Serafini code decoding. Encyclopedia of everything in the world

Codex Seraphinianus (Seraphini Code) is a book written and illustrated by the Italian architect and industrial designer Luigi Serafini in the late 1970s.

The book contains approximately 360 pages (depending on edition) and is a visual encyclopedia of an unknown world, written in an unknown language with an incomprehensible alphabet. The word "SERAPHINIANUS" itself stands for "Strange and Extraordinary Representations of Animals and Plants and Hellish Incarnations of Normal Items from the Annals of Naturalist / Unnaturalist Luigi Serafini", that is, "Strange and unusual representations of animals, plants and hellish incarnations from the depths of consciousness naturalist/anti-naturalist Luigi Serafini. Luigi Serafini was inspired to create this book by the Voynich Manuscript.

Codex Seraphinianus download...

One Italian artist saw how our world was turned inside out. Nothing else was hidden in the shadow of the mask and theatrical play. The pictures of the smiling apocalypse impressed the artist so much that he wrote the strangest book in the history of the modern world.

Mankind has seen different books. Some became monuments of the greatness of human thought, others - the quintessence of the spirit of the era, others proclaimed political programs, and the fourth were simply banned for their "bold" texts. The book world is multifaceted, and in its brilliance it forms a single whole - the intellectual treasury of mankind.

Very many "scribes" will gladly talk with you about this or that philosophical theory, discuss the state of modern literature and the immortal greatness of the classics, the merits of one author and the shortcomings of another. But few people will talk about the dark niche of the literary process, the unknown and rarely understood culture of the so-called. "weird books" These books are not found in libraries, newspapers do not write about them, literary critics do not cite them as an example. They seem to be overlooked and ignored.

Perhaps the reason lies in the fact that strange books are always books with a question mark. A person loves answers, clear constructions and transparent meanings. A man loves puzzles that he can solve. Otherwise, the puzzle is often hated and rejected because, unsolved, it is the embodiment of a mockery of the human mind, its intellect and capabilities. Strange books never provide answers and very rarely ask simple questions. They are designed for the chosen reader - sensual and inclined to listen to the cold winds of the unknown. One of these strange books is the Codex Seraphinianus. In 1978, a large package arrived at the Milanese publishing house of Franco Maria Rizzi. When the publishers opened it, instead of a manuscript, they found a voluminous collection of illustrated pages. The illustrations are whimsical and strange. None of the editors could read the text itself.

The cover letter explained that the author of this work, Luigi Serafini, created an encyclopedia of an imaginary world following the example of medieval scientific codes: each page depicts in detail a specific object, action or phenomenon; the annotations are written in a fictitious language.

The famous Italian journalist Italo Calvino was delighted: The Codex is one of the most curious examples of an illustrated book. Read it using non-customary language and traditional perception. There is no other meaning to this book than that given to it by an ingenious reader."

In 1981, Rizzi released a deluxe edition of the Codex Seraphinianus.

The word "SERAPHINIANUS" itself stands for "Strange and Extraordinary Representations of Animals and Plants and Hellish Incarnations of Normal Items from the Annals of Naturalist / Unnaturalist Luigi Serafini", that is, "Strange and unusual representations of animals, plants and hellish incarnations from the depths of consciousness naturalist/anti-naturalist Luigi Serafini.” The author, an Italian artist and sculptor, is an odious personality known in creative circles for his extraordinary works. He designed clothes for the Teatro La Scala and Teatro Piccolo in Milan, worked with Fellini on La voce della luna, and held many exhibitions around the world. Despite the fact that Serafini wrote more than one book (the first was Pulcinellopedia Piccola), the quintessence of his art is clearly the Codex Seraphinianus.

It is rightfully considered the strangest literary anomaly in the history of the twentieth century. The Codex is a crazy exploration of an alien world, a collection of hallucinations, dreams, visions and surrealistic images, a synthesis of incomprehensible text and transcendent illustrations.

Multi-colored egg children walk in the park, garbage bag people bow in landfills near the metropolis, naked men grow from the back of a whitish creature, a warrior with a shield from a road sign, drawings of ships and flying machines, vegetables unknown to science. In a word, not a book, but a charm of psychedelic radiance. The first part of this work is devoted to flora, fauna, physics and mechanics. The second is ordinary and important people, architecture, writing, food and clothing, games and entertainment. Thus, the Codex Seraphinianus is a complete encyclopedia of a fictional world that could exist, exists or will exist somewhere in the Universe.

However, let's look at this book differently. What if the pictures of the “Code” are pictures of our present, albeit hypertrophied, but most importantly, of today. From this perspective, the book becomes even more terrible, because it becomes clear that frightening pictures are not invented or coming in the distant future, but are happening now, with us, in our reality. All this is our wrong side, all these perversions, mutations, deformities and perversions, wild syntheses and terrifying rituals, all these are some kind of plants growing from us, seeds, on ideal soil - the modern world. Thus, Serafini gives us an ultra-sensitive mirror - a body that has been flayed. And here we have naked veins, muscles, tendons, organs and bones. Touch it and everything will ring.

Codex Seraphinianus is a rare and expensive edition. It came out in small print runs on the best paper. A 400-page book can be obtained for as low as 250 euros, depending on the seller. For example, the legendary Amazon.com asks $1000 for this surreal happiness. Codex Seraphinianus is for a select customer only. Who is Luigi Serafini? Liar and mystifier or prophet and visionary? Is the "Code" an elegant forgery, or is it a true witness to the end of the world? An answer is unlikely to ever be received. Regardless of the truth, the Codex Seraphinianus will remain one of the most interesting books in the history of mankind and the strangest literary artifact of the twentieth century.

Luigi Serafini (born August 4, 1949, Rome) is an Italian artist, architect, and industrial designer, best known as the creator of the Codex Seraphinianus, a book published by Franco Maria Ricci in Milan in 1981.

The book contains approximately 360 pages (depending on edition) and is a visual encyclopedia of an unknown world, in an unknown language with an incomprehensible alphabet. The Codex is divided into 11 chapters, which in turn are divided into 2 sections: the first is about the natural world, the second is about man.

The word "SERAPHINIANUS" itself, according to one version, stands for "Strange and Extraordinary Representations of Animals and Plants and Hellish Incarnations of Normal Items from the Annals of Naturalist / Unnaturalist Luigi Serafini", or "Strange and unusual representations of animals, plants and hellish incarnations from depths of consciousness of the naturalist/anti-naturalist Luigi Serafini.

The text of the encyclopedia is written by hand, in calligraphic handwriting, in an unknown language. On one page there is an analogue of the "Rosetta Stone" (a plate with an inscription in three languages, thanks to which Egyptian hieroglyphics were deciphered). But, unfortunately, the language of the "Code" here is translated into another unearthly language. The riddle closes in on itself, leaving no opportunity to reveal the secret. Luigi Serafini himself refuses to comment on the book and interpret its language and allegories.

In the 1980s he worked as an architect and designer in Milan. He worked on the scenery, lighting and costumes for the ballet "The Jazz Calender", staged by Frederick Ashton at La Scala, worked for the Piccolo Teatro di Milano. Collaborated with Italian TV, developed logos and corporate identity for TV channels. Created preliminary designs for Federico Fellini's latest film (Voice of the Moon).

Pulcinellopedia Piccola

In 1984, Serafini published an even rarer book - Pulcinellopedia (piccola) (known in Russian transcription as Polichinelepedia), in the form of a set of pencil sketches about the character of the Italian comedy dell'arte Pulcinella.

P.S. Perhaps the source of inspiration for the creation of the Codex Seraphinianus was the famous "Voynich Manuscript" (eng. Voynich Manuscript) - a mysterious book written about 500 years ago by an unknown author, in an unknown language, using an unknown alphabet. The book is named after the Lithuanian-born American bookseller Wilfried Voynich (husband of the famous writer Ethel Lilian Voynich, author of The Gadfly), who acquired it in 1912. It is now in the Beinecke Rare Book And Manuscript Library at Yale University.

Many attempts have been made to decipher the Voynich manuscript, but so far without any success. Various theories have been put forward as to what secret cipher or technique may have been used in writing it; on the one hand, frequency analysis (the well-known method of deciphering texts by compiling statistics of the mentioned letters, found in the story of Edgar Allan Poe "The Golden Bug"), shows the undoubted meaningfulness of the text, but at the same time it does not help to read it, and sometimes there are strange things - like tripled words, etc., which more than once led many to consider the Voynich manuscript nothing more than a clever hoax. The controversy, however, continues to this day.

Voynich Manuscript (53Mb)

Thirty years ago, Luigi Serafini - today a successful Italian sculptor and industrial designer - created one of the strangest books in the world, the Codex Seraphinianus. This is an encyclopedia of an imaginary world, illustrated in detail and described in a non-existent language. In it, for example, there are chapters on how a crocodile is obtained from a pair of lovers, in what conditions a horse larva lives and develops, why it is convenient to use a wheel instead of a leg.

Despite all the oddities, Luigi Serafini's book has become successful, published, expensive, rare and coveted. The first edition of five thousand has long been recognized as a collector's edition. The Code was repeatedly republished in Italy, it was printed in the States, Holland, France, Germany and China. The price of some folios exceeds €1,000.

The work has already managed to acquire legends and myths: the Society of Bibliophiles at Oxford University tried for a long time to decipher the writing, until the author himself deigned to come and assure the experts that there was no point in the text; drawings were declared diabolical and cursed; created a whole site that translates from English into language from the Codex Seraphinianus, and the like.

In an interview with Bird In Flight, Luigi recalled how and why he created his Code, how it was influenced by hitchhiking across the United States, and explained why, if we translate the Codex Seraphinianus, then only into another non-existent language.

Luigi Serafini is 65 years old

Italian artist, architect, industrial designer. Opened a ceramics laboratory in Umbria. He regularly exhibits in major Italian galleries (Fondazione Mudima di Milano, XIII Quadriennale, National Gallery of Modern Art). In 2003, a polychrome bronze sculpture by Carpe Diem and bas-reliefs by Serafini were installed at the Mater Dei metro station in Naples.

Why did you need a whole book in a language that cannot be deciphered - after all, the drawings themselves are made as exhaustive infographics?

The presence of language implies the presence of meaning, stimulates the desire to unravel the mystery, to penetrate the essence. That is why the descriptions, diagrams and chapters of the text in the Code were simply necessary - this is the principle of the encyclopedia. Many people have tried to decipher this text, created decoders and computer programs - but for me it is too superficial: to decipher does not always mean to understand. An encyclopedia is always a system and always a game, always a bit of a joke. People didn't want to believe in my game - they wanted a legend, a legend based on a secret meaning. But the secret meaning just didn't fit - they needed a secret meaning that could eventually be deciphered. I don't believe in such riddles. I myself am a riddle, and every person is a riddle, and there is no absolute, undeniable meaning on which to rely when solving these riddles.

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How was the Codex Seraphinianus created?

This went on for almost three years. I lived like a monk, like a hermit - I didn’t go anywhere, I didn’t communicate with anyone, I didn’t earn money; it was a very ascetic life - I sat and drew, and supplemented all the drawings with non-existent, mechanical writing. This revealed to me some kind of mysticism - to be among people (I still lived in the center of Rome) and at the same time to be isolated. I was only focused on the Code. But I was young, and when you are young, you have, firstly, much more time, these are not at all the 24 hours a day that I have now. And secondly, everything that happens to you turns into an exciting adventure. My father, for example, told me as a child stories about the war and how he, an Italian soldier, was captured. He experienced terrible things, saw death, destroyed Europe, but at the same time he was young - that's why these were good, full-blooded, bright memories. Memories of past adventures. With similar emotions, I remember the creation of the Code.

The code was a need for me - I just needed to do it. We can call it inspiration - but I would rather say that it is like being in a trance.

It is difficult to imagine a person who has been sitting and drawing a non-existent world for almost three years without getting up.

First, there was no internet back then. Secondly, Rome in the late 1970s was a special place that no longer exists. Life was not expensive, Fellini walked home from the Cinecitta film studio under my windows, De Chirco seemed to be still painting in his studio near the Plaza de España - I lived there too. The atmosphere of monuments and antiquity, churches, huge pines and eucalyptus trees and old villas was not disturbed by the queues of tourists, dolchegabana and restaurants. But this era was coming to an end - the Rome of the times of the Grand Tour was ending, the Rome of the times of kilometer-long queues to the Vatican Museum began. It was tangible, the city was changing, tourism was developing, business was surviving the atmosphere, and she was hiding in the courtyards and in the chapels. And so every environment, every environment is ultimately an experience, and that Rome was a special experience, and this experience influenced me. I don't want to sound too nostalgic, but I think I do. It was there, in that particular time and place, that I created the Code. Now everything seems plastic there, but then the city and what happened to it organically intertwined with the book of the principles of the universe of the non-existent world, which I created day by day.

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Did you somehow plan this project, what did you expect from the strange book you were creating? What was supposed to happen: an art object, a bestseller, a mystified manuscript?

The code was not a project in the usual sense of the word. The code was a need for me - I just needed to do it. We can call it inspiration - but I would rather say that it is like being in a trance. Then it doesn't matter how long it takes you to work - you got involved and you can't help but finish, you are obsessed, something lives in you. A poet may spend two hours on a poem, but I spent two and a half years on the Code in the same state of extreme fever. I still work the only way, even when it comes to industrial design - I don't get attached to plans and projects. I don't work - I'm just empty, releasing ideas in a desperate need to implement them. Another important point: the word "artist" is now too tied to money. A person becomes an artist when his works are sold for millions of euros, they are replicated, and the excitement of collectors rises around them. This is happening now even with those who paint on the walls - everything is turned into art through money. Because the word "art" is not very close to me in principle - it's better to call yourself a poet, this word is still more innocent, there are not so many bucks around it. No, I'm not saying that money is not important in art - in order to make a good large-scale installation, for example, I need a lot of money, so I can't deny it. But in the very essence of art, in the primary intention, there should be no money.

Are you a religious person?

No. But the Codex is certainly a tribute to the great canonical books associated with religions. Everyone at once. Religion is, after all, also a code, a system of organization. I am a very spiritual person. But spirituality is something in the air, something that everyone understands and feels. This is an opportunity to realize different connections at different levels. Spirituality is about Christianity or New Age. We can call it the level of concentration. Spirituality is the highest level of concentration, nothing else. That is my religion.

The word "art" is not very close to me in principle - it's better to call yourself a poet, this word is still more innocent, there are not so many bucks around it.

They tried to decipher the book, they collected symposiums about it, objects were constructed from its images, there is a program on the Internet that translates Codex Seraphinianus from English into language. You have created a kind of network of secret knowledge - how do you feel about this?

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In the early 1970s, I was hitchhiking across the US, like in Kerouac's On the Road, and I felt like information that exists in a certain network - a network that is created by the communication needs of more than 70 million young people, which shapes itself because I was also one of those 70 million. And so I traveled, saw, thought, drew conclusions, told and learned, changed myself and changed the people around. Having already created the book, I realized how much it influenced me - the network model I lived through, a certain structure. It seems to me that the Internet arose and develops exactly according to the same principle: connecting diverse information with different brains in different places. Even the terminology has remained partially the same - hosting, for example, is when you are accepted somewhere and given access to certain information. Isn't it broadly the same thing now on the Internet?

Is the code a finished job for you?

The Code is constantly being developed and supplemented, new chapters appear in new editions - I intend to continue to do so. When I can no longer continue, I will announce a competition and choose a person who will supplement the Code after me.

A pair of lovers turns into a crocodile. Fish eyes of some strange creature float on the surface of the sea. A man rides on his own coffin. These surreal images are accompanied by handwritten text in a completely incomprehensible language, similar to ancient writings unknown to science. All this is the extravagant universe of Codex Seraphinianus, the strangest encyclopedia in the world.

Like a guidebook to an alien civilization, Codex Seraphinianus is 300 pages of descriptions and interpretations of an imaginary world, written entirely in a unique (and unreadable) alphabet, and complemented by thousands of drawings and graphics. First published in 1981 by Franco Maria Ricci, the book has been a collector's item for years, but with the advent of the Internet, its popularity has taken a sudden leap. As a result, a new and improved edition was just released, and 3,000 copies were sold out on pre-orders even before publication.

The author of Codex Seraphinianus, Italian Luigi Serafini, was born in Rome in 1949. Once Serafini retrained from an architect to an artist. He also worked as an industrial designer, illustrator and sculptor, collaborating with some of the most prominent figures in the cultural life of contemporary Europe. Roland Barthes himself happily agreed to write the prologue to the book, but after his sudden death, the choice fell on the Italian writer Italo Calvino, who mentioned the Codex in his collection of essays, The Sand Collection (Collezione di sabbia). Another notable admirer was the Italian director Federico Fellini, for whom Serafini made a series of drawings based on the film La voce della Luna, the last of the director's career.

Serafini's workshop, located in the heart of Rome, just a stone's throw from the Pantheon, reveals all the secrets of its fantasy world. Wandering around it is like taking a tour of Stanley Kubrick's Lezergin film sets or among the sets for an Alice in Wonderland pyrotechnic show. The imaginary space of the "Code" captures the real world more effectively than any modern 3D technology.

Perhaps the most appropriate epithet for the "Code" is "psychedelic." The question naturally arises as to what role stimulants played in the creation of the book. The artist does not hide the fact that he used mescaline (a drug that was widely used in the 20th century to “expand consciousness”), but adds that this did not affect the creative process in any way: “Under the influence of mescaline, you lose the ability to think critically. It seems to you that you are creating a masterpiece, but when you sober up, you realize that the work is worth nothing. Creativity is a process that is based on small details, such as a play on words. You have to be focused, there is no shortcut."

Serafini sees the connection of the Codex Seraphinianus to modern digital culture in that it is the product of a generation that chose to create networks and subcultures instead of killing each other in war, as their fathers did: “I simply rejected the reality of the absolute the destruction of World War II and had a burning enthusiasm to explore the world and learn things.”

The artist adds that Codex was a kind of “proto-blog”: “I tried to reach out to peers, just like bloggers do now. In a sense, I anticipated the emergence of the web, sharing my work with as many people as possible. I wanted the Codex to be printed in book form, to go beyond the tight circle of art galleries."

As fantastic as Serafini's drawings are, the aesthetics of the old handwritten natural history encyclopedias are remarkably accurate. For comparison -

The language of the book is a secret code.

Codex Seraphinianus (Seraphini Code) is a book written and illustrated by the Italian architect and industrial designer Luigi Serafini in the late 1970s. The book contains approximately 360 pages (depending on edition) and is a visual encyclopedia of an unknown world, written in an unknown language with an incomprehensible alphabet.

Luigi Serafini was inspired to create this book by the Voynich Manuscript, Jorge Luis Borges' story "Tlön, Ukbar, Orbis Tertius", the work of Hieronymus Bosch and Maurits Escher.

Where did that very Voynich manuscript come from? If we take into account the fact that a person, in principle, is not able to come up with something out of nowhere, then why shouldn’t such worlds actually exist...

The Serafini Codex is an ENCYCLOPEDIA, brought along with one of the prisoners as a memento of their planet.

It is clear from this book that the US military found a crashed UFO disk near Roswell, New Mexico. That is where this encyclopedia came from. It was published only in the 70s. Moreover, they have not been able to decipher the codes so far. I think that the alien in this UFO survived, one of all. He was held in custody at a US military base, as described by eyewitnesses. https://app.box.com/s/

Alien interview. Lawrence R. Spencer.docx

In the Solar System, our ancestors created bases on all planets, from there various creatures come to earth, very similar to people. Although, they are now also captured by the Empire of the forces of the black priests of Atlantis. And just like on earth with the human genome, the same experiments are being carried out, animal-human demons are being bred. The percentage of living and chimeras is exactly the same as on earth.

As you know, in July 1947, Roswell Army Air Field (RAAF) issued a press release stating that personnel from the 509th area bomb group had discovered a crashed "flying disc" from a ranch near Roswell, New Mexico, and that sparking intense media interest. Later that same day, the commanding general of the Eighth Air Force Division stated that Major Jesse Marcel, who was involved with the initial damage recovery, had brought back only the tattered remains of a meteorological balloon. The true facts of the incident have since been were covered up by the United States government. You may not know that I was recruited into the American Women's Army Air Forces (WAC) Medical Corps, which was then part of the US Army. At the time of the incident, I was assigned to the 509th Bomb Group as a flight nurse. When news of the crash was received at the base, I was asked to accompany Mr. there will be a need to provide medical assistance to any survivors. Therefore, I briefly witnessed the crash of an alien spacecraft, as well as the remains of several dead alien beings aboard the saucer. When we arrived, I learned that one of the creatures aboard the saucer had survived the crash, was conscious and apparently unharmed. The conscious alien was outwardly similar, but not the same as the others. None of the personnel present could communicate with the survivor, as the creature did not communicate verbally or in intelligible signs. However, while I was examining the "patient" for wounds, I immediately discovered and realized that the alien was trying to communicate with me with "mental images" or "telepathic representations" that were coming directly from the creature's head.
Most of all I liked the trees that bathe in the pond) What? sentient beings...
As you know, in July 1947, Roswell Army Air Field (RAAF) issued a press release stating that personnel from the 509th area bomb group had discovered a crashed "flying disc" from a ranch near Roswell, New Mexico, and that sparking intense media interest. Later that same day, the commanding general of the Eighth Air Force Division stated that Major Jesse Marcel, who was involved with the initial damage recovery, had brought back only the tattered remains of a meteorological balloon. The true facts of the incident have since been were covered up by the United States government. You may not know that I was recruited into the American Women's Army Air Forces (WAC) Medical Corps, which was then part of the US Army. At the time of the incident, I was assigned to the 509th Bomb Group as a flight nurse. When news of the crash was received at the base, I was asked to accompany Mr. there will be a need to provide medical assistance to any survivors. Therefore, I briefly witnessed the crash of an alien spacecraft, as well as the remains of several dead alien beings aboard the saucer. When we arrived, I learned that one of the creatures aboard the saucer had survived the crash, was conscious and apparently unharmed. The conscious alien was outwardly similar, but not the same as the others. None of the personnel present could communicate with the survivor, as the creature did not communicate verbally or in intelligible signs. However, while I was examining the "patient" for wounds, I immediately discovered and realized that the alien was trying to communicate with me with "mental images" or "telepathic representations" that were coming directly from the creature's head.