a book by Doctor Dahesh
Naturalistic figurative styling by Arabic-speaking artists are rare after the iconoclast ban imposed by Islam. Structuralist analysis of illustrations in books by the Lebanese sage, reveals many of the universal, collective subconscious typology of attributes, in the standard sequence, on the standard ocular (eye-to-eye) axial grid, with the standard polar features marked by some limb joints, relative to the cultural Age.
Type labels; Characters in the Inferno design in a book by Doctor Dahesh (noting archetypal features):
1 Builder or Taurus; A devil on a pinnacle throne, sideways (twisted), horned? (bovid).
2c Basket; Souls entering hell (container) in a vortex stream (weave).
3 Queen or Aries; Fallen angel B.
4 King or Pisces; Fallen angel D, lashing souls.
4p Gal.S.Pole; Angel D’s shoulder (limb joint).
5a Priest or Aquarius; A purified soul emerging? (ascend).
6 Exile or Capricornus; A soul in torment (sacrifice or scapegoat).
7 Child or Sagittarius; Incarnated woman B.
8 Healer or Scorpius; A soul rising (strength).
9c Basket Lid; Abyss of hell (container).
10 Teacher or Libra; A soul with arms raised (arms up).
11 Womb or Virgo; Incarnated woman A’s abdomen (womb).
14 Mixer or Cancer; A soul escaping, against the stream?
15 Maker or Gemini; Fallen angel or devil A, near another (doubled), prodding souls (smite, churn) with a staff (sceptre). See Tarot trump 15, Devil, as a soul churner.
The axial centre is in the cave interior, but unmarked as usual. The celestial south pole is on a hip (limb joint), placing ‘winter’ in Capricornus-Sagittarius, thus ‘summer’ in Cancer-Gemini, implying ‘spring’ and the cultural time-frame in Age Aries-Pisces, about BC 80. The subconscious structure of any artwork is usually framed in the Age prior to the work. All five levels of structural expression are subconscious to artists, architects, builders and members of any culture.
The general theme here is type 15 Maker or Gemini (see Tarot trump 15, Devil, or worldly creator), and its opposite, type 7 Child or Sagittarius, often a formling or ‘buck bag’ of physical manifestation, next to the galactic vortex, here on the abyss of hell (see vortexes in Blake’s art, in Mindprint).
Doctor Dahesh worked miracles
Duktur or ‘Doctor’ Dahesh was a gifted miracle worker. Some witnesses tell how he transformed parts of paintings to life, leaving blanks in the paintings. These artworks express general themes related to incarnation and excarnation, manifestation and transmutation, or the archetypal axis between types 15 Maker or Gemini, and its opposite, type 7 Child or Sagittarius.
Paradise trees are vertical vortexes (vortices, or churn groups in art), often expressed in the galactic gate between types 15 Maker or Gemini, and its adjacent type 1 Builder or Taurus, decan Auriga-Orion (here on a peacock tail of eyes).
Infernos are fire vortices, sometimes expressed at type 7g Galactic Centre lies, a little south-west of this gate. Rock art sometimes uses cracks in rock as a kind of veil from, or into, which animals or people emerge or move out of view (see Mindprint p164-169).
Miracle workers intervene in the mechanism of manifestation, or in perception of manifestations, via our fickle thoughts. Paintings are typical of manifestation, and of a vortex of images spun out of perception and inspiration.
Structural analyses reveal that some artworks express the moment of inspiration, when some of the characters are still ‘buck bags’ of moths manifesting from their limbs, and from the vortex at the ‘galactic centre’ of the work. All five levels of structural expression are subconscious to artists, storytellers, ritual liturgists, and users of cultural media.
See a page on How to do structural art analysis, on this website.
See more art analysis examples, and some text on the philosophy and psychology of archetype, and on structural anthropology, on www.edmondfurter.wordpress.com
See articles on structural rock art analysis by ED Furter, in the anthropology journal Expression, editions 9, 10, 12, 13; and some articles in Atelier books, such as Rock art; When, Where to Whom, edited by Prof Emmanuel Anati. One of the articles is here: http://www.atelier-etno.it/e-journal-expression/
Order the book Mindprint, by Edmond Furter (2014), with 200 art and rock art illustrations, a critique of cognitive archaeology and art history, references, and an index of 400 tested artworks, from www.Lulu.com
Order the book Stoneprint (2016), from the author in Johannesburg, South Africa, on edmondfurter at gmail dot com