From: The Role of the Least-aspected Planet in Astrocartography
Georges Braque, co-originator (along with Picasso) of Cubism, was born near Paris, in Argenteuil, France, in the vicinity of his Primary Transcendental Venus. Braque studied at the academy of fine arts in Le Havre (49N30; 0E08) and in a private academy in Paris (1902-1904). After viewing the Paris Salon d’Automne in 1905, he came under the sway of the Fauves, an influence that led to his temporary relocation to the South of France, to sites directly under his Primary Venus line: first to Antwerp and then to the Mediterranean coast, near Marseille, L’Estaque (43N22; 5E20), and La Ciotat (43N10; 5E36). Braque’s later relocation to the south during the summer of 1908 resulted in a series of paintings that led to “significant transformations / in art” (Secondary Pluto / Primary Venus): in particular, “Houses at L’Estaque,” in which the principle elements of what would later be dubbed “Cubism”–fractured multiple perspective, simplified dimensionality, and toned-down palette–already played a prominent part. Honored with international recognition, awards, and retrospectives during his final years, Braque became the first living artist to exhibit in the Louvre, in December 1961.
In the late 1970s, computer programmer Gregg Howe, working in collaboration with astrocartographer Jim Lewis, designed a software that combined birth data with the image of a world map. Superimposed on the map were a series of curving and vertical lines, representing the planets in their rising, setting, Midheaven, and Imum Coeli positions. For example, a “bell curve” represented Venus in its setting position, curving over western Europe, while a vertical line over the U.S. represented Venus in its apparent noon or Midheaven position. With Howe’s software, Lewis accomplished in minutes what would previously have taken many hours to calculate with any degree of accuracy.
Lewis theorized that the traditional symbolism assigned to a particular planet would manifest in a person’s life when he or she traveled to places located under these lines. A location hosting Venus at the moment of birth might, years later, have a significant effect on the native’s romantic life if he were to travel through that locale (or if he met someone who was born there); a country under a Mercury line might enhance his “everyday interaction” with the “common people.” Lewis’s book, Astro * Carto * Graphy (1980; co-authored with Ariel Guttman) contains the astro-maps of over one hundred well-known personalities. It attempts to show how the symbolism associated with the planets in question was reflected in the biographies of his subjects.
About ten years after the publication of his work, while living in Paris and researching the lives of significant artistic and cultural personalities, I began to use astrocartography in my own research. I found that Lewis’s A*C*G software provided an important pioneering tool; in many ways, it seemed the logical (and visual) follow up to Gauquelin’s astrological speculation. But there remained one large and puzzling question that was raised by these astrolocality lines: why had people achieved success in one particular location and not in another? Where was the unifying principle that differentiated a locale of success from a locale of failure? For example, in the astrocartography of paleontologist Teilhard de Chardin, Teilhard’s research near his Pluto Midheaven line, in China, led to the discovery of Peking Man. Yet on another map, we see that Amelia Earhart’s Pluto was setting precisely above the locale where she disappeared–north of Lae, New Guinea–and where she was reportedly held prisoner, in Saipan. Why was Teilhard’s Pluto line such a positive indicator, and why was Earhart’s Pluto location so negative and destructive?
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