masculine (physical)




BUILDING BLOCK dimensional level


BUILDING BLOCK 8-level to 64-level


‘Masculinity’ and colour in Germany

Masculinity: blue 35%, black 20%, brown 13%, …
In modern symbolism, blue is the colour of masculinity. The old colour of masculinity is red. The cold, passion-free virtues are part of the male appearance of blue.
(Heller, 1989)

Colour genes

Opsins (protein molecules which serve as visual pigments sitting in the cones and rods) are made under the influence of genes. DNA differences result in opsins that are sensitive to different colours. Since all genes are present in all cells, the difference between a red cone and a blue cone is not which genes they possess, but which gene they turn on.

The genes that make our green and red opsins are very similar to each other, and they are on the X chromosome (the sex chromosome of which females have two copies and males only one). The gene that makes the blue opsin is a bit different, and lies not on a sex chromosome but on one of the ordinary non-sex chromosomes called autosomes. Our green and red cells have clearly been derived from a recent gene duplication event, and much longer ago they must have diverged from the blue opsin gene in another duplication event.

Dawkins (2004).

Friend and man, cultural differences in concept allocation

Some of the differences in concept allocation are suggestive of real culture differences; for example: both friend and man are good-strong-active (Osgood’s 3-factors) for Americans and Japanese, but passive for the Flemish and weak for the Finns.

Osgood (1964)

The number three in Slavic mythology

Not only the Celtic mind is obsessed with the trinity. The Slavs also showed a special interest in the number three. In temple construction, there are triangular structures (Zuarasici), three entrance gates (Zuarasici), erected on the middle of three mountains (Triglav). The priests of Triglav and Sventovit used to prophesy by leading a sacred horse back and forth between nine lances three times. Also in Slavic epic poetry, just as in Irish, the number three plays a prominent role.

This idea of omnipotence, expressed through multiplicity and polycephaly, is also reflected in the naming. Names like Sventovit, Gerovit are derived from the root jar-, which actually means the same as svent (Slavic jar = strong, severe, angry). In this word lies the idea of “fertilizing power.” The same idea of ‘horny power’ is even more strongly expressed in the concept of Rugievit or Rujevit, derived from the root ruj-: horny. Rujevit thus seems to mean ‘horny lord’. Porevit means ‘the powerful lord’.

It is seen that the very naming of the many-headed idols places a strong emphasis on power, omnipotence, especially on the plan of preserving and propagating the cosmos.

(Vyncke, 1969)

The following keywords derived from this text, related to the number three, and classified in the DSD are: power (red, 8-level keyword), strong (height dimensional keyword), severe (red-on-black, 64-level keyword), anger (black-on-red, 64-level keyword), fertile (red-4, 64-level keyword), horny (purple-on-red, 64-level keyword), in the sense of potent, sexuality, masculine (red-on-red, 64-level keyword). It is noticeable that the red colour code is omnipresent.

I.Michiels, red.