The following are my provisional notions of what each of these isolated symbols might mean. But meaning is not determined by any one individual; it is part of a language and therefore it is everyone’s jointly determined definitions that matter. Hence, the idea behind this game. It will be the compilation of all of the people’s opinions that really determine the meaning. This is just my contribution.
The Square: While this is a 12" x 12" square, that is less pertinent than the squareness itself. The equal sided square symbolizes not only the perfection of that equality, but it is also imbued with a solidity of shape that is not seen in any other geometric form. This makes it the most platonist of all shapes, which perhaps adds something to its feeling of self-sufficiency. A square seems impenetrable.
The Printed Image: This is different from a painted image or a photographic one. And in fact, it is even different from the stenciled image. The printed image, even this sort of unusual version, speaks of course of mechanistic processes. That seems to take the human out of the outcome though of course that is not true. It is an illusion - the mechanical reproduction that pretends to a soul-less and impersonal picture. We all know Benjamin was wrong about that one. No aura? Hardly.
The Monochrome: Monochrome images are deliberate and stubborn. They have self-edited and become if not pure at least simple. It is sometimes a pretense for seriousness and intellectualism, like a good school uniform.
Image Referent: There are five different referents:

In one instance, it is the father of The Virgin, walking her to her wedding. Obscured behind him is another figure, unknown. The father of the bride has lots of narratives, but common to them all is the fundamental story of paternal love, traditional ownership, power hierarchies. This particular case might though be different, as the Virgin is not thought of as owned or controlled by the men around her in the way other women were. She is thought of as quite autonomous, which makes her relationship to her father somewhat vague.

The fig leaf. This was the medieval symbol for female fertility.

The Virgin. It has different meaning for different parts of the population, but in general for Christians (both Catholic and Protestant) she is the mother (birth or biological?) of the Son of God. In general, she symbolizes an elevated role for motherhood, which is characterized by extreme patience, empathy, and an almost omniscient understanding of circumstances.

The women following in the wedding procession. This brings to mind both the Greek chorus and the royal tradition of ladies in waiting. In the former case it argues for a narration of the tragedies to come; in the latter it gives Mary the status of queen. Both meanings probably dovetail in this image and feed on each other, giving the sum meaning as ‘Mary, queen of her people and, indeed, of humanity in general, goes into a future filled with pain and grief.’ But that meaning is transmitted quietly and almost subconsciously.

The three musicians; the typical accompaniment to a wedding, but also a window into the realm of a transcendent reality. We see the image but also, on some level, hear the sounds. It brings us into a different world by activating, in referential form, a different sensory source.

The Negative: Photographic negatives seem to exist in a different ontological realm than does the positive. It is usually referred to as “ghostly”, but that doesn’t quite encompass our feeling that the negative, by both having presence and simultaneously not having any presence, is in the in-between state of existing and not-existing. There are many instances of that state in older religions, as for example, the ancient Egyptians’ and the ancient Greeks’ notions of the after-life. The Catholics idea of purgatory might also encapsulate this notion. The negative evokes a world of non existence and reminds us of the temporary nature of existence in a visually frightening form.
Red: Colors are one of the most obvious instances of language's failure to fully capture the human experience. It is not the case that language fully captures those experiences: there is not a one-to-one correspondence between each nominal component of lived experience and a descriptive word. Much is lost in translation. Our experience of color cannot be adequately described. I won't try.
Negative/Positive Reversal: The information is the negative space, contrary to the usual way of drawing. This makes it look more like a photo negative, which makes it not only slightly surreal, but slightly abstracted as well. Because the main info e.g., the line, is highlighted through its negation, its importance is also highlight: now we are paying attention and not just automatically processing it. And yet we are paying attention to something that is not, in the usual sense, there. Again, like the photographic negative, there is a confusion about what exists and what doesn’t exist, and we are, as well, drawn into an awareness of impermanence.
Underpainting: This part of the image is the original part whereas the surrounding area has additional layers. Therefore, this is the basic layer: It hints that it is a window onto a truer version that is perhaps more real, more fundamental?
Transparency: In general, this is delicate, wispy, and seems to refer to those human experiences more rightly relegated to experiences owned by beings less ponderously physical than we. Like butterfly wings, it seems to be something that would be destroyed upon touch. Though in this instance it is read in conjunction with the symbol square below it and that makes it read a little differently. It looks as though the epidural layer from the bottom square was removed and then placed directly above. That merges the delicate with the slightly creepy. So this particular instance of delicacy and other-worldliness seems to possess a hidden agenda.
Black: Again it needs to be said that colors are one of the most obvious instances of language's failure to fully capture the human experience. Humans live in the physical world and our experience is both of that world and also of our own mental constructs of that experience. It is not the case that language fully captures those experiences: there is not a one-to-one correspondence between each nominal component of lived experience and a descriptive word. Much is lost in translation. Our experience of color cannot be adequately described. I won't try. But yet: black is, in most cultures, a sign of night, the unknown, and the feared. That part is simple, but the rest e.g., how it makes us feel, what it means on a deeper level to us - that experience we can only verbally hint at.

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