The 26 stones of the henge each represent a particular letter of the Roman Alphabet. Each stone is precisely positioned according to an alphabetic configuration which Michael Winkler developed to visualize the patterning encoded in the signs of language. But this same henge of stones also defines the geographic locations which align to the sun and moon during celestial events. Henge Lab reveals how features of human awareness (which were unintentionally replicated in the signs of language) reflect a meaningful synchonicity with the design of Nature–even extending to the temporal alignment of celestial events.
The scale model above illustrates the basic components of the project. The alphabetic stones comprising the henge have a unique spacing based on a symmetry of vowels. Their spacing also reflects the Golden Ratio–a ratio of proportion which constantly reappears in Nature’s design. The structure at the center (Penta-Structure) displays and streams images when Henge Lab is activated by solar or lunar alignments.
The Penta-Structure has a circular LCD screen. A sequence of images appears on the screen when Henge Lab is activated by a celestial event (the same images are streamed to the Web along with a live feed from a video camera at the site). At the conclusion of the image-sequence, a radial line originating at the center of the screen points to the particular stone aligned to the sun or moon during the event–that stone is then illuminated. (The LCD screen is covered by a protective cap during periods when Henge Lab will be dormant).
The first image to appear on the screen (upper left) illustrates how the fixed configuration of alphabetic points/stones is based on a pentagonal symmetry of vowels (it’s design is created by spacing the five regular vowels equally and then spacing the consonants equally on the arcs between the vowels). The image also shows the site’s geographic/spatial orientation. The next three images illustrate an unexpected synchronicity between word-based meaning and the patterning encoded in the spelling of words.
Henge Lab is an extension of an ongoing project. Michael Winkler has always used the same process (which he developed over 40 years ago) to create his abstract forms–the forms are a spatial depiction of the patterning encoded in the letter-sequences of written words. As previously explained, the Roman Alphabet is treated as a circular configuration of 26 letter-points organized around a pentagonal symmetry of vowels. The abstract forms are created by drawing lines which interconnect the letter-points according to the spelling of words. All variations in the imagery result entirely from spelling because the circular configuration of alphabetic points is fixed or constant, it doesn’t change from word to word. The stones of the henge are a model of this circular configuration of letter-points.
This second sequence of images shows how the patterning encoded in spelling reflects early artifacts of the symbolic mind. The spelled-form of the word ‘CURLED’ is shown with a shell-bead adornment which is over 100,000 years-old (the bead’s discovery indicated that modern language was older than previously thought—adornments are evidence of culture, culture requires language). Some researchers believe modern language is much older than 100,000 years.
The project is rooted in the idea that patterns arising from the innate mechanisms of meaningful perception were unintentionally replicated in the signs of language and the modeling of information. The organizing principles underlying these patterns are found both in Nature and in the earliest artifacts of the emergence of the symbolic mind.
The third sequence of images is shown above. The geometric pattern shown in the image on the left results from the unique design of the fixed configuration of alphabetic points. The 325 inscribed lines illustrate all possible letter-relationships of all words and none-words in every language which can be written using the Roman Alphabet. The statement of spelled-forms on the right is enlarged below.
As mentioned earlier, the fixed method of transformation preserves all relationships within the spelling of words–no aspect of the imagery is arbitrary (circles don’t have inherently preferenced point-locations; a vowel/consonant distinction is inherent in language; and the letter-sequence of a word’s spelling is the only source of information used to plot the forms).
Since language is an evolutionary product of human awareness which arises naturally and isn’t designed according to any logical plan, the choices involved are mediated by innate or intuitive factors rather than logical associations. We wouldn’t expect to see any meaningful association between the patterning of the signs for words and their signified concept. If any relationship is evident, we assume it is simply an isolated instance of coincidence. But in fact, an apparent connection between the patterning of the code of the signifier and a meaning associated with the signified concept isn’t uncommon (see hundreds of spelled-forms here). Perhaps Carl Jung’s conception of the existence of a universal synchonicity is correct, or perhaps human beings make meaningful choices intuitively without any intention of doing so. For over 100 years, Ferdinand de Saussure’s assumption that the signs of language are arbitrary has been treated as fact. But new discoveries about the nature of the signs of language indicate that Saussure’s assumption was based on a misunderstanding of how they function (philpapers.org/rec/WINNDS).
As previously discussed, the stones are not only positioned at the exact location of the 26 letter-points of the alphabetic matrix, the positions of those same 26 stones also align with celestial events at the site (on Minister’s Hill in Bridgton, Maine).
The GPS graphic above illustrates how, on the day of the Summer Solstice, the relative positions of the stones (shown using an enlarged alphabetic configuration at right) also mark the exact direction of sunrise (point ‘H’ on the green line) and Sunset (point B on the red line). Point R’ on the yellow line shows the South to North azimuth at Solar Noon—the sun’s rays will be traveling North, focused directly at the zero/360 degree point (point ‘E’) at Solar Noon. The stones also align to other celestial events (the image on this website’s Home page illustrates Henge Lab’s alignment with the sunrise, sunset, and azimuth of the Winter Solstice.
The image on the left shows Henge Lab’s location on the Earth. The image on the right shows a Google Earth view of its geographic location at the top of Minister’s Hill.
This is a detail of the Penta-Structure’s design. The display screen and site-camera images are streamed to the Web even if the screen is covered by its protective steel cap and no one is present at the site (such as when the vernal equinox occurs–the site is often buried in snow on March 20-21).
In addition to landscaping and the development of Henge Lab’s design, completed work on the project includes construction of a studio/residence designed and built by the artist using techniques to minimize environmental impact. The structure’s foundation consists of 19 piers which step down the hillside and rest directly on ledge. They range in height from 2 ft. to almost 7 ft.–their forms were hand constructed and excavation was with pick and shovel. The framing of the structure is of locally milled lumber which was purchased green and dried onsite. The structure includes a small 2-bedroom living space and an 800 sq.ft. studio/gallery which is currently used for project related activity. It will be used for events after project completion.
Estimated completion of the project is the Fall of 2023. But the process of developing the project is being treated as an opportunity to engage in a discussion of its concerns. When we acknowledge that there is a relationship between patterning in Nature and the features of human awareness, we begin to see ourselves in the context of something greater than the conceptions of an independent cultural materiality (cultural materiality is normally treated as not being significantly influenced by Nature). Some related works have emerged in support of this goal. One example is the “Henge of Language” drawing series.
“Henge of Language Series #1” 2018, 47 in. wide by 53 in. high (plus information panel), colored pencil and crayon on inkjet prints of the Alphabetic Henge.
The Idea for Henge Lab Evolved from Previous Works in the Ongoing Exploration:
Image from a 1989 installation titled “ILLUMINATIONS” (Curious Visions, New York) Slides of standing stones are projected on a circular arrangement of aligned paper-screens of gouache-painted ‘word-images’ (the stones were photographed earlier that year at various Megalithic sites in the Brittany Region of France).
Several works involving standing stones were developed using photographs taken at actual Megalithic sites. Past works based on linear alignments of stones and circular henges are part of an ongoing exploration of structural relationships between: language, symbolic phenomena, and the mechanisms of perception. It became apparent many years ago that early artifacts of the emergence of the symbolic mind have a design which is similar to the intuitively formulated patterns underlying the signs of language.
In the early 80’s, the exploration focused solely on the imagery and implications of word-generated forms (spelled-forms) but it gradually expanded to include a variety of symbolic phenomena. Although the word-generated forms are still the primary focus, many historical illustrations of basic concepts are modeled on circular arrangements of points. The hour and minute markings on the face of a clock and the directional markings on the dial of a compass illustrate our perception of time and space (these and other concepts depicted using circular forms are explored in relation to thought and language in the book, Extreme Measures 1989). A henge is fundamentally a monumental circle of points aligned to astronomical events. A Megalithic circle of stones is an archetypal depiction of how the patterning of human awareness is inherently synchronized with the patterning of the physical universe.
Henge Lab represents the culmination of a 40 year exploration of the patterning of the signs and systems of human communication, and their relationship to various phenomena of Nature which employ these same principles of patterning. For more information, visit: WinklerWordArt.com and read the articles, “Poetry of Zebras” & “New discoveries should reopen the discussion of signs”
Copyright © 2019 by Michael Joseph Winkler
