The Rules for Nocturnal Navigation




To define Cosmo-Art, we have included some Chapters from the book by Antonio Mercurio “ The Cosmo-Art Theorems and Axioms”, published by the Solaris Institute of the SUR, 2010.


The Cosmo-Art Theorems and Axioms

By Antonio Mercurio


The Cosmo-Art Theorems


Preface on the Beginning


We can speak of the origins of the infinite universes only with a poetic image.


At the beginning of the beginning, there was a little girl, LIFE, a Puer Eternus¸ as other poets have called it. She liked to play with soap bubbles, just like little girls throughout all the ages have loved to do.

LIFE blew on the wand dipped in soapy water and she was amazed to see infinite bubbles appear, that were born one from the other or in sequence. They danced in the light and they brought great joy to her eyes and her heart.

Every bubble was a universe.

Then it happened that LIFE, which is powerful but is not omnipotent, intelligent but not omniscient, was deeply pained to realize that she was eternal, but not immortal. She had to continuously incarnate in different forms to stay alive, and each new form could appear only after the previous one had died.

Her bubbles could last an eternity, but it was an eternity that passed by in an instant. They all were born and then they died. Not one of them came to life without dying later.

Her pain was immense!

Until one day she had an ingenious idea. In one of the bubbles LIFE placed human beings. She then taught them how to fuse pain, wisdom and art together, and from them a work of art was created. This work of art was endowed with eternal life, that broke away from the bubble and started to fly from one bubble to the next, from one universe to another, into infinity.

It was as if it could come to rest on each of the other bubbles, with a Rose in its hand, one that no longer had thorns. It was like a "Little Prince" that could now go on dancing happily, and no longer had to be bitten by a snake so it could fly from one universe to the next.

All it had to do was to imagine it could fly, and it was able to do so.

The Little Prince was immortal, LIFE with him and inside of him was immortal, as was the bubble that had given him life, even though it had ceased to exist as a bubble.

Now LIFE was happy and no longer felt any pain; now it was both eternal and immortal.

It could still change shape, just like a work of art can change shape if you look at it from one side or the other, if you read into it from one perspective or another.

But now changing shape no longer meant having to die: it meant being able to continuously gain new life and new meaning.

This all happened in the past, but it unfolded into the future that was yet to come.

We can tell the story of what has happened in the past, but we can only hope for what belongs to the future.


(This forward on the beginning is based on the fact that the Author, when speaking of LIFE, is speaking of a concept of life that no longer is solely identified by biological life. Instead it has to do with something immensely different and unknown, which biological life is only a small expression of).






An infinite number of universes exist, but they are not all the same. Together they all make up a single, unique, and living super-organism.



The universe we live in is intelligent, free and creative, even though it has limitations. It has its own special purpose to fulfill that Life has entrusted it with: the goal to create Secondary Beauty.



The third theorem is coherent with the first two, and arises out from them. This is the Cosmo-Art theorem or the Theorem of Secondary Beauty (see A.M. "The Ulysseans - the Theorem and the Myth to Travel from One Universe to Another" published by The Sophia University of Rome, 2009).



Secondary beauty is the result of a fusion between human and cosmic forces. They are both indispensible to each other. They are both present within each human being, but the ability to fuse them together is found only in the Choral Group SELF.



All of the universes together form a living system. Every system contains a network of sub-systems and of emergent properties. These emerge only as the result of the action of many causes fused together, which belong to the entire system.

An emergent property never belongs to the sub-system in itself, but rather to the entire system.




The basic building blocks of Life are intelligence, freedom and creativity. Truth, love and beauty are blocks that are added later.

Life comes before anything else, and it existed before the living system made up of all the universes.

Life existed even before the existence of both the personal and cosmic SELF.

Life is and it is becoming and it knows the art of fusing death with life, and the art of fusing being with becoming to create, in time, what it can not get from eternity: a life form that is both eternal and immortal.

This is because Life is eternal as it is, but it is not yet immortal.



Life is not the Supreme Being. Life is not God.



Life generates infinite universes with different forms of life for each one.

As far as I am concerned, I am convinced that our biological parents are only intermediaries between ourselves and Life, between ourselves and the universe.

Life is my mother and the universe I live in is my father.

Life gives me creative and vital energy so I can live and create.

The universe gives me everything I need so I can fulfill its purpose and my purpose, if I align myself with its axis.





An infinite number of universes exist, but they are not all the same. Together they all make up a single, unique, and living super-organism.


(This theorem and the others that follow are based on analogical reasoning, rather than on mathematical calculations).

On planet Earth an infinite number of species exist, and they are all intelligent, but not in the same way.

Every species chooses the niche it lives and evolves in, and it adapts to the needs and resources of that particular niche.

Therefore, every species is also endowed with freedom and with creativity as well as intelligence, although these are qualities that have specific limitations.

Every species takes on a task that is different from the tasks of the other species. No one imposes it on them; each species chooses their own task freely.

The tasks of each of the species are harmoniously organized so that what we call the biosphere can be created and maintained, just like it were a single living organism.

There is constant communication that takes place between all the species and within each of the species.

We are aware of only a few types of communication and not all of them.

There are continual mechanisms of action and retroaction that guide how a species proliferates with respect to the others.

Every species fights for its own existence but not all of them are destined to survive. There is a circular causality that guides and determines how some are successful and some are not.

Whatever is valid for the species in general is also valid for each individual that belongs to the species. This is most certainly true for each individual that belongs to the human species as well.

Each individual is also a super-organism with respect to its smallest components: its cells, molecules and atoms.

Every universe is free and creative besides being intelligent, even though these qualities are constrained within certain limitations and conditions.

Every universe has its own specific task to fulfill, that harmonizes with the tasks of all the other universes that exist today and will exist in the future.

All the universes communicate with each other even though today we still do not know how.

The law of general gravity tells us that all the atoms in this universe communicate to each other, and quantum mechanics has taught us that the same thing is true of all the atomic particles and sub-particles.

Just as all the individuals within a species make up a super-organism we call species, and just as all the species put together make up the super-organism of the biosphere, all the universes together make up a single super-universe, a single, unique, living super-organism.


The universe we live in is intelligent, free and creative, even though it has certain limitations, and it has a special purpose to fulfill that Life has assigned to it: the goal of Secondary Beauty.

When this universe was forming, it chose for itself certain physical laws instead of others (see Lee Smolin: "The Life of the Cosmos"). No one imposed them on it. These laws made it possible for cosmic life, biological life, cultural life, spiritual life and artistic life to appear and evolve.

This could not have happened if the universe were not intelligent, free and creative.


Biological life is based on carbon chemistry. There is no reason why other universes could not exist that have life forms based on other physical and chemical laws that we are unfamiliar with.

We do know that the life of a work of art depends on carbon chemistry, which the human organism is based on and is what eventually takes on the identity of an artist. However, we also know that the life of a work of art is not based on carbon chemistry. How this happens is a mystery, but we know this is true.

The answer to the question "is it possible that the lesser contains the greater?" is yes, as long as the lesser is part of a system's circular causality, and the greater is the result of various causes, not just one.

Just as all the species that live within planet Earth's biosphere have a harmonious and functional role in its maintenance and development, there is also a harmonious purpose for the various different universes, which we are not yet aware of.


This theorem's first proposition is that the life of this universe is not an end to itself, but has a harmonious role with respect to all the other universes.

The second proposition is that this universe has specific laws and tasks that are different from the other universes, and the universe chose these tasks itself, even though it was Life that asked it to do so.

The specific task of this universe is to create Secondary Beauty, without which Life cannot travel from one universe to the next.



The third theorem, the theorem of Cosmo-Art or the theorem of Secondary Beauty, is coherent with the first and the second theorems (see A.M. "The Ulysseans - The Theorem and the Myth for Travelling from one Universe to another" published by Solaris Editions of the University of Rome, 2009).


There is primary beauty, which is created by nature, and there is secondary beauty, which is created by human beings in harmony with the laws of Life.

The first type of beauty is mortal, the second is immortal.

If Life wants to be not only eternal but also immortal, it can only do so if it entrusts to humanity the goal of creating secondary beauty.

Humans, artists of their own lives and of the life of the universe, have been asked to create a type of beauty that does not exist in nature and that will never be subject to death or to entropy, nor is it subject to the laws of gravity that pertain to the space-time of this universe.

This type of beauty is made up of a field of energy that is inextinguishable. It can travel from one universe to another and we can go with it.

For the creation of this beauty it is necessary that pain exists, it is necessary that death exists, it is necessary that art exists and it is necessary that wisdom exists (see A.M. "The Ulysseans", Chapter V).

An artist that does not face pain and death cannot create anything that is immortal. But those who face only pain and not death do not know the secret of art, nor can they create any beauty.

At the same time, only those who are wise will decide to be artists of their lives and not victims, when they are faced with pain and death (see Charlie in the movie "Scent of a woman"; A.M. "La nascita della Cosmo-Art: Primo Laboratorio di Cosmo-Art {The Birth of Cosmo-Art: First Cosmo-Art Laboratory}).

Every silk worm creates a certain amount of silk threads. Then along comes a human being who, artisan and artist that he is, unites those threads together with those of thousands of other silk worms, and creates a beautiful garment.

Each single silk worm will never see the completed garment.

But does it think that its life hasn't had any meaning?

Will it refuse to make silk threads?

The silk worm knows nothing about the human being who will come and transform its silk into a garment or a scarf that ends up beautifully draped around a woman's neck.

We also don't know who will weave the beauty we have created in our lives into something else, nor do we know what the end result will be. But we can think about it, we can imagine it, and we can hope as we entrust ourselves to Life's goal.

It depends on us whether we want to remain at the level of intelligence of the silk worm, or whether we want to reach the level of intelligence of an artist.

If Life entrusts itself to us, can we entrust ourselves to Life?


Without oxygen we cannot breathe and we cannot live. But who ever thinks about the fact that oxygen was transformed and created, long before the trees did so, by a legion of "insignificant"  cells, cyanobacteria, millions and millions of years ago?

Are we insignificant cells or are we silk worms and artists of life, who first spin the silk and then weave it, creating immortal beauty?

It is up to us to decide what we want to do. But one thing is certain: Life needs us, and it created this specific universe, different from all the others, so human beings could be created and evolve to the point of becoming artists of their lives and artists of the life of the universe.

When S. Hawking in his book "A Brief History of Time" asks : "Why does the universe bother to live?", he can't find an answer. Cosmo-Art has found an answer that is ingenious, beautiful and elegant, and if Hawking knew about it he would most certainly like it.




Secondary Beauty is the result of a fusion between human and cosmic forces. They are both present within each human being but the way to fuse them together is found only within the Choral Group SELF.


The Choral Group SELF does not exist unless it is created. For it to be created it is necessary that the I  of two or more persons gradually fuse together, guided by a common goal to create beauty. This is true for the Choral Group SELF of a couple as well as for the Choral Group SELF of a group.

The fusion of the I  with a You and the fusion of the I  with Others is the result of a constant action of human forces. The action of nature and the action of the cosmos alone cannot create this type of fusion. This is obvious if we look around us.


A note about cosmic forces.

A star does not exist unless it is created. For it to be created, a cloud of hydrogen atoms must condense around a gravitational center to the point of collapsing. Then, the hydrogen atoms fuse and a thermonuclear reaction begins.

There are many factors and causes that contribute to the birth of a star. All these factors operate together towards a single common goal; they operate as a single living organism that is born of a Cosmic Choral Group SELF.

Scientists (see Lee Smolin) say that elliptical galaxies are created from the fusion of two spiral galaxies. An elliptical galaxy can give rise to a great black hole that is fed by the mass of the stars that fall into it. Within this black hole a new universe can be formed.

Two galaxies that fuse together create an immense cosmic force that originates from the Choral SELF of the Cosmos.

The ways that cosmic forces interact with human forces is still unknown to us, and our intuition can only grasp a few of them.

The beauty that artists create is also the result of a Choral Group SELF, even though it is usually attributed only to the artist that gave it its final shape.

When we read, however, the analyses of the art critics, we discover another truth, we learn that there were many other factors that concurred to generate, all together, a work of art.

One of many possible examples:  the Sistine Chapel would have never existed if it hadn't been for the stubborn insistence of Pope Julius II, who wanted it so bad that he sent his guards after Michelangelo to bring him back after he had run away to Tuscany.

We common mortals know how cosmic forces fuse with human forces only through astrology, which explains how planets and constellations influence our ways of being and of acting.

But astrophysics is becoming ever more understandable to many, and from this discipline we can learn many things that are no longer the exclusive knowledge of scientists.

According to Cosmo-Art, cosmic forces are already acting along with human forces from as early as intrauterine life. The type of pain that the Fetal I is struck with when it experiences a trauma is a cosmic force; the temporary way that the Fetal I  faces it, by using defensive and offensive mechanisms so it doesn't succumb to it and die, is a human one.

Nevertheless, it is clear to an ever growing number of people that life based only on the type of security offered by our defensive and offensive strategies means that we are only surviving, not living. It is also becoming ever more clear that no matter what, sooner or later life forces us to abandon these mechanisms. When this happens, we have two possibilities: either we find radical, creative solutions to our traumas, or else, in one way or another, they will destroy us.

In a group of Existential Personalistic Anthropology or of Cosmo-Art, one can learn the method for creating a Choral Group SELF, which is like a furnace for human and cosmic energies put together. Here one can learn how to fuse them together and create secondary beauty.

In these groups one can also learn how to create a bridge between intrauterine life and intracosmic life, and from there on to ultracosmic life. An infinite number of energies pass across such a bridge, and they can radically transform a human life.


In summary:

Since there are many universes, it is necessary to have an immortal life that can travel from one universe to the next.

Some dream of obtaining an immortal biological life, but Cosmo-Art dreams of an immortal life that pertains to secondary beauty.

Secondary beauty can be created by a Choral Group SELF and by the organismic principle, and not by a single Personal SELF alone.

The I must therefore create a Choral Group SELF together with others that is the synthesis of two (an I  and a You) or more (an I  and Others) people.

Every synthesis produces a quantum of secondary beauty. A complexity of quantums of beauty produces the immortal life of secondary beauty.

These syntheses are created with the energy of wisdom, of pain and of art, which defines the goal and gives it its final shape.

Synthesis is fusion. Fusion is the result of a complexity of causes that all work together according to the guidelines of the organismic principle.

In organisms, the force that wins over repulsion is its purpose.

The force that assures continuity of attraction is love.

Primary beauty is created by nature; secondary beauty is created by a life that continually transforms itself by means of fusion.

Fusion requires that the parts that must fuse macerate, and there can be no maceration if there is not pain.

Pain is the cosmic force that can macerate the I , its absolutism and its drive for power, so it becomes capable of fusing with another.

The Artistic I , both on an individual and a group level, knows how and when the fusion must take place, so that its result is beauty, and not madness or death.

The Cosmic I, without the help of the individual and group Artistic I, cannot create any type of immortal beauty.



All of the universes together make up a living system. Every system contains a network of subsystems and of emergent properties that emerge only as the result of the action of many causes, fused together, that all belong to the whole system.

An emergent property never belongs to the subsystem alone, it belongs to the totality of the whole system.


A system is alive if it is endowed with intelligence, freedom and creativity, however great or small the presence of these three conjoined factors may be at any time within the system itself.

A system is made up of sub-systems. (The whole is composed of many parts: the whole of the parts is greater than the sum of its parts).

If a subsystem is living, then the whole system must necessarily be living¸ because the life of the subsystem is an emergent property (see F. Capra: "The Web of Life") that is the result of the circular causality of the whole system. If human beings are alive, then the universe must necessarily be a living being as well.

If the planet Earth is a living being (see the Gaia Theory of James Lovelock), the solar system is also alive, and, moving on, the system of the Milky Way galaxy is living, this universe is a living system and the whole of all the universes is a living system. This is because the whole as a system is endowed with intelligence, freedom and creativity that already exist, and that are being and are becoming.

A biological organism (human beings, animals, plants or bacteria) is alive because it is a subsystem that is part of a living system, in this case planet Earth's biosphere, which is endowed with intelligence, freedom and creativity.

A biological organism becomes a cadaver when it loses the energy field that is made up of intelligence, freedom and creativity , that interact together as a whole throughout the entire system.

If this energy field breaks down or dissolves, the life breaks down or dissolves.

If a virus now resists certain drugs whereas before it was overcome by them, it means that it is endowed with intelligence and thus it is capable of learning, with freedom that allows it to choose which defensive mechanisms to use, and with creativity, because it creates a new structure it didn't have before, and that now allows it to resist the drug.

If a system is living, it is endowed with life, and, therefore, the concept of life cannot be referred only to biological life, because the whole of the universes cannot be reduced to only biological life, nor can a galactic or a solar system be reduced to only biological life.

In our solar system, biological life is only one of the "emergent properties" that are potentially contained within the system. We can deduce from this that it is a grave error to reduce the concept of life to biological life alone.

Emergent properties belong to the system and not to the single parts that it is made up of, therefore they cannot emerge except as a result of the whole system.

The properties of water are not contained in the properties of hydrogen or oxygen taken separately.

But if hydrogen and oxygen fuse with the proper quantities (two parts of hydrogen with one part oxygen), water is created: then, and only then, do the properties of water emerge.

On a planetary scale we could say that biological life is only one of the "emergent properties" of planet Earth.

Some other emergent and self-creating properties that have already appeared on Earth are: language, culture, art and civilization. These are all forms of non-biological life that are self-created and self-evolving, because they are part of the flow of circular causes of the whole system.

The spiritual life of a populace is also a form of emergent life, just as its cultural life is.

Looking at it in another way, we could also say that cultural and spiritual life are two emergent properties of biological life, properties that have emerged over millions of years.

Here a question arises: couldn't we discover one day that a form of immortal life is also one of the possible emergent properties of biological life?

The universe we belong to has been evolving for billions of years.

It took time before the galaxies appeared, which are an emergent property of the universe.

It took time before the solar system appeared, which is also most certainly an emergent property of the Milky Way galaxy.

It took some time, but then planet Earth appeared, an emergent property of this solar system.

It took time, but then biological life appeared, an emergent property of planet Earth.

It will take some time, but why couldn't an immortal form of human life that is not biological appear as an emergent property of biological life?

Our universe is a subsystem of the whole of all the universes.

The heart, like the brain, the liver and the intestines, are subsystems of the system that makes up the whole human organism.

The whole of these subsystems form a network that make life capable of carrying out specific tasks that go beyond biological life: creating culture, art, and beauty.

Our universe has a specific task that one day will connect with those of the other universes.

Cosmo-Art asserts that this specific task is the creation of secondary beauty, a type of immortal beauty that is an emergent property of biological life, fused together with other causes.

Looking at only this universe, we can imagine a cascade of emergent properties that arise from a preceding emergent property, no longer following the principle of cause and effect according to linear causality, but following the principle of circular causality. This means that when the specific energies of many causes are put together, a super energy is created that is capable of producing effects that an isolated cause arising from the others never would have been able to produce.

We can deduce that this is what happens in group work in Existential Personalistic Anthropology and Cosmo-Art, when a Choral Group SELF is created.

Many individuals united together create a synergy of special forces. This synergy of special forces is like a superforce, which, once created, penetrates each individual and produces transformations that are emergent properties of the individual, but that the individual alone would never have been able to create.


Intelligence, freedom and creativity are the fundamental building blocks of Life.

Truth, love and beauty are building blocks that are added later.

Life comes before anything else and it comes before the living system of the whole of all the universes put together.

It even comes before the existence of the SELF, both the personal and the cosmic one.

Life is and it is becoming and it knows the art of fusing death with life, and the art of fusing being with becoming to create, in time, what it cannot get from eternity: a life form that is both eternal and immortal.

This is because Life is eternal as it is, but it is not yet immortal.


We don't know and we may never know what the true essence of Life is, but one thing we do know for certain: it is endowed with intelligence, freedom and creativity. We also know that every living being coming from Life is a being that is also endowed with intelligence, freedom and creativity.

Now, every living being, because it is living, has both being and becoming within it.

Therefore we can also deduce that Life is and is becoming; it has within itself both being and becoming. In many of its forms Life is subject to death, but, then, in the course of history, it invents new life forms that face death and overcome it forever. For this reason its being and its becoming become eternal and immortal.

Aristotle's God is but is not becoming, it is immobile and immutable; therefore it is not a Living being.

In the same manner, human beings who are but who are not becoming, that is, who never change and never transform themselves because they stay rigidly fixated in the old ways of thinking they were born with, and in their old behaviors they have always identified with, are shadows. They are not living beings, even though they may think they are.

To reconcile being and becoming is an art, a high form of art, the art of Life; Aristotle's God does not posses this art and many human beings who have forged themselves in the image of this God know nothing of this art. Therefore, they know nothing about Life.

They possess their lives like a shadow possesses a life, but they will never know anything about the fullness and beauty of Life, just as a shadow knows nothing about such fullness and beauty.

The wise Chinese are masters of the art of change and transformation, and they dispensed their art and wisdom in their immortal book of the "I Ching".

Sophia-Art and Cosmo-Art are a new way of conjugating art and wisdom and of making being and becoming exist together in a form of immortal life. This form is secondary beauty, a beauty that never dies.

A tree is and is becoming, but then, one day, it will die.

The human body is and is becoming and then, one day, it will die.

A star is and is becoming but then, one day, it too will die.

And not only the stars, but also the galaxies and the universe that contains them all will, one day, die.

A work of art is and is becoming, but, by its very nature, it will never die. This is the great power of art, which is immensely superior to the power of nature.

A life that is lived both individually and within a choral group as a work of art creates secondary beauty that will never die. The power of art and of wisdom, fused together, is a power that is even greater than that of art alone.

Use your own imagination to follow the path of a work of art throughout history (Leonardo da Vinci's The Last Supper, for example?), and then use your imagination, if you can, to imagine the future paths of a life that has been lived as a work of art. Dante Alighieri will no longer be enough for you, nor will the writers of science fiction.

The Eastern way of thinking that affirms that only being is and becoming is pure illusion, is not a way of thinking that can be of much help to Sophia-Art and Cosmo-Art. Eastern thought has two grave weaknesses. First of all, it solves the problem of opposites by eliminating one of the opposites. By doing so, it eliminates in one fell swoop the art of reconciliation of opposites and the mystery of Life.

Secondly, it eliminates the meaning of pain and its importance throughout history, both on an individual and a societal level, because according to it, pain is also an illusion. It also eliminates death and its important and indispensable significance which is of service to Life, because also death is illusion. And last but not least, it eliminates the individual as well, because it, too, is an illusion, and it eliminates the immense value of individual artistic creation. If the individual is a part of the SELF and its destiny is to become annulled into the SELF like a drop of water is annulled when it meets the sea, then the SELF exists, but the individual no longer does. The sea exists, but the drop exists no longer.

History ceases to exist and at this point it becomes incomprehensible as to why we humans are here and keep on suffering. This is immensely cruel on the part of the SELF and this was also the immense poverty of India, until Gandhi came along and restored hope and dignity to the pariahs; hope, dignity and creativity to the individual and to its power to change history and the life of the universe, to the life of Life itself and of the SELF as well.

Line by line text and commentary:

Intelligence, freedom and creativity are the fundamental building blocks of Life.

Truth, love and beauty are building blocks that are added later.


The Energy that transforms itself into matter, and the matter that transforms itself into energy possess intelligence, freedom and creativity. Scientists know that the atom possesses intelligence, freedom and creativity, just as a virus and a spore do.

Human beings have today reached the power to add new intelligence, new freedom and new creativity to energy and matter.

Humanity has always had the power to add new building blocks to the fundamental ones of life, such as truth, freedom, love and beauty. These are among some of the most important values that human beings can add to their lives.

Whatever human beings add to their lives they also add to Life. Among all living forms only human beings can add values to Life. The other life forms can only add intelligence, freedom and creativity. In other words, they can add building blocks, but not values, and this is what makes the difference between the human species and other species.


Life comes before anything else and it comes before the living system of the whole of all the universes put together.



Just as dawn comes before day and dusk comes before night, Life comes before every other thing and comes before the whole of all the universes.

It is the flow of life that creates the universes and everything that exists within them.


It even comes before the existence of the SELF,

 both the personal and the cosmic one.


We can really only stammer about the existence of the Personal and Cosmic SELF, but we do know that they exist and that they guide human life along its pathway. Both of them are creations of Life and therefore we say that Life comes before either one.


Life is and it is becoming and it knows the art of fusing death with life, and the art of fusing being with becoming to create, in time, what it can not get from eternity: a life form that is both eternal and immortal.


Being and becoming belong to Life, just as death and life do, sometimes separately and sometimes fused and conjoined as a result of the art of the fusion of two or more opposites. Therefore, we affirm that both opposites themselves and the art of fusing them and extracting from them a new life form, superior to the one that existed before the fusion, belong to Life as well.

If we look at Life only as being it is eternal, but if we look at it only as becoming, it is mortal. We already learned this from Parmenides and Heraclitus. But if, instead, we look at it as a fusion of being and becoming, it can be both eternal and immortal.

We can find one example of the fusion of being and becoming in our daily lives in what happens when we ride a bicycle. There is one moment in which the bicycle is immobile, and another in which the bicycle is moving. Movement is the result of the synthesis of three opposites: stability, movement and the balance between stability and movement.

It is not easy for us to understand how death and life can be fused together and remain balanced, but this is what happens. We can see it in works of art, if only we reflect carefully on the type of life that works of art possess, which is a type of life that is different from every other type of life we know.


Because Life is eternal as it is, but it is not yet immortal.


Life is like a river that runs continuously, passing constantly from one form of life to another, through the cycle of death and rebirth. Many lives are born and many lives die. The forms disappear and the life remains.

We call the ability of life to constantly flow in time, creating the time within which to flow, eternity.

If time ends, life ends with it.

We call the ability to stop time, by stopping the cycle of death and rebirth, and at the same time the ability to create time and condense the time of all times in one same, single life form, that is both being and becoming, immortality. This is what happens by antonomasia in every single work of art that is capable of creating immortal beauty.

When Life that is primary beauty will create first a form of life that is secondary beauty, creating a fusion between cosmic and human forces, then life will be both eternal and immortal within that single form.

When this happens within a single human life and within many human lives fused together, then Life will be both eternal and immortal.




Life is not the Supreme Being. Life is not God.


God is omnipotent and perfect.

Life is potent and imperfect.

God creates instantly.

Life takes millions and billions of years to complete its creations.

God is eternal and immortal.

Life is eternal but it is mortal, and without death it would not know how to create new lives.

It is mortal because it is subject to the continual cycle of death-rebirth. All life forms that it creates are subject to death, and all of them must continually pass through death to renew themselves.

Life that is mortal continually tends towards immortality, and it most certainly will accomplish it sooner or later.

God is absolute beauty and no one can add something else to his beauty.

Life is beautiful but it doesn't have secondary beauty, immortal beauty. It needs us to accomplish it.

God doesn't need anyone.

For Life we are precious beings, for God we are "useless servants".


God that is pure perfection does not have to tend to perfection.

Life that is imperfect, tends continuously towards perfection. It often reaches it, but it never stops. It always tends towards an ever greater perfection.

God, that is the most perfect being, often reveals himself to be an unjust being, whom, in every epoch, invents new forms of injustice. No one will ever see the end of injustice on Earth.

Life that is imperfect does not care about justice and injustice. Its goal is to reach the perfection of art, and the goal of art is to create Beauty that does not yet exist.

It makes no sense to ask whether a work of art is just or unjust.

A work of art proposes its own truth, its freedom and its love, which is universal and inexhaustible. It never imposes its will and it does not decide who is just or who is unjust, nor does it decide who must go to hell and who must go to heaven.

The titanic effort of Life to create for itself and for everyone a form of life that is immortal is a universal effort that all living and non-living beings are involved in, whether they are just or unjust.


Creating a form of life that is immortal is the same thing as creating a form of beauty that, once created, is no longer subject to death.

Beauty that is no longer subject to death has within itself an inexhaustible energy that keeps it constantly alive, and spreads around it more vital energy that is also immortal.

There are many that fight for justice, but how many fight for Beauty?


Life creates, in time, the Cosmic SELF and the Personal SELF. These have something that is both an ally and an adversary: humanity.

Human beings create and human beings destroy, but, in the end, it is always Life that wins, and that reaches the goals it has set for itself for eternity.

Human hope is based on this certainty, and this is the thread that connects the generations of yesterday with the generations of today and tomorrow.

This is the nail that can hold up the frame that contains the individual and choral group work of art created by those who are artists of their own lives and of the life of the universe.

The wall it hangs on is no longer vertical, it is transversal. It is mobile, and not immobile like Aristotle's God.

For those who are lazy, this change causes fear and disorientation, but for the audacious this is food that nourishes their dreams and their visions.



What are the Cosmo-Art Theorems good for?

Human life is like a canvas painted by a painter.

Every painting must be contained within a frame, and every frame needs a wall and a nail in the wall it can be hung on. Throughout human history there has never been a populace or a civilization that has not created a frame and a nail so it can hang its own painting up on the wall.

But at every turn of history it often happens that the frame is destroyed, the wall falls down and the nail breaks. Human beings lose the meaning of life and while many destroy themselves miserably, others search without pause for a frame they can create and for a wall that can hold up their painting and their life.

The search for a new cosmological viewpoint is essential when creating a new frame, a new nail and a new wall.

This is what I have tried to do with my work on the Cosmo-Art Theorems.




The Cosmo-Art Axioms




There is no creation without imagination.




Human life is an emergent property of biological life, that has created itself over millions and millions of years.

It was created because someone, at some point during planet Earth's history, first imagined it, then they thought about it and then they realized it.

It was possible to create it, because during the first two billion years that the terrestrial crust existed, billions and billions of bacteria imagined and created photosynthesis, the ability to have a genetic code, the ability to breathe, the ability to move, the ability to come together to form multi-cellular organisms, etc., etc.. This is just to name a few of the most extraordinary inventions that came before human beings appeared, and before the biosphere formed.

Without imagination there is no creation nor can there be, and already bacteria were endowed with imagination.

Bacteria imagine, think and create.

Humans imagined for centuries the ability to fly, and now we can fly.

Science fiction is the result of human imagination, and it was most certainly very helpful towards the creation of space flight, both those that are now possible and the ones that will be possible in the future. All human inventions arise from imagination.

The same thing is true if now, with the Cosmo-Art myth, we imagine that it is possible to create an immortal life for humanity, something that has been imagined by humanity in thousands of different ways. If we do this, we are most certainly continuing to create the groundwork so that one day immortality can come forth as an emergent property of human life.

Who was it that first imagined human beings? There was not just one cause, but many causes fused together over a very long period of time.

Perhaps it was already the eukaryotic cells to do so, when they decided to make multi-cellular life emerge from unicellular life.

Whomever it was that imagined the existence of God or the existence of karma or the existence of the Tao, created the concept of God, the concept of karma and the concept of a path. Then they created a belief in one or the other, and without these beliefs the emergent property of humanity's moral life would not have been created.

Now that this moral life is going through a great crisis in the West, we must imagine something different so we can recreate it, and give it a completely new definition that is broader than the previous one.

Cosmo-Art has imagined the possibility to be able to create secondary beauty and the immortality that this type of beauty contains.

It has also imagined the plurality of worlds, which is something that Giordano Bruno and many others have already imagined.

What is specific to Cosmo-Art is the possibility for human beings to travel from one universe to another, infinitely, once the living synthesis of four fundamental values that are opposites has been created. These values are: truth, freedom, love and beauty.

The problem that Cosmo-Art poses is this: is it possible that human beings have fewer capablities than bacteria? Then we must stimulate our imagination just like they did, and even more so than they did. Because without imagination, there is no creation.




Art is unlimited and continuous progress.


Humanity has always been divided into two parties: conservatives and progressives.

Human life has always been developed by being preserved in the uterus and by being pushed out of the uterus, in a continuous progression.

Religion has always been conservative and not progressive.

Science has always had supporters who are conservative and supporters who are progressive.

Art, by its very nature, has always been progressive, but it often encounters determined opposition along its way when it proposes a new qualitative leap forward.


Cosmo-Art is an emergent property of art and of the human being's artistic dimension, and as such it is infinite progress.

Cosmo-Art,  by its very nature, requires that human beings completely leave the maternal womb and the cosmic womb. This is not possible without a dialectical artistic journey that entails many deaths and rebirths within every human life.

The birth of a human being from any uterus is a continual progression and it cannot be completed with only biological birth, because every time we lose one uterus we immediately create another one.

We must undergo continuous births, and the Fetal I¸ which is always present and active within the Adult I¸ tenaciously opposes the goal of the Adult I to be born, to grow and to evolve.

This is a truth that we must always keep in mind.

Cosmo-Art and also Sophia-Art are existential arts.

The goal of Sophia-Art is to help people become artists of their lives.

The goal of Cosmo-Art is to help people become artists of the life of the universe.

Sophia-Art creates ecstatic beauty. Cosmo-Art creates secondary beauty.

Just as at one time the martial arts were developed in the Orient and today they are widely diffused in the West as well, we now want to imagine that the time has come to affirm the existential arts and to begin spreading them in the East and in the West.

This is already happening in India, in Russia and in the Baltic Countries thanks to the work of the IPAE (Istituto di Psicoterapia Analitica Esistenziale - Institute of Existential Analytical Psychotherapy) in Ascoli Piceno and its director Gabriella Sorgi, and it is happening in Europe thanks to the work of the SUR Institutes and of the Cosmo-Art Group at Rome's IAPE (Istituto di Antropologia Personalistica Esistenziale - Institute of Existential Personalistic Anthropology).

Cosmo-Art is not a science and it is not a religion, it is an artistic movement that is open to anyone who wishes to be part of it.






Every birth that the I undergoes has many different dimensions. The highest dimension is the one that brings us to the creation of secondary beauty.


Homer, the author of the Odyssey, knows how painful it is to be born and to be born completely.

This is why he imagined his hero Ulysses, almost completely different from the one found in the Iliad, and he called him "the man of a thousand woes" many times throughout the poem.

When Ulysses faces new pain it is a new death and a new birth that he is facing.

Every new birth has at least three dimensions:

     1) it is a birth from the maternal womb

     2) it is a birth of the Adult I  from the Fetal I

     3) it is a birth from the intracosmic uterus towards an ultracosmic world, by means of the energy field that is secondary beauty.

The Odyssey is a cult book for Cosmo-Art and it must be read not only as a poem that narrates the adventurous return of Ulysses to Ithaca (see A.M.: Hypotheses on Ulysses). It must instead be read as a book of wisdom that holds within it treasures of wisdom equal to those written by the Hindu, Buddhist and Chinese poets in their sacred poems, written in more or less the same epoch (VII Century B.C.E.).

The pact for beauty, the pact that brought the Achaeans to Troy, was a pact for primary beauty.

Troy was taken by storm and Helen was re-conquered, after the blood of many lives was shed.

Ulysses made another pact after Troy fell, urged on by Athena and Zeus, the pact of secondary beauty. This is what brought him back to Ithaca, the island of secondary beauty, after a long, tormented odyssey, where it is not the blood that is shed that is important, but rather what counts is the I's continuous transmutation through death and rebirth.

There is a huge difference between primary and secondary beauty.

Helen represents primary beauty, the type of beauty that is subject to the damage of time and of physical death.

Penelope represents secondary beauty, the type of beauty that is no longer subject to death and is the result of the fusion of yin and yang.

Primary beauty is an emergent property of nature and of cosmic life (a beautiful face, a beautiful panorama, a beautiful sunset, the starry sky, etc. ..); secondary beauty is an emergent property of human life and cosmic life fused together.

The creation of this fusion was Ulysses' true task, and this fusion is not possible without going through a thousand woes.

The Fifth Theorem states that an emergent property is always the result of a network of subsystems that fuse together to form a greater system.

An emergent property in itself belongs to the greater system, and not to any one of the subsystems taken singularly.

Secondary beauty can emerge from a Choral Group SELF but it never will be able to emerge from a Personal SELF that does not fuse with other Personal SELVES to create a Choral Group SELF together.





Not every immortality is happiness.


In the wake of Plato, the Christian and the Muslim religions believe that the soul is immortal, but to guarantee their believers a happy immortality they associated moral perfection with immortality.

In both the East and the West, humanity has no chance to happily enjoy immortality without searching for moral perfection.

The search for artistic perfection often assures artists an immortal life, but it does not guarantee them a happy immortality. This is because their immortality belongs to the works in which the I of the artist lives. This I, however, enjoys no happiness after death. It is the I of the works' audiences that has some enjoyment.

Cosmo-Art's ambition is to reach a type of immortality based on the creation of secondary beauty, through a new type of artistic perfection. Also, it wants that every I that incarnates in first a Choral Group SELF and then in the energy field that is specific to the secondary beauty produced by the Choral Group SELF, can experience the enjoyment of this beauty.

Since secondary beauty is immortal and it lives forever, and the I has become one with it, this beauty can contemplate itself forever, and enjoy itself fully.

The type of artistic perfection that Cosmo-Art strives for is made up of the synthesis of contributions coming from the most different types of perfection that have been accomplished by humanity up until this time, but which now are stripped of their traditional definitions. Their final goals are transformed as well.

We are no longer interested in a linear type of moral perfection, where, according to traditional criteria, there is no room for the presence of evil, whether it be small or great or only imagined, or only thought of and acted upon much later.

This type of perfection created the Saints, but it also created an infinite number of alienated beings and hypocrites, who, just because they think they are perfect, this makes it enough for them to pretend to be so.

We instead want a type of perfection that is dialectical¸ which includes the acceptance of the presence of good and evil during every human being's journey, and of the conflict that arises between them. Not to eliminate them, but to transform them, and create a synthesis between them.

The values we prefer are especially four: Truth, Freedom, Love and Beauty. These values, when looked at in pairs, are opposites, even though very few people have realized this up until now. The attempt to create a synthesis between each of these pairs of values is new, and this synthesis is a work of art that requires tenacity, courage, creativity and a dialectical approach that is not admissible to the expectation of moral perfection that we have known up until today.

From the search for alchemical perfection we learned that it is necessary to continuously transmute the I, but in Cosmo-Art this transmutation is now entrusted only to an adherence to the laws of life and to an attentive listening to the Personal SELF and the Choral Group SELF, rather than to the alchemical criteria that only a few chosen adepts were allowed to learn.

From the systematic and cooperative way with which Nature and the Cosmos search for perfection, we learned that it is necessary to look for a choral group perfection. This type of choral perfection requires the creation of a single living organism, which is made up of parts that before were unknown to each other, and that then become all connected to each other by means of a complex, continual circular causality.

Summing up, the type of artistic perfection that Cosmo-Art searches for is made up of a synthesis of various types of perfection all fused together. This is a dynamic, not static, type of perfection; it is perfection that together is and together is becoming.

It is a synthesis of types of moral perfection (because it includes a search for values that are opposites: love, freedom, truth and beauty), together with a synthesis of alchemical perfection (because it requires the continual transmutation of the I, beginning from the embryonic or Fetal I), a synthesis of artistic perfection (because it requires the creation of a work of art, such as life as a work of art and the creation of secondary beauty¸ and art requires perfection), a synthesis of choral group perfection (because it requires the creation of a single living organism, made up of people that were hitherto unknown to each other), and a synthesis of natural perfection¸ of human perfection and of cosmic perfection, which will encourage the development of human potential that we are not yet aware of and that will be revealed only in the future.


This synthesis, that is a network of syntheses of various systems, has never been proposed before by anyone, and if we look at it closely we can see that it is indeed very arduous. It is not a goal that any individual can reach alone.


What do we mean when we talk about "perfection"?

For Occidental religions, perfection is a state of the soul, and to reach it we must reach the complete purification of the soul of every type of culpability, great or small. For the Oriental religions, perfection consists of the complete detachment from the Ego and from the mind and from the presence of any type of Karma that dirties the soul or makes it impure. For the religions, the soul is immortal by its very nature and we have one either because God created it, or because it has existed as a monad since the beginning of time.

For Buddhism, neither God nor the soul exist, but for many Buddhists this last question is very controversial. Buddhism arose in 600 B.C.E., and over the course of the millennia, it has been interpreted by its followers in many different ways. Perfection consists in reaching Nirvana or Illumination.

For alchemists, perfection consists in knowing how to pass through all the states that are necessary to reach the creation of the opus (= the transformation of lead into gold), from the black stage to the white one, and from there on to the red (nigredo, albedo, rubedo).

The coniunctio oppositorum and the mystical wedding between the king and queen are other ways of describing the accomplishment of alchemical perfection.


For artists, perfection means knowing how to reach a complete harmony of parts in their works: to know how to enclose the universal in the individual; to know how to transmute the essence and the existence of things; to know how to create a form of life that does not exist in nature, a form of life to be incarnated in the work of art, which, once incarnated, is no longer subject to death, unlike every other form of life that exists on this planet and in this universe.


For nature, we could say that perfection consists of the ability to assemble the most disparate things and to make them capable of completely cooperating, so they can create living organisms that are able to evolve and advance towards an ever greater complexity.


For Cosmo-Art, perfection consists of the ability of the I  to know how to create the synthesis of opposites in its own life, as they present themselves; of the ability to create a fusion of values that are opposites and in this manner create an immortal soul; of the ability of the I to know how to completely participate in a dialectical process, after it has freed itself of the infernal cage of the mind that knows only linear processes.

It consists of the ability of the I to know how to transmute its own essence and existence, bringing it from an inferior identity to a superior one, from a known identity to an unknown one, following the indications of the SELF and of the laws of life to arrive at creating secondary beauty, the type of beauty that never dies.


According to Cosmo-Art, perfection is not something to tend towards but rather is a series of events we can create. These are transformative events that are the result of a long journey and can, if the conditions are right, come about in a single instant and in a completely unpredictable way. This occurs through action that does not have a linear causality, but rather has a circular causality, and is not from one single cause but from a plurality of causes.

Sometimes one single event is enough and sometimes many events are necessary, one every time that life presents us with a crossroads and we must know how to make the right choice.


Where is happiness in this new perspective?

Life enjoys its creation while it is creating it.

Artists enjoy their creations while they are bringing them forth.


Cosmo-Artists enjoy the life they create when they create secondary beauty and they incarnate in this new life form that is both eternal and immortal. This enjoyment is both choral and individual at the same time; it is present in the time frame of this universe and also goes beyond it, when it travels from one universe to the next and passes into the time frame of other universes.


Secondary beauty is a field of energy that is created by two or more subjects fused together (the I-SELF couple, an I-You couple or the I-Others of a group). Once it is created, it lives forever and enjoys forever the new life it possesses, and the subjects that created it live within it forever, and enjoy it as well.

The I-You couple is not only the couple created by a man and a woman, it can also be the couple formed by two people who fuse together through friendship as a decision: see the characters Slide and Charlie in the movie "Scent of a Woman" , Andy and Red in "The Shawshank Redemption", Forrester and Jamal in "Finding Forrester", and the Cosmo-Artistic lectures on these films published in the book “I Laboratori Corali della Cosmo-Art” {The Cosmo-Art Choral Group Laboratories}, edition Sophia University of Rome, 2006





There can be right aims contained in  wrong modalities.


Throughout the passage of time, many ways in which humanity has imagined it could reach immortality have proved themselves wrong (for example the way in which the Pharaohs imagined their immortal life).

Nevertheless, those that invented them were not wrong in one aspect: in keeping the search for immortality alive within humanity.


The same thing could happen for the way to reach immortality that Cosmo-Art proposes: it could be found to be wrong.

At this time, Cosmo-Art is a myth to be created, and is not an ascertained scientific truth.


Nevertheless, some of the things that Cosmo-Art proposes will never be wrong:

     a) the mental open-mindedness towards infinite horizons yet to be imagined;

     b) the evolutionary passage from art to Cosmo-Art and the new meaning given to art;

     c) the preference given to certain values rather than to others, and especially to beauty, which is             the value that fuses together all the others and makes them a whole;

     d) the fact that it has given a meaning to pain that has never been offered before;

     e) the fact that it has given a new purpose to the formation of the social I , the creation of a single    living organism that is accomplished through the cooperation and the unification of many             individuals who hitherto did not know each other;

     f) the fact that it has given faith in the existence of their own creative artistic power to all human beings (that is no longer the exclusive prerogative of professional artists);

     g) the fact that it has inserted between the I  and the Cosmos circular causality as the means for             the evolution of them both;

     h) the fact that it has created a new cosmological vision and a new framework in which to place    human life;

     i) the fact that it has created a bridge between intrauterine life, intracosmic life and ultracosmic             life;

     j) the fact that it has given humanity a role of co-creator, together with the Universe, of a life form that without humanity the Universe cannot create.




When am I born? *


LIFE has existed forever, because if something exists nothingness can't ever have existed, and it will continue to exist forever due to the principle of circular causality.

LIFE produces energy that condenses into matter, and matter that transforms into energy, in a continuous, unstoppable cycle that is also based on the principle of circular causality.

LIFE is like a river that flows incessantly. A river is generated through the circular causality that brings water to the sea and from the sea brings it up to the clouds and from the clouds brings it back to the river. The quantity of water found on Earth has always been the same. As far as I know, if we think of the glaciers as water, the quantity of water has never increased nor decreased.

Infinite forms of life develop within the river.

Every form of life is an emergent property of LIFE.

I am a form of life, therefore I am also an emergent property of LIFE, and as such, I have been contained in LIFE forever.

The fact that I appeared in my specific form during a certain moment of the history of LIFE takes nothing away from my eternal origins.


Snow originates from the water vapor that is condensed into clouds.

Snow is an emergent property of water.

Water originates from a composition of hydrogen and oxygen.

Hydrogen was formed right after the Big Bang; oxygen, instead, came forth later on.

There is not one snowflake that is identical to another.

Every crystal of snow has a unique, unrepeatable shape. An American photographer named Bentley took pictures of more than six thousand snowflakes over fifty years, and they were all different from each other.

Scientists study what laws govern this phenomenon, but they remain a deep mystery.

Every human being is unique and unrepeatable. Just as a snowflake is contained in its unique, extraordinary form within the potential of water, every human being is contained in its own unique, extraordinary form within the potential of LIFE.

Our universe, scientists say, has existed for approximately 15 billion years, and they also say that it was once contained as an emergent property within the singularity that then exploded with the Big Bang.

I am part of this history of billions of years.

The universe is part of an even greater history, and so am I along with it.




When do I die?


Every snowflake melts under the rays of the sun and turns back into water.

Water goes back into the continual cycle of matter that becomes energy and energy that condenses into matter.

Water goes back into the cycle of LIFE without having to make any effort at all.


But if someone photographs a snowflake before it melts, that snowflake keeps on living on a celluloid or digital support.

This doesn't happen unless someone makes the effort to prepare everything necessary for photographing a snowflake.

Can you imagine how much effort it takes to isolate one snowflake and then take a picture of it?


Every crystal is made of matter and energy. Its matter is water. Its energy is the shape of the crystal; and, it is the form that the crystal created.


Every human body that becomes a cadaver dissolves, and goes back into the cycle of biological life, without having to make any effort at all.


But a human being is not made up of just a body.

In the body there is matter that is made up of atoms, and there is energy made up of sugars. This matter and this energy are what dissolve in the biological cycle at death.

And there is also a particular energy that is the form of the I  that is inherent to every single body, and that is the form created by that specific I and by that specific body.


This is where the various religions invent all kinds of things to say in their own way what this form is, and whether this form is ephemeral or immortal.

The religions that say the form is immortal and is called the soul are those that have been most popular throughout history.

It is always nice to know that we have an immortal soul, whether it is destined to go to heaven or to hell, because this means that once I am born I will never die.


According to Cosmo-Art, it is better to call the form the I , and the I  is either ephemeral or immortal, depending on whether the I  accepts to go to work, together with a Choral Group SELF, to create an immortal soul.

At birth, the I is endowed with a mortal soul (vegetative soul, sensitive soul, rational soul) but it is also endowed with creative energy that can, day after day, transform its mortal soul into an immortal one; a soul whose essence is made up of primary beauty  transformed into secondary beauty, a beauty that never dies.


We are like painters and each of us receive a canvas. This canvas, in and of itself, is banal and mortal. There are painters who know how to transform this canvas into an immortal work of art (and no one thinks any longer about the canvas that lies below the painting) and there are painters that don't know how to paint. Instead of painting, they only manage to dirty the canvas, and, logically, such a canvas will never become immortal. The canvas that was supposed to be used to create beauty has become a shroud that will wrap a cadaver.


This concept of a soul that, by winning over death, becomes immortal, was very carefully explored during the 1st Cosmo-Art Laboratory, where we worked with the help of the movie "Scent of a woman" by the director Martin Brest.


When do I die?

If I,  together with a Choral Group SELF, create secondary beauty, I will never die. If I don't create secondary beauty, my I will dissolve along with my body.


It's sad, but that's the way it is. Not all the ova and all the sperm that are created in nature end up creating a life, and not all the lives that are created develop to reach maturity and fullness.

We must get to work. This is why our lives were given to us, this is why pain was given to us, this is why knowledge, creativity, wisdom and art were given to us.


In the case that the I dies along with the body, however, the causality that was created by a human existence that was part of the vastness of the circular causality that underlies this universe (and that makes up its history) does not die. A life, therefore, with everything that it has created and destroyed, always conserves its meaning, even though it remains confined within the space-time of this universe.

But we want something more. We want the I's immortality, and the I's immortality is created only through secondary beauty.





What is the purpose of these axioms?

To better explain what Cosmo-Art is, and to give a personal response to the questions that human beings constantly ask themselves about death, and that are not found in the answers they found up until now.







By Prof. Antonio Mercurio


Some definitions of Sophia-Analysis.

Since it is impossible to contain in a single definition all the complexity and richness of Sophia-Analysis, I will offer some different definitions that are both distinct and complimentary.


The first:

Sophia-Analysis is a school of life based on wisdom. The word Sophia means wisdom in Greek. Sophia-Analysis, therefore, means analysis of wisdom; the wisdom already acquired by humanity and the wisdom that is within us and can be found and cultivated through the specific method proposed by Sophia-Analysis. The wisdom that I am referring to here is the wisdom behind the art of thinking and the art of living.


The second:

Sophia-Analysis is an experiential laboratory, whose goal is to attempt to unify in a single energy field the four fundamental forces that have been important throughout human history: religion, art, philosophy and science. The origins of this attempt can be found in Renaissance thinking and it corresponds to the current historical effort of nuclear physicists to unify the four fundamental forces found in nature: the weak nuclear force, the strong nuclear force, the electromagnetic force and gravity. A unified energy field is not created in our imagination and our thoughts, it is created in concrete reality, with well defined spaces and times.


The third:

Sophia-Analysis is an individual and group method that helps human beings to be born and to grow as Persons. According to Existential Personalistic Anthropology, the science behind Sophia-Analysis, a Person is someone who is capable of freely loving him or herself, of loving others and of receiving love.  Persons at the highest level are those who have become capable of being artists of their life and of making their life a work of art that creates joy and beauty for themselves and others.


The fourth:

Group Sophia-Analysis is an existential and choral group project that aims at reproducing in a group of human beings, through the years, the same processes (in both a figurative and a real sense) that occur during the birth of a star: condensation, collapse, thermonuclear reaction and transformation of one element of matter into another, with the consequential production of atomic energy and the creation of a star. In the beginning, a star is only a chaotic and shapeless cloud; once it has formed, it is a work of art that emanates light and beauty.




By Prof. Antonio Mercurio


How can we accomplish a harmonious synthesis between life and death in our daily lives? Christians think a lot about death: the death of Christ, the death of the just, the death of sinners, how their own death will be. Hermits, monks and saints used to spend hours meditating in front of a skull. Pirates, and all of those whose goal is to bring death to others, put the skull on their flags. Modern man removes the thought of death as much as it can from its life.


There are three historical ways we have defended ourselves from the fear of death: meditating on death, giving death to others, denying death. Anyone who uses these ways will never become an artist of their life. Anyone who is too worried about death will never be able to truly deal with their life.


Sophia-Art proposes to study death like a bull fighter studies a bull, first to tame it and then to defeat it artistically before the applause and enthusiasm of the crowd. The bull stands before the bull fighter, but death does not stand before us: it is within us, and it threatens every instant of our life. Here I am not speaking of biological death, but rather of death that is a castration of life. Death that is a refusal to love oneself, a refusal to transform oneself, a refusal to give of oneself, a refusal to forgive oneself, a refusal to free oneself and to take flight beyond any type of trauma, any type of conditioning or any type of narcissistic wound, which carries with it a drive for revenge. Humanity’s main problem is not biological death, it is existential death. It is life that is consumed by death without generating any type of perennial life, perennial like any work of art is.


Every artist studies death and faces it, so as to overcome it.

Sophiartists train to do the same thing, taking as their medium not a canvas or marble etc., but the daily experiences that are a part of their own lives in their relationships with themselves, with others, and with life. No one expects us to become a bull fighter, but Life asks us to become artists of our own lives. Not to escape hell nor to escape death, but to bend death and pull out of it the energy it holds within, and with it create new life.


Everything is energy: life is energy, and we all know this. Matter is also energy, and before Einstein we didn’t know this. Death, too, is energy, and artists have known this forever; now, however, Sophia-Art has understood their secret and can teach it to anyone.


Rules for the Ulysseans' Nocturnal Navigation



         Homer narrated that Calypso taught Ulysses the rules on nocturnal navigation while on the high seas.


BOOK V – from verse 270 to 280


270      And so he sat and skillfully held the tiller steady:

            his eyes never drooped with sleep,

            he held them steady on the Pleiades, steady on Boötes that sets late,

            and on the Ursa, that they also call the Dipper,  (italics are mine)

            and that goes round and round watched fearfully by Orion,

            the only one not a part of Ocean’s waters;

this is, in fact, what Calypso the shining goddess had told him, (italics are mine)

to keep to his left while crossing the sea.

For seventeen days he sailed across the abyss,

on the eighteenth day the shadowy mountains appeared

of the land of the Phaeacians: it was very close […]



            Seventeen days without ever sleeping either by day or by night is a very long time, and yet Ulysses, who wants to reach Ithaca at any cost, crosses the sea this way, skillfully holding the tiller.


            Sometimes the Ulysseans will also have to cross the abysses of life, and for this reason, they must learn the art of nocturnal navigation on the high seas.


            I have prepared some rules to follow while doing so, which I consider of the utmost importance.







Choose your destination



It makes no sense to set sail if you do not know where you are going.

Ulysses' destination was Ithaca. We Ulysseans have the same goal, but we call it "secondary beauty", and with it, we want to enter into immortality so we can travel from one universe to another, forever.


We cannot leave Calypso and Ogygia, the island of our daily certainties, and travel towards infinity, unless we are deeply convinced that the goal we have chosen is the right one for us.


It is thus necessary to take all the time we need to choose our destination on both a conscious level and on a deep one, renewing often the decision we have made on a choral group level.




Set your course


We cannot see our destination until we have actually arrived there.


Nevertheless, since we know what direction we must take to reach our goal, we can set our course, and use, as Ulysses did, the stars found in the Big Dipper.


Those who learned to navigate in ancient times looked at the sky for a long time while they were still on land, and they discovered the connection between the North Star and the destination they wanted to reach.


We can choose to make our SELF our north star. But we must learn to listen to it for a long time so we can understand what the connection is between it and our goal, and then know how to confidently establish our route.


Four stars other than the North Star comprise the "cup" of the Big Dipper, and unless we look at them as well, we cannot know where the North Star lies.


Therefore, when we are establishing our destination we need a more complete knowledge of the four stars that make up the "cup" of the Big Dipper.

We can decide that they represent the four fundamental values that guide us along our Cosmoartistic path: Love, Freedom, Truth and Beauty (both the lost beauty of life that we must reacquire and secondary beauty, which does not yet exist and must be created). We must also take into account the seven stars found in the Pleiades, which show us the value of choral group work.




Correct your route every day.


What is it that makes us stray from the route we have established?


In the sea, the marine currents and winds can take us off our course.


And during our voyage?


The drive to dominate, the drive for power and the homicidal and suicidal drives are some of the main reasons we can get off course.


Prideful arrogant demands and the drive for revenge, which we never overcome completely, sometimes cover our sky with thick clouds, to the point that we can no longer see the North Star, our SELF.


We must thus strip ourselves of our demands, and this is the same thing as the decision to kill the Suitors dwelling in our hearts.

When we do so, the star reappears.




Set your cardinal directions.


We cannot set the route if we do not also set the four cardinal directions.


Our cardinal directions are the values we mentioned earlier, when we were talking about the stars found in the Big Dipper: Love, freedom, truth and beauty. Like stars, they are grouped together, and as cardinal directions they are set in four different areas of space: North, South, East and West.


Truth is like the North, cold and pungent.

Love is like the East, luminous and warm like the sun in the Orient.

Freedom is like the West, that the sun runs towards every day.

Beauty is like the South at midday, which is always radiant and full of splendor.


Love is the result of a decision that we must renew every day to love ourselves and love others.

Freedom is the art of the courage of wanting to become free, at whatever cost.


Truth is the result of a decision to look directly at our masks and our lies, and it is also the result of the knowledge we gain through experience.


Beauty is a unified field of energy, and it is the result of an inner transformation that happens when we go from hatred to love, from slavery to freedom, from knee-jerk reactions to creativity. It is also the result of our ability to make a synthesis between love and freedom, love and hatred, love and truth, pain and creativity, life and death. These are all couples of energies that are completely opposite to each other.


The I Person, the Psychological I, the Corporeal I and the SELF are all fields of energy that are opposite to each other, just as the I and the You, the I and the We, the I and the Universe are.


Secondary beauty is the result of artistic action that is able to unify these opposite fields of energy. It is also capable of creating a single unified and unifying energy field out of the many disjointed fields we are made up of. This field goes beyond time and space, beyond every time and every space.




Determine your position.


Where are you now? And where does your conscious I want to go?


North, South, East, West, or nowhere?


If we want to travel towards secondary beauty, we cannot travel in a straight line. We travel, instead, following an ascending spiral. There are actually two spirals; one goes towards the depths above, and the other goes towards the depths below.


Imagine two cones of light that have the same vertex, and each cone represents a spiral in which light moves in all four directions, East, West, North and South, at the same time.


The two cones of light are in two opposite dimensions.

The higher cardinal points are opposite the lower ones.


Hatred is opposite love, the desire to remain slaves is opposite freedom, lies are opposite truth, and ugliness is opposite beauty.


Now imagine a ray of light that first explores these opposites, and then unifies them.


The Art of Sophia-Art and Cosmo-Art consists of the ability to make a synthesis of opposites and we have many opposites to unify. Even our values oppose each other and we must learn how to unify them.


The higher world and the lower one oppose each other and we must learn how to unify them like Ulysses did. Some other opposites we must learn to unify are male-female, intrauterine and intracosmic life, the I and Others or the I and the Universe. Unless we manage to fuse them, we cannot create secondary beauty.


Where are you now, and were do you want to go?






Accept the dark night.


Accept the darkness and turn your gaze to the bright spots that appear in the sky.


Do not say that you cannot do it.


Be artists, not victims.


You will see things with new eyes.





Feel the life of the universe pulsating within you.


You are not alone and you are not travelling only for yourself.


You must feel that you are part of the universe; otherwise, you will never become travelers of the universe or artists of the life of the universe, as Cosmo-Art describes.


Grab on to the handle of the organismic principle.


This is our tiller.


The universe knows what you need and every day it will give you what you need for that day.





Decide to transform your heart.


The homicidal and suicidal drives not only darken the sky but they also often stir up frightening storms.


This happens because we have a heart of stone.


When you are in the midst of a storm, this is the moment you must decide to have a heart that loves instead of a heart that hates, rejects and destroys.


It isn't easy to do this, but do whatever you can to make the impossible possible.





Learn to eliminate your guilty feelings.


Guilty feelings do not create storms, but they are like dogs that bark and bite, or like huge waves that can suddenly strike the side of a ship, trying to sink it.


Learn how to sail over them with a firm grip on the tiller, and do the right thing without letting them pull you off course.


Help yourself by listening to Louise Hay's "You can heal your body".


Ask for help from your Personal SELF and from the Choral Group SELF so you can understand what is right.


Don't allow your Super Ego or your Ideal I to dominate you.


They are bad teachers.


The deepest causes of hatred towards ourselves, towards life and towards others lie in the ideal of absolute moral perfection and the ideal of sainthood.


The roots of our guilty feelings lie in our hatred inside of us.


The origins of this hatred lie in our expectations of absolute perfection that we have been carrying around inside of us for millennia.





Serve the tyrant and force him to kill himself with his own hands.


Neptune is always lurking somewhere, which is our intrauterine tyrant or our intrauterine incest, and he does not want you to leave his universe and fly off into another one.


This is the most difficult trial: to leave what we know to go towards what we don't know, to leave the prison we live in and are familiar with, to sail towards secondary beauty, which is a universe that is unfamiliar to us.


This is the moment when we must transform our utopia must into a hope that is certain, desired and determined.


Dante has Ulysses drown so he can affirm that he alone is the only one who knows how to fly.


This is untrue. Homer tells us the complete opposite.


You choose who you want to follow.





Accept the sea.


Accept pain, when it is healthy and is not masochistic, or the result of hatred towards yourself. Transform it into energy you can use to create and to travel.


Life doesn't always go the way we want it to, and there is always another new identity waiting for us that we don't yet know about.


Open yourself to the inexhaustible complexity and richness of life that can appear at any time, in the most unpredictable ways.


Open yourself to Life's goal to create immortality and secondary beauty with you.




Assimilate these rules by going over them in your mind repeatedly, until they have become flesh of your flesh and blood of your blood.


Now you can set sail. And if you should end up shipwrecked, don't worry too much: there is Nausicaa and there are the Phaeacians who are ready to welcome you and fill you with wonderful gifts.





* Here we are referring not to the I of the author, but to anyone's I.