design practice and theory 

•     Dispenser of Life 
•     The eternal renovating Earth 
•     Death and Regeneration 
•     Energy and Development 

So let me, for our purpose, try to approach this theme from another angle: how can we draw a sign? It can be three or two dimensional: either a sculpture or a scratch. Let's start from that scratch (in both senses). 

Let me start with the simplest of signs, a dot, the mark of a presence (now and here), a beginning or an end (e.g.. of a phrase), a center, a source of power (of radiation or emanation), the silent counterpart of a single sound (perhaps the beat of a drum). 
The continuation of that initial (initializing) sign is a line, a direction (towards and from). The line can be straight (horizontal, oblique or vertical) or curved (continuously as in a circle, or gradually as in a spiral). 
These dots or lines can be single or multiple evidencing repetition, alternation, rhythm, number. 

We will need now some type of classification of signs or forms. 

Rene Thom affirms that forms in their origin and evolution can be classified by means of topological models as wholes of points, in a given morphogenetic field, ever in search of stability in accordance with the second law of thermodynamics, with distinct sets of probabilities (at the limit of chaotic behavior) and he pursues his analysis applying complex topological formula (out of reach for ordinary designers). 

The morpho-genetic field is, in the case of signs, determined by the Formgiving Pulsion of man, motivated by his necessity to cope by means of assimilation or accommodation with (trying to dominate) the forces of nature and society. Once called into existence the different signs become instruments in recording and pursuing the quest of human destiny. Many have indicated the endeavor of early mankind to invent signs as the origin of both religion and science. The question for a useful classification of these signs becomes evidently more and more necessary. 

We, as designers, would be satisfied with a, less precise but more manageable classification than Thom's. I suggest that a relative simple classification of symbolic forms or signs can be proposed  applying the theory of symmetry. This is already, in a simplified version derived from mathematics (Jacob Steiner, 1836), biology (D'Arcy Wentworth  Thompson, 1917) and crystallography (Andreas Speiser, 1927, and before him in 1891, E.S.Fedorov) a common platform for courses in ‘basic design’ in many design schools. 
The most popular book on this topic is perhaps Hermann Weyl's (1885-1955) Symmetry, Princeton, U.S.A., 1952. Symmetry in this theory treats of the repetition of equal, similar or related 'motives' in totally or partially regular structures. These regularities are classified by means of the following'operations' : 

• translation (T), 
• rotation (R), 
• mirror reflection (S) and 
• dilatation (D) 

My announced intuition concerning Ursign, conducts me at this point to the following question: 
“The basic operations, motives and intervals in the Theory of Symmetry coincide with relevant aspects of transcendental thought of neolithic, or even earlier, man?” 

Some simple motives (derived from the primordial  dot or  point) can effectively be semiotically explained as derived from symmetrical operations and understood as signs in the peircean notification in the following way: 

• the straight line resulting from a T operation  represents an object, a presence in the sense of the peircian qualisign or sinsign. It is the documentation of the very concept of being and of this being, having a meaning, reveals a manifold; 
• a curved line as the result from a R operation represents the division ‘me/other’, me being at the inside of the curve. It indicates moreover that communication between this world and the other world is possible. We can associate these signs with the peircian category of Legisign, being signs that are put in relation to other signs for some purpose.
• an expanding form as a spiral exemplifies the D operation that represents a ‘dominion’, or influence and extension of a power. This is the superior level of signs, as symbols or arguments in the peircian classification. Symbolic or allegorical semiosis is the, only, way to penetrate the mystery of the Sacred. 

 More complex operations explain further concepts, such as: 
 

the zig zag or M line (translation of the V sign)  (from Gimbutas p.23)	this sign also signifies  water and as such it was known in ancient Egypt as a Hieroglyph;  (in greek m ) its meaning is dispenser of life.
a spiral (consisting of a Dilatation and a Translation) signifying growth, life, energy of the Goddess  image af a spiral
an undulating line (consisting of a Translation and a Rotation)   (fromCampbell , p.18)	a symbol of the serpent, meaning life and death, guardian of the source of life                                        This votive tablet from Piraeus shows the serpent as the Ollympian Zeus Meilichios
a lozenge (consisting of the Translative motive of a straight line and the fourfold 90° Rotation at a certain distance from the CENTER  image of a losange	the womb, uterus, multiplication of the species.

We can at this point suggest the construction of a credible and practical classification, each class referring to a different symmetrical operation. The 'operations', 'motives' and 'intervals' in this system represent symbolically the wealth of believes and knowledge of neolithic man, and especially his respect and terror of the White Goddess . This program must of course be completed with a less abstract class of iconic symbols representing animals, humans, artifacts or their parts.