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HALLOWEEN: CELTIC FESTIVAL, FESTIVAL TEMPLAR E. .. THE PRIORY OF SION

Dear friends, bloggers and visitors,

I could not dedicate a post to the traditional Celtic Halloween celebration, yet this year, will be celebrated at the Castello Sforzesco in Milan. In past editions has seen more than 200,000 people celebrate with singing, dancing, drinking mead in the company of fairies, witches flying on brooms, fauns, Sylphs, sirenotte, fairies, werewolves, skulls and cross bones, blazing stars, crosses deburred Templars, Rosicrucians and silver moons red :-)... lacked only the demon ... Ashmadaeva

one time, in Northern Europe, the Celts celebrated a long night that ran from October 31 to November 2. The Celts, like the Etruscans, considered the Beyond the realm of the dead, like a magical place, a-temporal, of peace, but not negative.

The Celts believed that during Halloween night, it opened a door, Janua underworld and those who inhabit the realm of the most, as they say, go back, in our world, to be celebrated by the "live" to which , the dead, or rather their ghosts, made some little joke. But the Celts non erano i soli ad avere questa credenza. Anche i Germani credevano all’esistenza di questo regno immortale, dove vivevano i morti e lo chiamavano Hel (Hell in inglese significa inferno, stessa radice di Hall-oween).

Gli Egizi davano una grande importanza al viaggio che conduceva verso il Regno degli esseri immortali che loro chiamavano Agert (che ha la stessa radice del mitico e sotterraneo Regno di Agarthi).

Le popolazioni di Haiti e di Cuba, ancora oggi, hanno come religione principale quella del Vudù e degli Zombie, ossia i morti che tornano in vita. Simbolo preminente della Festa celtica di Halloween, come sapete, è la simpatica zucca magica con tanto di occhi, naso e bocca, mentre il tema centrale dei festeggiamenti revolves around the arrival of the dead returning to life, which are regenerated and become new, like the observation of nature teaches us that prehistoric man had learned to respect the cycles of life and death.

The theme of the immortality of the bodies we find in the literature of the Grail, who, before becoming, in Christianity, the cup of the Last Supper of Jesus, was once, in the religion of the Celts, the magic cauldron in which they died and reborn heroes and knights, and in which the women of Northern Europe experienced their medical concoctions.

You should know that the "tradition" of noble families Templar, from Lusignan to Hautpoul exudes all this pagan Celtic symbol of the Dominican Catholic Sant'Inquisizione encounters, with proof in hand, after the confessions of many of the knights of the temple back in 1307. As you know, in fact, the Halloween pumpkins are a playful representation of the most famous and macabre skulls that the Templars worshiped in secret chapters, which were conducted specially locked forever in castles and mansions, to give an appearance at the ritual ' environment and the abyss of hell to which the riders were particularly attached, so as to have a positive outlook.

After all, the "wonderful" underground world, full of earth energies and streams, awoke in the drive knights idea of \u200b\u200bchildish rebellion against the staus quo represented by the temporal power of the Catholic Church, so that the apex of the initiation rite temple culminates with the "spit on the crucifix" (which, as stated in the document Chinon but not only, was used by the Order of the Temple according to the Tradition, ie since 1118). Caves, tunnels, streams of warm waters, seabed, the same moon, for example, reminded the Templars, but not limited to them, some of the archetypes of the powers of Nature stepmother, benevolent and malevolent that manifested itself in the worship of the famous Black Madonnas (black as the ground) very common in France (one of esse è presente in Italia, a Loreto, per precisione).Un altro aspetto particolarmente sacrale per i Templari, di sicura derivazione pagano- celtica, era il sangue, fluido vitale per antonomasia che lega le generazioni del passato con quelle del presente. Il sangue, un tempo, era materialmente presente nella festa dei morti, così come nei momenti più salienti delle religioni politeiste e monoteiste, proprio quando si compivano i sacrifici in onore dei defunti o delle divinità. Il sangue, con la sua componente sacrale, compare, ancora una volta, nella letteratura del ciclo del Santo Graal, inteso come Sang Rèal, ossia come Vero Sangue, Puro Sangue (la Sangria, il vino tinto spagnolo che è sempre presente nei rites and Agapi neotemplari).

The theme of the journey to the parallel world, the theme of the double, the mirror image of life after death, the underground world of blood, the forces of irrationality, magic and fantasy are present, together even in the Priory of Sion misteriosofia it shares with the Templars thought and religion of the Celts and Gauls. The Order of Zyon affiliated particularly artists who praised the insurgency in the search for the celebrity who makes immortal. To name at least three, remember: Jules Verne (whose tomb was sculpted body of the writer in the act of "resuscitate"), Oscar Wilde (the famous for the portrait of Dorian Gray aging and abbruttisce instead of the protagonist) and Jean Cocteau. The latter was a painter "rebel", lived in the Riviera, was a friend of Picasso but also was Grand Nocchiero the Priory of Sion, at least until the early fifties, a period in which it becomes an admirer of the communist regimes of Eastern Europe ( born in 1955, the Warsaw Pact). How Much Nocchiero, referring to the mythical Charon (who, in Greek mythology, on board his ship, sull'Acheronte, accompanied the deceased to reach the beyond), Cocteau, who was an ardent esoteric, Jesus did not consider Humanity as the true Messiah (as seen in many of his paintings) nor believed in the European tradition of the Christian religion. As a good follower of the tradition of magical religion pagan Gallo-Celtic, but especially the Greek (as Nicolas Poussins), indeed, was inclined to exalt in his representations of the Greek gods of the irrationality of the drives and the deep, which Dionysus and Poseidon, so that, next to his grave was placed a metal trident (the legendary instrument of the power of the Abyss, with whom Poseidon, the first king of Atlantis, causing the tidal waves). That trident that the Catholic iconography, when Christianity designed to sweep away the militant paganism, assigned to the devil, lo stesso che si vide attribuire anche un paio di corna, un tempo doppia protuberanza presente sulla testa del mitico dio pagano greco Pan, quello che scorazzava nella Regione dell’Arcadia, tanto per intenderci.Inoltre, il fleur du Lys , il Giglio francese, ben rappresentava per Cocteau, ancora una volta, il simbolo del mitico regno degli abissi e dell’oscurità, Ys, un’isola sprofondata nelle profondità dell’Oceano, nella notte dei tempi, simile all’Atlantide di Platone, composta, come quella del racconto greco, da una razza di superiori eletti, tecnologicamente avanzati ma che “vivono immortali, nascosti agli occhi degli uomini della superficie”. Infine, come da disposizione Testament, the dandy French painter he inserted into the lid of his coffin a mirror a little 'kitsch. What should or should not reflect the mirror? You ask. Cocteau's obsession with the myth of the double, the mirror images can be explained in reference to the vampire mythology, Romania, Bulgaria and Yugoslavia on the peninsula, well-spread among the people of the Pyrenees, especially in that of Rennes Le Chateau ( where the Priory of Sion had a base of operations) and that, for centuries, attracts a stream of artists, not least, the late American singer Michael Jackson (see video-clip of Thriller). As you know very well, the vampire mythology is similar, and in some ways, è identica a “quella dei morti che tornano in vita” della festa di Halloween. Questa leggenda

“Riguarda quell’essere che si nutre di sangue, che non ha ombra né si riflette negli specchi, che dorme nella bara, che è immortale, che si muove nella notte e si trasforma in pipistrello o in lupo mannaro, a suo piacimento…"

Ai confini della Realtà, nella Twilight Zone ma non troppo…

See you in the next Few months!

Happy Halloween!

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The Dream Part I

Every night I dream of billions of human beings, without exception. That this happens to a person in Australia, America, India and Italy is no different: we are all united by this amazing collective experience. It is always dreaming every night, even more than once. But what is a dream? The question, though simple, has a huge complexity of response. The psychoneurophysiology identifies a mental process in the dream of our own brain, that the stage of sleep called REM (rapid eyes movement) takes on characteristics of extraordinary vitality and clarity, while retaining the constants of irrationality and unreality that so we are familiar.
dreams, however, are much more than simple "images of discharge" produced by our brain to rest. The, unpleasant feeling that we feel after such a nightmare or pleasure felt at certain moments in which we are immersed in a dreamlike scene of a sexual nature can not but let us suppose that behind the dream there is a strong emotional charge. And what about that strange feeling that assails us, sometimes, when you wake up and they do not exactly know how to give a name?
The study of dreams is something ancient, ancient. Sigmund Freud was only tested with scientific rigor something on which the Babylonian astrologers have asked themselves, and that the Romans were using Christmas to predict the future. Of course, the conclusions and the theoretical postulates of Freud had nothing of the prophecy of the ancient priests, but in any case put on paper the fact that the dream was one of the doors that gave access to the most hidden depths of the human soul.

What sense to give, then, the intricate tangle of images in our dream production? The answer is very personal and varies in each of us, however, is universally accepted in psychodynamic and psychoanalytic world in general that the images in dreams are the result of a deformation, psychic defenses made by the service of our moral claims, and especially so the defense mechanism called displacement and condensation. While we of Displacement already mentioned in a previous post, we can say that about the condensation is a mechanism whereby two or more images can be merged into one single object.
Thus, for example, if we dream of being chased by a wolf, we can express a symbolic level is a reworking of a thing of the past (where perhaps a dog or other animal attacked us) and talk about some issues that a threatening figure of the past with the authorities, such as our father had.
Carl Gustav Jung has further expanded the speech, saying that in every dream there is a dimension objective and a subjective dimension : every detail of a dream is about is an event that has to do with something "other than me" is with something that is "me." Returning to the wolf, we may refer to the episode of aggression is a dog is an aspect of our "wolf", or threatening, nocturnal predator.

speech on dreams, "royal road to the unconscious" as Freud said, is long and complex, and therefore deserves wider coverage. In the next post will post an example of dream analysis and it took some literary work, and I will comment on the most important points.
soon!

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Vector no limits

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If the title you thought we would talk to a famous brand of watches, you are mistaken, the theme of today is another type of technique that I got to experience last summer in jail and this is precisely the technique vettoriale !
Ma che cos 'è questa tecnica di disegno? per darvi una risposta esaudiente ci siamo rivolti a Wikipedia l' enciclopedia libera (con tanto di relativi sotto-link per che non conoscesse qualche parola!)

"La grafica vettoriale è una tecnica utilizzata in computer grafica per descrivere un'immagine. Un'immagine descritta con la grafica vettoriale è chiamata immagine vettoriale . Nella grafica vettoriale un'immagine è descritta mediante un insieme di primitive geometriche che definiscono punti , linee , curve e poligoni ai quali possono essere attribuiti colori e anche sfumature. È radicalmente diversa dalla grafica raster in quanto nella grafica raster le immagini vengono descritte come una griglia di pixel opportunamente colorati."

Ma qual'è il vantaggio di utilizzare questo tipo di disegno?

la risposta sempre da Wiky :

"La grafica vettoriale, essendo definita attraverso equazioni matematiche, è indipendente dalla risoluzione , mentre la grafica raster , se viene ingrandita o visualizzata su un dispositivo dotato di una risoluzione maggiore di quella del monitor , perde di definizione. Una linea che percorre lo schermo trasversalmente se viene rappresentata utilizzando la grafica raster viene memorizzata come una sequenza di pixel colorati disposti a formare la linea. Se si provasse ad ingrandire una sezione della linea si vedrebbero i singoli pixel che compongono la linea. Se la medesima linea fosse memorizzata in modo vector line would be stored as an equation from a point identified with the coordinates initial and ending at another point defined by the final coordinates. Enlarge a section of the line does not produce visual artifacts or view of the individual pixels making up the image, since the line would be always displayed the highest resolution allowed by the monitor. "

A this regard, the vector graphics to me is useful for a number of new jobs, for example, the plan with which I opened the post had to make a poster di altezza 150 cm da piantare nella neve all'ingresso degli impianti sciistici dell'Alpe Mera. Essendo un disegno di grandi dimensioni, se mi fossi limitato a inchiostrare manualmente, una volta ingrandita la linea di contorno scansionata mi sarei ritrovato con una linea a tremolante e imprecisa.

I disegni di questo secondo lavoro invece, sono i Characters per l'animazione di una pubblicità che ho realizzato sempre negli scorsi mesi. Siccome mi son confrontato per la prima volta con un disegno animated, I opted again for a vectorization of the sign is to better manage the "cropped" to animate the different levels!

And finally, waiting for the imminent start of work of the fourth issue of Motty , a series of previews of the nice blue turtleneck while juggling various activities. The drawings are designed for a hypothetical and possible web-site Motty, which we hope will soon see the light. The presentation "strip" was instead designed to last exam Design at the Academy di Brera, dove ho presentato le tre fasi di questo lavoro: dalla bozza a matita, passando all'inchiostrazione digitale in Adobe Illustrator e terimando con la colorazione e l'effettistica di Adobe Photoshop!

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ARE ALWAYS ON THE PIECE ... TEMPLAR

Dear friends, bloggers and visitors,

as you may have noticed, this blog (as others) has not been updated with new posts for several months. The reason is simple: by working with various newspapers, television or not, I was asked, understandably, to significantly reduce the frequency of my posts.

So I warn you that the next post, except for my reflection, have every three or four months.

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The structure of Part III

Hello,

this post will be dedicated in particular to the way the unconscious to express its needs, how to stop this expression of the ego and the way in which you want to develop in our psyche.

The id, as we have seen before, is full of "objects" that could be called acceptable, very powerful, often at odds with the moral principles of our conscious ego. These needs, not being inert, are trying in every way to reach the threshold of consciousness to receive satisfaction and above all to ensure that I will become aware.

So, you say, what's wrong with that one is aware of any sexual desire or a special need that may not be accepted da chi ci sta intorno? Nulla, ma il punto è che l'Es non cerca soltanto di far affiorare in modo impulsivo e violento del materiale alla coscienza, ma prova anche ad agire il desiderio, ovvero a realizzarlo in maniera disorganizzata ed edonistica. Vi sono alcune tipologie particolari di desiderio che sono molto osteggiate dal nostro Io, ma di questo discuteremo oltre, per il momento vi basti sapere che è proprio la paura della coscienza che questi desideri vengano attuati a relegare alcuni vissuti e alcune voglie nella sfera di non consapevolezza.

Ma come fa la psiche a esprimere un bisogno? Freud e i suoi successori coniarono e perfezionarono la teoria delle Pulsioni: secondo il neurologo Vienna, states of arousal which then led to perform actions arise within the body and have the pleasure as a destination mainly through interaction with an "external object" (more often a person on which we are conscious and unconscious fantasies) . These drives, which could be compared to what is known as motivation, are guided by libido, or a "psychic energy" immeasurable Freud believed that (in my view is incomplete, as also Jung) of a sexual nature. Libido that would guide our desires and instincts to allow the meeting. For example, it is as if it were a highway drive and libido the flow of cars.

However, as mentioned before, I sometimes just do not like some instinctual drives, and implement the defenses that are multiple, and often depend on the personality structure of the subject. Usually, in most people is the defense Prince Removal, or the "apparent oversight" of certain details, ideas, desires, which are moved by conscience to Ex. A very practical example is that of victims of violence who can not remember the face of their tormentor: of course they have seen repeatedly in the face and close the aggressor, but they are not able to remember the details because the vision of that face is too painful e potente per poter essere evocata. Ecco perchè l'Io rimuove il ricordo e lo relega nell'Inconscio, dove può però essere recuperato dalla psicoterapia e dove, lungi dall'essere inattivo, continua a condizionare la nostra vita, apparendo spesso in forma simbolica in sogni o paure. Quest'ultimo meccanismo di difesa, chiamato Spostamento , va a braccetto con la rimozione e permette alla mente di "dislocare" la carica emotiva di un oggetto X originario su un'altro collegato in qualche modo all'originale (spesso inconsapevolmente) ma più innocuo e gestibile.

Il meccanismo tipico è quindi questo:

The most observant among you will already have realized that this speech is essential to understand some illnesses such as anxiety disorders. For this week we finished, the next we will try to understand the working mechanism of dreams, which is closely tied to the theme of this post. See you soon!

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The Merchant of Venice - The Final Act

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L'ultimo Atto di un progetto che mi ha visto occupato per tutto un anno intero.
Con oggi chiudo que sto fascinosco racconto che mi ha accompagnato in these months of trial leading me to learn new techniques and improve those that already knew. The taste
used in ' interpret this text set in a Venice of love and intrigue was purely Gothic style that I find I still have blood even though I had completely given to other genres in recent years. In
' interpret my drawing style too much tending to the comic someone coined the term "Gothic Fables," a term that I really believe that I will use again in the future! ;)

- Bassanio -

Just like the the "strip" with all characters once uploaded to the web carpet and rug to be in a format not too legebile, I add here a few appear single, in the hope of being able to achieve eun gallery on a day tuttto-line for many.
Bassanio I had to make 2 times, because being the first character I had drawn and colored, when they are arrived last I realized that the technical gap between the two was too much and did not appear that the two did not part of the same work!

- The Principer Morocco -
Perhaps the most well- riuscito dopo Porzia ; Ha fatto innamorare parecchia gente con il suo sguardo profondo e il suo fisico scolpito, tanto che ho sentito frasi del tipo "Porzia, molla quallo sfigato di Bassanio e mettiti col princiope di Marocco!!"

-Nerissa-

L'ancella di porzia, volevo che fosse anche lei bella come la sua padrona, ma se Porzia era una bellezza pura e naturale, quella di Nerissa doveva essere una bellezza ricercata e appariscente.

-Lancillotto-
Mi son divertito molto con questo personaggio; is much more fun to paint ugly and grotesque characters, because you can sbizarrire with the brush strokes and effects.

This is the board game of the three caskets, all three equal, but each of a different material, different incision, different content! Only those among the suitors of the beautiful Portia had opened the right chest could take in marriage. In my interpretation
staff, emphasize the importance of Venice in this context, I have created cross-references between text objects and Venetian masks. In this way, "the skull", "the puppet of the fool" e "il dipinto di Porzia " vengono rielaborati con caratteristiche che rimandano appunto alle maschere.

La scenografia, concepita per essere realizzata all'interno del particolare spazio circolare del "Teatro Studio" di Milano è composta principalmente da un fondale e 2 mezzi ponti semovibili .
A seconda di come questi elementi vengono combinati insieme tra loro e con il fondale, e grazie anche all'ausilio delle luci e degli scenari, il luogo della scena cambia completamente dando vita a bel 6 luoghi diversi!

- Inside Venice -

The two half-bridge modules are joined together to create a full bridge that is located within the scene. A light mist simulates the city's canals while the actors perform a scene from the deck and the porch in the background.

- House Shylock -
The house where the greed merchant jew is officially sealed the blood pact that binds the landlord with the merchant Antonio, the protagonist of the book. The two "modules bridge" are juxtaposed with two side doors of the set forming two stairs leading into the house. The gloomy light comes from a single central window designed to illuminate only the table and the three participants to the scene ( Shylock, Antonio and Bassanio )

- Court Venice -

In this scene, the bridge module is not used.
Venice, with a backdrop of sunset lights tending to a blood-red, to emphasize the tension of the moment and an ending that seems inevitable. (A life that is coming to sunset)
The large space of the theater is used to make the most la scena, utilizzando gli spalti laterali circolari del pubblico come fossero parte delle tribune della corte di Venezia, portando cosi il pubblico a essere coinvolto in primissima persona all'interno del processo.

- Belmonte Notte -
Per il palazzo di Belmonte (vale sia per il giorno che per la notte) I "moduli ponte" vengono nuovamente uniti per formare un ponte unico, ma questa volta vengono avvicinati all'arcata centrale del fondale in modo da formare una sorta di imponente scalinata degna di una facciata di un palazzo.

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The mind frame of mind

Hello,

a week ago we had left talking about the unconscious, its existence and its ability to influence our lives. How is this possible? To explain, I have to resort to 'Iceberg of Freud, a figure that shows the structure of the mind according to the theory of the Viennese neurologist named "First Topic".

As we can see here, our conscious mind (conscious or conscious level) emerges only from the "sea" that separates it from the rest of the mind, and with his thoughts and perceptions not is that a small tip that has as its basis something bigger and richer.

If we dive into this sea, in fact, we are faced with the preconscious, or only partially conscious area, where there are our memories and knowledge gained in a lifetime. If you think about the difference between an action and a conscious pre-conscious action is intuitive: an action that takes place at a conscious level, as For example, the perception of pain is always present and we can not ignore it unless we do something to change our state. A preconscious action, such as remembering an episode last summer, this is only if we evoke mental images, or is information that we do not have constant access, although there are in a stable form in our minds.

An important area of \u200b\u200bpreconscious is that dreams are made here (which we'll detail below). Many of psychogenic amnesia and memory disturbances can reasonably be limited to this area.

The Unconscious, which is the basis of Our Iceberg is an area that contains absolutely inaccessible to consciousness, according to Freud, fears, unacceptable sexual desires, desires, irrational, immoral and violent impulses, selfish needs and humiliating experience. This material is so dangerous is held in this area of \u200b\u200bnon-awareness in order to avoid damage to the conscience.

Personally, I do not share this negative view of the Unconscious in its entirety, but most married Carl Gustav Jung's thesis according to which our unconscious is the repository of so that most frightens us (Jung called this aspect "L ' Shadow ") but is also the place of our hidden potential and unexpressed. What important is that these three areas of the mind communicate with each other in one way or another, and that occasionally they may come into conflict because of conflicting desires. Should not be seen then these three blocks as something separate, but as a dynamic (appunto!) that interacts, blends and contrasts depending on the desires and life experiences. Certainly, our consciousness has sometimes need to defend what they may want to bring out the unconscious, and therefore has in its possession of psychic defenses (we shall return) that allow him to manage his irrational side. Toward the last years of his life, Freud amplified this theory by defining the conscience "I," the unconscious "Es" putting the preconscious in between these two and adding a third force (or instance), the "superego", a sort of censor and moralizing that is formed during childhood growth on the model of the authority figures of our childhood. We'll talk about this later, because it is a crucial step of psychodynamics.

But as we can observe the communication between these three areas? Freud said that it is visible, and encrypted using symbolic language, dreams, and the "blunders" or in episodes such as slips of the tongue and wit. The task of consciousness is to regulate this flow of desires and adapt to the reality of everyday life. For those interested in this aspect, I suggest you read the text "The Psychopathology of Everyday Life" by Sigmund Freud. The book is easy to find and has minimal cost, also the writing of Freud is very nice and clear, thus making his text a reading affordable, even for those who are fasting to psychoanalysis.

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Now, I think is enough for today! In the next post will look at the way of expressing the unconscious needs and defenses that the individual puts in place.

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Render Belmonte

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Grazie soprattutto ai videotutorial di Saverio , in poco più di 6 mesi son passato da zero a un livello di modellazione piuttosto discreto. Il linguaggio del 3D mi è davvero tornato utile per poter aggirare alcuni ostacoli obbligatori nel percorso di studio di uno scenografo, primo tra tutti la creazione di modellini. Dopo l'estate scorsa, passata per più della matà a realizzare QUESTO dannatissimo modellino malvenuto , I had promised to shut down forever with the models and give me real completely to digital modeling, among other things, reduce even a trip to Hollywood where there was chiarmante told by the king of special effects Stefano Trivelli that there is no future in modeling with cardboard and wood.


The problem that arose immediately after learning to model and give some lighting and material was to discover that my laptop, however powerful it may be, was not able to manage a project as complex as what I had prepared, planting in the lurch after weeks of modeling one step from final render!
so I spent the last three weeks in a hellish fight against the mind digital p er understand how they think and how it can be circumvented. It 'was a war made up of many battles, I win first, then immediately after birth of a new problem and so on ...
Eventually, the day before delivery, not knowing who interpellarmi , I decided to "occupy" the house of my friend Ema to exploit its super computer (the one used to mount the video MadMirror ) 8 GB RAM, used up more than 46 minutes to put each render! At this point, once I am aware that the material "polished marble" radically changed effect second of how it was lit, I could not afford the luxury of re- avvirare render a second shot on the same ! Also, I think, to the point where we had arrived, if only I had understood that the computer was going to change a material or a light, that would explode instantly!




And finally a little technicians and work in progress .....

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Part II Part I The structure of the mind

Very often, before we commit to action without thinking about it (such as slips of the tongue), in front of a sogno molto bizzarro o davanti a delle opere d'arte o film che riescono a toccarci in fondo nonostante non abbiano nulla di apparentemente "speciale", non riusciamo a non chiederci:"Ma come è possibile?" oppure "Da dove viene questo mio sentimento?".

La risposta a questi interrogativi è, naturalmente, dentro di noi. La mente umana è concepita in modo da contenere una miriade di ricordi e di informazioni, molte delle quali non raggiungono la soglia della coscienza: tutto ciò, anche se a prima vista sembra un male, in realtà è assolutamente necessario.

Provate a pensare, infatti, a come sarebbe dura la vita se dovessimo catalogare tutte le informazioni presenti in ogni momento della nostra vita: volendo fare un esempio, pensiamo a una scena tipo, come il fatidico giorno di un esame. Immaginate solo come sarebbe difficile rispondere alle domande del professore se dovessimo fare i conti a livello cosciente con l'immensa mole di informazioni presenti nell'aula,comprese la temperatura atmosferica e il tasso di umidità dell'aria, il colore dei vestiti di ognuno e il tipo di pettinatura o la traiettoria delle 3 mosche presenti. Impossibile, vero?

Ecco perchè il nostro cervello "Stores" information allows us to manage minor and only those that pass the threshold of consciousness (which is very specific, and dumb, too, depending on the context). But where does this information? The answer is apparently simple: in each case are stored in our mind, not in an area of \u200b\u200bawareness.

This space outside of consciousness is not like our closet at home, or a repository of useless junk, or that half-broken open only to take the Christmas tree, but is a vast place, in constant action and movement, with laws that are beyond the logica e che rimescolano e rimpastano questi elementi "rimossi", in una continua trasformazione.

Questo luogo, che in psicodinamica viene definito "Inconscio" o "Es", è molto superiore alla nostra parte cosciente, e molto spesso ne determina le azioni e i desideri. Le forze che si trovano al suo interno non sono, infatti, semplici dettagli trascurabili, ma anche oggetti molto dolorosi che abbiamo dovuto accantonare al di fuori della coscienza per non soffrirne, desideri inaccettabili per la nostra struttura morale e anche potenzialità nascoste. Questo discorso, come vedremo in seguito, è cruciale per comprendere l'eziologia di moltissime psychiatric illness.

In the next post we will try to understand how this Es interacts with our consciousness and how we decide what can or can not be disclosed to our side alert. I'll try to update the blog at least weekly, if you have questions or preferences, please leave a comment!