1. Search for Consciousness
2. Propositions
3. Wesler SnakeRingStoryTheater (SRST) from the Terminal Ice Age
4. Dispersal of the SRST
5. SRST to Civilization in Pre-Conquest Americas & Elsewhere
6. SRST: The Rosetta Stone of Consciousness
7. SRST in Contemporary Art
8. Forum: Comments and Questions
9. New Edition of Reference Book 
10. Notices of Recently Added

Search for Consciousness

Rene Descartes, 17th century philosopher and mathematician, noted that our consciousness is the most indisputable thing there is.

David Hume, 18th century philosopher, said that inner self is an illusion; it disappears whenever one tries to look for it.

Most philosophers have trouble saying what consciousness is, except that it involves a concern with self.

Ned Block, professor of philosophy, psychology, and neural science, posits that self-consciousness is a uniquely human cognitive achievement whose ambiguity has not abated.

Antonio Damasio, neuroscientist, says that phenomenal consciousness (through the senses rather than thought) needs knowledge of one's surroundings.

Steven Pinker, cognitive neuroscientist and psychologist, reports that the new science of consciousness is presently tying some aspects of consciousness to specific areas of activity in the brain.

Francis Crick, co-discoverer of the structure of DNA, was confident that the study of iconic visual images will uncover a "basic common mechanism" behind the different aspects of consciousness.

Carl Jung, psychologist, pioneer in the study of archetypes, said a snake in circular configuration is the foundation for the human consciousness.

Steven Weinberg, physicist and philosopher, stated, "Philosophers have searched for centuries for the story that will bring all faiths together."


What if we look closely at the body of visual images and activities that first appeared in the Terminal Ice Age caves of Western Europe; comprising the world’s earliest evidence of culture?
What if we form a computer database system and method that uniquely identifies each man-made element and activity in the Terminal Ice Age caves, and apply the same identifiers, or “genetic tags”, to similar elements and activities that appear in human cultures after the Terminal Ice Age?
What if we discover by means of this computer database system and method that these recurrent generic tags were ideograms associated with the sun, corroborating the historian Mircea Eliade’s  statement that, “wherever the history of man was on the march, the sun was the supreme deity… belief in a sky god was even among primitive societies”?
And what if we further discover by this computer database system and method that the “basic common mechanism” of these ideographic generic tags was originally a Terminal Ice Age theater to inspire the existing sun to reincarnate itself into the springtime sun?
In this connection it is important to recognize that the world during the Terminal Ice Age was a place of extreme environmental danger to the survival of early modern mankind. Many of the floral and faunal resources of early modern man became extinct during the Terminal Ice Age, due to great floods from melting of the huge Ice Age glaciers and extreme variances in temperature, causing the human population to suffer a major decline.
What if, out of a desperate need to survive the Terminal Ice Age’s food resources, early modern mankind used humanity’s recently evolved complex tool making skill together with humanity’s inherent, but singularly robust primate mirror neuron system to form the “basic common mechanism”, the complex theater that began all aspects of culture, to inspire the existing sun to mirror what visually appeared to be nature’s way of producing a new springtime sun?
What if Terminal Ice Age mankind created this theater in decorated mountain caves of Western Europe because they were mirroring the volcanic mountain they actually saw on their western horizon in the Atlantic Ocean’s active Line of Fire into which the sun appeared to set at the vernal equinox, the end of winter; the setting sun appearing red in color when seen through effusions from the horizon volcanic mountain?  
What if, as demonstrated by the visual images in this website, early modern mankind of the Terminal Ice Age believed the change to a new springtime sun was caused by the “old” setting sun of winter dying, and producing a  “new” young springtime sun in that vernal equinox  mountain on the western horizon, just as modern mankind believed until the advent of western science that the sun spiraled around the earth, going down daily through the western horizon and then up through the eastern horizon?
What if the complex theater that these Terminal Ice Age complex toolmakers created in the innermost caverns of their own mountain caves, containing the first evidence in the world of humans gathering in large groups, of artificial lighting, celestial observations, counting, music, dancing, and art that included anthropomorphic animals, faceless females figures with exaggerated-genitalia, and many representations of budding plants, was to inspire the setting sun of winter to copulate with an unseen mother goddess in that western horizon vernal equinox mountain, and give birth to the new sun of springtime who would emerge the following dawn in the eastern horizon – similar in appearance to its “father” winter sun but of different character?
What if, when springtimes eventually regularly returned, this complex Terminal Ice Age theater in Western Europe seemed so effective in restoring springtime suns that the theater became a cellular automaton remaining in the mind, an algorithm for mankind’s survival, adapting to different environments, transmitted as an epigenetic mark on the human gene from generation to generation as early modern mankind expanded around the world; a worldwide journey well documented in the book The Journey of Man by the geneticist Spencer Wells?
What if this “basic common mechanism” of the epigenetic mark for mankind’s survival led several widely separated cultures, in each of the extended Little Ice Ages that occurred thousands of years after the Terminal Ice Age ended, to create the first cities and civilizations in the world, using ideograms that originated in the decorated Terminal Ice Age of Europe as a means to end the chaotic seasons and bring forth the springtime sun (as will be demonstrated in this website)?
What if this epigenetic mark, remaining as a substratum in the mind, unlocks the mystery of human consciousness, by proposing and demonstrating that mankind’s sense of self and of place are as though we are the sun family in the Terminal Ice Age Theater’s mythic axis mundi into the Atlantic Ocean western horizon?
What if this substratum of the Terminal Ice Age theater in consciousness, that we call the Terminal Ice Age SnakeRingStoryTheater, explains many of our fantasies and dreams, religions, childhood mentality, language instincts, rites of passage, and emotions (as the sections of the website to follow will later demonstrate)?
In this connection, it should be noted that the psychoanalyst Michael Robbins  in his fine book The Primordial Mind in Health and Illness  proposes that a normal primordial mental activity “operates continuously from the inception of life alongside and in relation to thought… and contributes in significant ways all the time to all our lives.”
Wesler SnakeRingStoryTheater from the Terminal Ice Age

The SRST begins here, starting with the Letter A in the diagram below:

The Snakeringstory
A – Feathered/Winged Serpent was the Terminal Ice Age ideogram for the path for the sun coiling snake-like through the sky and underworld, its wings and feathers sustaining it in the sky, its sequence of daily coils from the winter to the summer solstice, and return, include the vernal equinox day when springtime begins. Typical archetypes and surrogates are snake, entwined snake(s), tortoise (underworld), iguana, alligator, crocodile, uroborus, necklace (esp. of beads), woman’s bracelet, celestial observations, linguistics (alphabet & syntax), etc.
B – Bird was the Terminal Ice Age ideogram for the sun’s movement in the sky within the Feathered Serpent path, including the sun’s decent from the sky in the western horizon during the time of the vernal equinox, when springtime is to begin.  Typical archetypes and surrogates are feather, fowl, egg, winged divinity, etc.
C – Bull was the Terminal Ice Age ideogram for the winter sun as it descends within the Feathered Serpent path to the western horizon, where it will transfer its solar characteristics, including its male virility, to a newborn sun of springtime.  Typical archetypes and surrogates are bear, bison, boar, goat, rooster, erect human penis, eternal soul, circumcision, etc.
D – Fire was the Terminal Ice Age ideogram for the flames above the volcanic Line of Fire in the Atlantic Ocean, where the descending winter sun appeared strangely red when seen through the volcanic flame and effusions as it approached the western horizon of its death and springtime reincarnation. Typical archetypes and surrogates are candle, fire, death, cremation ashes into the sea, color red, etc.
E – Cross and its Vertical Element were Terminal Ice Age Symbolic ideograms for the vertical of the Feathered Serpent path penetrating the distant horizons at the time of the vernal equinox.  The Terminal Ice Age symbolic ideogram that referred to the horizons themselves, was the X-Sign, representing the back and forth crossings at the horizons of the Feathered Serpent’s daily coils as they spiraled to the north and to the south between the solstices. Typical surrogates are column, pilaster, sacred tree, axis monde, crozier, scepter, altar or monolith (vertical element of the cross), religious symbol, crossed fingers for good luck, mathematic signs for addition, multiplication, etc.
F – Water and Seashells were the Terminal Ice Age ideogram for the sea on the western horizon of the Atlantic Ocean.  The dead red sun of winter descends towards this horizon within the Feathered Serpent path at the time of the vernal equinox, to be reincarnated into the new springtime sun. Typical archetypes and surrogates are inland bodies of water (particularly a waterfall as though the water is falling off the western horizon), marine shell, snake-head cowrie, marine life, marine bird, boat, ritual bath, honeymoon at waterfall, baptismal water, urban fountain, ornamental pool, domestic aquarium, regeneration, eternal soul, etc.
G – Mountain was the Terminal Ice Age ideogram for a volcanic mountain that had emerged from the sea in the Atlantic Ocean’s Line of Fire on the horizon. During the vernal equinox, the descending red sun of winter appeared to set in this mountain within the feathered Serpent path. Typical archetypes and surrogates are sacred mountain, volcano, pyramid, mound, steeple, obelisk, skyscraper, stone blocks, marble, etc.
H – Cave was the Terminal Ice Age ideogram for the presumed interior of the volcanic mountain of the distant horizon of the Atlantic Ocean within the Feathered Serpent path.  The descending red winter sun that had apparently set into that mountain, joined with the mother goddess there, making her pregnant with a new sun, accounts for the change from the weak winter sun to a strong springtime sun at the time of the vernal equinox. Typical archetypes and surrogates are cave, house, ritual house, mother, mermaid, bride (unseen, veiled), marriage, gender roles, gender hairstyles, etc.
I – Flower and Budding Plants were the Terminal Ice Age ideograms for the new springtime sun, whose birth and ascension to the sky was a major theme in the cave art and artifacts made during the Terminal Ice Age’s horrific chaos in nature. Typical archetypes and surrogates are cornucopia (its severed horn a metaphor for the winter sun’s death), food, flowers in the church, house, rites of passage, for healing, etc.
J – Whale was the Terminal Ice Age ideogram for the marine carrier of the newborn springtime sun within the Feathered Serpent path, from the vernal equinox mountain on the horizon of the Atlantic Ocean toward the east. Typical archetypes and surrogates are leviathan, dolphin (Apollo), Jonah, etc.
K – Underworld Levels was the Terminal Ice Age ideogram for the five levels below the earth within the Feathered Serpent path of the sun, crossed down and then up, ladder-like, by the bird-like sun of springtime from the vernal equinox mountain of the western horizon, through the perilous underworld, to its dawn in the eastern horizon.  Typical archetypes and surrogates are underworld, color black, Hell, superstition (walking under a ladder is bad luck), hours in the day, etc.
L – Trinity was the Terminal Ice Age ideogram for the Trinitarian aspects of the bird-like winter sun after its sunset in the vernal equinox mountain of the western horizon, from father to son and also to husk of its former virile bull-like self-pictured here.  Typical archetypes and surrogates are ghost, demon, Devil, the color black, Holy Trinity (Father, Son, Holy Ghost), Oedipus complex, soul, infant’s nighttime fear, Three Wise Men from the east visit infant Jesus, etc.
M – Feline, the hero and an animal who can fortunately see in the nighttime darkness, was the Terminal Ice Age ideogram for the protector of the newborn springtime sun god within the five-level Feathered Serpent path of the nighttime underworld.  By defeating the husks of the jealous winter sun gods in the underworld, the feline rescues the springtime sun to arise at dawn, and saves the world from potential environmental crises.  Typical archetypes and surrogates are the Sphinx, jaguar, leopard, warrior elites of Mesoamerica dressed as jaguars, lion vs. bull icons, Chinese Foo Dogs, sports mascot, war & sports hero-worship, lion statues at doorway, black cat superstitions, etc.  
N – War, was the Terminal Ice Age ideogram for the violence required of the heroic feline, and/or the feline’s human warrior surrogates, in the nadir of the Feathered Serpent path underworld against the demonic husk of a jealous past winter sun that is attempting to obstruct the new springtime sun reaching the eastern horizon.  Typical archetypes and surrogates are warfare, bullfight, sports contest (ball represents the sun), street violence, cowboy, chthonic Greek heroes, Mesoamerican warriors carried flowers at their inauguration, Mesoamerican jaguar and eagle warrior elites conferenced within a serpent-mouth cave at Malinalco, etc.
O – Raised Hand and Leaping Animal such as deer were the Terminal Ice Age ideograms for the new springtime sun god’s appearance on the eastern horizon after surviving its dangerous nighttime path in the Feathered Serpent underworld: the Raised Hand is the springtime sun’s glimmer of light in the sky at dawn, and the Leaping Animal is the fully seen springtime sun on the horizon. Typical archetypes and surrogates are the common gesture of greeting, religions raised hand, military salute, victory in sports, leaping deer, etc.
P – Celestial Levels was the Terminal Ice Age ideogram for the seven levels of the sky that are penetrated by the Feathered Serpent path of both the old end-of-winter sun god as it descends to its final dusk in the western horizon, and then by the new springtime sun god as it ascends to the sky from its dawn in the eastern horizon. Typical archetypes and surrogates are celestial observation, Sunday, rest on 7th day (sun appears to pause at its zenith), 7 notes of music (piano keyboard groups are 7 white keys, re. celestial levels, and 5 black keys, re. underworld levels), 7 days of the week,   superstition: number 13 is bad luck, particularly Friday 13th (goddess “Freyja” is Friday), 24 hours of the day, menorah, child prodigies in music and in mathematics, etc.
Q – Raptor was the Terminal Ice Age ideogram for the springtime sun god’s passage through the 7 celestial levels of its Feathered Serpent path around the earth, including its pause in the 7th level that only a raptor could reach. Typical archetypes and surrogates are eagle, falcon, eagle-costumed warrior elite of Mesoamerica, falcon-headed young sun god of Egypt, falconry, Great Seal of the United States, etc. 
R – Society as at the Axis Mundi was the Terminal Ice Age ideogram for mankind mirroring itself and its environment as the sun family within the Feathered Serpent path’s vertical segment through the vernal equinox mountain, to inspire the sun family to produce the springtime season.  Typical archetypes and surrogates are family, religion, society, psychology, architecture, rites of passage, magic, tattoos, human sacrifices, abhorrence of abortions, exceptionalism, Garden of Eden, Christmas, Easter, Passover, etc.
S – Ring Motif and Round Motif were the Terminal Ice Age SnakeRingStoryTheater ideograms for the sun and, as the Ring Motif, for the sun’s circular path around the earth within the Feathered Serpent coil. Typical archetypes and surrogates are wedding ring, deference to ring on finger of ruler or high cleric , ball in ballgame, cupule, pearl, around stone, facial rings , the male head, etc.
T – Horse, the fastest animal over long distance, was the Terminal Ice Age ideogram for the speed of the sun to travel within the Feathered Serpent path through both the sky and underworld on the day of the vernal equinox. Typical archetypes and surrogates are chariot, horse racing, sun gods called “swift-horsed”, etc.


Dispersal of the SnakeRingStoryTheater

A few extracts from the website’s extensive database are shown on the world map here, where you can click on any of its areas to view the video of very different images' evolution from similar symbolic functions of the SRST.

The World View
These few videos and, more broadly, the many scrolling images above indicate that the iconic images of the world began as ideograms of the SRST, created during the Terminal Ice Age by creators of complex tools (which we still are) to mirror and thus to inspire the sun’s seasonal reincarnations around the earth, particularly at the time when springtimes should appear.

You will find particularly strong evidence for the dispersal of the Terminal Ice Age SRST in the following few images from Pre-Conquest Americas and an insight into how this SRST evolved the present culture and civilizations of the world.
SnakeRingStoryTheater to Civilization in Pre-Conquest Americas & Elsewhere

The following images from the Americas were made by descendants of the Terminal Ice Age nomadic hunter-gatherers, who originally migrated over a land bridge to the Americas from Europe/Asia, some twelve millenniums ago.  They and their descendants remained when the land bridge was inundated, becoming the first and only humans in the Americas until Columbus and following discoverers arrived thousands of years later.

Unknown to these Native Americans were the scientific advances made over this very long period of their isolation from the rest of the world, such as by the Greek philosopher Thales of Miletus, and later by the astronomers Copernicus and Galileo, who proved that the sun did not coil around the earth as it appeared to do, and the changes in seasons were not due to reincarnations of the sun within this coiling snake-like path around the earth.

Therefore, because of their isolation from this new knowledge, the SRST that was originally created to seasonally restore springtimes during the Terminal Ice Age, remained unusually well preserved in the Pre-Hispanic Americas.

For example, by just dipping our toe into the large body of iconography and lore remaining from Pre-Hispanic North and Central America, we find:

SnakeRingStoryTheater: The Rosetta Stone of Consciousness

In spite of the contention by some archeologists that we will never know the true nature of the creations in the Terminal Ice Age mountain caves, we have discovered their meaning.

When assembled, these creations comprise the SRST of the Terminal Ice Age’s decorated caves, which became the epigenetic mark of consciousness on the human gene.

Edward O. Wilson, the esteemed evolutionary biologist, said that “the human brain is a machine assembled not to understand itself but to survive.” He remained confident that “science will eventually explain everything about the nature of homo sapiens.”

Wilson also said there is a biological underpinning to the things that make our advanced species “human”, such as morality, conflict, religion, music, art, culture, and language. We will see later in this website that these “things” were derived from the SRST; created by advanced complex toolmakers in the decorated caves, and retained as an epigenetic mark.

Noam Chomsky, the prominent professor of linguistics and philosophy, showed that humans have an innate apparatus in their minds devoted to assembling words into sentences, an inborn “language organ.” If so, this mental apparatus was not visible in over two million years of prior human history, until advanced humans assembled their ideograms into “sentences” in the SRST – in the art of the Terminal Ice Age caves there are many scenes composed of the SRST ideograms.

Visitors to this website have hopefully discovered by now not only the true nature of the creations in the SRST caves, but also how these creations elevated mankind from millions of years of nomadic hunting-gathering, during which they were motivated by the simple animal needs of subsistence, procreation, and avoiding possible danger, exemplified in the life of the simple seminal flatworm, to the higher level of visually communicating with a supernatural being, creating culture, doing commerce and eventually building nations.

Aspects of this website, presented sequentially as follows, could arguably support the proposition that the ongoing SRST is the Rosetta Stone of consciousness:
  • The many creations in the Terminal Ice Age caves were elements in a SRST made by the world’s first complex toolmakers, who were still nomadic hunter-gatherers when they entered into mountain caves (the mountain and the cave were each itself significant) where they used symbols, animal characteristics and their own activities in an effort to mirror the sun when it went through the sky and then the underworld at dusk, to appear at the other side of the earth at dawn. These advanced toolmakers were creating the first-ever aspects of culture by their efforts to communicate specific activities to the sun along this SRST path.

  • The purpose of this SRST in the Terminal Ice Age caves, as determined from the significant body of remaining visual evidence, was an urgent effort to induce the sun to reincarnate itself into the springtime sun when it set into volcanic mountains along the western horizon, during a vast period of time when the weather was so chaotic it was exterminating entire species of flora and fauna, and potentially our own species of humans as well.

  • Finally the extended Terminal Ice Age chaos in the weather ended. The SRST seemed to have been successful. So the theater and the aspects of culture that it began were perpetuated by hunter-gatherers migrating around the world, enjoying the blessings of regular springtimes and building simple ritual centers, the world’s first, in which they depicted aspects of the SRST. Ultimately -- when the weather again seriously threatened their food supply, as it did in the time of the Terminal Ice Age – they again resorted to SRST emulations, this time by building great ziggurats and pyramids representing the mountains of the western horizon, and temples or shrine rooms with art and activities representing these mountains’ innermost recesses. Thus the first cities, nations, and civilizations began, in propitious areas of the world where, however, there were no convenient mountains with caves to serve as in the first SRST.

  • This fruitful life continued, the human population expanding worldwide, until a serious problem arose in the Western world. Not from natural disasters, but from highly respected Greek philosopher-scientists of the first millennium BC, who pronounced that the sun did not go around the world. The creator sun could not have gone into the underworld from the western horizon, and a newborn sun of springtime could not have ascended from the underworld in the East at dawn – overall, a major blow to the SRST!

  • By then however, the epigenetic mark of the SRST was on the human gene, to insure the annual return of springtime bringing flora and fauna; the food supply that was essential for the survival of mankind.

  • To understand what happened next one should consider the nature of the epigenetic mark. As the geneticist Danielle Reed succinctly put it, “Mother Nature writes some things in pencil and some in pen. Things written in pen in the human gene you can’t change. That’s DNA. But things written in pencil on the human gene you can. That’s epigenetics.”

  • The epigenetic mark of the SRST had to change after the Ionian philosopher-scientists eliminated the continuity of the Feathered Serpent path around the world. New faiths arose. People of Hebraic and subsequent faiths replaced the sun, which had previously been reincarnated into the springtime sun within the Feathered Serpent path around the world, with the single creator God who remains forever in the sky.

  • What if in spite of this change in expressed belief, the original Terminal Ice Age version of the SRST remains at a deep level within the human subconscious?

  • The pioneering psychologist Carl Jung noticed that serpent symbols were prominent in drawings his patents made of their dreams, which he illustrated in the book of his own fantasies as the coil of a giant serpent wrapped around the earth. He postulated that this uroborus serpent symbol represented the “persona” of all mankind. Within this persona were the “anima” and “animus,” the shadows of mass man and mass woman.

  • In just this way, the animal ideograms of the Terminal Ice Age caves, which are within the giant serpent coil of Letter A in the SRST, are often shown with human bodies. For example, a SRST ideogram for Letter B is the sun as a bird-man, for Letter C it is the virile sun as a bull-man, for Letter H it is the faceless mother goddess holding aloft a bull’s horn, her other hand resting on her protuberant stomach (pregnant?), and for Letter M it is the aggressive feline as a lion-man.

  • Does the shadowy mark of the first cultured mass man on the human gene, graphically illustrated in the SRST’s humanlike examples above, and in the many moving images at the top of each page, explain why it is so difficult to remove certain ills from our societies and our minds? Consider for example, the warfare at Letter N in the SRST, the prejudice against black men at Letter L, and the site chauvinism at Letter R. Can such ills as these be eliminated in the real world -- just as the pervasive Feathered Serpent path, also from the SRST, has been forever ostracized from reality?

  • Alfred Russel Wallace, explorer and naturalist, lamented that the Theory of Evolution which he co-discovered with Charles Darwin could not account for the origin of higher culture. This website documents that the origin was in the SRST to restore sprintimes; effectively avoiding a potential further human mutation.

  • Craig Venter, the prominent biologist who contributed greatly to the first complete sequencing of the human genome, said that “We’re 100% DNA software systems … the human cell is just to read it.” Other biologists have disagreed, saying that the human cell does more, contributes something to human life. To which Venter rejoined, “That’s like saying God contributes something.” In this website is the suggestion that an epigenetic mark of the SRST, in the form of a cellular automaton, contributes consciousness to the human genome.
Will installing this SRST algorithm into the artificial intelligence of advanced human robotics, after removing embedded ills, facilitate manufacturing future robotics with a human soul, capable of passing the Turing test? Will a game utilizing this SRST be fun to play and beneficial to the players, as they assume roles of the sun family within the Feathered Serpent path to bring forth spring time?
Examples of SnakeRingStoryTheater in Contemporary Art

During the chaotic weather of the Terminal Ice Age following the trauma and population decimations of the last Ice Age, early modern man held a mirror up to nature consisting of a SRST to avert another traumatic Ice Age by restoring regular springtimes; when emergent science later discovered that the mirror’s serpentine path of the sun around the earth was erroneous, the SRST’s symbolic functions and their serpentine path had by then been embedded in the psyche to avert another Ice Age by maintaining springtimes, where they function until today as a cellular automaton in human consciousness, as indicated below by a few examples from contemporary art. As Shakespeare said, “We are such stuff as dreams are made of.”
Picasso said that he was unable to explain the images in this painting commemorating the brutal Nazi bombing of the Spanish town of Guernica, other than to say they were from his unconscious. It should be noted that the figures he colored brown in this painting correspond to the nighttime underworld of the SRST psyche. The glowing light at the top reinforces the proposition that this painting is of the SRST’s nighttime darkness [letter N of the Snake Ring Story], where cosmic warfare occurs.
Starting from the western horizon at the left of the painting, the bull is the virile old sun-god in the sunset at the end of his winter season, as it is in the ideograms of the SRST. Below him, the mother goddess holds the baby sun-god of the new springtime season, which she and the virile old sun-god produced in their joining together [letter H].
The next scene is the conflict in the SRST underworld, where the old sun-god attempts to prevent the springtime sun-god from rising to the sky in its own place (the lack of springtimes was devastating the world’s humanity during the chaotic weather of the terminal ice age, when the SRST was begun). And finally, at the far right, the raised-hands ascent of the springtime sun-god from the underworld in the eastern horizon [letter O].
The next painting presented is an early Picasso study for Guernica. In this view of the underworld warfare, the fallen old sun-god has the bull horns of his once virility on his head [letter C]; He is trampled by a horse, the SRST’s ideogram for the speed of the new springtime sun-god to go completely around the world in one day [letter T]. At the right in this study are the young sun-god and his faceless mother goddess, who is also reborn at the start of each springtime season in the SRST.
Basquiat’s art was originally graffiti on buildings’ walls. Now, after his too early death attributed to repeated overdoses of opiates, the popularity of his paintings has some of them selling for millions of dollars. In this Basquiat painting there are large figures of a red snake [letter A of the Snake Ring Story] and three descending red sun-faces [letter C].
Such SRST images as these in his paintings may have been due to his frequent opiate use, which might also have resulted in him boldly writing the word SNAKE on the bottom left corner of this painting, and then, when more sober, crossing out the word.
The uppermost large red sun-face of this painting wears a crown [letter C]; below this, the crown has toppled off a red sun-face with a human skeleton [letter L]; white panels that are to the left of this head resemble [letter H] a window; a large word SAVE is near one of the skeleton’s legs, and the faint phrase PANTY HOSE [letter H] is next to the other leg. Below this phrase, the word DAY is between a black sun-face and the lowest of the large red sun-faces, whose skull has streaks suggesting sparse hair; the large red snake rising above this face passes by the word Dry and approaches the crowned, uppermost of the red sun-faces.
Concluding this tedious but pointedly detailed description are the words PRODUCT and COLOR at the top of the painting; at the lower center of the painting is a red sun-face, above and apparently emerging from the words PANTY HOSE, with a halo of rays or possibly full hair on his head; throughout the painting is a profusion of leaves [letter S].
The following proffered interpretation of this Basquiat painting is via its symbolic functions, which are from the same SRST that is attributed to the subconscious of the other artists herein: The ruling sun-god of the winter season looses his crown and dies in the western horizon at the end of his season; thereby saving the world from a devastating perpetual Ice Age winter; his skeleton enters the house of the unseen mother goddess in the western horizon; together they make the new sun-god of springtime, who is born with full baby hair from the “panty hose” goddess; the husk of the skeletal sun-god of winter leaves the house and descends through the underworld levels to become the black-faced demon in the nighttime underworld.
When the daytime of springtime is to come, the new sun-god of springtime has reached maturity, symbolized by the loss of the baby hair on his head, passed through the threatening black nighttime underworld of the demonic winter sun- god’s husk, and ascended from the underworld through the eastern horizon sea to the dry sky within the Snakering path of the sun around the earth.
The bounty of springtime comes again to bring flora and fauna, symbolized by the abundance of leaves. Eventually the Snakering path brings the sun-god through the seasons to another winter, and the SRST in the Basquiat painting starts again.
In the first of these Leger paintings, the springtime sun-god sits on girders of the western horizon house, holding an emblematic flower [letter I of the Snake Ring Story]. Two mother goddesses exhort him to rise up on his path in the sky by their raised hands [letter O] and by a bird [letter B], the SRST ideogram for flight in the sky.
The painting shows leaves falling off of trees because the young springtime sun-god has not risen to the sky; therefore, the goddesses’ urgent exhortations to the young sun-god to bring on springtime. In the second, more colorful Leger painting, the young springtime sun-god holds a flowered bough, and on his chest is a yellow star, indicating that he is now a star in the sky. The two goddesses hold flowers, birds fly in the sky, and the trees have leaves and flowers – signifying that spring has come.
Critics acclaim Marc Chagall as “one of the most successful artists of the 20th century.” His paintings are frequently dreamy reveries of his birth-village in Lithuania [letter R of the Snake Ring Story], and include many “unexpected associations” that he himself could not explain.
They may have come from symbolic functions in the subconscious, as Picasso stated they did in his Guernica painting, and he, Leger and Basquiat evidence in their paintings. For example, consider the symbolic functions of the terminal ice age SRST in the three Chagall paintings shown here:
In this Chagall painting there is a red sunset, a cow at the top of a hill or mountain with a faint human head between its front legs, the village below, and a dreamy bridal couple holding flowers. In the SRST, a virile bull ideogram of the old sun-god descends from the sky at the sunset end of his season [winter, letter B], and joins with the unseen goddess [letter H] to produce the new sun-god of the next season [spring, letter I].
The cow ideogram for the unseen goddess in this painting is on the western horizon mountain of the SRST, where the head between its legs is the virile bull old sun-god in human form, which had descended in the red sunset at the end of his season. They go to Chagall’s village below where they join together, represented in the painting as a human bridal, to produce the SRST start of springtime that is symbolized by the flowers the bride holds.
The next painting’s view of the village shows a violinist [letters K & P] playing on the roof of a house [letter H] whose sign is a single black boot; a shrouded body bordered by lit candles lies on the road below the violinist; a distressed woman holds up her hands; and a man sweeps the road beyond the dead body.
Fiddlers on a roof are a recurrent theme in Chagall’s paintings, and therefore music should be addressed: There is no evidence of music in the long history of humanity until the remains of flutes were found in the terminal ice age decorated caves.
These instruments played a 7-note scale that has been associated with the SRST’s seven levels in the sky, which are crossed by the SRST spiraling path of the sun-god when he is going down to the western horizon, and again when he is rising up from the eastern horizon.
In interpreting the symbolic functions of this painting, the village’s fiddler is the sun-god of winter in human form [letter C] going down to his death [letter D] in the house below him, symbolizing the house of the unseen goddess [letter H]; his corpse is along the road, which itself symbolizes the spiraling path around the earth.
The one-boot sign symbolizes that he now remains as a non-ambulatory husk of his former self in the underworld [letter L], no longer able to travel along the serpentine path around the earth, which is being swept clean to prepare it for the new sun-god of springtime.
In the last of Chagall’s paintings presented here, a rosy cheeked youth with birds around him is the young sun-god of springtime [letter I] as the violinist [letters K & P] on the roof, a large wreath of flowers [letter I] is in the sky nearby.
He will go up through the levels to where the birds fly in the sky, bringing to the world ANOTHER springtime bounty of fresh flora rather than a decimating Ice Age; thereby assuring our species of its ongoing survival.
In these examples of Contemporary Art, drawn from the SnakeRingStoryTheater seminal consciousness that began in the Terminal Ice Age decorates caves, humans are prime ideograms for the vaunted sun family, initiating modern mankind’s feeling of exceptionalism among all animals, and minimizing their emotional and environmental stress due to extended aberrant changes in the climate, which had previously resulted in biological mutations of less-adaptive human species.
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