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 establish among scholars and philosophers such as Giovanni Gentile. Secondly, we show that the work here 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, mnemonics gives to those who uses it an Artificial memory extraordinarily powerful, by which a normal person these days, could remember with accuracy and precision an entire telephone directory with names, addresses and phone numbers, so does the Art of thinking, which makes use of a memory technique appropriately suited to this broader end, and who enables the average person to learn, remember and use creatively the whole totality of his knowledge, his abilities, and not just a limited part of it. Plato mentions it when he says that doubt and confusion arise from the ignorance of the Art of thinking, however, not using the Art of thinking, is believed to be true reasoning wich proves to be false (or sometimes false, sometimes true), and subsequent cases occurs over the same circontense, andin the end, no longer believes in anything, and especially those who are used to thinking of everything pros and cons, which, you know, at the end believe of being very wise and even if they have just heard that there is no such thing in the world nor any reasoning true and durable, but that all, as Euripes said, turned up and down, can nowhere and at no time stand resting. It is therefore miserable thing that you have the real reasonings balance, easy to understand, of those who sometimes seemed to him true and sometimes not, in so many occasions have seen the defeat of the Art, being happy to blame itself through the same reasoning, and all the other steps of his life time

and hating and depriving himself of the knowledge of the true Intellect. As antiquity has 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 we simply used from habit as a recorder to repeats 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 for practical purposes rather than to the only purposes of artistic creation, can not play heretical of those ears accustomed to call "fantasy" that which has no basis in reality, a 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 Bateson. So why not take note of these fact and go bravely and use consciously and deliberately that faculty of the human mind, and after having learn the system, to work against rationality and 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 this thesis just 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 "logical 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 anybody, but it was meant to arouse the curiosity of his contemporaries because they then

his teaching was meant, and directed personally to them. 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? Not at all, 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 "...to 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 creation through his creativity. 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 knowledge in place who provide a predigested food we fit the dentures to chew on, and in having interpreted this historical necessity, is, his true greatness, standing 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 on 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. 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 problem solving method, 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 the prejudices and the ruling inherited from the Countrereforme and re-evaluate the imagination as mother of thought. Indeed, now is the time to 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 in the reported pages are 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 if the charm of a beautiful woman is based on its inaccessibility, if this really was the case, it would deny the very nature of a beautiful woman, because if it was enjoyable for anyone, it would not be a beautiful woman, but a beautiful statue, a gracious madona 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. In the mystery lies therefore an enigma, that is, a structure, whose apparent forms, lead astray. 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 reality, not just in theory but intuitively materialized. The mystery also, like beauty, is a challenge and gives rise to the feeling of pride and the desire for possession, a very well known fact for magicians of today's advertising. That's why Bruno who use them largely to attract disciples as the best minds of his time, that they should certainly abound, given the fate they reserved him. But times change and human knowledge increases all the time despite the stupidity of the ruling classes, who, like Pareto had recognized, 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, who more so on and so forth, as they say. The double hypothesis that Clavis Magna was not ever composed or lost undoubtedly has the practical advantage to exempt ourselves from the tiring task of looking for it, but it is not methodologically correct, given that the CM "...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 that everybody is 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 he is not wrong because "...it contains all the technical operations of the soul, memory and the others," cap. XV, p. 64. And 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 would be even more dense and our concerns which could not ------------------------------------------------------------------------------------------------notes........

concerns could not increase more if we set ourselves the following questions: 1) Is it likely that someone entrusts his fame to a work never done? 2) And if that work is so valuable, is it possible that any copyright would protect it against the risk of been lost? So let's go in order and examine for the first hypothesis the failure composition of Clavis Magna: apart 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 through the Art of Memory, and Cantus Circeo suggest the opposite. Such calls are made because "it is faily unusual that a researcher sends the principles of Art to a subordinate discipline " pg. 7 AM, and that a work of general nature should 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 works. 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 in the Cantus 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, are all directly connected with the Art of memory that the two texts in our hands involved. It's certainly not easy pretend to believe that a book, of which the author indicating the content and speaks of so widely in detail, has never been written. Nor to plead for the failed composition of the book, or the fear of being unequal to the task, Bruno does not feel inferior to any of the philosophers of the past, or of being able to deal with any subject with mastery of concepts and bewildering audacity in the use of technicical terms. Last but not least, remember that Bruno is undoubtedly a monist, as evidence shown by his doctrine of the coincidence of contradictions, in which the minimum and maximum are the same. The currently most reliable interpretations instead of presenting him as an eccentric and disorderly thinker

passesing 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. To 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, of ordered sequence of data, composing a whole. But we have a definite statement of 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 Clavis Magna exist, at least in part, as the second volume is definitely in our hands, although with a different title, and then you can reasonably expect to find the first one.

3. The misunderstanding of the name. However the fact that a part of the Clavis Magna has a different name from that which it was printed, leads us to formulate a new hypothesis: the name Clavis Magna might not be a title, but rather a generic appelation indicating the role of the book in relation to other works. The function of the 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 Cantus Circaeus, but then at least two, or more, according to the statement mentioned above. After all, to call a book with a different name from the title under which it was published is not an isolated incident, in fact Cantus Circaeus is also called Ars Reminiscendi (es. E.30 S. page 135 ) 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 a dedication and introduction, 2) The Errata corrections note to De Umbris Idearum is dedicated instead to Ars Memoriae, 3) The Ars Memoriae is cited as De umbris Idearum (eg DISEIC , page 97). And yet what we find in the statement made in Explication of 30 Seals? (Page 146), leads us to believe that these are two distinct works, given that: " .. I have mostly taught 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 and remote places in libraries

will 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 time 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 needs the introduction 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 suspend the discourse on Clavis Magna and, as it 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 academician, far beyong philosopher, 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, those who wear the habit and those who do not, but rather one who is more temperate, more civil, more loyal and pious, 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 hypocrities but sought after by the honest and the 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, 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 Page. 11, in fact "the work of Plato and Aristotle alone will not be enough to tempt those larger ego from other discoveries," DU Pag. 12. An complishment greater than those performed by the greatest philosophers of all time! That's why he does not hesitate to attack even Aristotle, who "draws from the truth, if not a certain knowledge at least a proven reason", Page 63 CM , which is an affirmation used of our own intendedement. This nonchalance towards traditional authorities is justified, however, in The Ash Wednesday Supper, dial. I, page. 39, for " we are the oldest and the longest we age our predecessors, therefore we must comply more with the new ideas than the most ancient ones, as moderns are having the experience that they had not," and also " if the old ideas are true as such, then they had to be false when they were made." And again: "among the species it is philosophy, that is the best, which makes the most comfortable and highly perfection of the human intellect, and is more relevant to the truth of nature, and what possibly (makes them) cooperate." , Page 277 Dia. It. De la Causa. So, 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 he needs a school. That's why he wrtite continualy 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 often rushed in the style, almost crude and clumsy, and sometimes it getting so high and noble that he could 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 Swan with fearful mood, the spirit depressed, broken limbs, stomach fast the languid soul, shaking all the

the pulsation of the heart. And you look at the silent sky sublime splendor, bowing and bowing, her head unstable on both shoulders and tilt her face on her chest; languishing weak legs and torso arched and no comfort in life takes not more vigorous limbs". Page. 30 CM. Some Latin works, whom are proclamations launched to the powerful and learned, got 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 "...it confirm the academic aspirations of Bruno, always looking for a mean 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 knows how to repeat in and out the ideas of others, but men able to create their own opinions using consciously their mental faculties. This explains, among other things, the clear contrast between the well written Italian dialogues and poems francofones designed for reading and the lack of attention that had his published books on Psychology, the subject of the invention of which he was proud and which rested the sense of his greatness, his faithful disciple claims that while he was writing "Jumping from one foot to the other, at the same time that he thinks and dictate, hardly followed by the pen, such was is lightning wit, so great was the power of his mind." Pref. 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 if being asked to explain his invention in person. In fact, in his Latin works Bruno often repeats that "one thing is difficult, and that is 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 Eutidemes in the knowledge the most solemn and mysterious to be detained by the philosophers and to be disclosed only to the few who are worthy. In fact says that the water although you buy at very low price, is the most precious of all things. The same we do with our friends, and even more carefully, because we are forced by a situation more urgent than that from which Plato was headed." The situation was more pressing for poverty and obscurity

than of getting paid, while as Plato when he published his works already enjoyed the reputation of a famous school 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 and envy, the wrath of whom Bruno were both the rulers of the time, the 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 he is blind." ( CM , Page 53) , and then frankly admits , "Altough, we do not write so that we want or even try to be understood by everyone about everything, and that, there is no one to which we can be very beneficial and go into something ingeneered, according to the requirements of any discipline in particular," ( CM , p 122). On the other hand "to the people of genius we have shown enough place here and there. If we didn't explain enough, we think that the place we have expressed are more than enough. In fact we do not think to all but to a few of you(because they are grateful)." Page 87 AM . (What vain hoped of gratitude I had, that to be able to inspire in all those powerfull who had their court, without seing it for what it was, the herald of the future science of humanity, and not as a magician of everything who could bring amazement in a short time with its charlatanism.) 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: "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 that some new names and the considerations of new inventions 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 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 sholars of the time could appreciate as comparable a studies of mnemonics, and only when times were turning for the worse with his imminent expulsion of Frankfurt sent to the press Clavis Magna, with the title as simple as possible, but as to warn the student to approach it with necesary 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 of arcane", CC Page 232 Par.VI, in other words, promises the way of structuring the contents of our mind, with 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 for thinking? 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 would resonate unheard if they were not 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 immobile loci, rectangular, and therefore likely to precede the exposure of the Moving Circulars Loci of AM and CC; 2) That this work seems dedicated to the memory was fairly developed in the introductory which exposed to general principles, such as the theory of the Three Worlds, the Light and Intellect; 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 Operations that have for object, the technique of memory to be logically preceded by a book which deals with images and imagination, this art is for Bruno an essential elements among the ancients; 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." As if 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 Bruno's main text topic 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 from the Arab commentators, 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 demonstrate that the calls of De Umbris and Cantus Circaeus fits De imaginum. AM. Pag. 62: The book of Clavis Magna have 12 subjects enclosed: specie, forme, simulacri, immagini, spettri, esemplari, vestigia, indizi, segni, note, caratteri e sigilli. CM , Pag. 59: also Pag. 204 Sigillus Sigillorum: Species, figurae, Simulacra, Similitudines, Imagines, Spectra, Exemplaria, Indicia, Signa, Notae, Characteres, Sigilli. AM, Pag. 64, CAP. XV: remember that this art can not be used in other means to achieve this end, certain for 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, PAG. 116: cap.XVI, II section CM, PAG. 118: cap. XVII, II section, all CM, PAG. 78: cap. I, II section, all AM, PAG. 67: it is therefore appropriate to state three points of the practice of this Art. The first explores who and what should be the subject. the second teaches them the way the forms should be evaluated. The third teaches you to adapt the instrument, the means by which the soul operates, more quickly. All of these, are treated in detail and in depth in the first book of the Clavis Magna. v. images, and other 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 each time he met the spectacle of a new tree an animal or the world. Otherwise this chaos seems to behave in a cloud driven by external winds, 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 of any reasoning. As those who will have been able to investigate and penetrate the Clavis Magna. It's not granted to all to penetrate this Corinth." CM , P. 77: cap. II , section II AM , p.70 , CAP. VI: Merge the most common to the most commun, the least common to the less common, the proper to the proper, what is proper to an individual to what is proper to an other individual. Now you can see that not only will you be free from all fear of oblivion, but you will become more ready and more secure in the depecting and the perfect representation as well as the ordering and searching technic of the methods. And you have this in the its own way in the roots of the first book of the Clavis Magna. CM, Pag. 114: Cap. XIV: the determination of the species trough the chain. AM, Pag. 187 , CH. II: 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, Pag. 114: Cap. XV, all CM. Pag. 118: Cap. XVII, all

AM, Pag. 76 Cap. XIII: How great is the force of the general impressions and what are the ways to provoke them, to keep them and change them, is explained clearly in Clavis Magna. v. I and II of the book. AM, Pag. 77, Cap. I. Instead it is called adjectum or form in this sense that what is applied to a person's physic, technic, or 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 so obtained are at the roots of Clavis Magna: and has made known and explained the order of the species, has made understandable the statues or the microcosm, or generaly disposed inside some architecture for mental note or speeches to represent something deduced from the infinite space of the imagination that allows each metamorphosis. CM , Pag. 80: cap. V, section II AM , pag. 87, Cap. IV. So we invented an easy art with which we shape things heard or seen with convenient numbers to its kind, using the normal order of the numbers. Conceived this way the order of the thing felt so that they count easily and are very easy to learn and to remember. With the formation of numbers through all things there is something of each of us. And this theory lies in the books of Clavis Magna where it comes to semimatematic numbers. CM, Pag. 180: Book III, numerator, an other systems. CC , Pag. 232, Par, VI. It's not to this work to deal with the verbal positive locies, and could not be processed properly without the use of the Art, in fact, we consider them in the book of Clavis Magna. The Clavis Magna is in fact the Sciences of invention and judgment (dispositon) and the arcana of retention and fixation (memory). The loci of verbal positive sounds are treated in the book, Cubili of concinenti and assonant .

CC, Pag. 241, Cap. XXX, Par. II. By the agent or its 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, Pag. 80: cap. VIII , section II AM , pag. 103, Cap.V: You will have access 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 seemed more useful we explain 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 is 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 thought were on this topic, taught and ordained (as it's 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 it 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, pag. 31). Finally, if through the Clavis Magna we access knowledge, it should also be used to interpret 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 the basis of the idea of Bruno striking and imaginative, a Renaissance magician with dark cloak sprinkled with stars, a cone hat and wand core. Not and has never been written by Bruno the work of "stars magic" filled with dark incantations and occult "magical operations", all this was part of the cultural intelligentsia of Elizabethan England against 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 torefied 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 , discuss in silent language that he knew not, and did not dare to express his 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 inhabitants of the houses of the sun, of the moon and other celestial bodies named, shows just how similar or dissimilar they are, 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 recall, and she does not think the addition to be a body without a soul and life, and even the scum 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 are not incapacitate by natural impotence, or deprived of talent and discipline, but not warns and to consider what is called orbital, which come from the privation of the act itself, and not from the faculty. ", pag. 37. Since, however, we find ourselves in the position of having to attribute to Giordano Bruno insights what 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)

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 you can learn to continue their thought only if you have been able to recreate in you the original movement of the thought they wanted 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 to 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, 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 one.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 has just the function to 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 was ordained and deep. The allusiveness and referrals to doctrines already exposed by others, allows you to spare yourself the direct and full exposure of such theories as true without having to defend them, but also attribute to them a pre purely functional discourse that has being done at that time. No wonder the quotes from philosophers as diverse, exhibiting antihetical doctrines, their agreement on a precise point shows that regardless of the true point of view from which there arises, examining it. "We do not want to write or even to be understood by everyone and about everything."

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 the 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 phases 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. The memory and tenacious presence in thought of the topics, the words and their disposal." However, it looks decidedly inadequate, because of some 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 has 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. Text 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 .

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 torefied 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 , discuss in silent language that he knew not, and did not dare to express his 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 inhabitants of the houses of the sun, of the moon and other celestial bodies named, shows just how similar or dissimilar they are, 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 recall, and she does not think the addition to be a body without a soul and life, and even the scum 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 are not incapacitate by natural impotence, or deprived of talent and discipline, but not warns and to consider what is called orbital, which come from the privation of the act itself, and not from the faculty. ", pag. 37. Since, however, we find ourselves in the position of having to attribute to Giordano Bruno insights what 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)

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 to help others to discover their own, the job of the midwife, Socrates said, is not the one of an architect. Isn't it true that the greatness of a teacher is judged by the things that can do his students, 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 do 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 nonorganized 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 locus of memory, from which it extracts everything that can serve as raw material for the construction of thought.

2. The Atrium Because everything starts from the mnemonic, we note that the main difference between the macroscopic classical version 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 the spatial placement of the premise that leads to the development of symbolic logic and all of Bruno's art of thinking .