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viernes, 31 de agosto de 2018

Codex Seraphinianus - Luigi Serafini - pdf



Si bien es un libro bastante loco e ilegible, las ilustraciones lo valen. La Wiki dice al respecto:
El Codex Seraphinianus es un libro escrito e ilustrado por Luigi Serafini nacido en Roma el 4 de agosto de 1949. Comenzó su carrera como arquitecto, pero es famoso alrededor del mundo por sus propuestas artísticas un poco fuera de lo normal. Además del codex, también es autor de la "Pulcinellopedia Piccola".
Durante treinta meses transcurridos entre 1976 y 1978, el arquitecto italiano Luigi Serafini dio forma al Codex Seraphinianus, un libro ilustrado de casi 400 páginas sobre un mundo inventado, escrito en la lengua y el alfabeto de dicho mundo. Es una extraña enciclopedia escrita en un lenguaje inventado e indescifrable sobre temas tan variopintos como botánica, zoología, máquinas, razas, deportes y costumbres de un mundo imaginario que parece salido de una pintura de El Bosco, Escher, Dalí o Magritte.
Serafini opera en varios ambientes: ha trabajado en escultura, cerámica, composición, teatro, etc., y además tuvo una breve incursión en el diseño industrial ligado al cine -trabajó en ciertos diseños para la película de Federico Fellini, "La voce della luna", con Roberto Benigni y Paolo Villaggio. Además de ser escritor para varias revistas italianas.
El idioma del codex es 100% inventado, pero algunos criptógrafos y especialistas señalan que puede que tenga algún significado. Esto, es por el hecho de que el codex contiene en 2 de sus folios algunas frases incoherentes en francés e inglés:
"...orgiaque girl emerged and guessed, the first day on the dam of Balbeo... " " still " " sculptor... to remember... here still " " here... wounded eyes " in bulk then: " to cross, aillor, it is, you, impassioned, USA, well, to believe, I, belief, by..."
Ellas están en el capítulo "Writing", el cual es uno de los más interesantes del libro.
También es preciso señalar el hecho de que parece levemente basado en el cuento de Borges, "Tlön, Uqbar, Orbis Tertius".
Luigi Serafini, sin embargo, se niega a señalar qué trato de decir, al menos eso estipula su testamento, en el cual indica que el libro será explicado después de su muerte.
Secciones:
Zoología: Una sección en la que se muestran las distintas especies de este mundo, resaltando criaturas con forma de ala y cuerpo de engranaje. Y una tabla de medidas biológicas.
Botánica: En esta parte del codex se muestran bizarras especies, como árboles con forma de silla y fumarolas que se transforman en flores.
Teología (aunque parece más un estudio exhaustivo de razas): muestra desde seres formados con desechos biológicos, hasta humanos vistiendo trajes hechos con señales de tránsito. Cabe señalar el desarrollo bastante más adelantado en cuanto a dibujo con respecto a otras secciones.
Costumbres (también incluye deportes y geografía): en esta parte se encuentran algunos folios impresionantes que muestran ubicaciones inverosímiles, aunados a algunos paisajes basados en lugares conocidos -como el Gran Cañón de Colorado, y las Cataratas del Niágara-.
Física: Aquí el libro parece entrar a un mundo donde rige la física de los cuadros de Escher o Dalí. Vemos arcoiris líquidos, la antigravedad, y un diagrama complejo de lo que se entiende es la antimateria.
Este libro es, al final de cuentas, un objeto de estudio indispensable tanto para criptólogos como para diseñadores, por el conjunto tan inusual de temas y la manera como el autor los retrata.
Fuente: http://es.wikipedia.org/wiki/Codex_Seraphinianus

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While it is a pretty crazy and illegible book, the illustrations are worth it. The Wiki says about it:
Codex Seraphinianus, originally published in 1981, is an illustrated encyclopedia of an imaginary world, created by the Italian artist, architect, and industrial designer Luigi Serafini during thirty months, from 1976 to 1978. The book is approximately 360 pages long (depending on edition), and written in a cipher alphabet in a constructed language.
Originally published in Italy, the book has since been released in several countries.

Contents:
1 Description
2 Writing system
3 Contents
4 Editions
5 Reception
6 See also
7 References
8 External links

Description:
The book is an encyclopedia in manuscript with copious hand-drawn, colored-pencil illustrations of bizarre and fantastical flora, fauna, anatomies, fashions, and foods. It has been compared to the still undeciphered Voynich manuscript, the story "Tlön, Uqbar, Orbis Tertius" by Jorge Luis Borges, and the artwork of M. C. Escher and Hieronymus Bosch.
The illustrations are often surreal parodies of things in the real world: bleeding fruit; a plant that grows into roughly the shape of a chair and is subsequently made into one; a copulating couple that metamorphoses into an alligator; etc. Others depict odd, apparently senseless machines, often with a delicate appearance, kept together by tiny filaments. There are also illustrations readily recognizable as maps or human faces. On the other hand, especially in the "physics" chapter, many images look almost completely abstract. Practically all figures are brightly coloured and rich in detail.

Writing system
The writing system (possibly a false writing system) appears modeled on ordinary Western-style writing systems (left-to-right writing in rows; an alphabet with uppercase and lowercase letters, some of which double as numerals). Some letters appear only at the beginning or at the end of words, a feature shared with Semitic writing systems. The curvilinear letters of the alphabet are rope- or thread-like, displaying loops and even knots, and are somewhat reminiscent of letters of the Sinhalese alphabet.
The language of the book has defied complete analysis by linguists for decades. The number system used for numbering the pages, however, has been cracked (apparently independently) by Allan C. Wechsler and Bulgarian linguist Ivan Derzhanski, among others. It is a variation of base 21.
In a talk at the Oxford University Society of Bibliophiles held on 11 May 2009, Serafini stated that there is no meaning hidden behind the script of the Codex, which is asemic; that his own experience in writing it was closely similar to automatic writing; and that what he wanted his alphabet to convey to the reader is the sensation that children feel in front of books they cannot yet understand, although they see that the writing does make sense for adults.

Contents
The book is divided into eleven chapters, partitioned into two sections. The first section appears to describe the natural world, dealing with flora, fauna, and physics. The second deals with the humanities, the various aspects of human life: clothing, history, cuisine, architecture and so on. Each chapter seems to treat a general encyclopedic topic. The topics of each separate chapter are as follows:
The first chapter describes many types of flora: strange flowers, trees that uproot themselves and migrate, etc.
The second chapter is devoted to the fauna of this world, depicting many animals that are surreal variations of the horse, hippopotamus, rhinoceros, birds, etc.
The third chapter deals with what seems to be a separate kingdom of odd bipedal creatures.
The fourth chapter deals with something that seems to be physics and chemistry, and is by far the most abstract and enigmatic.
The fifth chapter deals with bizarre machines and vehicles.
The sixth chapter explores the general humanities: biology, sexuality, various aboriginal peoples, and even shows examples of plant life and tools (such as pens and wrenches) grafted directly into the human body.
The seventh chapter is historical. It shows many people (some only vaguely human) of unknown significance, giving their times of birth and death. It also depicts many scenes of historical (and possibly religious) significance. Also included are examples of burial and funereal customs.
The eighth chapter depicts the history of the Codex's alien writing system.
The ninth chapter deals with food, dining practices, and clothing.
The tenth chapter describes bizarre games (including playing cards and board games) and athletic sports.
The eleventh chapter is devoted entirely to architecture.
After the last chapter there is a table of contents or an index, followed by something that resembles an afterword, except the writing there seems sloppy and rushed.
There are a few lines of text written in French on two plates in the sixth chapter. It is a quote from Marcel Proust's "A la recherche du temps perdu: Albertine disparue" (In Search of Lost Time: Albertine Gone). The words scattered on the floor of the picture are from the same book.








pdf / 54MB
http://www.cetteadressecomportecinquantesignes.com/Luigi.Serafini.-.Codex.Seraphinianus.pdf
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