Art of memory

In this indirect augmented reality system we have reconstructed about 1 km of the Via Appia Antica with three time periods represented: 320 CE, 71 BCE, and 49 BCE. This situated simulation explores the notion of narrative movement and travel across space and time in a cultural heritage context. The transitions between the temporal phases are triggered by the users active repositioning on location. Included in the system is also a quiz consisting of verbal and image–based alternatives to a variety of questions related to the information provided in the virtual environments. We describe the main elements of the simulation, its technical solution and production, as well as the feedback from real users testing on location. We close with a reflection on the multimodal quiz and how it relates to memory and learning.

Nous présentons une solution nouvelle à l’énigme de ce « théâtre » (acheté en 1531 par François 1er, et livré par Camillo début 1534),  celle de sa conception intellectuelle, et celle de son fonctionnement, approche qui privilégie la logique rationnelle. Cette approche montre que l’invention de Camillo ne fait pas appel à des phénomènes de magie occulte restant irrationnels, mais s’avère une construction largement inspirée des thèses de Marsile Ficin, et notamment du christianisme néoplatonicien défendu par cet auteur. Elle distingue deux mécanismes différents pour garantir à l’usager les deux enjeux mentionnés par Camillo dans L’idea del theatro :
- le perfectionnement de l’éloquence pour tout discours, assuré par une structure logique sophistiquée sans art magique
- l’accès à une connaissance supérieure  pénétrant tous les secrets des principes du monde et élevant l’âme à une sagesse suprême, asssuré par la peinture spéciale des images du secteur central du "théâtre" (celui du Soleil) qui applique simplement la technique des images irradiantes décrite par Ficin dans son De triplici vita (cf. Copenhaver et Quinlan McGrath) : l'irradiation solaire de ces images centrales est censée communiquer à l'usager l'effet d'Intellect agent dont le soleil est porteur dans le christinanisme néoplatonicien de Ficin.
Enfin, cette approche peut être validée  par les deux citations du « théâtre » que donne le décor de la Galerie François 1er de Fontainebleau (1530-1539).

This paper will reflect on the Ars Memoria tradition by establishing new knowledge in the way in which mnemonic rhetoric can be integrated into video installation evidenced through the significant 'Memory Palace 2017' (Wilson, 2017) installation. It will position these traditions in relation to the different ways of thinking about memory which will begin with the Greek place and object memory system and end with Matteo Ricci's late Renaissance Chinese memory palace. One of the key values in the wider Ars Memoria tradition was to locate objects and images into specifically imagined spaces which represented a cognitive way to recall memories through a categorised, cognitive database. These databases were established through specific guidelines located in several key texts that when considered shall first, inform a method by which the video installation can be later developed and second, to attest new knowledge in the ways we might ought to come to terms with the integration of spatialising memory through studio practice.

This article analyzes the structural composition of the chicana/o novel . . .y no se lo tragó la tierra, by Tomás Rivera, a book that has become a collec- tive point of reference for chicana/o culture and community. Its structure will be explained, including the importance of personal and collective memory as elements that evolve every chapter as a fragmentary part of a whole. The classi- cal concept of “art of memory” joined to the rhetoric of discourse opens a new perspective to analyze this fragmentation and helps the reader to understand the connection of its elements. Finally, the idea of “theater of memory” may be applied to the novel’s chicana/o universe as a dramatic device for structuring the narrator’s personal memories, achieving a final literary composition similar to a memorable, collective altarpiece full of impressive images from this community’s daily struggle in the 1960s.

Durante los primeros meses de la dictadura en Chile encabezada por el general Augusto Pinochet, el arquitecto Miguel Lawner fue recluido en la isla Dawson, en el extre-mo austral de Chile. En ese tiempo, memorizó los planos del centro de detención y del campo de concentración en los que estuvo prisionero y realizó una serie de dibujos con el objeto de preservar la memoria de esos lugares y los hechos allí ocurridos. A partir del imperativo "no olvidaremos", que Lawner escribió en uno de los planos, este ensayo analiza la compleja trama gráfica de esos materiales a la luz de las antiguas técnicas del ars memo-riae y revela su función como dispositivos que elaboran, registran y ordenan contenidos de la memoria.
During the first few months of the dictatorship in Chile led by General Augusto Pinochet, the architect Miguel Lawner was held captive on Dawson Island, in the southernmost region of the country. During this time, he memorized the layout of the detention center and concentration camp at which he was imprisoned, and he created a series of drawings in order to preserve the memory of these places, as well as the events that occurred there. From the imperative of 'we will not forget', which Lawner wrote on one of the plans he drafted, this essay analyzes the complex graphic matrix of those experiences in light of the ancient techniques of ars memoriae and reveals their function as devices that elaborate , document and organize the contents of memory. Palabras clave ars memoriae; dibujos y planos de campos de concentración; isla Dawson; memoria; Miguel Lawner Keywords ars memoriae; Dawson Island; drawings and ground plans of concentration camps, memory; Miguel Lawner.

Accatino, S. (2019). Trazar un lugar en la memoria. Mnemotecnias en los planos, mapas y dibujos de isla Dawson de Miguel Lawner. Revista 180, 44, (3-16).

An argument is made in this article for the need to take into account in political science analyses of the Chilean contemporary art of memory that critically invokes matters, and issues connected to the dictatorship of Augusto Pinochet (1973-1989), and which have not been solved in democracy. Chilean art of memory– composed of those artistic expressions stemming from different artistic disciplines that problematize issues connected to the dictatorial past – questions democratic consolidation by these topics still present, advancing a new perspective on this same reality, a different outlook, otherwise absent from the official renderings that privilege consensus and democratic consolidation. In this sense, this article discusses the specific case of the disappeared of the dictatorship through the analysis of the artworks of eight Chilean contemporary visual artists, and with a focus on their distinct points of view that tackle three topics, the permanency of absence, the sites of memory, and the torturers. The conclusion of this brief article is that memory art presents perspectives absent from the institutional study preferred by political science’ analyses, and that analyzing these artistic expressions helps form a better understanding of the relation to the traumatic past.

La structure énigmatique du décor de la Galerie François 1er de Fontainebleau repose sur inventions relevant du serio ludere, très prisé au début du 16e siècle pour ses différentes fonctions qui induisent les fonctions secrètes du décor, réservées aux princes Valois-Angoulême.

A study of the semantic field around the word memoria in Dante's Convivio, which points out to the convergence of multiples meaning of the word memory. Dante used the rhetorical concept of memory, as well as a philosophical memory, and even a more theological memory, derived from Augustine's works.

Cover of new publication, the first of a projected series on the Art of Memory.

Translated by Paul Ferguson and Introduced by Martin Faulks Including both the original Latin and translations of the works with extensive explanatory footnotes During the intellectual swirl of the mystic Renaissance, the phrase Art of Memory referred to a specific set of memory disciplines and techniques that had evolved from classical Greek mnemonics. This was a method whereby one would create a memory palace in the mind. This could be based on a real or imagined place which, using intensive imagination, one would build up in the memory to the degree that it could be visited with ease. This memory palace could then be used as a kind of memory storehouse. By placing items in different locations in the palace one could recall them with ease when the palace was next visited. In order to make the images memorable the characters, figures or items used were often dramatic and could sometimes be quite striking to contemporary sensibilities. This meditative art was commonly accepted to be a very good method for memorising speeches, but also a great form of moral training. However, some practitioners took it further, believing that this art had far more potential. They believed that if practised correctly, this art could lead to an expansion of awareness and mental ability. This inner transformation would not only lead to perfect memory, but would gift the practitioner with higher awareness and total mastery of self. Masters of this more mystical art of memory were believed to be the holders of a secret tradition from Ancient Egypt that would gift them with clairvoyant perception of and control over higher forces. The most famous of these figures was that of Giordano Bruno who taught his mystic art of memory throughout Europe. His works taught a magical memory system veiled in encoded language and parable and were greatly sort after in his day. They remain a mystery to many to this very day. But few are aware of Bruno's apprentice, Alexander Dicsone, mystical memory master and member of the court of then James VI of Scotland. His amazing abilities led to great fame in the British Isles with many authors referring to the more magical side of memory as "Dicsone's Art". Renowned historians have speculated as to the possible influences these hidden practices could have had on the development of Freemasonry due to Discone's close proximity to William Schaw. Schaw first drew up the constitutions for Scottish stonemasons in which the Masonic ritual seems to be referred to as the art of memory. Now for the first time, two of Dicsone's own works on the art of memory have been translated into English by an expert in Renaissance Latin. Accompanied by extensive footnotes and an explanatory introductory chapter by Hermeticist Martin Faulks, Dicsone's beautifully inspiring works are less guarded than those of his teacher and offer a unique opportunity to grasp the art and discover its full potential.

The classical art of memory, based on the Ciceronian system of loci and imagines, after its vigorous revival in the Renaissance, highly developed during the course of the Sixteenth century to satisfy various demands of the times. Toward the end of the century, then, this art reached the limit becoming almost impracticable just because of its extremely refined regulations that overloaded the mind. This process, in a certain sense, invited the intellectuals to abandon the purely mental based method of traditional mnemonic and to utilize the so-called secondary memories such as commonplace books, index cards and Ramistic dichotomic diagrams. From this point of view the Dutch mnemonist Lambertus Thomas Schenkelius (1547–c.1630), author of De memoria (1593), represents an emblematic figure (position?) that symbolizes on one hand the summit of the development of the art of memory, and on the other hand a transformation (or, even a  collapse) of this intellectual device. Illustrating how to construct the nearly unrealizable memory palaces consist of millions of loci, Schenkelius introduces at a certain point a kind of “methodus studiendi”, based on the division of materials and the dichotomic diagrams, to learn by heart quickly all the scholastic disciplines. By analysing this apparently ‘hybrid’ system, this article aims at assessing the delicate moment in the history of scholarly knowledge management in which the art of memory ‘in decline’ and the humanist methods of learning ‘in rise’ fuse inextricably and collaborate creatively to assist the realization of the ideal encyclopedic knowledge in our mind.

The kunst-und-wunderkammer or as it is known now, Cabinet of Curiosities, is a
practice by aristocratic Northern European collectors to create an assemblage of artifacts
from a collector’s travels as well as objects they commissioned for their collections. It is
also important to note that this practice was embraced not only in Northern Europe but
also in Italy, where it was known as a studiolo. The cabinet is best represented in prints as
a way of visualizing the collection. These prints also served as a tool to assist viewers in
learning the organization of the cabinet, allowing them to access the knowledge of the
collector himself. This method was part of a mnemonic practice called the “art of
memory.” It is a memory device that allowed an individual to remember a large amount
of information and retain it. Essentially, the cabinet was a physical manifestation of the
art of memory, the prints serving to outline the kunst-und-wunderkammer for the viewer
to help them understand and mentally organize the collection. This discussion will center
on the use of prints depicting sixteenth-century kunst-und-wunderkammers as visual
representations of mnemonic systems of organization.

Giordano Bruno’s theory of the “shadows of ideas” (De umbris idearum, Paris 1582) exposes a gnoseological paradigm founded on a new equilibrium among the three “worlds” or “degree” of Being: metaphysical, natural and logical. It envolves that human cognition, experience and thought proceed from nature, while the whole physical universe belongs straightly
from divine essence. Then an unique and eternal substance projects itself from natural bodies on human mind through sensory experience and imagination: the fragmentation and scattering of thruth of an infinite variety of raw data of experience makes arise the need for a regulative method, capable of composing them in an vision unified, as close as possible, how the complexity of natural cosmos is.

This study examines a group of late sixteenth-century embroideries by Mary Queen of Scots (1542-1587) and the English countess "Bess of Hardwick" (ca. 1527-1608). While scholars have tended to regard these textiles as status-driven proclamations of rank and power, Nicole LaBouff argues that they functioned as aids for self-instruction in natural history, the wisdom of the ancients, and the art of discourse. Recent histories have shown "information overload" to be a pervasive problem among Renaissance male intellectuals. These embroideries reveal women also struggled with it. Bess and Mary found their solution in embroidered cabinets of curiosity , needlework notebooks, and stitched mnemonic devices. keywords: sixteenth-century embroidery designs; Conrad Gesner; emblems in needlework; art as memory device; early modern mnemonic devices  In 1569 the exiled Mary Queen of Scots (1542-1587) was placed under the protection of George Talbot, Earl of Shrewsbury, at Tutbury Castle in Stafford-shire under suspicion of treason and plotting against her cousin Queen Elizabeth. Shrewsbury's wife, Elizabeth (ca. 1527-1608), came in close contact with the royal prisoner, whom she would later serve in a conflicting set of roles: prison warden, friend, embroidery companion, and relative by marriage.

The juxtaposition of emblematic and allegorical persons with detailed architectural spaces in Francesco Colonna’s 1499 Hypnerotomachia represents an independent Renaissance development of medieval mnemotechnical literature, in a book which declares itself to offer “Things Worthy of Knowledge and Memory.” There are eight chapters of the paper addressing this thesis, summarized as follows:

The first chapter provides a summary of the Hypnerotomachia itself, along with a statement of the central thesis, and a brief review of authors who have previously alluded to the issue of the paper.

The next chapter addresses issues surrounding the authorship of the pseudonymous Hypnerotomachia by the Dominican monk Colonna.

The third chapter reviews some of the overt appeals to the nature and importance of memory in the Hypnerotomachia, and discusses the relationship between memory and mortality.

Following some speculation on the significance of the title “Hypnerotomachia,” a fourth chapter uses paronomasia as a route to discussing the magical and mechanical themes in the text, and how they relate to the art of memory.

The fifth chapter details the mnemotechnical context and features of the Psychomachia of Prudentius (c. 400 C.E.), in order to provide a background and contrast for the Hypnerotomachia.

The sixth chapter examines the ways in which memory arts were applied and demonstrated in the composition of the text of the Hypnerotomachia.

The woodcut illustrations of the Hypnerotomachia have been a great source of interest in the book. The seventh chapter details their relevance to Colonna’s mnemotechny.

The final chapter of the paper addresses the subsequent influence of the mnemonic aspects of the Hypnerotomachia.

The Ars notoria (art of notes) is a latin tradition of ritual magic ascribed to Solomon and Apollonius, which appears in funds of manuscripts in the XIIIth century and is a great success untill the Early Modern Period; it promises the perfect skill of knowledge teached in schools and universities. A first part assesses the phenomenon, describes the manuscripts and isolates the different versions of a text which never stops to change untill the XIVth century. But what is the origin of this text? The study of the manuscrips and texts, and the analysis of others sources (Gervase of Tilbury, Johannes de Alta Silva, etc. ) allow to defend the thesis of the north-italian origin (more precisely in Bologna) of a magical art initially ascribed to Virgil. A second part conducts a description and an analysis of rituals given by the different versions edited in annexes. It examines the nature of an art which defines itself as a sacrament as a proof of its orthodoxy, asks the question of its practical side, interrogates the sociology of its practitioners, and finds an end in a survey of doctrinal condemnations (Thomas of Aquinas).

L'Ars notoria (art des notes) est une tradition latine de magie rituelle attribuée à Salomon et à Apollonius qui apparaît dans les fonds manuscrits au XIIIe siècle et bénéficie jusqu'à l'époque moderne d'un succès considérable ; elle promet la maîtrise parfaite du savoir enseigné dans les écoles et les universités. Une 1ère partie mesure l'importance du phénomène, avant de décrire les manuscrits et d'isoler les différentes versions d'un texte qui n'a cessé d'évoluer jusqu'au XIVe siècle. Se pose alors la question de l'origine. L'étude des manuscrits et des textes, couplée à l'examen d'autres sources (Gervais de Tilbury, Jean de Haute-Seille, etc. ), permet de soutenir la thèse d'une origine nord-italienne, voire même bolonaise d'un art magique placé initialement sous l'autorité de Virgile. Une 2e partie procède à une description et à une analyse des rituels proposés par les diverses versions éditées en annexe. Elle interroge la nature d'un art qui se définit comme sacrement pour preuve de son orthodoxie, pose la question de sa mise en pratique et de la sociologie de ses adeptes, et s'achève par un tour d'horizon des condamnations doctrinales (Thomas d'Aquin).

This article reexamines the intellectual and religious inclinations of Elizabeth Talbot, Countess of Shrewsbury, or “Bess of Hardwick.” Popular accounts emphasize her wealth, strong-willed character, staunch Protestantism, and dynastic ambitions. This study revises common assumptions about her character using evidence from a set of embroidered wall hangings Bess owned and designed. Their iconography reveals that she studied Boccaccio’s Famous Women, and linked it to other texts in formal comparisons. Bess’s textile furnishings reveal that she was prepared to weigh in on such topics as female virtue and soteriology in ways that were empowering for her as a woman, a scholar, and a Christian. These objects demonstrate Bess’s notational habits, preparatory methods for dialogue, and sophisticated understanding of iconography.
Bess was a product of the same Christian humanist culture as many of her elite contemporaries, and it was her sharp intellect—not her marital pedigree—that
helped her win their praise.

One of the attributes of the Italian Jesuit Matteo Ricci (1552-1610) was his prodigious memory. The humanistic education received at the Roman College enabled him to master the classical art of memory. In China, Ricci discovered that memorization was essential to the learning process required for the civil service examinations to hold posts within the empire, and so he composed the Xiguo Jifa (1596) (Occidental Method of Memory), based on one of the commonest mnemonic systems—the architectural type—to help candidates memorize contents for these examinations. Ricci chose Chinese characters as mnemonic images to be placed in mental structures. This article aims to show how Ricci’s choice of Chinese characters as mnemonic images in China deviated from one of the main functions of an art of memory: to mediate between words and images, creating bridges and modes of translation from one another, thus rendering those images “untranslatable.”

Originally presented at the “Mythology of Violence” Conference held by the Foundation for Mythological Studies (FMS) at the Santa Barbara Center, April 4-6, 2008, this paper explores the Medieval Art of Memory and Lamentation in relation to its relevance for our times amid the recurring tragic happenings that require not only outer activism, but a cultivation of a soul capacity for an embodied tragic imagination, knowing, and consciousness within our heartful feeling that can ultimately bring a deeper, overflowing, and compassionate presence to accompany, lovingly serve, and care for those brought low by tragic events and tragic suffering, as well as do the same for our own soul initiations occasioned by tragic happenings...

The audio recording of this paper presentation is also uploaded to my profile and available here on Academia.

The aim of this article is to present a succinct review and evaluation of the main areas of contention in the false memory debate and, from this basis, to suggest ways in which the best from both sides can be utilized. We examine the potential pitfalls of therapy in terms of the fallibility and suggestibility of autobiographical memory and therapists and therapeutic techniques as the architects of false memories. We then evaluate the case for false memory formation examining if some researchers hold misconceived views of psychotherapy, if experimental studies lack ecological validity, and the effect of trauma on memory. Finally, we explore how the potential pitfalls of therapy can be avoided in practice, reflecting on the usefulness of British Psychological Society guidelines, how clinicians can implement research findings, and how research on the false memory debate can be improved. We conclude that the way forward is researcher–clinician collaboration in the development of ecologically valid research paradigms.

("For sample chapter and browsing see: http://www.palgrave.com/products/title.aspx?pid=530423).  In this project I reflect on how the Southern Cone postdictatorship generations reshape the collective memory of the dictatorial past through political activism and forms of artistic expression (cinema, literature, comics and photography). I situate their work at the intersection of the individual and the collective: it helps artists and activists elaborate traumatic events individually but it also has a profound impact at the collective level, and it is enabled by changes in the political context. Collective memory and intergenerational transmissions are key concepts for understunding these generations' emergence and contributions.
The first part of my study focuses on Argentina, where this generation’s public interventions have broadened social involvement in remembering the past and encouraged learning from it for the sake of the present. In that respect, this generation’s participation is instrumental in achieving an “exemplary memory” in Todorov’s terms: a memory that allows us to draw lessons from the past in order to actively deal with abuses and social conflict in the present, and deciding which kind of society we want to live in.
In the second part, I compare the exemplary achievements in Argentina with Chile and Uruguay, where political conditions are less conducive to genuine debate. The book is written for teaching, research and a non-academic readership."

After the fall of the socialist regimes in South and Eastern Europe socialist statues and monuments were either removed, dislocated, or resignified. Several performance practices have been employed to engage with these statues and monuments. Focusing on the role played by artistic memorialization in the processes of dealing with the communist past, this article uses the concepts of "performative monuments" (Widrich) and "memory events" (Etkind) to analyze several examples of what can be called "performative monuments events." As many statues were removed, the statues witnessed performative practices in the process of their elimination. The monuments that were conserved were dislocated and exhibited as part of "sculpture park museums" and observed nostalgic, ironic practices of tourists that perform the memory of communism by interacting with the monuments. This article analyzes several examples in Albania, Bulgaria and Romania of socialist monuments that have remained in place or that have been dislocated and resignified by contemporary artists using performative practices of memory events that engage monuments. This exploratory research argues that artists, through their "performative monuments events," try to bring the people back to replace the statues with "living statues" and to question the absurd megalomaniac monuments using metaphorical, material instruments.

This book is a collection of 5 essays. The first is an introduction into the basics of chant transmission, the modal framework within the eight-mode system, differentiated according to Western and Eastern chant genres. The second is an introduction into the labyrinth of the eight-mode system, which was used for a musical art of memory in Byzantine chant. The third analyses the embellished design of a traditional chant: a hymn for St. Peter taken from the Byzantine sticherarion and from the Roman antiphoner, and its elaboration in monodic kalophonia and polyphonic organum.

A second part is dedicated to two living chant traditions: The fourth essay describes the integration of makamlar among Greek church singers of Istanbul, and the final essay is a portrait of two important singers of the Bulgarian Orthodox tradition.

Some insights on L’idea del theatro of Giulio Camillo Delminio and its critical reception.

Angelo Maria Monaco
Preliminary draft of a work in progress, the essay is given as a reasoned recognition of the critical reception of Giulio Camillo Delminio’s L’idea del theatro (1550). Intended, on the one hand, as a compendium useful to orient Scholars in the magmatic bibliography on L’idea, on the other hand, as a starting point for new study hypotheses about Camillo as an iconographer. Divided into three sections, the essay focuses, first, on the relevant role played by images in the architecture of L’idea. The second part is a sort of annotated bibliography that starts from Frances Yates’ famous essay, published in 1966. In the third part, two new proposals are discussed. The first one deals with the origin and meaning of the name ‘Delminio’, explained from a philological point of view as a latinization aiming at Camillo’s own self-fashioning. The second one highlights the helpfulness of the list of annotated images in a manuscript in the Biblioteca Apostolica Vaticana, recently rediscovered, to clarify the meaning of some cryptic images in L’idea.

Examines the medieval trope of poetic composition as analogous to building, linking it to method of memory art as an art, not of rote retention, but an instrument of composition. The essay discusses this trope as used in Chaucer's 'House of Fame', Geoffrey of Vinsauf 'Poetria nova', and other medieval poems.

My  article  aims  to  interrogate  the  tension  between  space  and  time  in  Diderot’s philosophy starting from the tableau of the imagination and its specific functioning. By  examining  the  category  of  ragoût –a  culinary  preparation  that,  during  the  18th century, became an expression of an aesthetic of the relationship and harmony between the parts and the whole –I will show how it plays, between the Lettres sur les souds et muets,  the Essais  sur  la  peinture,  the Salonsand  the Regrets  sur  ma  vieille  robe  de chambre, its central role in defining an idea of dynamic spatiality, within which reality and representation coexist in relationships of mutual tension and correspondence. In  fact,  the  ragoût  reveals  a  conception  of conveniencewhich,  by  interweaving  space and  time,  recalls  the  processes  of  human  reason  and  interrogates  them  in  pictorial  and real space, making it habitable and comprehensible: if a detail always reveals a totality, activating a process of orientation in reality, when the relationship between the parts and the  whole  breaks  down,  the  world  itself  falls  apart.  It  is  the  law  of convenienceand ragoût that regulates the world: to change one’s dressing gown is to redefine one's life entirely. If this does not happen, if the relationship between the fragment and the whole is broken, as in La Grenée painting exhibited at theSalon 1767, Penelope appears more suited to a beer hall than to the majestic but sober palace of Ithaca.Keywords: ragoût, anachronism, imagination, space-time.

本研究根據《西儒耳目資》出版的歷史文化背景，重新思考編者金尼閣（Nicolas Trigault, 1577-1628）的教育背景如何形成這本字典的架構，並對傳教士之教育背景對語言分析的影響提出新的見解。本研究發現金尼閣和其他耶穌會傳教士在養成過程中所接觸的記憶術和字典編纂有相同的功能，可以提供金尼閣編纂《西儒耳目資》的基本架構。文藝復興時期所流行的結合術（the Combinatory Art）則提供金尼閣分析漢語音系的架構。接著金尼閣將歐洲既有的字母排列法（alphabetization）修改成獨特的漢語拼音排列法。除此之外，金尼閣和他同時期的歐洲人一樣，都把漢字是為表意圖像，並且將漢字聯想成東方的埃及象形文字。這樣的想法讓金尼閣把漢字放入由羅馬字母組合、標記而成的空間中，成為《西儒耳目資》成型過程中的關鍵要素之一。

Placing the Ulmoçu back to its cultural-historical context, this thesis investigates how Trigault’s educational background offers the framework to deal with the Chinese script. This study finds that the art of memory, which Trigault had studied in school like other Jesuits, provided a framework of the lexicography. Trigault is clearly influenced by the Combinatory Art, which became the phonetic wheels and the tabulations of Chinese syllables that Trigault devised for language analysis. Trigault is also influenced by alphabetization, the method to arrange words in its alphabetical order. For Trigault, these intellectual heritages were his toolkit in tackling the exotic Chinese script. Moreover, I also justify Trigault and his contemporary Jesuits’ belief about Chinese characters, namely, the ideographic and universal myth. Pre-occupied with this idea, Trigault and the early modern European travelers’ observed the international intelligibility of the Chinese script and develop the idea that “the Chinese hieroglyphs” are also ideographic. In Trigault’s lexicography, this idea permitted him to place Chinese characters in the places denoted by romanized syllables. Finally, the approach taken in this thesis explores a new horizon in the study on the Ulmoçu and underscores how a missionary’s intellectual background contributes to his analysis of foreign language.

In seventeenth-century Europe, theories of knowledge were developed in symbiosis with the growth of new architectural types, themselves devised for the practices of science, collecting and ordering of knowledge. The period’s intellectual endeavours, so the project argues, have subsequently been unsurpassed in utilising the built environment and mental architecture systematically for cognitive processes, and in ordering theory by means of spatial, architectural and urban structures. Theories of memory and knowledge continued to be practised and developed parallel to the progress and consolidation of new scientific ideals. The project studies the growth of the architecture for collections and science in Sweden in the mid- and late seventeenth century, and the theory imported and developed in context with them. Central to the project is the argument that the collecting schemes of the seventeenth century were not premature undertakings that evolved into late eighteenth- and nineteenth-century museums, but cultural forms of collecting that only in part survived in subsequent practices.

Il vero filosofo è un cacciatore: si spinge nei recessi più oscuri e umbratili della foresta, in traccia della sua preda. Inseguimento, milizia, bisogno costante di cacciare oltrepassando sé stessi. Necessario, in primo luogo, liberarsi dal sonno, dall'incantamento di Circe che imprigiona la grande parte dell'umanità. L'uomo crede di essere desto, crede di avere occhi per vedere, ma la sua anima è in stato di oblio.

This essay aims to investigate the original experience of the performative nexus between words / images and vocalism / music, which characterizes the work of the actress Gabriella Bartolomei. Her performances are striking evidence of the diffusion of Neo-Avant-Garde artistic experiments, even outside a clear belonging to specific cultural movement. Indeed, Bartolomei performs texts of other authors through a system of iconic rewriting (‘scritture vocali’), which is very similar to the experiences of visual poetry because she uses the same techniques of drawing, painting, and collages. In both cases, the iconic arrangement of the graphic and alphanumeric signs has a hermeneutical, mnemonic, and creative purpose. Only after having iconically translated the text to be interpreted is Bartolomei able to make a vocal performance.

Estudio sobre el arte de la memoria (juego/rebus) en el Proceso de Individuación (anima et spiritus et corpus) que sustenta el significado masónico de la repatriación de los restos mortales de Simón Bolívar, entre 1836 (Principio) y 1842 (Fin). Para ello, la literatura (Los mártires de F. Toro), la música (Requiem de Mozart) y la pintura se combinan, utilizando el Ars combinatoria del mártir franciscano Ramon Llull, en la formulación del genio (saturno y la melancolía) en búsqueda de la Verdad como trasfondo masónico de un proceso intelectual que encumbra a “El Centauro” del Llano.
SE INCLUYE LA INFORMACIÓN INÉDITA SOBRE EL USO DEL "RÉQUIEM" DE MOZART, Y SU ORQUESTACIÓN Y DENSIDAD TÍMBRICA, EN LAS HONRAS A LOS RESTOS MORTALES DE SIMÓN BOLÍVAR, EN 1842.