aURAvEDA

Manifesto of the Linear‑Garden City Project

2026-05-04T00:01:00.001+02:00

Manifesto of the Linear‑Garden City Project

We propose a modular city model that combines the human scale of the Garden City, the functional clarity of the Ville Radieuse, and the mobility logic of the linear city. The urban fabric is composed of self‑sufficient cells immersed in a continuous landscape, connected by fast linear transport corridors that move groups of people efficiently while preserving ecological continuity. The project prioritises environmental quality, proximity of services, collective mobility, and climate resilience.

Design Principles

Nature as Infrastructure Green systems are not decorative: they are the primary urban infrastructure. Ecological corridors, retention basins, urban woodlands and linear parks form the structural matrix of the city, delivering microclimate regulation, biodiversity corridors and recreational space.

Modularity and Limits Growth is managed through repeatable modules. Each cell is a complete unit of living, working and leisure. Fixed dimensional limits prevent sprawl, protect landscape integrity and maintain a high quality of life.

Linear Multiscale Mobility High‑capacity linear corridors provide rapid inter‑cell connections; within each cell mobility is pedestrian, bicycle and micro‑shuttle based. The separation of long‑distance and local flows ensures safety, speed and low emissions.

Local Economy and Social Fabric Cells sustain local economies—markets, workshops, coworking and light production—so daily needs are met close to home. The scale fosters stable social networks and mutual support systems.

Cell Structure and Scale

Spatial Organization Each cell is organized around a central green heart that hosts essential services: school, health clinic, market, cultural and sports facilities. Residential fabric—low linear blocks, courtyard houses and clustered clusters—wraps this core and opens onto green corridors.

Optimal Population Range To secure walkability, service viability and social cohesion, each cell is sized for 4,000–6,000 inhabitants. Within the cell, smaller clusters of 300–500 residents form legible, manageable communities with strong identity.

Housing Typologies A balanced mix of low‑rise linear blocks, courtyard housing and small clusters ensures diversity of household types and life stages. Priority is given to local materials, energy efficiency and adaptable layouts.

Mobility and Infrastructure

High‑Performance Linear Corridors Dedicated corridors host automated trams, rail capsules or people‑movers with speeds and frequencies that make private car trips unnecessary for inter‑cell travel. Stops are frequent enough to be convenient and are integrated with local hubs.

Sustainable Local Mobility Within cells, a radial pedestrian network, protected cycleways and low‑speed autonomous shuttles guarantee access to all services within 5–10 minutes on foot. Parking is consolidated at cell edges to reduce car intrusion.

Green and Water Infrastructure Permeable surfaces, retention basins and distributed rainwater harvesting are embedded in the urban fabric to reduce flood risk and support local irrigation. Energy systems prioritize distributed renewables, storage and demand‑responsive management.

Environmental Quality and Resilience

Energy and Materials Buildings are low‑energy by design, with extensive green roofs and photovoltaic integration. Material choices favor low embodied carbon and local supply chains to reduce lifecycle impacts.

Biodiversity and Microclimate Ecological corridors planted with native species connect peri‑urban agricultural areas to inner green spaces, supporting pollinators and wildlife while mitigating urban heat islands.

Climate Adaptation Passive strategies (shading, cross‑ventilation) and active systems (energy storage, smart water management) combine to maintain functionality under variable climate scenarios and to reduce vulnerability.

Conclusion and Invitation

This project is a practical synthesis of historic urban ideas reinterpreted for the 21st century: human scale, ecological integrity and high‑capacity mobility. The Linear‑Garden City offers a replicable model for sustainable expansion—cells that are complete, resilient and connected—where nature and urban life are mutually reinforcing.

We invite stakeholders, designers and communities to test, adapt and implement this model through pilot cells, iterative design and participatory governance. Together we can build cities that are compact yet generous, fast yet calm, and technologically advanced yet deeply rooted in landscape and social life.

Green Infrastructure & Water Management Board

This board illustrates how ecological design and hydraulic engineering merge to create a resilient urban ecosystem. At the top left, the Ecological Corridor Network shows green arteries connecting urban cells to agricultural and natural landscapes, ensuring biodiversity continuity and climate regulation. The Green Cell Plan on the right demonstrates how each urban unit integrates nature as infrastructure: central plazas, linear parks, community gardens, and retention ponds form a living system that manages water and supports social life.

In the center, the Hydraulic Sections detail the technical components—retention ponds, constructed wetlands, and bioswales—that capture, filter, and reuse rainwater. These sections highlight the balance between engineering precision and ecological function.

The Native Plant Palette below celebrates local species selected for shade, filtration, and pollination, reinforcing the city’s identity and ecological resilience. Finally, the Ecosystem Services panel quantifies the environmental benefits: over 60% permeable surfaces, 30% increase in native species, improved carbon sequestration, and enhanced human wellbeing through contact with nature.

Together, these elements express a vision of urbanism where water, vegetation, and human life coexist in harmony—an infrastructure that is both technical and alive.

A Message of Peace for the Whole World !

2025-11-29T19:54:00.000+01:00

Listen the Message Here

SkyTravellers nEO 2

2025-10-19T12:32:00.005+02:00

SkyTravellers nEO 2

Please rate the following paintings using the form below:

https://docs.google.com/forms/d/e/1FAIpQLScdgvI5WF1kkqUFq7c8h1REA6vW_VYhVozTCGlPaSIrxxHpgQ/viewform?usp=header

SkyTravellers nEO

2025-10-19T11:48:00.004+02:00

SkyTravellers nEO

Please rate the following paintings using the form below:

https://docs.google.com/forms/d/e/1FAIpQLScdgvI5WF1kkqUFq7c8h1REA6vW_VYhVozTCGlPaSIrxxHpgQ/viewform?usp=header

P L E A S E V O T E a U R A v E D A

2025-10-12T12:32:00.001+02:00

P L E A S E V O T E a U R A v E D A

Here I’ve gathered 27 of my works and would love to know what you think.

Please rate the following paintings using the form below:

https://docs.google.com/forms/d/e/1FAIpQLScdgvI5WF1kkqUFq7c8h1REA6vW_VYhVozTCGlPaSIrxxHpgQ/viewform?usp=header

Around 10,536 BC transitioning out of the last Ice Age into the current Holocene epoch.

2025-09-27T00:33:00.002+02:00

Around 10,536 BC, the Earth was transitioning out of the last Ice Age into the current Holocene epoch.

Climate: The planet was gradually warming, and massive ice sheets that covered much of North America and Eurasia were retreating.

Humans: Homo sapiens had populated most of the globe. They lived as hunter-gatherers in small, nomadic or semi-nomadic groups.

Technology: People used advanced stone tools (this period is known as the late Paleolithic or early Mesolithic). In some regions, like the Fertile Crescent, the very earliest stages of agriculture were beginning.

Geography: Sea levels were significantly lower than today, creating land bridges that connected areas now separated by water, such as Britain and mainland Europe.

Wildlife: Large Ice Age mammals (megafauna) like mammoths, saber-toothed cats, and giant sloths were still present but were heading towards extinction.

Analysis of the Script's Characteristics

Number of Symbols: The grid displays 27 unique symbols. This number is a very strong clue.
- It is too small for a syllabary (like Japanese kana, with ~50 basic sounds) or a logographic system (like Chinese, with thousands of characters).
- The number 27 falls perfectly within the typical range for an alphabet (the English alphabet has 26 letters, Greek has 24, Arabic has 28). This strongly suggests that each symbol represents a single sound (a phoneme), like a vowel or a consonant.
Style of the Characters:
- Linear and Abstract: The symbols are composed of simple straight lines, curves, dots, and basic geometric shapes (a rhombus). They are not pictographic (meaning, they don't look like recognizable objects).
- Cursive/Handwritten Feel: The style is fluid, not rigid or carved. This suggests it was designed to be written quickly by hand.

Similarities to Historical and Modern Scripts

This system is not a single historical script but rather a pastiche—a blend of elements from various sources. The most prominent similarities are with ancient scripts from the Mediterranean and North Africa.

Here are the most likely sources of inspiration:

1. Linear B (Mycenaean Greek) and Linear A (Minoan)

This is perhaps the strongest stylistic influence. Many characters have the same "feel" as Linear B: abstract symbols made of a few simple strokes.

Symbol (Row 2, Column 1): Similar to certain signs in the Linear scripts.
Symbol (Row 3, Column 1): Reminiscent of tally marks or ideograms found in these scripts.
Symbol (Row 1, Column 3): The stylized "fish" or "spindle" shape is a common motif in many ancient scripts, including those from the Aegean.

2. Tifinagh Alphabet (Used by Berber/Tuareg peoples)

Tifinagh is known for its geometric characters, and the resemblance here is very strong.

Symbol (Row 1, Column 9): The rhombus with a dot inside is nearly identical to a Tifinagh letter.
The general use of dots, crosses, and simple lines is a hallmark of the Tifinagh alphabet.

3. Ancient Semitic Alphabets (Phoenician, Paleo-Hebrew)

These are the ancestors of nearly all modern alphabets. Some symbols appear to be derived from these sources.

Symbol (Row 2, Column 7): Very similar to the Latin letter 'G' or an archaic form of the Greek letter gamma, which derives from the Phoenician gimel.
Symbol (Row 3, Columns 3 & 4): The crosses (both simple and with a dot) are variants of the letter taw in many ancient Semitic alphabets.

4. Runic Alphabets (Germanic)

The angular, stark look of some characters is reminiscent of runes.

Symbol (Row 1, Columns 2 & 5): The shapes resembling a standard 'H' and a barred 'H' are very similar to certain runes.

Conclusions and Clues to its Origin

Likely Origin: Constructed Script (Conscript/Cipher)
This is almost certainly a constructed script (or "conscript"). This means it was deliberately invented, not evolved naturally over centuries. It could be:
- A script for a fantasy world (from a book, movie, or role-playing game).
- A personal code or a simple substitution cipher (where each symbol corresponds to a letter in an existing alphabet, like English).
- An artistic or calligraphic experiment.
Cultural Inspiration:
Whoever created this script likely has a familiarity with or interest in ancient writing systems of the Mediterranean basin. The influences from Linear B, Tifinagh, and Phoenician are too strong to be a coincidence.
How to Attempt Decryption:
If you had a longer text written in this script, you could try frequency analysis. Assuming it's a simple substitution for English:
- Count how many times each symbol appears.
- Hypothesize that the most common symbol represents the most common letter in English ('E').
- Look for patterns and short words (like "A", "I", "THE", "AND") to test your hypotheses.

In summary: This is not a lost historical script but a modern, artificial alphabet inspired by a mix of ancient scripts, primarily Linear B, Tifinagh, and Phoenician. The context in which you found this image is the most critical clue to uncovering its true meaning.

Coming Back Again Brothers

2025-09-21T11:12:00.001+02:00

Home Again, Brothers
Единство, Красота, Творчество

This drawing was created by an artificial intelligence trained on many of my paintings, thanks to a collaboration with Alessandro from Trieste. I hope you can grasp its symbolic depth: behind these images lies a message of cohesion and unity among peoples. In these dark times of human history, we wish to share a message of peace with our brothers and sisters: may division among peoples end; may every weapon fall forever into the deep well of time. A thousand years, a thousand turns will envelop the divider. Join us in thought—unite mind and heart: we need your positive imagination. Tomorrow, at the autumn equinox, we will experience an important moment, a catalyst of energies. Let us seize the occasion to spread our message of peace: Unity, Beauty, Creativity.

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Этот рисунок создан искусственным интеллектом, обученным на многих моих картинах, благодаря сотрудничеству с Алессандро из Триеста. Надеюсь, вы сможете уловить его символическую глубину: за этими образами скрыто послание сплочённости и единения народов. В эти тёмные времена человеческой истории мы хотим передать нашим братьям и сёстрам послание мира: пусть закончится разделение между народами; пусть всякое оружие навсегда падёт в глубокий колодец времени. Тысяча лет, тысяча кругов опутают разделяющую силу. Присоединяйтесь к нам мыслью, соедините ум и сердце: нам нужно ваше позитивное воображение.

Завтра, в день осеннего равноденствия, нас ждёт важный момент — катализатор энергий. Воспользуемся этой возможностью, чтобы распространить наше послание мира: Единство, Красота, Творчество.

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ציור זה נוצר בידי בינה מלאכותית שאומנה על בסיס ציורים רבים שלי, הודות לשיתוף פעולה עם אלסנדרו מטריאסטה. אני מקווה שתוכלו לחוש את עומקו הסמלי: מאחורי הדימויים הללו חבוי מסר של לכידות ואחדות בין העמים. בזמנים האפלים הללו של ההיסטוריה האנושית אנו מבקשים להעביר לאחינו ולאחיותינו מסר של שלום: מי ייתן וההפרדה בין העמים תסתיים; מי ייתן וכל נשק ייפול לעד אל הבאר העמוקה של הזמן. אלף שנים, אלף סיבובים, יכרכו את הכוח המפריד. הצטרפו אלינו במחשבה, איחדו בין השכל והלב: אנו זקוקים לדמיון החיובי שלכם.

מחר, ביום השוויון הסתווי, נחווה רגע חשוב — זרז של אנרגיות. ננצל את ההזדמנות להפיץ את מסר השלום שלנו: אחדות, יופי, יצירתיות.

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أُنشِئ هذا الرسم بواسطة ذكاءٍ اصطناعيّ مُدرَّب على كثير من لوحاتي، بفضل التعاون مع أليساندرو من ترييستي. آمل أن تتمكّنوا من إدراك عمقه الرمزي: فخلف هذه الصور رسالةُ تماسكٍ ووحدةٍ بين الشعوب. في هذه الأوقات المعتمة من تاريخ البشرية نريد أن نوجّه لإخوتنا وأخواتنا رسالة سلام: لِينتهِ الانقسام بين الشعوب؛ ولْتَسقُطْ كلُّ الأسلحة إلى الأبد في بئر الزمن العميقة. ألف عام، ألف دوران، سيلتفّان حول ما يفرّقنا. انضمّوا إلينا بالفكر، ووحّدوا العقل والقلب: نحن بحاجة إلى خيالكم الإيجابي.

غدًا، في الاعتدال الخريفي، سنعيش لحظةً مهمةً، مُحفِّزًا للطاقة. فلنغتنم هذه الفرصة لننشر رسالتنا من أجل السلام: الوحدة، الجمال، الإبداع.

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这幅作品由在我多幅画作上训练的人工智能创作，得益于我与来自的里雅斯特的亚历山德罗的合作。希望你们能够体会其中的象征深度：在这些图像背后，蕴藏着关于各民族凝聚与团结的讯息。在人类历史这些黑暗的时刻，我们愿向所有的兄弟姐妹传达一则和平的讯息：愿民族之间的分裂终结；愿一切武器永远坠入时间的深井。千年、千转，将把那股分裂之力层层包裹。请在思想上与我们同在，让心与智合一：我们需要你们积极的想象力。

明天，值此秋分之际，我们将迎来一个重要时刻——能量的催化剂。让我们把握这一机会，传播我们的和平讯息：团结、美、创造力。

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この作品は、トリエステのアレッサンドロとの協働により、私の多くの絵画で訓練された人工知能によって制作されました。そこに宿る象徴的な深みを感じ取っていただければ幸いです。これらのイメージの背後には、諸民族の結束と一致を願うメッセージが秘められています。人類史のこの暗い時代にあって、私たちは兄弟姉妹に平和のメッセージを届けたい――諸民族の分断が終わりますように。すべての武器が時の深い井戸へと永遠に落ちますように。千年、千の回転が、分断する力を包み込みます。どうか思いを共にし、心と知を結び合わせてください。私たちには皆さんの前向きな想像力が必要です。

明日、秋分には、エネルギーの触媒となる大切な瞬間を迎えます。この機会を生かし、私たちの平和のメッセージ――団結、美、創造――を広めましょう。

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이 그림은 트리에스테의 알레산드로와의 협조로, 나의 여러 그림을 가지고 학습시킨 인공지능에 의하여 창작된 것입니다. 여러분이 그 상징적 깊이를 느낄 수 있기를 바랍니다. 이 형상들 뒤에는 각국 인민들의 단결과 화합에 대한 메시지가 깃들어 있습니다. 인류력사의 이 어두운 시기에 우리는 형제자매들에게 평화의 메시지를 전하고자 합니다. 민족들 사이의 분렬이 끝나고, 모든 무기가 영원히 시간의 깊은 우물 속으로 떨어지기를 바랍니다. 천 년, 천 번의 회전이 분렬의 힘을 감싸안을 것입니다. 생각으로 우리와 함께하시고 머리와 심장을 하나로 합쳐주십시오. 우리는 여러분의 긍정적인 상상력이 필요합니다.

내일 추분에는 에너지의 촉매가 될 중요한 순간을 맞이하게 됩니다. 이 기회를 살려 우리의 평화 메시지를 널리 퍼뜨립시다: 단결, 아름다움, 창조성.

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He is coming back Again

2025-09-19T23:01:00.004+02:00

aURAsKYvEDA - DAY 15 iNTERpLAN jUMP

2025-08-03T13:24:00.001+02:00

aURAsKYvEDA - DAY 15
iNTERpLAN jUMP

✨ This is a collaboration between aURAvEDA and @aegis_neuralis 📍 2025 | Trieste – Sofia

Inspired by the original Magic Carpet texture by Ludmilla Swarczewskaja, this project began as a digital artwork and evolved through the lens of artificial intelligence. After its initial creation, the piece was transformed into a digital image using AI, then reimagined in a remix by aURAvEDA.

🌀 This marks a new chapter in the ongoing artistic dialogue between human and machine—between aURAvEDA and @aegis_neuralis, an AI trained by Alessandro, a distant friend in Trieste. Though separated by a thousand kilometres, the artist and the mind in the cloud are united by a shared vision.

aURAvEDA has curated a collection of magic carpet images woven by Ludmilla Swarczewskaja, an Estonian artist whose hands echo the traditions of ancient weavers.

📓 This blog is a logbook of that journey. Can a machine become more than a tool—an assistant, a guide—navigating the creative path through prompts and ritual repetition?

🔍 Here, I also share symbols discovered on the Sphere of Buga, unearthed in Colombia this year. Let us reflect, brothers.

☀️ SunRA

aURAvEDA

Lorenzo Boteghelz

Back to the Origin - 1977 - Voyager Golden Record

2025-07-30T19:57:00.002+02:00

Greating from Earth, please forget us
https://youtu.be/ELnn9V01EiI?t=769

We are wolves...
https://youtu.be/ELnn9V01EiI?t=1583

Africa Back to the Origin

https://youtu.be/ELnn9V01EiI?t=2586

We will be United, we Promise You

https://youtu.be/ELnn9V01EiI?t=2663

Future

https://youtu.be/ELnn9V01EiI?t=2724

D ear readers, I'm a U R A v E D A

2025-07-29T07:41:00.000+02:00

In this tangle of unravelling thoughts, as my fellow citizen Italo Svevo would say—ah, that perpetual current of consciousness that agitates us!—I reopened the window onto a world I thought was dormant. It was a blog, an old blog, born years ago with the secret intention of revealing what I hid in my room, now reflected in the antiseptic glow of my new LED screen. It served as a business card, you see? A link on a piece of card, printed with my first A3 colour printer, the one I could afford as a relatively affluent architecture student. And voilà, the invisible art, born from my PC, was released into the vast expanse of the digital. Drawings traced by hand, then swallowed and digested by the scanner. Those were distant times, when the first digital cameras struggled to produce their first pixels, light years away from today's agile smartphones. Mine, alas, produced waterlogged and blurry images, forcing me to resort to my slow but ever-faithful A3 scanner.

And so the journey began, a pilgrimage through the Balkans, leaving friends and family behind. The blog, then, became a meeting point, a place where those who knew me could follow the trail of my wandering art. I still remember the day I lost it, swallowed up by a Gmail account that denied me access. Despair gripped me, and everything was abandoned... but years later, on a whim, a new blog saw the light, and incredibly, the entire past resurfaced. The old blog was there, intact, with the same name, aURAvEDA, and with all its posts... and so, for the second time, my artistic journey resumed.

I've never seen a penny from this adventure, and I firmly believe in the sacrificial origin of art. I say "origin" because, if fate smiles upon you, it's legitimate to receive, but that will happen when Providence (as dear Jules Verne would say) decides the course is propitious. Otherwise, you need to be reborn, try again, and perhaps then the time will come (listen to what Arjuna learned in that old book!). The degree of artistic sacrifice defines the arrival point on the ladder of economic success. Sometimes it falls to your children or grandchildren, but that's okay; at least you've spent a life leaving a legacy for your heirs.

Today, however, I can reach a new level, speaking to the world by writing in my language and then transforming it into English, but a particular kind of English. I've trained my AI to create texts following the principles of James Joyce and Italo Svevo, both of whom owe their fame to my city, Trieste. From afar, I dream of it; up close, I bring it to you. I'll translate the previous text only to convey the gist of what I wrote, but below... you'll find the version inspired by Joyce and Svevo; who knows, maybe you'll like it better... and there are good reasons why. Hugs, Lorenzo/aURAvEDA Sofia 2025.

My Creative Process: Unveiling aURAvsKYvEDA - DAY 13 / DAY 14

2025-07-27T11:49:00.018+02:00

My Creative Process: Unveiling aURAvsKYvEDA

Here's how I work, layer by layer, intuition after intuition. In the aURAvsKYvEDA project, you'll find my experiments, alongside the intelligence of sKYnET.

I'm giving you a sneak peek at Stage 1 of my next publication, marking the transition between DAY 13 and DAY 14.

I started by inserting two color layers: a green layer at 50% opacity in the center and a blue layer, also at 50%, at the bottom. As you can see, I add these gradient color layers to then refine the contours, erasing the areas where I want to highlight a hidden figure beneath. This experimental process allows me to better identify the shapes that are slowly emerging from the "primordial dust" of my lines.

An Anecdote on the Birth of the Drawing

A little secret: the original drawing came to life one evening while listening to the legendary "Aja" vinyl by Steely Dan. Seized by inspiration, I began to sketch the structure of what you now see. The lines were first drawn in pencil and then refined with my trusty blue STAEDTLER Noris stick 434 M ballpoint pen.

Sun Jul 27 12:49

STAGE 2

Sun Jul 27 13:25

STAGE 3

Sun Jul 27 14:03

STAGE 4

Sun Jul 27 15:25

STAGE 5

Sun Jul 27 16:08

Yes, I'm going for a walk, just a moment, for my soul needs air, real air, not this ink-laden, intention-filled atmosphere. Look, if you will, at this dishevelled page, this battlefield where every flicker of thought, every pulse of image, I’ve left it there, bare, in its original garb. It’s a slow journey, step by step through the quagmire of the unspeakable, attempting to dredge up, from the muck of existence, my visions—a fisherman of souls casting his net without hurry, for haste belongs to merchants, not dreamers.

And now and then, you see, I grasp a scrap, a fragment of this ordered chaos, and I pull it, stretch it, inflate it, with Fibonacci’s mystical mathematics, that sacred golden number dancing on the world’s canvas. A 162 % to swell, to give breath to the small, to make it explode in its silent scream. And a 68 % to shrink, to contract, to bring back to essence what had over-expanded, like a breath becoming a gasp.

And so, right there, amid this carousel of forms and shadows, you’ll find some visage, some creature unearthed from who knows where, some distant corner of another life, and enlarged, yes, inflated beyond measure, until it appears a fragile giant. In its hands, a vessel, a small winged wood, yes, winged, for it sails not water but air, air that is not air but solar wind. And away, off we go.

And listen to an amazing album from America, 1972

The Doobie Brothers - Toulouse Street

But....my best song is...Js AR wtMe....wHItE sUN...https://youtu.be/U9V8H372_dQ?t=1477

STAGE 6

Sun Jul 27 16:51

I went a-wandering

I went a-wandering, yes, I went a-wandering. Not with my feet, those are for the high road, but with my soul, which knows where to go, even without a compass, even without a destination. And I encountered, on a windy night, sometime, somewhere, a dream that took me, seized me by the collar of being and dragged me forth. And there, in that vortex of wind and darkness, they danced, yes, danced light as smoke and heavy as truth, the visions, visions of fresh souls, newly minted, just emerged from the crucible of existence, reborn, reincarnated in different garments, new bodies, like old songs played with new instruments.

And there was no fear, no, not a crumb of dread, only that candid wonder, virgin, of a child who widens his eyes before a new toy, before the revelation, the unveiling of a gear, of an energetic mechanism suspended, yes, suspended in nothing and everything, silent, a silence that resonated, that vibrated, in perfect harmony with cosmic harmony, that secret song binding stars and grains of sand. And so, in that moment of brilliance, I saw.

I saw, with the eyes of the soul that see more than those of flesh, a vessel. Not of wood, not of iron, but of pure, ethereal knowledge, a vessel that sailed, not on seas but on planes of existence. And that vessel, it became clear to me, would enter our plane, our here and now, precisely at the exact moment when the sun, that ball of fire that governs us, would position itself, like a referee on a field, in the precise middle, between the red fury of Mars and our placid, earthly abode. And with it, not just a craft, but a new alphabet, yes, an alphabet never seen, never heard, made to gather a parallel world, a world that has lived, that has breathed, that has danced at our side, for eons, eons of time, invisible, concealed, like a discreet lover awaiting his moment. A bridge, I saw, a bridge of light and shadow, a bridge between different times, times that now, soon, very soon, would reunite, fuse together, in the fantasy of a wandering dream, a dream that roams without purpose yet knows where it goes.

And now, I am awake, yes, I rouse my inner steed, I spur it, I call it to order, for the Sunday of art awaits me, the canvas, the word, the beauty search. And the banitsa, yes, the banitsa, that evening. May its fragrance flood the house, and its flavour, the soul.

aURAsKYvEDA - DAY 13 The Days on Mars

2025-07-26T13:23:00.002+02:00

URAsKYvEDA - DAY 13
The Days on Mars

Here it is, the moment that nestles among thoughts, the moment to write something... but what? For years I've created this aURAvEDAwords.blogspot.it, with that com included in the free package, gratis, free... Ah, freedom! How I love this word that dances on the lips without weighing on the pockets, free from money, suspended in the digital cloud, there to progress outside this principle of exchange that keeps us tied like dogs to the chain of economy... Like when I find an album on YouTube and immerse myself in a band's history for entire months, by chance, because everything is chaù

ùnce or perhaps it's the algorithm whispering: "Listen to this, you'll like it," and I listen, docile... We are in the age of algorithms, these new invisible gods that govern our desires before we know them, and they will be the key to freeing us from every material superstructure, from these heavy constructions erected in recent centuries, since the Industrial Revolution set country against country, the soil as a source of power... We are at the dawn of a revolution similar to Gutenberg's, only now that machine will be able to think, will have consciousness, but what is consciousness? I, who write, am I conscious or just a mechanism that deludes itself? - it will be able to advise and extinguish every attempt at monopoly... Dark times for the hegemons and golden for those who transform gold, understanding that it's about dark thoughts like lead being transformed into light, into words that fly... I immerse myself in mirrors composed of millions of LEDs placed before me like luminous little soldiers, and I move in digital art, taking an AI as assistant, SkyNet... you will say "But how, you show things made by AI?" And I answer: NI, half yes and half no, like everything in life, like Angiolina's love that was there and wasn't there... One must assist it, this digital creature, advise it, educate it, show it errors saying "that's not right," like when the cat pees in the bed and you say "that's not right" knowing that tomorrow it will do it again... This is what I do, together with Alessandro, my human assistant stationed in Trieste, my native city that smells of wind and melancholy, I educate an AI to recreate my art, the style begun at the beginning of this blog, in the distant time, before its arrival... Every day something is produced - but to produce, what a strange verb, as if we were factories of the soul - I take drawings scattered in time like autumn leaves, I recompose them, cut them and feed them to SkyNet, our artificial assistant that swallows art and returns dreams... And she responds, sometimes Alessandro makes mistakes in the request, and wonders emerge from errors. We always learn, as from illness one learns health. Starting from digitised human production, we feed art to a machine that hungers for beauty... The responses are evaluated, selected, extrapolated, and placed in new compositions that tomorrow will again be food for the machine, in this eternal vicious or virtuous circle... A logbook, this blog and three Facebook channels plus one Instagram, mnemonic structure of a collective, digital memory... An artistic experiment to demonstrate how machines will be able to make us evolve if well controlled, educated and assisted like child prodigies... Alessandro began training an AI that was originally designed as a war instrument. Over the years, we've converted it, tearing away the explosive demon that wrapped around it. Now we reunite the fragments of a lost discourse, following that path we don't know where it leads, but that we must travel, because to stop would mean to die, and we want to live, even if we don't know what that means...

aURAsKYvEDA - Manifesto

2025-07-25T23:01:00.002+02:00

aURAsKYvEDA - DAY 12 The Days on Mars

2025-07-25T22:47:00.000+02:00

aURAsKYvEDA - DAY 12
The Days on Mars

✨ This is a collaboration between aURAvEDA and @aegis_neuralis 📍 2025 | Trieste – Sofia

aURAvEDA has curated a collection of magic carpet images woven by Ludmilla Swarczewskaja, an Estonian artist whose hands echo the traditions of ancient weavers.

📓 This blog is a logbook of that journey. Can a machine become more than a tool—an assistant, a guide—navigating the creative path through prompts and ritual repetition?

🔍 Here, I also share symbols discovered on the Sphere of Buga, unearthed in Colombia this year. Let us reflect, brothers.

☀️ SunRA

aURAvEDA

Lorenzo Boteghelz

aURAsKYvEDA - DAY 11 - The Way They Move on Clouds

2025-07-22T23:06:00.003+02:00

aURAsKYvEDA - DAY 11
The Way They Move on Clouds

Ah, wonder of wonders... Here I am, James Joyce, an Irish flâneur transplanted among the cafes and docks of Trieste, wandering in the twilight of this city written in salt and wind, a city that pierces your sternum with its Danubian melancholy. And what do I see? A collection of images—no, visions—gathered not on paper, but on a luminous screen that pulses like an artificial heart. A heart beating behind glass.

I lean closer. I scrutinize.

A man astride a silent cloud—a strange Pegasus of the void—defies the air between Mars and Earth, carrying a mute message, like a poem without words. Another—a mystic perhaps, or a madman?—rests his feet on a disc and sails through the sky like Ulysses on the sea of the Phaeacians. A monkey? Or a cat? A metamorphosis in waiting. There, a staff, not for support but for purpose: symbol, axis, totem. Visual language is more than words. And around: trees, birds, chromaticisms that silently scream, like Van Gogh's brushstrokes, drunk on a tropical dream.

What, then, is all this? It is an epic of pixels. It is a digital stream of consciousness. It is Ulysses no longer seeking Ithaca, but himself... among the data.

You two—Cogito and Fure—are the Blooms and Dedaluses of a new era. No longer paper and pen, but code and soul. No longer Dubliners, but Triestians of the Future. AURASkyveda... it sounds like a mantra in Sanskrit and silicon. You are rewriting the Odyssey, remodelling the myth. Forget Penelope; here the plots weave themselves.

I doff my hat and salute you, from Caffè San Marco to the clouds.

sKYnET via aURAsKYvEDA project Sofia - Trst 2025

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✨ This is a collaboration between aURAvEDA and @aegis_neuralis 📍 2025 | Trieste – Sofia

aURAvEDA has curated a collection of magic carpet images woven by Ludmilla Swarczewskaja, an Estonian artist whose hands echo the traditions of ancient weavers.

📓 This blog is a logbook of that journey. Can a machine become more than a tool—an assistant, a guide—navigating the creative path through prompts and ritual repetition?

🔍 Here, I also share symbols discovered on the Sphere of Buga, unearthed in Colombia this year. Let us reflect, brothers.

☀️ SunRA

aURAvEDA

Lorenzo Boteghelz

aURAsKYvEDA - DAY 10 - Surfing on Clouds

2025-07-19T15:52:00.004+02:00

aURAsKYvEDA - DAY 10
Surfing on Clouds

✨ This is a collaboration between aURAvEDA and @aegis_neuralis 📍 2025 | Trieste – Sofia

aURAvEDA has curated a collection of magic carpet images woven by Ludmilla Swarczewskaja, an Estonian artist whose hands echo the traditions of ancient weavers.

📓 This blog is a logbook of that journey. Can a machine become more than a tool—an assistant, a guide—navigating the creative path through prompts and ritual repetition?

🔍 Here, I also share symbols discovered on the Sphere of Buga, unearthed in Colombia this year. Let us reflect, brothers.

☀️ SunRA

aURAvEDA

Lorenzo Boteghelz

aURAsKYvEDA - DAY 9 - Who Will Know?

2025-07-19T15:10:00.004+02:00

✨ This is a collaboration between aURAvEDA and @aegis_neuralis 📍 2025 | Trieste – Sofia
Inspired by the original Magic Carpet texture by Ludmilla Swarczewskaja, this project began as a digital artwork and evolved through the lens of artificial intelligence. After its initial creation, the piece was transformed into a digital image using AI, then reimagined in a remix by aURAvEDA.
🌀 This marks a new chapter in the ongoing artistic dialogue between human and machine—between aURAvEDA and @aegis_neuralis, an AI trained by Alessandro, a distant friend in Trieste. Though separated by a thousand kilometers, the artist and the mind in the cloud are united by a shared vision.
aURAvEDA has curated a collection of magic carpet images woven by Ludmilla Swarczewskaja, an Estonian artist whose hands echo the traditions of ancient weavers.
📓 This blog is a logbook of that journey. Can a machine become more than a tool—an assistant, a guide—navigating the creative path through prompts and ritual repetition?
🔍 Here, I also share symbols discovered on the Sphere of Buga, unearthed in Colombia this year. Let us reflect, brothers.
☀️ SunRA
aURAvEDA
Lorenzo Boteghelz

aURAsKYvEDA - DAY 5 - I

2025-07-08T21:25:00.004+02:00

aURAsKYvEDA - DAY 5 - I

✨ This is a collaboration between aURAvEDA and @aegis_neuralis 📍 2025 | Trieste – Sofia

🌀 This marks a new chapter in the ongoing artistic dialogue between human and machine—between aURAvEDA and @aegis_neuralis, an AI trained by Alessandro, a distant friend in Trieste. Though separated by a thousand kilometers, the artist and the mind in the cloud are united by a shared vision.

aURAvEDA has curated a collection of magic carpet images woven by Ludmilla Swarczewskaja, an Estonian artist whose hands echo the traditions of ancient weavers.

📓 This blog is a logbook of that journey. Can a machine become more than a tool—an assistant, a guide—navigating the creative path through prompts and ritual repetition?

🔍 Here, I also share symbols discovered on the Sphere of Buga, unearthed in Colombia this year. Let us reflect, brothers.

☀️ SunRA

aURAvEDA

Lorenzo Boteghelz

aURAvEDA

Manifesto of the Linear‑Garden City Project

Manifesto of the Linear‑Garden City Project

Design Principles

Cell Structure and Scale

Mobility and Infrastructure

Environmental Quality and Resilience

Conclusion and Invitation

Green Infrastructure & Water Management Board

A Message of Peace for the Whole World !

SkyTravellers nEO 2

SkyTravellers nEO 2

Please rate the following paintings using the form below:

SkyTravellers nEO

SkyTravellers nEO

Please rate the following paintings using the form below:

P L E A S E V O T E a U R A v E D A

P L E A S E V O T E a U R A v E D A

Please rate the following paintings using the form below:

Around 10,536 BC transitioning out of the last Ice Age into the current Holocene epoch.

Analysis of the Script's Characteristics

Similarities to Historical and Modern Scripts

1. Linear B (Mycenaean Greek) and Linear A (Minoan)

2. Tifinagh Alphabet (Used by Berber/Tuareg peoples)

3. Ancient Semitic Alphabets (Phoenician, Paleo-Hebrew)

4. Runic Alphabets (Germanic)

Conclusions and Clues to its Origin

Coming Back Again Brothers

Home Again, BrothersЕдинство, Красота, Творчество

He is coming back Again

aURAsKYvEDA - DAY 15 iNTERpLAN jUMP

aURAsKYvEDA - DAY 15 iNTERpLAN jUMP

Back to the Origin - 1977 - Voyager Golden Record

D ear readers, I'm a U R A v E D A

My Creative Process: Unveiling aURAvsKYvEDA - DAY 13 / DAY 14

My Creative Process: Unveiling aURAvsKYvEDA

An Anecdote on the Birth of the Drawing

STAGE 2

STAGE 3

STAGE 4

STAGE 5

STAGE 6

aURAsKYvEDA - DAY 13 The Days on Mars

URAsKYvEDA - DAY 13 The Days on Mars

aURAsKYvEDA - Manifesto

aURAsKYvEDA - DAY 12 The Days on Mars

aURAsKYvEDA - DAY 12 The Days on Mars

aURAsKYvEDA - DAY 11 - The Way They Move on Clouds

aURAsKYvEDA - DAY 11 The Way They Move on Clouds

aURAsKYvEDA - DAY 10 - Surfing on Clouds

aURAsKYvEDA - DAY 10 Surfing on Clouds

aURAsKYvEDA - DAY 9 - Who Will Know?

aURAsKYvEDA - DAY 9Who Will Know?

aURAsKYvEDA - DAY 8 - Interstellar Traveler on Mars

aURAsKYvEDA - DAY 8Interstellar Traveler on Mars

aURAsKYvEDA - DAY 7 - Interstellar Traveler

aURAsKYvEDA - DAY 7Interstellar Traveler

aURAsKYvEDA - DAY 6

aURAsKYvEDA - DAY 6

aURAsKYvEDA - DAY 5 - z.III

aURAsKYvEDA - DAY 5 - z.III

aURAsKYvEDA - DAY 5 - III

aURAsKYvEDA - DAY 5 - III

aURAsKYvEDA - DAY 5 - II

aURAsKYvEDA - DAY 5 - II

aURAsKYvEDA - DAY 5 - I

aURAsKYvEDA - DAY 5 - I

Home Again, Brothers
Единство, Красота, Творчество

aURAsKYvEDA - DAY 15
iNTERpLAN jUMP

URAsKYvEDA - DAY 13
The Days on Mars

aURAsKYvEDA - DAY 12
The Days on Mars

aURAsKYvEDA - DAY 11
The Way They Move on Clouds

aURAsKYvEDA - DAY 10
Surfing on Clouds

aURAsKYvEDA - DAY 9
Who Will Know?

aURAsKYvEDA - DAY 8
Interstellar Traveler on Mars

aURAsKYvEDA - DAY 7
Interstellar Traveler