The Pylos Combat agate seal jewel illustrates a mythic and legendary battle, and incidentally expresses the five layers of subconscious cultural structure. This edition demonstrates how 50 seals, stamps and miniature artworks, from Sumeria, Babylonia, Egypt, India, Syria, Greece and modern times, express the identical ‘DNA’ and ‘grammar’ of culture, rooted in perception and nature. Structuralist analyses offer glimpses, through replicated myth cycles of supposedly different cultures, into the structure of culture, of nature, and of archetype itself. Looking for ‘constellation characters’ in artworks misleads many authors into shallow correspondence theory that under-estimates culture, human nature, and nature.
The quirks and architectural features expressing the universal, standard, subconscious stoneprint is the definition and cohesion of every city. The cultural record is not as haphazard as the conscious, common sense view of history implies. Each addition, demolition, and attempted re-modelling in the ever unfolding expression, adds some socio-economic legitimacy, and incidentally some archetypal structure or spatial ‘grammar’. Building sites are rigorously structured and universal. Buildings are ‘characters’ and spacing is the ‘grammar’ of the unspoken, economically negotiated canvas of society. Typology and layers of spatial relationships bypass strands of causes and effects, revealing the sure and elegant guiding hand of archetype in our most enduring collective works. This invisible structure is the fingerprint of nature and culture in collusion.
London has a particularly dense texture of churches, monuments, icons and civic functions. As in Rome (Stoneprint 2016, p348-359), Paris (Stoneprint Journal 3, 2017), and all building sites, London expresses the sixteen archetypes, each with several predictable features. All the main ‘characters’ in the city are opposite their usual counterparts, forming an axial grid.
This post contains some scans and short extracts from Stoneprint Journal 2, November 2017 (themed on Crop circles as natural artworks). Below is also an article on the Milk Hill gall wasp crop formation, oak gall ink, writing, and archetypal meaning.
Practitioners, academics, three professional bodies, conferences, researchers and popular authors, use different data, methods and definitions in archaeo astronomy. All agree that cosmology and calendars are part of culture, and culture is the larger part of this inter-disciplinary science. Here is an introduction to some people and approaches, to answer: What is archaeo astronomy?
From the bottom of a cave west of Johannesburg, two forms of life are rising from obscurity: Homo Naledi, a puzzling ape; and a new breed of ‘rock star’ palaeo-anthropologist. The potential ‘new species’ could change the evolutionary ‘tree’, or could be just another ape without tools or culture. The eventual results have potential implications for the study of culture.
A recurrent but variant set of about 28 Pictish beasts and 16 signs, are carved on 400 stones in north-eastern Scotland. The characters have been interpreted as totems, names, pictograms, letters, myths, days, hours, months or constellations. Structural analysis of the designs on 20 Pictish stones, reveal them as subconscious expressions of the sixteen archetypes.
Stoneprint Journal is a popular, illustrated archaeo astronomy magazine. Each edition focuses on an ancient site, culture, kind of artefact, or article by a contributor. The publication includes historic, ethnographic, structural, anthropological, psychological and archetypal approaches to myth, calendar, cosmology, ritual, art and building sites. For the context of multi-disciplinary approaches to the cultural record, see www.stoneprint.wordpress.com. Contribute articles via edmondfurter at gmail dot com