It 's a feeling of swaying that amuses my unconscious, slow to rock between the soft transparency of these verses surreal. This state of consciousness conveys the 'emergence' s images and impressions that are deep in my possession, but which can not sublimate in ordinary life, can not find expression in the usual references to everyday life, or may occur in the "clichés" of living apparent but only in this infinite and fleeting moment, the 'moment of endless reverie.

The "dreamy landscape 'of the aesthetics of Bachelard provides a' introspective expression more than appropriate to express this poetic 's imagination, the lyricism of the surreal.

A rare moment in which to recognize as being structured on a foundation Noetic.

Placed outside of the common memory, this foundation or inner archetypes are the pillars of ontological 'Be going to be our very substance: they explode on the border indecipherable beyond the limits of' ordinary cogitate, here's the thought that thinking el 'self-consciousness begin to take their existing relevant. They are the deep mystery of 'Being that its remote niche metaphysics leaves resurface something that can only be perceived, somatization, lived. L 'inexplicable in itself.

This is the poetry of inexplicability Giuliodori Lucio: They dance to the rhythm of the verses surrale, which is lyrical in itself is not synthesized from ordinary thought, and that s' is directed towards a state of consciousness that no longer needs to catalog and outline, but a merger with something higher. This "ecphrasis" giuliodoriana ecstasy is aesthetic phenomenology of something transcendent that slowly invades our senses, impression of something that can no longer ignore in its absolute self-evidence: something that c 'it just is.

This feeling of extra-ordinariness is perceived in front of the aesthetic phenomenon that emerges from the poetry of Giuliodori and "obliges" the sentient and conscious minds to take a dip in their own original and archetypal meanings: in this place of 'the unconscious is possible' encounter with that something 'unintelligible to common thought, but also impossible to overlook.

The "noumenologia" our poet (and the whole artistic creativity) sums up this conundrum: there is a role in the noumenal meaning and message that emerges clearly from the aesthetic beauty of any kind, natural, poetic or plastic? The poem itself is certainly convinced of it Giuliodori explaining the feeling of the common elements not present in the natural world: the noumenon can not be known entirely under the laws of rational intellect, but also noumenon impossible to ignore when there is obvious under thin 'esthetician.

Kantian philosophy of the limit, had vetoed the noumenon, insurmountable epistemological obstacle to human capabilities. The moral duty of 'Kant's categorical imperative, however, had found a shortcut to' infinite, an explanation of the sacred that could finally reach and stretch his hand toward the ineffable celestial spheres, in the poetic language of this Giuliodori contact with the 'ultra-mundane turns into an absolute aesthetic imperative.

That "thing in itself," Kant placed outside the subject's mind, becomes the protagonist of a mystery that takes place entirely outside the individual brain performance: a different kind of feeling, a sense more common outside the reference space-time which emerges their imperious from a world not commonly seen and from which we pick matches hidden, mysterious and, in my opinion, noumenon.

The archetypes are surreal Giuliodori a 'clear manifestation of his "absolute" as in the Kantian moral law from which there may be subtracted to arrive in the presence of the noumenal, the artist' feels' s requirement needed to put his creation into existence potential, "his" noumenal worlds Iperuranio identified by its subtle ways and the sophistication of intuitive perceptions.

Without even forget the role of esoteric, hidden and "secret" that these poetic productions are of the creative process of 'artist' s appearance alchemy that had already emerged as a fundamental character 'of the earlier work Giuliodori, Alchemy Surrealist, is expressed in a also evident in these poems that have the substance of the archetypes.

Dino Valls, Acorda mystic.

"Only then is wonder, the wonder of it is made real. And the joy is transmuted, we change, we fix our gaze, is empty."

Only penetrate the hermetic meanings of the word "transmute" means being able to place themselves in a state of consciousness in which the sublimation of 'Being expresses itself as a true and authentic goal existential catharsis of such poetry and lyrics of surpassing oneself, is to put the subject as in dynamic tension to the 'ontological acme of his own life: the real "moment of power' of the magical idealism of Evola.

Our poet wants to put in front of our eyes this world is not fixed and immutable to get lost in a static asphyxia, but a reality malleable and alterable in which to empty and cleanse the dysfunctional parts of the lower mind, "noetic waves beyond the meaning, diverting the time taken for true "is just beyond the 'illusion of reality mistaken for the real beginning of the inner journey of self-realization.

Linear time abandon its fundamental value and the reality of the endless cycles of 'eternal return of' the same sounds as a warning both to the release of 'man trapped between the coils of Cronos, and as a sigh of relief, typically Hellenic, a cyclical time that nientifica nothing. The space and loses any concrete reference is lost amid the waves of consciousness.

In such a world weariness of ordinary real gives way to rational structures over-s' hold of every little sigh creative artist 's intent to give voice and body to his masterpiece, "What reality? If the time if n' is gone, which reality? auratic a moment, closes his eyes at will. "

Chris Drago

music: Faith, Wim Mertens

{mp3} Faith {/ mp3}