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FVTVRI$MO CÆLE$TE's EPITOME
I was born
in Milan on 19 August 1970. At the age of 13 I fell in love with what the world
was calling Graffiti Art, I do not remember the exact day but I can say that
from that very moment my life started, the life of FLYCAT.
I paint, I
project, I assemble, I cut, I paste, I put in prose, but essentially what I do
is 'write'. To write, for me, is the perfect alchemic conjunction between three
main elements: Tradition, Passion, Fvtvre. Writing is my Liturgy. I am an
official spokesman for The Art Movement known as the Ikonoklast Panzerism and
Gothic Futurism, created in the New Gotham in 1979 by the Grand Master RAMM: ΣLL: ZΣΣ (1960-2010). On 20 February 2010, I became his
disciple and I was appointed with the grade "Y-1", defender of the
25th letter. My mission is to work on the 26 Letters that make up the New Latin
Roman Alphabet from which was generated the Cæle$tial Alphabetvm.
Starting
from the idea of a letter as an independent entity freed, my research has
continued through a personal approach, pushing for other boundaries, albeit parallel
God created
the Firmament and decided to compose the first talking sheet on the octave of
the nine spheres of the celestial vault, in front of the Empyrean, the Codex
Primvs, creating their Letters from that rosary of stars by giving man his own
3 weapons-elements- form, from which the letter-elements were shaped: 1) The
‘cusp ➤’ which will form the ‘arrow ➙’ in order to give body to its Litteræ-$ignvm to which it was later attributed the
wrong name of ‘cuneiform’, thanks to the New Reformation Cæle$te is
decreed the new "cuspeiform" term.
Also called
∆ Delta, the Absolute in its entirety, emblem of the constructive principle of
all organisms, Solomon's triangle, the perfect verb as it supposes an
intelligent principle, speaking principle and spoken principle; he who by means
of the word (letter) creates a third himself. Trinity of all things, the
fundamental mystery of intellectual initiation.
Jealousy.
As a sacred
symbol, the "arrow" cusp, gave rise to the practice of Divinity of
"Belomancy", using the arrow to create a propitiatory rite before
taking any war action.
A further
value is revealed in the analogy between the arrow-lance derived from the cusp
with the paleocristian symbol of the palm, symbol of victory and triumph.
Plinio attests that it was delivered to Rome for the first time in 586 B.C.
After a victorious battle. The Christians traced the palm on the tombs to
indicate the victories reported by the dead, in particular by the martyrs (Dis
Manibvs), who sacrificed their lives for their faith, Tertullian dedicates them
to his "Apologeticvm", AP 7,9:
"to them the honor of the palm belongs in a special way ".
2) The
$ator or square (penalty, defense): "CLAV$TRVM $INE ARMARIO E$T QVA$I
CA$TRVM $INE ARMAMENTARIO"
3) The
Clipevs or circle (defensive), symbol for heaven, the sky, the perfect shape
par excellence, the Sun, a luminous star created biblically at the beginning to
preside over the day, dispels the darkness and illuminates the intelligences;
the Moon appears on the fourth day designated to preside at night and to bring
out the times, it is the imagination that adorns the ideas.the Moon.
From the Neolithic the symbolism of the zodiac signs develops from which the first cosmic hieratic letters: the O, the symbol of the spiral, the letter M.
Man in the
beginning was unable to read from the enigmatic cosmic abecedary. At its origin
the “signo” proceeded following a multi-directionality according to an
anti-rule as it was the same reasoning that generated it, irregular traces, generating its own superimposed, stratified linearity, the writing then proceeded
following a sacral order imposed directly by its Creator which was called
'boustrophedon' that is the path traced by the plow pulled by the ox
(element-letter: Aleph) that sows the Mother Earth her own creator.
The
different directions of Scripture indicate a precise behavior with motivations
of a psychic and mental order. Graphing in its symbolic expression is subjected
to the force of four fundamental vectors: high-low, left-right. The 'scriptor' according to his own personal story in relation to the outside, fruit of a biological
and cultural combination, it projects itself through his own letter-elements,
occupying and privileging those areas in the writing space: high-low and
left-right.
The left,
symbolic meaning of the principle, the ego, the origin, the past, the
tradition, the family; it belongs to proto-Canaanite (proto-dynastic) writings,
"left-handed graphs", emphasize the tendency to return to origin, to
past values, to meditative aspects.
The right,
at the opposite, assumes the symbolic meanings of ‘you’, of the future, of the
outside world, of others, the unknown; it is characteristic of the Western
world that the handwriting is right-handed to the outside, expanding,
irradiating love, conquering, domination, and power.
This
concerns the general line of narration, but in the gesture of the
movement coexist movements both to the right and to the left, from the bottom
up and vice versa, that in their alternation determine for example the presence
of curved and large forms of centrifugal or centripetal traces, the creation of
the square, the circle and the triangle-cusp within which forms will result in
the elements of the letter-elements.
The peoples
knew cohesion through writing, that time had a short life.
At the
origin, before the Babel destruction had occurred, one was the language and one
was the writing entrusted from the Cosmos.
Once the
prophecy was accomplished and the Tower fell, the Letters mingled in shapes and
sounds.
"You
will throw your arrows out of the Tower of Babel, but they will not be able to
kill God." En Sabah Nur".
The arrow
must obey the letter, it is the arrow that follows the letter. The
element-weapon-arrow is used in direct shooting mode for this reason that a
composition can not grant an unregulated use of this element, it would
destabilize the balance of the letter itself and of the whole formation.
A story
tells that the alphabet takes shape with a declaration of war, in the meeting
area between the Babylonian cuneiform (cuspeiform) and Egyptian hieroglyphics
by the scribes (Thot known as the inventor of hieroglyphs, these are called:
medu-neter, the words of God, because they make visible what is not) as a
result of the Egyptian-Jewish conflict derived from the will of the Jews to
respect a mosaic commandment from the first biblical decalogue: 'Do not make
any sculpture or image any of the things. (Exodus 20, 2, 3) '.
The man
later bounded his boundaries and decreed that the sacred symbol-logos could
only travel one of two directions, thus turning the Sagittarius ♐ cusp to the East where it shines Venus and
rises to the Sun or to the West where the Moon rests.
Those graphs,
once written from the bottom up to the end of the protodynastics, rotate 90
degrees on one side, the example being: E "He".
From ‘Enuma
Elish’, the Assyrian-Babylonian text on Creation, 2 millennium BC: "When
Heaven had no name yet, and the Earth below had not been called by his
name," and again "When no astronomer was still visible, no one had a
name when destinies had not yet been established, so the stars were made
visible in the middle of the sky "
Thus the
voices came from the darkness of the nights, and each of the constellations
acquired its own sign and sound, which was translated into the name by which
man was able to recognize and call it.
The
presence of celestial figures confirms the existence of images without bodies,
inaugurating symbolic thoughts, transmitting stars, astral knowledge in glyphs,
alphabetic letters from the sidereal layer, narratives of epics, fairy tales,
battles and lies, fighters and prisoners , but not occult judgments of an
illiterate sky. We are not to see them in the heavens, they are they if we give
them opportunity to reveal themselves to us, present in the memory of
generations, waiting for us to look into the dark of night and give them a
name. The sidereal alphabet attests that the memory of the sign is not lost in
the darkness of death, but stands faithfully in the imaginary of 'Dubsar'
(demiurge scribe), reflected in the infinite paths of heaven.
The
Coordinates of the Letters were not established by man's gamble, but by the
divine hand, which is why it makes them agree and convine with the celestial
bodies.
The Letters
light up in light, in different lands, but under the same time, where their
roots lie. Their genesis lies in the high heavens, on the two immense bridges
that form the scaffolds of the night dome, the zodiac and the milky way; it is
not in the depths of the earth as they have tried to inculcate us by calling
our 'subculture', but it will be from those same bowels that will emerge from
that same 'Inferno'. In the Paleo-Christian Era the catacombs dug in the depths
of the rock similar to that of Christ, defined by the pagans with the name
of NECROPOLI, city of the dead, were not
a place of escape, but the place of waiting for the Resurrection, the "dies
natalis".
Let's not let the self-proclaimed 'Art
Intelligentia' continue to demonize the power of the Letters.
The origin
of alphabets has celestial roots and earthy weapons, which express different
shapes and a common generative structure.
In archaic
Greek mythology, the creation of the Letters is entrusted to Cadmo's deadly
figure, the letters "Δ alpha, omega Ω
..." designate 'themselves' confirming their power and phonetic value for
each element. Semitic words like "Ox: Aleph, Camel: Gimel" have
meaning by offering their acronym for reading, while in the Etruscan coeval
alphabet, the letters assume divine meaning becoming acronyms of divinity, Aplu
(A) : Apollo, Cupra (C): Venus, Fuflun ( Γgamma) Dionisio.
Case in
itself is the Tau, the last letter of the Hebrew alphabet, represented the fulfillment
of the whole revealed word of God, adopted by Christians for the twofold
reason, to be the prophecy of the last day and therefore the same function of
the Greek letter Omega, as well as of the Apocalypse of John (1,8).
The man
thus gave sound to the Letters by adopting the principle of the acronym, saying
the only initial letter of each word.
The sound
is of its original armor-shape: the letter, as a manifestation of the visible
in the invisible, now has a new mystical value. The Cele$tial alphabet is both
shape and sound.
The Letter
is now 'divinatory oracle'.
The sound
before the matter, the gods through the galactic letters sacrifice their sound
bodies to give life and elegance to the world. This passage took place when the
Moon lent its face to the virgins when the Sun represented God. In the Gospel
of John "In the beginning was the word ... everything was done through her
..."
The
figurative Christian or Judeo-Christian expression of the first century was
conditioned by the mosaic ban of images. The very first form of Christian
symbolicic communication was therefore the sign, the cryptogram, the number,
the letters or simply the symbol.
The
depictions of the crucifix appear only in the fourth century, when the penalty
of the crucifixion is eliminated and invalidated the Mosaic prohibition of the
image (beginning of the new phase of war at the LITTERA).
The
Fvtvri$mo Cæle$te does not recognize the decree implemented following the
Council of Nicea in 325 AD which definitively sanctioning the dual divine and
human nature of Christ: the Word became incarnate in a man, God became man and
made himself visible in human features ", it establishing that would
become figuratively representable.
From the
18th century to the 5th century BC, the catacombs are entirely covered with
frescoes with scenes from the Old and New Testaments, images of Christ, martyrs
and symbolic images.
An
excessive pictography was destined to describe objects and animals.
Spirituality permeated the elements of writing "Vinca" coming from
the Balkans (5500 BC), later taking shape the linear syllable with cuneiform
(cuspeiform), transferring to Phoenician eloquence, still in Greek elegance,
passing through the Etruscan representation, the many evolution of italic alphabets,
then come to the rigorous imperial epigraphy and ultimately with the
re-appropriation of his sacredness in the Cæle$te alphabet.
To return
to the Letter the dignity and power that belongs to her, I borrowed the name of
Litteræ Cæle$te$, model of writing in use in the official documents of the late
Roman Empire, to free the Letters that have been segregated.
The
Fvtvri$mo Cæle$te returns the knowledge in where knowledge has been exiled, the
Fvtvri$mo Cæle$te writes its own letters using its original phonetic value,
prefers Latin, abandoning definitively vulgar practice and the illiterate world
and Mannerist. The Fvtvri$mo Cæle$te is not street art, but it's the street to
the art.
The
Fvtvri$mo Cæle$te and the Litteræ Cæle$te$ as Sacred Art linked to the
iconoclast precepts, refuses and does not recognize figurativism and every
attempt to plagiarize the 'real' within its own aniconic encryption
representation.
It
reestablishes the order of the prayerful letters and resets the archaic
ligatures ☧, Æ etc.
The
element-letter V regains its original double value: consonantal + vowel, this
does not occur in the linear sequences of the two graphemes V + U, U + V, V +
V.
The double
consonantal value of T + Z is returned to the letter-element T, while maintaining
that of the grapheme Z.
The letters
and the phonetic value now reinforce each other, creating a perfect
'ordinatio'.
It is
necessary to reconstruct the fracture between Letters and Literature, The
Fvtvri$mo Cæle$te is in continuity with the classic and ancient world, the
arrow of time flows towards the fvtvre.
Literature
and writing merge into one practice, so far the structural value becomes a
single entity with its own phonetic value. What was once a 26 letters Legion
now makes use of new elements and elements that in the past were ousted because
of their power, the Cohort of the Litteræ Cælatæ. (so were called the letters
of which only the shadows remained when the 'bronze letters' fell from their
epigraphs)
With a
unique class of special graphic signs, the so-called 3 claudian letters
introduced by Emperor Claudio (10 BC-54 AD) at the time of his censorship
(47-48 AD) obsessed the idea of spelling the noble alphabet Latin more adherent
to reality and had thus initiated a spell reformation, these three graphs found
use for a short period of time, falling prematurely disused.
The first
claudian letter, an inverted or retrograde C, is called antisigma, gr. ἀντίσιγμα, comp. of ἀντί «against» and σίγμα «sigma», for its form: (Ɔ), and
used to make the sound / PS /, or / BS / depending on the words (such as urbs,
trabs, ipse) obtained by flipping the C of the name Caius: this symbol was used
to indicate a woman, read: Caia, used in the patronage formulas of former slaves / slaves freed by a woman, indicated a female identity for the word mulier ("woman"; for example in the locutions Ɔ l = (mulieris) + l (ibertus), " liberto of a woman "); in the military sphere (Ɔ) was used to identify the 'centurio' (centurion) or the centuria.
The Emperor
Claudio could have chosen to use the antisigma to express a sound palate, as
did the Volsci, if this had actually existed in his time. Instead, he did not
believe it necessary to reform the spelling by introducing new letters for C
and G before front vowels E and I, since phonemes had not yet undergone any
alterations in these contexts. He took the antisigma instead and used it to
express the sound / ps /, which is my opinion completely devoid of necessity
given the low importance of the ligature in Latin. One push was in fact the
analogy with the letter X used to express syntactically the ligature / ks /.
The second
is called digamma inversum or upside down F / Ⅎ /, and was used to note the
consonant labial / w /, used to transcribe V consonant sound, which is always
indistinct from the U voice in Latin writing.
The third
is the / Ⱶ /,
corresponding to the left half of the letter H, called Littera dimidia,
introduced to transcribe the sonus medius, analogous to the modern
pronunciation of the letter Y, to make an intermediate vocal sound between / i
/ and / u /, similar to Greek Υ, which was in words like optimus (or optomus) and libet (or lubet).
Tacito, Annales ( XI, 14 )
“...Sed nobis quoqve pavcae primvm fvere, deinde additae
svnt. Qvo exemplo Clavdivs tres litteras adiecit, qvae vsvi imperitante eo,
post oblitteratae, aspicivntvr etiam nvnc in aere pvblico + dis plebiscitis per
fora ac templa fixo”.
"...
Even here the graphemes were in principle few, then others were added. And it
was following this example, that Claudius added three letters that, used during
his principality and then fallen into oblivion, are still visible today in the
bronze tables placed in the squares and temples, to make known the plebiscites
The
$ymbolic Elements, the cosmogonic, the astronomical-planetary, the monetary
(Litteræ Occvlte$) are also to be added. A cusp to the right as a symbol of
centurion, also used to refer to the centurion degree (>), Theta nigrum (θ) is a conventional sign used in
Latin epigraphy to indicate the death of the named person (in the case of an
epigraph funerary) or depicted (also in gladiator reliefs): a Greek theta (θ), the beginning of the word θανατος (= death), or the sign of the
O-traced (ø) with the meaning of obit (died).
Linked to
Greek use, to point out dead soldiers with a theta and survivors with a tau,
the same system went to the Roman Army where, in military language (sermo
militaris), was used to indicate the death of a soldier with the term
"thetatus".
Letters cut
off from a horizontal line; as the X cut in half indicates the word denarius,
while HS indicates sestertius, the union of the two H and S elements will be
generated in the centuries by the symbol $ (U.S.A.)
Letter T ( T+X+P+++† ) Crvx ,
Letter T ( T+X+P+++† ) Crvx ,
this is
the symbol of the original cross, dating back to the 7th century BC placing
itself at the number 18 position in the Cæle$tial Alphabet, it consists of two
elements: stipes, vertical rod and patibulum, horizontal rod; 'letter taumata
or patibulata', represented in its different dimensions: straight, diagonal,
lateral, upside-down, possesses like all Litterӕ Cӕle$te $ the full control of its omnidirectionality ↔ ↕ developed on
360 °, and for this Law can also be represented backwards or upside down on 180
°, for a long time it was left demonized by associating it with the cult of the
evil one, also called Nero's cross; with Celestial Futurism it is restored
luster, its power restored with its symbolic Eucharistic and alphanumeric value
and above all of "omnia directiones" ↔ ↕.
"VNIVERSALITY
of the Letter T"
Through
epigraphic and paleographic investigations, which turned out to be mostly
disappointing and anachronistic due to the lack of
artistic-philosophical-interpretative approach of the topic, they allowed an
incorrect disclosure of its original story based on the evolution of the
Letter: T and its declination in Crvx .
In the Caelestial
alphabet, the letter T (tau) returns to its original position or to the number
18 of the "Latin-Roman" alphabetic array and acquires its complete
alpha-numeric value, the 318, ie: 18 corresponds to the first two Greek letters
of the name of Jesus I + H from which the Christological monogram derived,
already present since the first century in Palestine: I and H of crossed by a
bar takes the form of the crvx.
In
Scripture it is transliterated into 1 + 8 and with 300 which was the
alpha-numeric value in the ancient Ionic alphabet, multiple of 3 (the Trinity),
the letter "T" (tau) follows as the arrival of grace in the cross ';
whenever we meet in the Bible this number is synonymous with salvation or
victory, as in the example where God told Noah "Make yourself an ark of
cypress wood. Here is how you must do it: the ark will have three hundred
cubits in length." (Genesis VI, XIV-XV). ", Or in" When Abraham
learned that his relative had been taken prisoner, he organized his experienced
men in arms, slaves born in his house, numbering three hundred and eighteen,
and gave himself to the pursuit to Dan "(Genesis XIV, XIV).
It may well
be said that the "$ignvm Crvcis T", initially an image of infamous
torture and then representation of unconditional universal love, has been
endowed with an extraordinary capacity for diffusion, both in its vertical
dimension of plurality of meanings, and in its horizontal dimension of the
"long duration". This use, sometimes reckless of the Cross, has led
him to represent fundamentalist and improper manifestations that have badly
expressed the profound meaning hidden in it.
In the
pre-Christian period different cultures held the awareness of the cruciform Sign
to which they attributed different values.
It is
thanks to the initiative of the emperor Constantine (4th century BC) that the
custom of representing the name of Christ through monogrammed forms, previously
unknown, which make the ‘nomen’ explicit (Christòs) and at the same time hint,
figuratively to a decussate cross, so expressed in the letter "X",
called "Constantinian monograms", built by merging into a single sign
composed of the two initial letters (chi and rho X and P) of Christòs, this was
used both as a symbol and as' compendium scripturae ', that is, of
abbreviation, as in the forms vivas in Chr (isto).
Subsequently
it acquires the star shape from the cross of the iota (I) with the chi (X with
value of C) in XPI∑TO∑ (Christ) used in the III century AD.C. ; this is called
the pre-Constantinian monogram or Crismos.
The circle
and the square break with the insertion of the Letter X "Christo and the
Trinity, the Arma Christi".
The summarized
form of the name of Christ where the cross is most evident, is the so-called
'Christological monogram', derived from the original Constantinian monogram,
and realized as a Latin crux (immissa or capitata) with the vertical rod
constituted by the vertical section of the letter Rho: P, to which will be
added the apocalyptic alpha and omega letters from the middle of the fourth
century, with also geometric elements to reinforce their importance (of the
Christological sign X).
It also
appears in other versions, the first with the P (rho) pours to the left ꟼ and
with the Roman capital letters A and Z instead of α (alpha) and ω (omega), in
the second with the cross Τ (taumata) to place of the X, the alpha from the
left is on the right as the omega from the right passes to the left, and in a
third version
T + X
(comp. Of cross and sign) like the one made by the illiterate in place of the
signature. In diplomatic terms, given its sacred value, it also preceded the
handwritten signature as a personal sign.
The concept
of beginning and end is revolutionized. (I am the Alpha and the Omega) The
'end' is 'new beginning', 'The New Re$vrrection’.
As will
also happen for the Litterӕ Cӕestes, legislative provisions are issued to
safeguard the symbol. In 427 AD an imperial constitution imposed a precise
limit to the indiscriminate use of the Signa Christi: the device made it
expressly forbidden to engrave or paint on earth, both on stone and marble, the
"sign of Christ the Savior". "Nemini licere signum
Salvatoris Christi humi vel in silica vel in marmore aut insculpere aut pingere"
(Codex Iustiniani).
Notice how
this provides a profound disagreement with the contemporary tradition of
"stumbling blocks".
For this
reason, some ancient Roman inscriptions, floor funerals, have crosses and
carefully abraded Christograms with a chisel.
The Fvtvri
$ mo Cӕle $ te
magnifies his Littera. The letter T (tav inversvm), therefore, is placed
between the array of Nvovo Alfabeto Cӕle$te in position number XVIII.
The FVTVRI
$ MO CÆLE$TE is the schism in urban art.
Writing is
totality, writing is first of all Element-Letter but also poetry, music,
painting. Writing is magic, writing is cosmic energy, it is the primordial
imprint, it is God who wants to communicate with us and therefore provides us
with the means by which to do it and does it through His Letters, but to a
precise condition, that is that we must first learn to read from Cæle$tial
vault. The gesture of writing is a spiritual rite, a universal mantra projected
on the fifth dimension, The Cæle$tial Dvbsar is a medicine-man of the tribe of
living beings. Through the Letters we are allowed to create direct
communication with our past and to project ourselves into the future, there is
no darkness that can deceive the $criptor in the precise act of composing his
sentence. The Letters are the most precious gift that has been made to us after
life precisely because it allows us to enter into dialogue with the Image
itself.
The Letter
is born in the night by a divine spell, leaves its shadow on the walls of a
cave and on the ground and then flies back to the Empyrean. In the Cæle$tial
Element-Letter is enclosed the sound and melody that each of the different
lands assigned to it, together dominate the flowing time and the dawn rising.
Writing is
sacred, writing is literature, the Fvtvri$mo Cæle$te restores the link between
writing and reading, the phonetic value of each single CæleStial Element-
Letter is also as important as its structure-form giving it light and
stability, for this reason the $criptor can not fail to be 'Littered'. The
Element-Letter joins by merging with one or two of the remaining, giving rise
to the syllable which, when welding with others, will form the 'Name-Honorvm
Nomi$'. The ontological value of the Letter is in its entirety.
The 26
Elements-Letter + the Litteræ Occvlte$ now re-united are the army of knowledge,
leaving the first two the task of naming Alpha and Beta in Alphabet, now it is
possible to formulate the magic of the word.
The
'Name-Element-Letter Caele$te’ is the archetype, my destiny, is my weapon and
my shield. As I write it, so I will live. If I ever finished creating words, my
Element-Letter-Name would cease to exist.
"The names and their accuracy are by nature and not by convention"
(Cratilo's thesis)
Sometimes
the dreams reveal the correct structure of new Word-Element-Letter, to us model
them alogically by sometimes de-structuring, assembling into others.
As for the
two hemispheres of our brain, harmonious harmony is needed.
As we read
it will be as we will write, as we will remember will be what we will create.
Never shy
away from discomfort, instead accept it and re-process it.
The
Element-Letter is at the origin of the word upstream of the painting, it can be
conquered or conquered, read or deleted, heard or guilty but can never be
ignored and is for this reason deserving study and application. The verb is the
result of the combination of several Elements-Letter.
The
$criptor is the Assassin of Canonized Letters, as Mercury is a thief of beauty
and at the same time reigns on the Letter that only then moves through the
gesture.
The Letter
is a look stolen from the word.
In the
Fvtvri$mo Cæle$te coexist four different 'dvctvs' and three different
Letter-structures all endowed with the power of the
'Omni
Directione'
1- Litteræ
Cæle$te$ (dvctvs italics)
2- Litteræ
Inver$æ (dvctvs upside down 180 degrees)
3- Litteræ
Cælatæ (Ghost Letters)
4- Litteræ
Occvlte$ (Symbol-Elements)
In the
Fvtvri$mo Cæle$te, every single Element-Letter incorporates cosmological and
mythological ties that are rich in meaning and significance, thus contrasting
with the meaningless and insignificant and particular nuances that can not be
derived from canonized alphabetical scriptures. The Litteræ Cæle$te$ are the
sacred scripture form. When we are ready to write at the same time we read and
we are able to hear the narrative voice in us, this is the act of reading-writing.
The Cæle$te
Alphabet in its structure is endowed with cosmological and mythological
references that are possible to identify in the present symbology of its
writing, each letter therefore rich in meanings and nuances that can not be
derived from a canonical alphabetic writing. The Alphabet is divine.
In the
Fvtvri$mo Cæle$te each element-letter is so composed in three parts: a phonetic
value that suggests its true pronunciation, the pictorial value to its iconic
representation, and the determinative value for reading in the correct sense of
writing, this direction is determined by the $ymbol’s cusp:
($)agitta
-} ->.
Everything
is in the Letter, in its number, in its sound, thanks to its
re-structure-re-form-name is objectively strengthened. For this reason, all
reality is based on these original combinations with which God has generated
the movement of language. The Alphabet and its Elements-Letter possess the
essence of being.
"Dubious
quippe to inquisitionem uenimus; inquiring ueritatem percipimus. »
The term
Litteræ Cælestes, defines a particular writing developed in the Chancellery of
the Western Roman Empire. It was a very elaborate writing so as to be almost
unreadable, but it was the illegibility of those letters to make them unique
and guarantee the authenticity of imperial documents.
(In
relation to Letters and Weapons I quote this sentence of Pliny the old,
Naturalis Historia, XXXIV, 18: GRAECA RES NIHIL VELARE, AT CONTRA ROMANS AC
MILITARIS THORACIS ADDERE - It is Greek use not to cover the body (of the
elements-letter) while the Romans, as soldiers add the armor.
Armored
Letters are created.
The
released Letters now stand on the second, third, fourth and fifth dimensions.
My
Cælestial Letters want to claim the ontological unity of the graphic sign of
the Letter, which is the meaning and the signifier. The Letters have their
antibodies to defend themselves.
The Letter
is a look stolen from the word.
Fvtvri$mo
Cæle$te starts $anta Expeditio $criptvram.
Jesus
before pronouncing the words: "Who is without sin cast the first
stone" had first with his finger written on the earth but that the
Pharisees and the scribes they were not able to decipher because his 'letters
caele$tes' were unreadable to them. Jesus is undoubtedly recognized from his
oral capacity as a prophet, but the fact he wrote and naturally read was never
mentioned, to make sure that iconographic representation burst into the
artistic-expressive tradition that was emerging from that moment on. The art of
Writing has always encountered countless obstacles on its own path, but this
has not interrupted its process of continuous Evolution. The Fvtvri$mo Cæle$te
imposes itself through its own knowledge and effectively decrees that the
definition '$crivere-Writing' belongs only to those who are reflected in the
role of 'Contemporary $cribes'. Today, resuming the tradition of the Litteræ
Cæle$te$, the Fvtvri$mo Cæle$te frees letters from the dark hypogeums of the
metropolis, as it happened in the catacombs during the Christian era, bringing
them back to the surface, the Litteræ, which have two specific functions: the
first, practice, fight any kind of plagiarism and thus safeguard it style; the
other, ideological, to donate a sacred and prestigious aura to the Army of the
Letters of those who write the UNINTELLIGIBLE.
To restore
the bond between orality and writing, between literature and writing, between
language and writing, this will preserve the sacredness in the art of the
evolution of the Letter.
"The
one who writes with one hand resides at the lower level, the one who writes
with his arm belongs to the upper one, but no one can confront himself with the
one he writes with his own heart."
©FLYCAT Y1
MMX9
