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 CC DU CM DISEIC DA DMR STM Ars Memoriae Cantus Circaeus De Umbris ldearum Clavis Magna De imaginum . Signorum et Idearum composition De Anima of Aristotle Of Memory and Reminiscence Aristotle 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 clichs, 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 predigested . 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 clich, 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 clichs 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

addition adolescence

( Stonecutters ) Idolatry 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 selfawareness 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.