ARTIST STATEMENT

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© FLYCAT

      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 Alphabet.

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, traced irregularly and generating its own superimposed linearity the writing then proceeded following a sacral order imposed directly by its Creator which was called 'bustrophedic' 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, in a biological and cultural combination projects through his own elements-letter himself, occupying and privileging in the desk space those areas: 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 direction of the direction, 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, was indicating a female identity for the word mulier ("woman", for example in the locutions Ɔ l = (mulieris) + l (ibertus) , "a woman's freedman").

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.).

ESEGESI LETTER T

T, 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.

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