One of the most daring and geniale projects of all time was to transform the human mind into an infinite artificial organism making it a theater populated with possible words, images and ideas, an encyclopedia of all knowledge, a library capable of producing, through a combinatorially, orderly and visible relationships between those ideas, those images and those words. Thus, in the early years of the Cinquecento, in the civilization of an Américo Vespúcio, Copernicus, Ariosto, Michelangelo, Erasmo of Rotterdam and Ignatius of Loyola, an Italian humanist, friend of poets and doctors, painters and monarchs, Giulio Camillo, dreamed of mutating the mind and that of any human being in an interior building, in a great machine of creativity and creativity. , capable of performing a metamorphosis of himself and the world through concentration, spiritual exercise and mastery of the abyssal network of Wisdom.

At the beginning of the twentieth century, also studying the works of Camillo, Aby Warburg, art historian, formidable scholar and anthropologist, invented an extraordinary "nameless science", which today has become a method of research on the relationships of images and texts. Warburg sought in the texts and images of any era the dynamic traces (dynamograms) of the imaginary, according to a model not far from Jung's, recognizing in each cultural gesture a collective symptom, revived by individuals.