introduction

Editor's preface

the purpose of our introduction is very ambitious : to demonstrate that the

capital work of Bruno, . the Clavis Magna , was written and is in our hands,

thereby overturning the conviction who have contributed to establish

scholars and philosophers such as Giovanni Gentile.

Secondly, we show that the work here are identified and presented as Clavis

Magna , has never been recognized for that because classified within the

very narrow category of mnemonics , while it is a real manual on the art of

thinking.

To explain what is meant by the art of thinking we say that , as mnemonics

gives to those who uses it an artificial memory extraordinarily powerful , by

which a normal person these days, can remember with accuracy and

precision an entire telephone directory with names, addresses and phone

numbers, so the art of thinking, which makes use of a technique for memory

appropriately suited to this broader end, enables the average person to learn,

remember and use creatively the whole totality of his knowledge, his

abilities and not just a limited part.

Plato mentions it when he says that doubt and confusion arise from the

ignorance of the art of thinking, no , not having to think about art , he

believes true reasoning and a little later the par fake (and sometimes is false,

wanted no) , and Cotesta case occurs over a FIATA , in the end , and no

longer believes in anything, and especially those who are used to thinking of

everything pros and cons, which , you know , at the last believe of being

very wise and become ' they have just heard that there is no such thing in the

world nor any reasoning frank and durable , but that all, as nell'Euripo , turns

up and down, nowhere and at no time now resting. It is therefore miserable

thing that avendovi of reasoning and real balances , easy to understand , for

those who have heard he sometimes seemed to him true and sometimes not,

in exchange for accagionar himself and his lack of art, gitti finally gladly

self- blame on the same reasoning , and spend all the more time to his life -

Odian

as in antiquity had given man the artificial memory , so Bruno with this book

delivered to mankind the Artificial Intelligence, which does not need any

electronic machines, but directly employs the wonderful and powerful

computer that is the human brain, which is used from habit as a recorder that

repeats only a few silly songs.

Paolo Rossi, about Bruno, spoke of "fantasmatic logic" , taking only a partial

aspect of Bruno's thought : Bruno's logic is fantasmatic in that it uses in its

unfolding the imagination, but this "logic " , this thought is integrated in a

system of fantasmatic memory, to reach formulated theories that instead of

being "cold" or fanciful are valid interpretations of the reality, that is in some

way "scientific", because their are verifiable in congruity with the outside

world to the inside world representation.

The use of the imagination to practical purposes rather than to the known

purposes transparencies of artistic creation , can not play heretical ear of

those accustomed to call "fantasy" that which has no basis in reality, simple

and arbitrary confinement of the individual mind.

Yet Aristotle had already warned his contemporaries that every form of

thought is fantasy, even scientific thought. "The map is not the territory ,"

warns the Bateson. So why not take note of this fact and go bravely

conscious and deliberate use of that faculty of the human mind, after having

educated work against rationality but not in agreement with it?

Of course, we realize the need to add more evidences in support of this

interpretation, and so we must find an answer to the objection that is more

spontaneous and natural in front of the thesis put forward : if Bruno really

found artificial intelligence, or the art of thinking, because he has not said it

explicitly, and has instead obscurely left this invention to make us believe

that it was simple mnemonics of "logic fantasmatic" or whatever?

The direct reading of the text of Clavis Magna induces disorientation rather

than lightening the mind of the reader, and this does not happen by chance,

since, as we will explain later on, the author did not intend to expose all of

its doctrine in the pages of a text that would go into the hands of anyone, but

it was meant to arouse the curiosity of his contemporaries because they then

directed personally to him to receive his teaching.

Because many passages of his art have been silenced and can be

reconstructed only inductively , we must assume that with his death has

disappeared also the possibility to realize his dream?

No, so as Bruno enjoyed a privileged status compared to Plato and Aristotle

as he could use all the knowledge developed subsequently to them, so today

we are able to understand Bruno's thought making use of the discoveries

made, in particular, in this last century.

Therefore it is not a work of exhuming the oblivion of time , but rather to

resume the discourse on Artificial Intelligence that only the present day can

finally be started due to the quantity and quality of the knowledge acquired .

The words of Bruno "...explore ( these principles ) a Work so vast that it can

avail scientists, poets, orators, physicists, astronomers, fortune-tellers,

mechanics, theoretical, and in short, all in all ways." sound today as a

prophetic promise facing humanity in the third millennium, rather than our

own contemporaries.

The human mind can be regarded as the most sophisticated computer you

can imagine,

it can store an incredible amount of data and process them with the rapidity

and precision not less than that of the machines, and above that, is capable of

creating. So why not begin to study the Bruno's software for our mind in

order to use the most of its infinite ability?

Unlike other philosophers Bruno investigates how to think instead of the

thing in place to provide the predigested food we fit the dentures to chew on,

and in having interpreted this historical necessity, is his true greatness, as a

teacher of the third millennium, not a fallen victim to the old philosopher of

the lnquisition.

Giving evidence of a psychological sensitivity largely ahead of his time,

Bruno had been able to grasp the emergence of a new sophistry that, like the

ancient, argued the primacy of discursive reasoning thereby denying the very

existence of the intellect, whose objective classical and medieval philosophy

reflection had then stretched. As a new Plato, Bruno shows the way of

awakening not only the intellect, but, unlike its predecessors, at the same

time provides all the necessary information to the journey. But there's not

only a chance to rediscover the art of Bruno's thinking : today we need it

right in the field of scientific research, in fact, for several years, scientists

have expressed the need to adopt new ways of thinking, seeing as those on

which the Western science was based had already

exhausted their office heuristics, and so Heisenberg, for example, has

emphasized the role of Buddhist thought in the development of the theory of

"quanta .''

Perhaps the time has come to make a radical revolution in our way of

thinking, abandoning their prejudices and the ruling inherited from the

counter and re-evaluate the imagination as mother of thought. Indeed, now is

the time to even use this power consciously and deliberately to free our

minds from the shackles and the superstructures that immobilize it, and the

Master who can guide us in this endeavor is Giordano Bruno.

List of abbreviations

AM Ars Memoriae

CC Cantus Circaeus

DU De Umbris ldearum

CM Clavis Magna

DISEIC De imaginum . Signorum et Idearum composition

DA De Anima of Aristotle

DMR Of Memory and Reminiscence Aristotle

STM Summa Terminorum Metaphisicorum

Note: The quotes from other Latin writings of Giordano Bruno report page

according

to the edition cited in the bibliography.

thanks

A big thank you goes to Professor Maria Semproni who worked on the

translation from the Latin , a hello in Paola, Bozena and Bruno .

CLAVIS MAGNA and DE IMAGINUM

1. the mystery of Clavis Magna.

The mystery attracts, fascinates, it is a challenge that our intelligence must

win to affirm its acumen , and especially to pay homage to the truth that is

hidden in mystery. As the charm of a beautiful woman is based on its

inaccessibility , but if that really were the case, would be to deny the very

nature of a beautiful woman , because it is not enjoyable for anyone, it

would not be a beautiful woman, but a beautiful statue, a pretty women or

anything else inacessible, as an object of desire, the mystery, the enigma,

exists to be violated, and in his own violation is the victory of truth that

hides it, as in the final indulge of the woman is the end of its beauty,

otherwise identical to an absolute ugliness.

The mystery lies therefore an enigma, that is, a structure whose apparent

forms lead astray and the challenge is to recognize the functions of the

structure beyond appearances. This recognition can take place only coming

out of the context in which the riddle is stated, leaving the mind free to

identify the situation in which the particular structure occurs .

In this respect, the modern psychologists speak of lateral thinking, as an

outstanding performance of the rational mind; Brurno and all the great

thinkers talk about it before them instead as of the intellect, the faculty that

allows us to understand the interpretation of a reality, not just in theory but

intuitively and focused.

The mystery also, like beauty, is a challenge and gives rise to the feeling of

pride and the desire for possession, as very well know the magicians of

today's advertising. That's why Bruno who use them largely for groped to

attract disciples as the best minds of his time, that they should certainly

abound, given the fate that was then reserved.

But times change and human knowledge increases all the time despite the

stupidity of the ruling classes, who, like the Pareto had to recognize, are

constitutionally formed by parties related to outdated ways of thinking.

2 . It is possible that Clavis Magna has never been either written or been

lost?

We thus propose to tackle the mystery of this text ever written, or perhaps

lost, who knows, but enclosing what secrets? Stellar Magic, dares the

brilliant British scholars, or who knows what terrible black magic formulas.

Since we do not know anything about these fantasy so as you, as they say,

who more so on and so forth.

The double hypothesis that Clavis Magna was not ever composed or lost

undoubtedly has the practical advantage of exempt ourselves from the tiring

task of looking for it, but it is not methodologically correct, given that the

work "...is to the origin of all inventions." cap.V p. 103 AM , and

"...dedication to the invention is extremely fertile ( the art of thinking )."

Bruno himself then affirms each are hoping to immortal fame : "The form

exterior and the figure of the inventor of Clavis Magna through the art, is

entrusted to the hard stone, or diamond," Chapter VI , Page 58 , AM, and not

wrong because it "...contains all the technical operations of the soul , both

memory and the others," cap. XV p. 64. And in the Cantus Circaeus states:

"... The Clavis Magna is of invention, judgment of science and retention of

fixing arcane" , cap. VI p. 232 .

The mystery then it would be even more dense and our concerns which

could not

increase if we set ourselves the following questions:

1) It is likely that someone entrusts his fame to a work never done?

2) And if that work is so valuable, is it possible that copyright do not protect

against the risk of being lost?

So let's go in order and examine for the first hypothesis of the failed

composition of Clavis Magna: apart from the absence of this title from

Bruno's bibliography, we do not have any clue that the work was never

written, while the number of citations and recalls in the Art of Memory, and

Songs of Circeo suggest the opposite.

Such calls are made because "it is not always right that the researcher sends

the principles of Art to a discipline subordinate" pg . 7 AM , that if it is the

work of a general nature it is to deal with the general principles, while

specialized ones (in this case it is a paper on the technique of memory )

must be given the exposure of more restricted application of laws limiting

the writer, where necessary, to recall what has already been stated in the

other .

And this is in itself a valuable clue against the hypothesis that we are

considering: the Clavis Magna must have been composed because it

represents the work of a general nature in which are contained the general

principles.

In addition, the simple reading of the quotations scattered in the Art of

Memory and in the Songs of Circeo gives us a lot of useful elements to get

an idea of the topics covered in the Clavis Magna , which, as you can easily

guess, all relate directly to the Art of memory that the two texts in our hands

involved.

It certainly is not easy to pretend to believe that a book of which the author

speaks so widely indicating the content even compared to many details has

never been written. Nor will want to plead for the failed composition of the

book the fear of being unequal to the task, Bruno does not feel inferior to

any of the philosophers of the past and of not being able to deal with any

subject with mastery of concepts and bewildering audacity in the use of the

technicial terms.

Last but not least , remember that Bruno is undoubtedly a monist , as

evidenced by his doctrine of the coincidence of contradictions, in which the

minimum and maximum are the same. The currently most reliable

interpretations instead present him as an eccentric thinker and disorderly

born that passes effortlessly from metaphysics to mnemonics , from magic to

mathematics and so on. , without bothering to give any systematic way to his

most brilliant insights , such as that of the infinite worlds that only in very

recent times, man has been able to accept. Look for the center of thought ,

therefore, is to engage in the work of Bruno's quest for Clavis Magna of his

philosophy, and at the same time a vision of the world transfiguring an

infinite variety of impressions ordered sequence of data components a

whole. But we have a definite statement the same Bruno , contained in

explicatio 30 Sigillorum , which forces us to admit that the work was

composed : in fact, in the last lines Bruno defines the Sigillus Sigillanos as

one of the volumes of the Clavis Magna . So the Claris Magna exist, at least

in part, at least the second volume is definitely in our hands , although with a

different title , and then you can reasonably expect to find even the first .

3 . The misunderstanding of the name , however the fact that a part of the

Clavis Magna has a name different from that with which it was printed ,

leads us to formulate a new hypothesis : the name Claris Magna might not

be a title, but rather a generic name indicating the role of the book in relation

to other works. The function preparatory work also explains the uncertainty

regarding the exact number of volumes that compose it, initially only one, as

shown by the numerous citations of De Umbris and Rods Circaeus , but then

at least two , or more , according to the statement mentioned above . After

all this work done to call with a different name from the title under which it

was published is not an isolated incident, it is also called the Ars Cantus

Circaeus reminiscendi (eg page 135 E.30 St. ) and not a few doubts exist as

to whether the De Umbris and the Ars Memoriae we can consider two

separate works , for at least three reasons :

1 ) the ' Ars Memoriae lacks dedication and introduction ,

2) Erratum to De Umbris Idearum is instead dedicated Ars Memoriae ,

3) 1 ' Ars Memoriae is cited as De umbris Idearum (eg DISEIC , page 97 ) .

And yet we find in the recall explicatio 30 Seals ? , Page 146 , leads us to

believe that these are two distinct works , given that states: " .. I have mostly

taught in ARS Memoriae that follows the de Umbris . " At this point we

have collected sufficient evidence in favor of the composition of Clavis

Magna , but before you seriously consider the possibility that it remained

unpublished, and therefore has been lost , that would force us to direct our

research in dusty c improbable funds

that agree to conduct a survey of Bruno's works in our possession with

reasonable hope of identifying the title under which the work is hidden .

Immediately comes forward the issue of the era in which it was printed

because we know that Clavis Magna must have been composed in Toulouse,

a city in which Bruno was between 1581 and 1582 to comment on the De

Anima of Aristotle, but we have no news of earlier works, De Umbris and

Cantus Circaeus.

Assuming , therefore, that it was printed some years after the actual date of

composition, we would like to know why the publication has taken place at a

later date than the other works that deal with related topics and they need the

introduction but to be understood. Basically we could sum up the issue in

one question: why Bruno did not care to be understood?

Let us for a moment suspended in the discourse on Clavis Magna and, as

happens in detective stories, let's take a step back to frame the figure of

Bruno.

4 . The figure of Bruno.

Bruno has a very high self esteem, here's what it looks like in the preface to

Explicatio 30 Sigillorum: "Philotheus Giordano Bruno the Nolan, a doctor of

abstract theology, professor of wisdom pure and harmless, the best known

European academic, philosopher far beyong, received honorably anywhere,

in any foreign place, if not between the barbarians and the ignoble, awakener

of sleeping souls, tamer of arrogant and recalcitrant intelligence, publisher of

a universal philosophy , who does not prefer the Italian to the Britons, males

to females, mitrate those crowned heads, the men of the robe to those arms,

those who wear the habit in those who do not carry it, but rather one who is

more temperate, more civil, more loyal and pious capable, that does not take

into account the oint head, forehead marked, hands washed, the circumcised

penis, but (and this allows us to know the man in the face) the culture of the

mind and the soul, which is hated by the propagators of nonsense and

hypocrites but sought after by honest and scholars, and whose genius is

applauded by the noblest..."

A beautiful lesson of nonchalance worthy of a gentleman Renaissance by a

man who once had been a friar was not wearing any trace of false

humility, but replaced the hypocrisy of social conventions with the

uncompromising and proud assertion of its value! "Our

intelligence is not likely to feel bound to a particular philosophical

or others to despise any address in full philosophical. Truly there is

no one who does not hold in high esteem those relying on their wits

to contemplate things and built something with art and method, do

not overlook the mysteries of the Pythagoreans, do not belittle the

faith of the Platonic nor despise the reasoning of the Peripatetics,

from where they have a basis in reality. " DU Pag them , in fact,

"the work of only Plato and Aristotle alone will not be enough to

tempt those larger ego other discoveries," DU Pag.12 .

Acomplishment greater than those performed by the greatest

philosophers of all time!

That's why he does not hesitate to attack even Aristotle , who

"pushed from the truth although no certain knowledge and a

proven reason " , Page 63 CM , which is an affirmation of our

intended use. This nonchalance towards traditional authorities is

justified, however, in The Ash Wednesday Supper, dial. I, page 39

, for " we are the oldest and longest we age our predecessors,

therefore you must comply with the new ideas that most ancient

ones, as modern as having the experience that they had not," and

also " if the old ideas are true as such, then it must be false when

they were made."

And again: " among the species of philosophy, that is the meglior,

which makes the most comfortable and highly perfection of the

human intellect, and is more relevant to the truth of nature, and

what is possible (make us) that cooperators" , Page 277 Dia . It.

De la Cause. So also the fact that he experimented on a topic most

noble (the refinement of intellect) gives him a rank higher than that

of the philosophers of the past.

5 . The academic aspirations of Bruno .

Bruno aims to teach the art of thinking, (AM) that can not be

learned from books, but to be transmitted directly from master to

disciple, for this we need a school. That's not to say too much

because he writes and adapts to seek the protection of the powerful

as the king of France and the Queen of England who could give

him the means to realize his dream.

Hence the dark swirls in the style often rushed, almost crude and

clumsy, and sometimes it gets so high and noble to compete with

Lucretius: "Here an old woman from the back curve, stern face,

sunken eyes, not very present in the soul itself, overloaded years

knocking at the door of the silent black Say with fearful mood, the

spirit depressed, broken limbs, stomach fast the languid soul,

shaking all the arts

for the pulsation of the heart.

And you look at the silent sky sublime splendor, bowing and bowing her

head unstable on both shoulders and tilted her face on his chest; languish

weak legs and torso arched and no comfort in life takes not more vigorous

limbs"hg . 130 CM .

Some Latin works more than real books are proclamations launched the

powerful and learned to notice because of him, I am the pledge of a talent,

can not and do not want to replace direct teaching.

The Aquilecchia has aptly noted (Introductory note to Praelectiones

Geometricae pag.XVI) that until the end "...confirm the academic aspirations

of Bruno, always looking for a means of livelihood as well as, authoritative

dissemination of its doctrines".

We would add that his true aspiration was to create the new Alexander the

Great, as Aristotle had created one in antiquity, no other pedants,

grammarians, who know how to repeat in and out season, the ideas of

others, but men able to create their own opinions using consciously their

mental faculties.

This explains, among other things, the stark contrast between the good

preparation of the Italian dialogues and poems francofones designed for

reading and for the lack of attention that was publishing books on

psychology, the subject invention of which he was proud and which rested

the sense of his greatness, his faithful disciple claims that while he was

writing "Support on one foot at the same time dictated and thought, hardly

followed by the pen, such was his lightning wit, so great was the power of

the his mind!" Preferences STM .

Neither one cared in the least to correct errors of any kind, unless he had not

understood exactly, more would have been the possibility of being asked to

explain his invention in person.

In fact, in Latin works Bruno often repeats that "one thing is difficult,

someone who can understand these things alone. Everyone will understand

by the master, which certainly does not stem from the fact that we aspire to

the difficulties, but the novelty of the thing and the wealth of terms" , CC ,

Page 215, and adds an explanation of the closed attitude : " in fact, Plato

urges nell'Eutidemo in the knowledge that the most solemn and mysterious

to be detained by the philosophers with him and be disclosed only to the few

who are worthy. In fact says that the water although you buy at very low

price, it is the most precious of all things. The same we do with our friends ,

and even pious carefully, because then we are forced to a situation more

urgent than that from which Plato was headed. " The situation was more

urgent to poverty and obscurity

where our pay, while Plato when he published his works already

enjoyed the reputation of a school famous throughout the Hellenic

world .

His existential condition led him to identify with Prometheus " to

the men who, having procured the fire of the gods, have incurred

their wrath ." The gods feared the wrath of whom Bruno were both

the rulers of the time , and envy, ignorance and prejudice that

dominated the minds of men in general , two categories of

powerful enemies .

So , unable to escape the task of disseminating his teaching with

writing, he expresses that " perhaps no one will understand

everything with all the implications , unless you get your hopes up

. Nobody , however, remain frustrated by the choice unless it is

blind " ( CM , Page 53) , and then frankly admits , " although we

do not want or even write so as to be able to be understood by

everyone and everything , but there is no one to be very beneficial

and we can not go into something genius according to the needs of

any discipline which he occupies , " ( CM , p 122). On the other

hand "to people of genius enough to have shown the place and now

if we do not explain enough , maybe we expressed respect to the

site more than enough. A fact we do not think about it at all but a

few (because they are grateful ) . " Page 87 AM .

( That gratitude. That vain hoped to be able to inspire in all those

powerful that it had to its courts without seeing it for what it was ,

the herald of the future science of humanity , not a magician of the

many who could fill with wonder the short time with their

quackery . )

Bruno was obviously conscious of the need to maintain the

confidentiality of certain parts of his doctrine also due to ignorance

of the time, in fact : " If we want to disclose in detail all these

things would be a huge undertaking and difficult to communicate ,

especially because these days I see very few true philosophers "

such conduct " would disturb many , not to mention some new

names and new inventions considerations are required " , Page 5

AM .

6 . The topic of Clavis Magna

Let us now return to the mystery of Clavis Magna and the answer

to the question why it was published and later under a different

title becomes obvious: he did not want to disparage his teaching

disseminating it through the books , so he published the first parts

for the last of his thought, that people educated of the time could

appreciate as comparable to studies of mnemonics , and only when

times were turning for the worse with his imminent expulsion from

Frankfurt said to the press Clavis Magna , with the title as simple

as possible , but as to warn the student that approaching with

caution neces-

necessary caution . "The composition of images, symbols and

ideas for all kinds of inventions, provisions and memory."

The title refers to the same definition cited above : " The Clavis

Magna ... is the invention and judgment of science and retention

and fixation arcane " , CC Page 232 Par.VI , in other words,

promises the way of structuring contents of our mind , with only

pictures, symbols and ideas in order to create any invention,

develop any theory, remember any amount of data.

What else can be the Clavis Magna if not domination of the way to

structure the images we use to think ?

Further evidence of the fact that De imaginum was composed

before De umbris and Cantus Circaeus is the affirmation that are

right in the first lines of what should be the dedicatory epistle, he

says of the fact that it is "one of the prominent offspring of ( his )

talent already conceived and fixed in writing" words that really

resonate unheard if they were penned almost at the end of his

writing .

There are also several other internal arguments in support of this

hypothesis :

1 ) The fact that the loci mentioned are still shut up real estate,

square, and therefore likely to precede the exposure of the silent

furniture circulars of MP and CC;

2) That this work seems dedicated to the memory was fairly

developed in the introductory bread which are exposed to general

principles, such as the theory of the three worlds, the light and

institutions;

3) The entire third book is also dedicated to the seals, which

constitute the link with the subject of the second book of the Clavis

Magna already mentioned, the Sigillus Sigillorum ;

4) The works that have as their object the technique of memory to

be logically preceded by a book which deals with images and

imagination, essential elements of this art is among the ancients for

Bruno;

5 ) For the sake of completeness, we add that, since the work of

Toulouse, and it is known that in Toulouse Bruno commented on

the De Anima of Aristotle, there is a clear link between the Clavis

Magna and the De Anima. The entire first section of the De

imaginum is devoted to the study of the psyche in general and

Aristotle there, is mentioned twice: "Our understanding (ie, the

operations of our intelligence) or fantasma does not exist without

imagination." (or , Pag 52) , and again right after "if you do not

intend to keep the ghosts." But not enough, the footnotes to the

first pages of the CM can be seen as they are a

kind of summary of the themes of Aristotle's De Anima , while the

topic

Bruno's main text relates to the use of the imagination in the form

of images , or ghosts, which Aristotle refers frequently without

being able to give a complete discussion because it is the subject of

the art of thinking, extremely valuable aspect of his teaching that

could be offered only in exceptional personality as the young son

of Philip, king of Macedonia , who was to become Alexander the

Great.

The concept of the universal soul understood as diffused light

everywhere and permeating the entire reality mediated by the Arab

commentators of Aristotle, Averroes

and Avicenna in the first place .

7 . Concordance between citations and text.

But it is not enough to say that it was composed before DISEIC

and other

works , the identification with the Clavis Magna will be safe only

when we

demonstrated that the calls of De Umbris and Cantus Circaeus fit

De imaginum .

PM. PAG . 62: The book of Clavis Magna have 12 subjects

Wraps: species ,

forms , statues , images, spectra , copies , vestiges , clues, signs ,

notes,

characters and seals.

CM , P. 59: st . also p. 204 Sigillus Sigillorum : Species, figurae ,

Simulacra

Similitudines , Imagines , Spectra, Exemplaria , Indicia , Signa ,

Notae ,

Characteres Seals .

AM , P. 64 . CAP. XV : remember that this art can not be used in

other

means to achieve his end, that sensible things, and figured certain

for time and place, as we have mentioned that occurs in all other

technical operations of the soul (see the first volume of the Clavis

Magna ) .

CM , P. 116: cap.XVI , fl section

CM. PAG . 118: Ch. XVII, The Chamber, all

CM , P. 78: ch. I, section II , all

AM , P. 67: and therefore appropriate to state three points at the

practice of this art. The first explores who and what should be the

subject . the

second and teaches them that way are the forms to appresiare . the

third

teaches you to adapt the instrument , the means by which the soul

operates

more quickly. Of all these , and is treated in detail and in depth

first book of the Clavis Magna .

v. . images , and anything else loci , both in the first and second

book.

AM , P. 67 : Subjects : " So the first subject the technical space , a

zone for the faculty fantasmatic , littered with all sorts of

receptacles

that have flowed, passing by the windows of the soul. It divided

into several

parts and holds all things seen and heard receiving them according

to their own

order and how the soul pleases. And this definition covers the

subject's

common areas according to the forms of art common to antiquity

that has

been reported to us.

The first subject , however, derives from the principles of Clavis

Magna:

the chaos of the fantasy may treat in such a way that the power of

cogitative,

balancing things seen and heard, may advance in a neat

representation so that

with his limbs first and his last part is able to give birth with great

fecundity and submit the same things perceived with the ears and

eyes

as if each time he met the spectacle of a new tree or animal or the

world.

Otherwise this chaos seems to behave in a cloud driven by external

winds,

that for the different and conflicting impulses and capable of

assuming all

endless figures of the species .

Certainly, as this subject is fruitful and noble, you can better judge

through the same experience than with any reasoning . However,

those who

will have been able to penetrate the Clavis Magna investigate , in

fact not at all granted

to penetrate this Corinth."

CM , P. 77: ch. II , section II

AM , p.70 , CAP. VI: Merge the platitudes the clichés, the least

common

the less common, its their own, the more the individual and their

own and the more

to the individual. Now you can see that not only will you be free

from all

fear of oblivion, but will become more ready and more secure in

the paint and represent

perfectly as well as ordering and search technic of the methods .

And you have this in its own way in the roots of the first book of

the Clavis Magna .

CM , P. 114: Ch. XIV: the determination of the species trough the

chain.

AM , page 187 , CH. 11: We found indeed a method to combine

the individual

subjects between them while keeping intact the ends of each, and

also in

more, and longer, as you can see in the arcana of Clavis Magna.

CM , P. 114: Ch. XV, all

CM. PAG . 118: Ch. XVIT , all

AM , P. 76 CAP.XIII : How great is the force of impressions

generally

and what are the ways to provoke them , to keep them and

changing them is explained

clearly in Clavis Magna .

v. . I and II of the book.

AM , P. 77 CAP. I. Instead it is called adjectum or form in this

sense that what

is applied to a person physical or technical fantasmatic, with an

ingenious

preparation of thought to present, represent, record, or indicate

something to express or imply a similarity of writing and painting.

This system covers the common forms handed down from

antiquity to the present day . The shape instead is obtained as the

roots of Clavis Magna: and has made known and explained the

order of the species understandable in the statues, or

microcosm, or disposed generally in other architecture for

mentally note

or any other speech to represent something deducing from the

infinite space of the imagination that allows each metamorphosis.

CM , P. 80: ch. V , section II

AM , page 87 , CH. IV. So we invented an easy art with which we

shape

things heard or seen with convenient numbers to its kind, with the

same

order of the numbers, so conceive the order of the thing, felt so,

they count easily and it's very easy to learn and to remember them.

on the formation

numbers through everything there is something in our few . And

this

theory lies in the books of Clavis Magna where it comes to

semimatematic numbers.

CM , P. 180: Book III , numerator , another system.

CC , PAG.232 , PAR.VI. It is not for this deal work places verbal

positive and could not be processed if not abused by

this art, in fact, we consider them in the book of Clavis Magna that

is

invention and judgment of science and arcane retention and

fixation .

The Clavis Magna is in fact the invention and judgment of

Sciences

(dispositon) and the retention and fixation arcana (memory). The

loci

of verbal positive sounds are treated in the book, Cubili of

concinenti

and assonant .

CC , PAG.241 , CAP. XXX , PAR . 11 . The act by the agent or

action, such as robber from the theft. If, however, some will

imagine other ways besides those listed, consider them all included

and reducible to these since they have been reduced by a perfect

numbering and consideration to this issue, as is clear to those

familiar with the technique of Clavis Magna .

CM , P. 80: ch. VIII , section II

AM , page 103 , CAP.V : You will be able to countless ways in

which more

terms are juxtaposed, as long as you have mastered the use of the

Clavis Magna

(because it is the origin of all inventions), and those that we

seemed more useful we explain them differently depending on the

place.

For the juxtaposition of the terms v. The book section II.

The definition of the origin of all inventions applied to Clavis

Magna and

taken from p. 65 of the same book in which , chap. XVI says :

"That's why

We dare say that no matter what the ancients on this topic thought,

taught and

tidy (as is explained in their writings received in our hands), and a

part

that is not in harmony with our invention extremely fertile and

where dedicated

to the book Clavis Magna ".

So the Clavis Magna would be comparable, from a certain point of

view (for

how wrong) to classic work on the subject of memory, while in

reality differs

clearly for the substantial novelties of the argument, which is not

limited

to memory, but instead develops the theme of the new way of

thinking, the theme

artificial intelligence, that intelligence release the data randomness

of

its manifestations, and deliberatly, planned appropriately to say, in

view of performance

unimaginable the natural intelligence. The discovery of Bruno

therefore

is comparable only to the discovery of a new continent, and its

status can

be approached only by that of Columbus (The Supper of Ashes , p.

31).

Finally, if through the Clavis Magna we access knowledge, it

should also

be used to interpret the Bruno's other works, which in some ways

are connected,

just think of all the geometric treatments encounter in other Latin

works, and in

the poems of the Frankfurt School, already translated into Italian,

but impossible to understand fully if one ignores the knowledge of

the atria.

At this point, we believe we have sufficiently demonstrated that the

Clavis Magna

is related with the De imaginum Compositione and conclude by

saying that

despite everything, it is partially true that Clavis Magna was not

ever

written: it was never written in terms that some scholars would

expect, on

basis of the idea of Bruno striking and imaginative, a Renaissance

magician with

dark cloak sprinkled with stars, the cone hat and wand core.

Not and has never been written by Bruno the work of "magic star"

filled with dark

incantations and occult "magical operations ", all this was part

of the cultural intelligentsia of Elizabethan England again

fillature in the embrace of the last ghosts of the Middle Ages , not

the man

which opened a new era to humanity by handing his dream and

mission

to achieve artificial intelligence.

In relation to this discovery we can understand that they are no

steep

excessive pages that Bruno dedicated to magnify his invention , for

example, in the first dialogue of The Supper of Ashes, when it

comes to state

that if Apelles, Phidias, Theseus and Colombo are so excited for

their

accomplishments "...be that they have found a way to mount the

sky, talk the circumference of the stars, to allow the arrow to point

toward the convex

surface of the firmament?". Infinite damnation to humanity are

derived from their

works, along with the undeniable advantages, while " Nolan cause

to the effects

the whole contrary, he dissolved the human mind and cognition,

which was locked

in the prison of the turbulent winds ", ie, in the imagination , " the

toast,

presence of each sense and region , this key allow the inquisition

to open this cloisters of the truth, that open my capacity, undress

the covered

and veiled nature, has donated the eyes of moles, enlightened the

blind who do not

see to fix his eyes and gaze and imagin its many mirrors opposed

on each side , dissolved in silent language that he knew not, and

did not dare to express intricate feelings , reuse the lame Valean

not make progress with that spirit that can not make the ignoble

and dissolute compound, which makes it no less present fussero

proprii inhabitants of the sun, of the moon and other celestial

bodies named, shows just how similar or dissimilar Siino, more or

worse those bodies that we see far below catered to what and to

whom we are united, opens our eyes to see this god, our mother,

who in his spine nourishes and feeds it, after productivity from his

lap, back to what I always riaccoglie, and she does not think the

addition to be a body without a soul and life, and even the dregs

with substances corporal."

We understand now that this is not an exaggerated assessment of

the importance of a good book on metaphysics and mnemonics ,

but an allusion to the great discovery which he cannot speak

openly because "does fring for any of this burden, but for those

who can bring..." , p. 36. This knowledge, however, is not reserved

only for rare lucky, and open to those "...who do not incapacitate

for natural impotence, or deprived of talent and discipline, but not

only to warn and not to consider are called orbital, which is the

case for the privation of the act itself, and not the de faculty again.

" , p. 37 .

Since , however, we find ourselves in the position of having to

attribute to Giordano Bruno insights that belong to the wealth of

knowledge of man of the millennium, we

will try to identify cultural trends present in all of our era, that was

already available, because they obviously could not have invented

everything alone and must have used concepts already present in

the culture of the Renaissance. (see Appendix II)

Chapter II

THE BEGINNING OF THE ART OF THINKING

1 . Classical rhetoric and Bruno's rhetoric.

"The composition of images, symbols and ideas for all types of

invention, arrangement, and memory. " usually referred to as "The

composition of the images.", is traditionally listed among the

works of mnemonics, as if it were "The composition of the images

for the memory." a failure to translate the book into modern

languages has also contributed to the continuation of error.

A brief reflection on the terms invention, arrangement and memory

presented together, rather, we should put on a warning, and guide

us to think about the rhetoric, given that these are the three

moments in which the teaching of this art is traditionally divided.

In the Rhetorica ad Herennium , (1, 2, 3) the anonymous author

thus defines these words:

"The invention and the ability to find true or plausible arguments

that make the case convincing. The arrangement and the ordering

and distribution of topics, indicates the place that each of them

should occupy. Memory and tenacious presence in thought of the

topics, the words and their disposal."

However, it looks decidedly inadequate, because of missing parts,

the category of mnemonics loses all interest, it would lead to a

false attribution of gender in the studies of rhetoric, since it lacks

any mention of the traditional figures of speech .

" The rhetoric as it always been treated, is a system based on a

posteriori analysis, while claiming to be a priori analysis for the

execution of literary work."

The study of this discipline does not lead to composition of literary

texts, philosophic or scientific, but only to an analysis of texts, as

an end in itself. And that have been written by others. Yet it is also

true that the study of the works of the great thinkers and poets are

useful to learn and apply to the art of our time, of which they were

masters .

Although contradictory, the apparent inconsistency arising from

that is solved when we introduce the distinction between the

thought and its manifestation.

Through the study of the works of others we can learn to continue

their thought only if we have been able to recreate in us the

original movement of the thought that you want to model: the

imitation of the formal resolves instead into a ridiculous parody.

That's because it is useful and useless at the same time studying

the works of others. The game is played on the ground of the

preconsception and when the results come to consciousness the

games are already made.

You can then adapt the codes used as the final expression in the

brasing magma of the conscious thought before its definition ?

If true, as Aristotle says , that thinking consists in the combination

or juxtaposition of images, you can use the natural attraction

between similar figures to suggest to the mind the models which fit

the shape of the thoughts before they are defined, as it were

crystallized ?

The answer to these questions is the subject of the art of thinking,

not of that art to express themselves and that classical rhetoric.

Bruno insists repeatedly on the antithesis suggested/explained ,

and frequently his speech appears convoluted, even enigmatic , but

this apparent lack of clarity stems from the will states that the

reader being the first person to recognize and reveal the truth of his

words, not the writer to provide a ready made truth, or rather pre-

digested .

We believe this is the proper key to the interpretation of the style

of Bruno's speech, that Socratic, allusive and non-defining way,

precisely because he does not run the risk of becoming dogmatic

and therefore, dead and sterile.

This does not mean that he wastes his clear and distinct thoughts

that we usually compare to Descartes, the Atri locis have just a

function of separate the various topics, so that they can not mix or

overlap. When Descartes praised the clear and distinct thoughts ,

Bruno had already taken steps to teach in a way that had to be

separated and deep.

The allusiveness and referrals to doctrines already exposed by

others, also allows you to spare yourself the direct exposure and

full of such theories as true without having to defend itself, but

attributing to them a pre purely functional to the discourse that is

being done at that time. No wonder the quote from philosophers as

diverse exhibiting antihetical doctrines, their agreement on a

precise point it shows that regardless of the true point of view from

which there arises, examining it. "We do not want to write or even

be able to be understood by everyone and everything,"

CM , Page 122 , but apparently only by those who possess the

necessary cultural references .

A great thinker is but he who opens the door of the unknown,

because everyone can look beyond, to this category belong Blake

and Boehme, to whom we are led to define visionary rather than

philosophers, the job of the philosopher is not to reveal his truth,

but helping others to discover their own, the job of the midwife,

Socrates said, is not the one of an architect.

Is'nt it true that the greatness of a teacher is judged by the things

his students can do, who are the subject of his art as educator? And

besides, educate doesn't meant originaly "bring up" but rather

"fullfill" as you claim today?

Bruno performs the Copernican revolution of retoric, shifting the

focus from the moment the speech is delivered to the immediately

previous to the actual wording of thought and defined concepts,

and to do this is at the center of the system of memory around

which revolve the other parts. The invention is no longer one of the

stylistic examination, it becomes the goal to which the author's

creative efforts aim , and the available instrumental to it.

The cogitative process proposed by Bruno begins with a present

given to reason, and the next question: What do I know about this

topic? For a non-organized mind, the answers are crowded,

creating some confusion. Bruno proposes to fabricate a

consciously logical categories so you will have precedence under

which the information in the memory take turns on the stage of

consciousness. These categories are displayed as a locus of

memory, from which it extracts everything that can serve as raw

material for the construction of thought.

2 . The Atri

Because everything starts from the mnemonic, we note that the

main difference between the macroscopic classical and Bruno's

version, is that the latter uses a geometric layout and not "real

places" as the first. It is a choice that plays an important role in

clarifying the vision of what is being observed since the relations

of affinity and contrast between the elements, that make up the

meanings, are spatially placing the premise that leads to the

development of symbolic logic and all of Bruno's art of thinking .

Lobby Principal of the Altar

The first hall, so Bruno defines the places of memory, acts as an

index, or cliché, the atria particularity include 24 sites represented

by the letters of the alphabet.

atrium of the Altar

Construction of the second Atrium according to the instructions in

section III. IV and V. Constitutes a further development of the

letter A in the preceding figure.

Atrium of the Basilica

Is the development of the letter B of the first figure.

Atrium of the Prison

Is the development of C in the first figure. All other Atri must be

constructed with the same criterion.

Atrium of the Basilica

Is the development of the letter B of the first figure.

Atrium of the Prison

Is the development of C in the first figure. All other Atri must be

constructed with the same criterion.

Atrium of the Basilica

Is the development of the letter B of the first figures.

Atrium of the Prison

Is the development of C in the first figure. All other Atri must be

constructed with the same criterion.

Note the arrangement of the figures and concepts, not juxtaposed

in the diagram, but willing to contrast against each other , so the

altar is in contrast to the basilica , as iI prison to the domus . You

want to clearly point out the differences between similar concepts ,

such as altar and church , or prison and home, so that they are

more clearly distinct.

The first figure order under the heading "altar" all the clichés

which in turn sort all of the special places.

On the use of Atri as loci of memory can be found in Appendix II.

3 . The Cubili

The atria reveal their utility in the memory of things, but they are

difficult to use in the field of memory of words , such as abstract

adverbs or adjectives. For this sector Bruno has come up with the

"cubili " or rooms that complement the architecture of the atria.

Discusses two types of cubili, one rectangular and the other

composed of equilateral triangles arranged to form a square as in

the figure on page 31 .

The cubili of vowels are rectangular and are used to classify

nouns, adjectives and adverbs according to the initial syllable of

words beginning with a vowel. Thus , the first cubile is called

Bacchae and contains words that start with the first consonant , B,

preceded by one of five vowels , thus giving AB , EB , IB, OB ,

and UB abstinentia absolutio, left, top, top right instead

obstaculum and Oblivium. The example shows only words that

begin with AB and OB , but later models will be provided for the

other .

Abstinentia ( abstinence) Obstaculum ( obstacle )

Absolutio ( absolution ) Oblivium ( oblivion )

maenad

DOLATOR

( Stonecutters )

addition Idolatry

adolescence Idea

Are taken into account only the 12 consonants that occur in second

place in the Latin language , and are instead neglected H, Q and Z

do not

are employed in this position . Is formed in this way a catalog of

words easy to consult mental placed the consonant is quickly

replacing the vowels that precede and follow it and you will find

the word you need, because it has its first three letters .

It's a game and a job that must be done at the beginning with the

help of a dictionary, but it is very useful to have a wide choice of

terms , which means , ultimately , a large number of concepts.

It is interesting to note that the focus is csclusivamente to the

sound of the syllable and not to its meaning, for which they are

collected in the same cubile sounds AB and AD in Latin specify

two opposing movements , one expulsion and the other approach .

But we encounter the first cubile complete with 4 vowels at the

word custos ( guardian ) , who accuses , acceptance, egestas (the "

c " is pronounced in the southern dialects as a "g" ) and even the

diphthong "ae" , which in Latin is pronounced "e", is represented

by the word aegritudo ( illness), but there is IC with icon, HEIC

(here) and OC with occasional and occupatio .

Figure 1 - cubile OF GOODNESS

A priest dressed in linen censer with burning incense at the altar

cubile of words beginning with the letter B. From the central

triangle we obtain the first three letters BAL , BAM, BAN,etc.. ,

Which may be followed by one of the vowels or consonants of the

side triangles , forming BALLE, BAMBO, etc.

The cubili of consonant , ie words that are prior to a syllable that

begins with a consonant , have a triangular shape and have a

higher complexity because they are almost triple in number , 30

against 12 of the first kind , are meant to complex images ( for

Bonitas example , the

goodness and represented by a priest dressed in linen censer with

burning incense at the altar ) that we do not know where to place ,

whether inside or outside the geometric space of the same , and

information on the use of these cubili are particularly confusing,

but these however, as to understand how they are to be considered

an actual software to get the words from the depths of the mind

that we need, overcoming blocks and unconscious resistances .

In cubile of Bonta we have at least 5 subjects each of which

performs six types of actions. This requires a clear definition of the

behavior that you want to mean , ie not just represent themselves

as a cattleman type odor emanating shabby , but it is necessary ,

for example, that grazing cows , the rallies, the milk, clean the

stables, it spread hay in the manger , aid the cows pregnant

women. All this happens in a sign of goodness , therefore the

actions of the cattleman who fall into the category of evil are

excluded , I do not imagine it while slaughtering a calf while he

steals the cattle of the other breeders .

Figure 2a . Cubile OF GOODNESS

Cubile of words beginning with a vowel and have B as the first

consonant .

The consonants on the corners of the central triangles are the

second and third consonants of the word to remember. The voice at

the center of the triangles indicates the lateral third and fourth

letttera and consonants at the corners are the third and fourth

letters of the word.

Ex. ABELE, ABITO, ABORTO, ABISSO and countless other

existing or can be created with this method.

The use of models Brunian tends to replace the anarchic

imagination and often paid to the negativity with a positive and

fantasy adjusted . Therefore you do not contemplate actions

morally reprehensible , but only those that stimulate the right to

think , speak at the right and at the right act , according to the

technique of replacing widely treated in the Sale of the

Triumphant Beast .

With cubili you enter in the field of programming language , it is

not more to have data memory , but to expand the expressive

abilities and rasionalisation with the use of an adequate number of

concepts represented by the words used .

Figure 2b . EXPLANATION OF IMAGES WITH SENSITIVE

ACTION OF OTHER VOICE

Cubili are taken by those individuals who indicate actions that

take place in the courts and give life to such fantastic tales , true

metaphors than later will have to be expressed by rational

language .

According to the classical mnemonic for the courts should serve as

support for the memory to recall facts and names, but can be used

also to remind ARTEM abstract words such as , for example,

because you just keep in mind the letter corresponding to the

image to find out how the sequence goes, acqua, carcere, lavacro,

thorax, fuoco corresponds to the letters a, r , t, e, m , in the case of

the second hall of the altar, while in the lobby of the jail sequence

will snare (a man with his hands tied ) , psaltery, parrot, old ,

in the atrium of the basilica images corresponding to the letters a, r

, t, e, m are hell , swimming pool, kept , camel and honey (see the

first example of a combination ) .

We note that while the construction of the first hall the east of the

altar is placed in the upper right , in the courts following the east is

moved to the top left, and consequently the letters of the atrium

must be made to slip two places , as in the the following figure. To

add even a hint of trouble and mystery, then , Our firm holds the

three images at the bottom right of the list , and instead indicate the

M Still , Cloud and Larva , use Fire, Vecchietta and Treasury ,

leaving them in place they occupy in the list.

Figure 3 . Cubile GOODNESS OF TWO OTHER

CONSONANTS

In any triangle double six forms of the indicated or tools used .

The second type of combination regards the syllables and sounds

of the words , is no longer the individual letters. So , after having

memorized all the important sites you can contemplate all together

in the individual constituents of the altar is extracted from the

atrium and the TRO syllable of the throne , and from the atrium of

the baths you take the syllable TEM temple . Just reverse the first

syllable and you will ORTEM , easily recognizable by ARTEM ,

or the image of the temple which is located in the lobby of the spa

you can put the figures of a dog and a Templar , not inanimate , of

course, but a dog biting the temple , then the sound of the first

word A is followed by the sound of the second R , and the word is

completed by the first syllable of the third , TEM .

These methods are very dangerous to be adopted in the field of

mnemonics , because it leaves room for error and uncertainty ,

since, for example, ortem could also be the name of a place and

therefore the mind of the mnemonic device could ramble uselessly

away from his goal.

Bruno could not ignore the fact, but this drawback for memory is

proof that you are now moving away from mnemonics to enter the

area of artificial intelligence.

Not the memory but the insight comes strongly into play here ,

with the power of the poetic imagination , that is creative . He who

strives to remember recreates a situation or a word, is a craftsman

in his workshop neat and clean produce something unique and

new, though respectful of traditional models , it is not a tired

archivist of dead words .

But the song titled second example of the combination is also the "

added " in fact images of living beings, humans and animals that

roam in the atria and make them live emotionally , and verbal

expressions or verbs. It is arbitrary to have approached the image

of the dog at the temple and the temple : in the Italian language is

said to be "like the dog in the church," to understand the condition

of those who are absolutely out of place and could continuous the

hostility of the present , as animals are driven from the sacred site .

So while the Templar, monaco warrior who defends the holy place

, the temple is connected by analogy, the dog is in opposition . The

Templar chases the dog then, but this bites him , as is the nature of

the dog. The sketch shows us that Bruno is emotionally vibrant

and spontaneous at the same time because they freely created by

the imagination of those who contemplate the picture described .

The third method uses the combination cubili , both of the

accidents that of consonants. Then the first syllables of the two

words Armigero and temperate form exactly ARTEM .

It is a kind of three-phase operation of the human mind in its

simplest form can be described this way: once perceived a concept

wonders what use or damage could arise from it and make a list of

pros and cons . Bruno proposes to use the images to liven

reasoning and thereby participate in the emotions that are the fuel

of imagination.

It is easy to see that this is the psychic world of the Egyptians , as

we now know for sure by the conquests of Egyptology , but it was

unknown to Bruno that he had learned from the reading of

Plotinus and Iamblichus .

Of course the process is exactly the opposite of what today is

called by many encouraging the use of an abstract discourse even

where the

use concrete terms would be more expressive .

All that we have seen so far does not seem to have anything to do

with magic , but also wanting to continue in this case, one can not

reject any attempts at assimilation to necromancy , given that the

images presented are overwhelmingly harmonious and soothing ,

while in their capacity to evoke .

Finally Bruno exposes the method to complete the species ,

meaning by this term the words that are represented by the images

. In the first place can be connected to the initial end of a region , ie

of a set of three images , or at the end of an atrium , using for

example the word A-TE-ne to call TE-be , or Dian-A for

remember Apollo.

Secondly it is suggested to dispose the atria in series , so that the

concatenation call them back .

Thirdly, it uses the analogy of meaning and function .

Fourth , it takes different alphabets.

Fifthly, it makes use of a story that holds together different images

by concatenating the story.

Finally, you can " encrypt " for purposes mnemonic expression on

multiple lines by placing the image of an agent, an object of the

action on and connected to him , so that eg. by BAptizator CUm

urceo LAvat e Miles VEXillo sAITat you rebuild BACULA MI

VEXA(N )T. But the composition of words does not happen only

in the sense of the lines , but rather in vertical and diagonal , so

that a few simple images may contain syllables that make up the

whole speech.

We have thus reached the opposite extreme of symbolization ,

images are signs of words and these are treated as quarries

material, broken down into constituent syllables and used as

signifiers in a pure state for meanings origin unknown . It is a

cryptographic technique well known in the time of Bruno in the

field of military and diplomatic communications , but it is

probably also an interesting example of how they interact with

each other images of the atria and cubili .

Finally, after the Atri , are the fields that are of Atri enlarged, in

which 54 terms are listed with a few logical relationship with the

field name . These cards with a variety of objects , names, concepts

to consult when you want to talk about that field : the king or

royalty, the sardote or sacredness.

4 . the Archetypes

In the second book , after putting order in the memory and

imagination , we pass to the description of the archetypes , Bruno

presented not as mere personifications of subjective emotions , but

also as emotional structures of psychic reality .

The Brunian archetypes can not be defined with one word, unless

you use the traditional name: Jupiter, Mars, Mercury, etc. .. But

rather who or what is Jupiter? Only the word Jupiter may be

supplied by the concept, indeed, the pictures, because it is an entity

very complex and multifaceted sometimes contradictory. Jupiter

and joviality, but also the Authority and Power, Magnanimity, but

also a feeling of superiority that somehow contrasts with the

apparent availability connected with the idea of joviality.

Want to isolate one aspect denying others would be arbitrary and

unfair, as well as inaccurate and therefore are rejected labels or

precise definitions rationalistic to preserve the symbolic value.

All things begin and end, so it is methodologically correct from the

father of the gods, Jupiter is the condition of well-being and

acceptance of the reality from which they develop any emotional

situations later. Metaphysically we can speak of jovial optimism

with which the world is observed .

Circle of divine figures or archetypes

Note that the circular arrangement allows the visualization of the

affinities and oppositions between the archetypes, which are not

considered as figures

Simple but composed of parts joined together in different ways

give rise to absolute metaphysical principles , but still refigurable

with elements of archetypes . So the principle is composed of the

antecedents and the surrounding Jupiter , Mercury and the

cassocks of the assistants of the Sun and the Half is given by the

praetorian of Jupiter, from the wings of Mercury and Mercury

operator , etc. .

The second book is definitely more enjoyable and accessible to the

psychological subtlety that it penetrates . The objectification of the

most disturbing ghosts , hunger, poverty, disease , death, but also

anger , fear , doubt , etc. . giving us the right to contemplate them

in their intimate nature allows us to exorcise them and drive them

out of our mind as Perseus did to Medusa, through the mirror .

That is why the sadness is a deadly disease , because it refuses

treatment that could make disappear , with the healing of the sick .

" He loves it when a refugee and is abandoned and hates joy and

escapes as a genre enemy." (cm. p. 133)

But along with the description of the disease we even care , which

consists of the replacement of the archetypes negative with positive

ones.

So sadness is " a ghost wrapped in mourning dress that hides her

face under the black rust of the bowed front , ragged , emaciated

horses that whip and tired which dragged the wagon proceeding

very slowly through a swamp willow knocked out in the mud

repulsive . " (cm. p. 133)

The repugnance that you try to contemplate the picture above

helps the mind distracted and uncertain of the patient to consider ,

something that would not happen if the archetype of his condition

he had not been fully revealed before : " a child on a the mountain,

around the mountain, a river, at the two girls and boy near a goat

feeding , "or" a boy and a girl in the lap of Fortune , one of which

takes the right breast and the other on the left, " and so on.

The images of the jovial boy , the girl , the mountain goat suckling

, recall the idea of protection, security , serenity, all of which

are exactly the opposite of sadness , which is loneliness,

uncertainty , etc. desolation .

And this is the most beatyfull invitation you can imagine in the

world of poetry, creativity, self-consciousness , the conscious

rejection of evil spell that requires us to see the world and

disheartened bare energies and values, acceptance joyful in the

world with no regrets for what the world might be. An act of

confidence in their creative abilities that could be summed up in

the phrase " I am , therefore, I can and will ." Non- acceptance of

the defeat, the situation is what others have created , but

the statement " whatever the circumstances in which I find myself

to be able to operate establish myself ."

The mood is then controlled by these images with their presence on

the horizon of the mind , on the borders of the unconscious,

operate silently to give tranquility, balance and energy to the

operator.

We understand now divided Bruno's " Sad in ' joy , sadness

hilarious ." This is possible when you are not only masters of their

own memory , but of his own psychic world in one piece,

including the emotions and moods.

And all this is made possible by the images that show us how

objectivity in their sadness and hilarity are equivalent since both

our mental projections , both ghosts that live only in our minds.

The external world is recognized for what it really is , one of our

representation , and our representations can be placed under the

control of our will , here is revealed the thought of Schopenhauer ,

but with a few centuries in advance and with the use of a reasoning

inunediatamente transferable on a psychological level , and not

merely philosophical .

Above all, it must be stressed that it does not come into play the

religious beliefs , the Catholic Church has the undoubted merit of

having complied with the images , rather than having promoted the

use , and in Bruno's speech can not be found dangers of " sagging

" in Eastern religions , on the contrary, the habit of frequenting the

world of images allows the Catholic to accept more easily the

proposed techniques.

But the contemplation of the archetypes plays an important role

also in the field of reason, in fact, the start conditions are

represented by the antecedent and the surrounding Jupiter ,

Mercury and the cassocks of the assistants of the Sun The

beginning , understood this word in its meaning absolute , almost

metaphysical , in fact , needs the coincidence of a number of

favorable factors, it may have a following, which is essential to its

very definition .

The same can be said of the vehicle and so on for all the other 23

absolute concepts expressed by the letters of the alphabet ( Cm.

Page 171).

It should be noted the similarity between the names of the atria and

the list of attributes that will be proposed at the end of Book II :

Altar ............................principle

Basilica .......................Half

prison

Domus

Equleus

Fons

Gladio

Horoscopo

Ignis

Jugum .

lantern

canteen

nest

fold

pabulum

Quadriga

Networks .

mirror

Terme.

vehicle

port

Junction of Pythagoras

Xenium

Z , elotypiae clavis

end

convenience

discrimination

contrariness

Good and bad in nature

Knowledge and truth

Ignorance and falsehood

Willingness and motivation

love

diction

nonsense

blessing

curse

action

Possession and hoarding

Good luck and evil

beauty

size

Bliss and glory

exiguity

duration

Although we are not currently able to highlight the details of the

connection between the two phases of the art of thinking, we can ,

however , at least

excluded that the second book has to do with the mnemonic also

understood in the broad sense that we saw in the first book.

We believe instead of being able to say that the sky of the

archetypes is to be used as a meta-language , ie, a way of talking

about the structure of the discourse that is articulated through the

atria and cubili highlighting the

aspects which are more immediately connected with the

unconscious . This is indicated by the circle closes and restricts

the atria and cubili , whose presence

should be related to the circle of archetypes above.

The thought that takes place in the atria is guided by a movement

corre-

tooth in the sky of the archetypes , in close resemblance to what

happens in the physical reality that is conditioned by the reality of

heaven , as claimed by astrology but also alchemy, and please

make all of obscurity .

5 . The Seals

The seal is behind the mark of the manufacturer , a drawing, for

the most part very simple , engraved on a tile, which was intended

to call to mind the observer a lot of news : the manufacturer's name

, city of origin , the particular use which type of vessel that was

usually used , the shape of the vessel , the size , etc. .

Bruno attaches to the end , however, an area larger semantics , it is

the symbolic representation of the articulation of a kind of

reasoning , a model of which is offered by the Apocalypse of John

with seven seals.

The seals Johannine constitute a theory of motion picture glowing

light , suffused with roaring voices , moaning , screaming ,

threatening , begging , suffering , insult , in a dreamlike succession

of great dramatic intensity , and thus demonstrate the power of the

sacred quand ' it shows itself to humans.

The same happens when the overwhelming power of imagination

reveals itself to our mind , which remains fascinated by the

contemplation of the seals and is struck by the unexpected insights

.

The ability to replace the sign to the symbol , from metaphorical

language rather than rational logic , has been developed since the

early approaches to Bruno's thought , which in this field has found

a land largely plowed and sown, if we only think of the tradition

Judeo-Christian sacred anus and studies that have come to define

the cathedrals of the Middle Ages as " Bibles of stone" and to

recognize the iconography of a cloister musical notation of a

religious song .

As Mario Schneider has shown for the images imprinted on the

stone of the Christian monasteries , which were the supports for the

memory of the brothers , they contain musical notation , so

geometric patterns that adorn mosques spatially represent the path

of thought which repeats the verses of the Koran .

This statement should not be understood as if they were to deny

validity to the recent discovery that some arabesques contain the

figure of advanced mathematical knowledge , so to fully

appreciate the course design should be a thorough knowledge of

mathematics.

There is a lot of mathematics in music of Beethoven, but if you

arts -

come to recognize in the Ninth Symphony a few theorem is not yet

known, does not mean that we deny the validity of what we know

well , namely, that it is, in terms of emotions and feelings , heroism

and exaltation of the figure of Napoleon.

Truth and beauty are the qualities of the divine , one in the field of

thought and the other in the sensations , but as long as you

perceive as separate remain veiled in their divine essence , only

when you feel the beauty of truth and the truth of beauty you are

close to the True and the Beautiful .

So poetry is painting, but also mathematics and law, anatomy , and

any other form of knowledge together when it is true it is also nice

because it shows the harmony of nature , a mirror of divine beauty.

But back to the use of seals to indicate structures of thought . The

seal is given by the path of thought within an atrium or group of

atria , with constant liaison with the circle of archetypes that

indicate the emotional tone or color choice.

We are aware of the fact that these few remarks do not exhaust the

subject, but we'd be happy that finally serious studies were

undertaken on the art of thinking of our rebuilding as far as

possible the procedures devised by him , which alludes in his Latin

works . You have to torture the text to force him to tell everything

hides , and as such , the atria and cubili can be made to fit in the

memory of each of the other letters of the syllables and sounds and

abstract words , the fields are not entirely attributable to a bread

memory , but more to the spontaneous creativity , and are

therefore more worthy of attention because, after all , represent a

more "natural " in the sense that the closed spaces are less common

in nature and therefore not open ones when it comes to you can not

help but think of fences and barriers in the process cogitative is

really free and then mature .

P. Rossi talks about logic fantastic " , thus demonstrating that he

understood the terms of the problem but not to have fully

appreciated the importance , or at least to have underestimated

largely because the focus of Bruno is not confined to logic, which

is still a instrument of human rationality , but invests the totality of

being , emotions, feelings , memory, attitude toward life,

worldview, expressive skills at the linguistic level , creativity,

imagination , all of which with the logic have little to do .

It is of the utmost importance instead have documented the need

manifested between the '300 and '600 enhance the mental faculties

of the individual through a method of memory.

What has prevented at that time to recognize and disseminate the

discovery Brunian The unpreparedness of the collective

consciousness to take the quantum leap required by the use

conscious of all the faculties of the human mind .

The repressive attitude was enough to ensure the ruling class all

the comforts imaginable , the lower classes lived in total darkness

of ignorance , the suggestion of the matter ensnared consciences.

It was not necessary to develop the intellectual capacities of man ,

it was enough to cut all contact with the Counter with thought

forms other than those permitted , and a plate conformism ensured

the semblance of agreement and harmony necessary to reassure

and to the lazy dozing conscience of the time . Cius deceased royal

religion . The political and economic power was getting married

religious authority so that it was necessary to wait until the French

Revolution to affirm the right of each individual to think freely .

But the emphasis placed by the Jacobins of the majority and then

had to bring freedom to the socialist and fascist totalitarianism ,

you had to develop modern capitalism and then you had to get in

our day to resume the conversation started centuries ago in

convents and in the circles of the learned on need to broaden the

intellectual capacity of man to enable him to make more use that

brain that still employs only by less than 10%.

What for nature, God or the Great Architect of the Universe would

provide us with an organ cases oversized compared to the use that

has been made so far , if not with a view to its use full ? Today,

science has reached such a degree of conceptual complexity that it

becomes necessary to have more capacity than in the past , when it

was enough to have learned some knowledge of Aristotle to

believe to be able to explain any phenomenon . Because the fire

burns ? because it has a virtue ignitiva . And in more recent times :

why wars break out ? Because the excess of production forces the

capitalists to destroy a part of the property to create more questions

. A socialist state can not make war rather than to defend

themselves. Then there were the wars between socialist states , but

this did not prove anything, according to the Marxists , because the

war between Vietnam and China, for example . depends on an

erroneous way of understanding socialism.

The historical interpretation of Christianity is not unlike a State

made up of citizens and Christian rulers rejects war , because

both categories of men keep the teaching that one must love one's

enemy . The wars that have historically occurred between the

Christian states only prove that Christianity was not applied

correctly .

Video meliora proboque sequor deteriorates ( I see better things,

and approve, but I follow worse.). The split between feeling , pen -

thought and action could not be better represented . Bruno with his

Clavis Magna provides us with a way to bring order to our inner

selves and to ensure that the humanistic values present in

socialism and Christianity have some possibility of being applied

in the historical reality that in her the variety and unpredictability

requires the presence of men of ability much higher than those

demonstrated by those who have done so far.

To change the world we must first change ourselves because we

are the sons and fathers of this world.

You do not need to fight to affirm tolerance and love , just be

tolerant and loving with each other and if it is true that you have to

make an effort , they should be direct in the sense of increasing the

clarity of our ideas, for one thing, and then our words and finally

our actions : our interlocutors can not do anything but conform to

the truth when we first we were able to implement it.

Otherwise it could happen to us to pronounce the tragicomic

phrase " Be my brother or I'll kill you ," tragic because too many

lives have been destroyed in the name of universal brotherhood ,

comical because the poor man that spoke did not realize that the

murderer will can never be linked to the feeling of brotherhood ,

which is its antithesis.

6 . recapitulation

1) Preparation of artificial memory with Atri and Cubili , coding

and decoding , conversion from sign to sign , and vice versa , the

logic of contrasts and juxtapositions in a dialectic of evolution.

2 ) Recognition of the Archetypes and their functions in analogy

with astrology

3 ) Catalogue of different forms of thought (seals ), which are the

mold of the impression you want to give the reasoning . Formation

of mnemonic images that accompany unusual words .

I. Seal Order of the combinations

II . Seal Order of the grouping

III. Seal numerator , criterion classifier

IV. Seal Example of transformation of the symbolic narrative in

abstract reasoning by decoding of the images proposed in the first

verses of the Aeneid by Virgil . Significantly Proteus is titrated

into the house of

Mnemosyne , being the god Proteus, who knew everything and

could take any form , a clear allusion to the passage from symbol

to sign and vice versa.

V. Seal Chain Method of making connections between things

disparate events and people .

VI. Seal Way to develop a speech from a simple data

VII . Seal Combinations of elements from different lines of thought

.

Having understood about the operation of the mechanism

described , the problem arises immediately know what are the

limits Brunian art that , by making use of a limited number of

tools , it may not be able to exhaust the infinite variety of thoughts

obtainable "naturally ", ie without the use of the art of thinking.

The answer comes from studies on Propp's " Morphology of the

Folktale " , meaning a fairy tale fixed , and therefore can be

examined objectively , handed down from generation to

generation. Well , all the infinite variety of situations is

deterrninata by a small set of functions that an even more restricted

set of characters embody .

When you decode the story passing from the symbolic to the

rational , bringing the character to the concept it represents, and

becomes the function in addition to direct or indirect , according to

the traditional rules of logical analysis , we understand that there

are no limits to the variety stories as possible, although it is put

forth by a limited number of forms. Just like the letters of the

alphabet , a limited number are at the origin of an infinite number

of words.

But if our mind is already able , potentially , to express any

thought, what is the need of the art of thinking ? The self-

awareness in the first place , namely the need to be aware of how

and what we think , secondly the opportunity to consciously

perform all possible combinations of concepts in view of a

conclusion is not arbitrary .

Art of thinking or science of free thought ? Today, we are led to

define what science is of some dignity of systematic thinking and

look with suspicion that we reserve the term art to those

manifestations of the spirit that play a playful character such as

martial arts or the art of painting and so on.

In view of the systematic nature of the processes indicated ,

however, that are endorsed by philosophical reflection evidenced

not only in the context of European civilization, but also from a

distant cultures , we are tempted to apply the term science, but

fidelity to the author's expressive choices and compared to the

current culture make us prefer the term art , because the thought

resulting from the application of the method Bruno's is not needed

in its conclusions , but it is free to move according to the inner

urges .

The rhetoric bnmiana of thought or art of thinking is also Bruno's ,

but at this point I would say above all, a way to self-consciousness,

towards the realization of the self. A way of initiation , in other

words , since the goal is the radical transformation of the

individual psychic landscape .

But it is possible a way that disregards initiation initiatory ? This

is not the place to discuss the issue that has already been addressed

by Guenon , for example, but we can still catch some affinity with

the procedures of initiation in the strict sense , such as still

practiced in Freemasonry , involving the practice of silence and

concentration.

The art is a way of thinking about philosophical , secular, devoid

of ceremonial equipment and especially avoids any intermediary

who proposes to facilitate access to higher states of consciousness ,

and relies only to a method and capabilities of individual

judgment.