Fit out the LETTERS OF CHRIST
with expressive illustrations?
«The #Path to #Christ #Consciousness is outlined in these #LETTERS»https://t.co/1BvhuINh1m
AS THESE ARE THE #SEEDS, SO YOU ARE THE #GROUND! pic.twitter.com/B7rAMyDuiL
— laVITAlaVERITÀlaVIA (@RitornaCristo) 1 aprile 2017
The LETTERS OF CHRIST
are not literature. Many thoughts have been expressed so that they can be scanned and held suspended in the mind, meditated for the necessary time and integrated into your Consciousness in an indelible way.
Certain images have already enriched this reading rhythm.
Neither an ambitious dream, nor a project born as such.
A real undertaking, which lasted for years, and which can help over time.
The hypothesis would have seemed unlikely to me a priori, if I only think of the banality of the many images attributed to him, from the nostalgic human form to the humanoid projection of the figure of Jesus among the clouds.
In reality, I have not attempted in the slightest to depict the steps of the story that He tells us about Himself, of His presence in Palestine – a hackneyed thing under multiple spotlights of a light distorted by erroneous beliefs, which cannot respect his true narrative.
In editing the 9 LETTERS in a renewed editorial format, more suited to the reading and assimilation of the many passages in which every word has a weight, I felt I had to spread them, like The Good News of two millennia ago, submitting as many passages as suggested it to everyone's eyes, through the simple, direct and immediate instrument of Twitter.
From the tweets of Twitter's @Ritornacristo
I opened the @RitornaCristo profile while I was still optimizing the translation into Italian; but once structured, reworking the original into an even more advanced standard took over in its most far-reaching language, with a much broader horizon, up to the 900th tweet.
After the first uncertain posts, it became natural to me, thanks to the special arrangement of the paragraphs, to extract and focus on the salient contents, also proposing them through basic graphics, as long as it was able to focus attention on precise concepts, which in continuous reading would slide like the clear water of a stream, or the views of the landscape from the window of a moving train.
At times, even in just one of the 333 pages in which the text now unfolds, topics of such singular importance emerge that others fade away; and if the essential black-on-white of the first PDF , drawn up by RECORDER via Word™ could not help but unite them in an overall view, not always easy to meditate despite the available accents that She carefully adopted, even the new drafting could not have held the mind for long, precisely because of its strong invitation to keep on.
So I began to fix some of them against the background of figures, which had no common style, no connection to a criterion of continuity, no correspondence other than an imaginary one to the passage they hosted, stimulating with their content the interpretation and the memory.
They were tweets.
A production rhythm that I could define as casual, uncoordinated except by the flow of months of work; sometimes a jumping from topic to topic, following calls of the moment and associations of ideas.
Soon such an exercise contributed more and more to the search for special images, to enliven the teachings themselves with more or less intuitive scenarios.
So, conversely, I happened to come across images that suggested relevance to certain passages, probably already illustrated weeks before in another way, but that precisely for this reason remained in my mind for their importance; and since the nature of tweets was to overlap in a short time, and to have to be replaced by new ones, I seized the opportunity willingly.
#Learn how to become the #world you want, from the highest #ineffable #LOVE Source!https://t.co/TvwMnwIlyO pic.twitter.com/jO2vggwLRV
— laVITAlaVERITÀlaVIA (@RitornaCristo) February 1, 2017
Of the 900 tweets accumulated up to the day of the 8th birthday of @RitornaCristo,
notified to me by Twitter on Apr 26, 2022 – with a tweet whose symbolic content went well beyond what Twitter could have suspected – some disappeared for technical reasons, external links etc. Of these, 169 are reproduced in the PDF, since quite a few had been retweeted over the years, and many were dictated by personal traits or interactions due, always and exclusively in the name of the Master and his teaching.
Only two or three comments appear in the PDF , of my own initiative and signature, that is, not extracted from the LETTERS .
Their distribution among the pages is therefore not homogeneous, sometimes there are clusters of replies of arguments around them, leaving large empty spaces between the other pages.
There was no shortage of challenges; among the most heartfelt was certainly that of Jun 2, 2017, in which Christ describes His experience in the desert… (there are 3 figures, to be seen on X).
The style of each tweet was therefore more than ever heterogeneous, sometimes inspired, but always based on improvisation, of characters, shades of colors, special effects tending to be refined with practice. From the first, each tweet was accompanied by some descriptive or introductory phrase to the link to the source page.
from images made of screen dots, to the real PDF
Certain creations required more than a few hours of attention, sometimes days, in order to be meditated on and made effective.
Necessary care then, but which multiplied to reproduce them in the context of the 9 LETTERS , since while a tweet was nothing more than a bitmap image, in which effects and resolution are forced and limited in size, in the real PDF I could not treat the texts in the same way, but I had to reduce their graphic overlaps often used for tones and shadows, to a single text that did not present graininess when zoomed in, and was indeed readable when searched (except special cases), just like that of the pages, while maintaining their special effects.
Furthermore, at a certain point in the conversions, I realized that each paragraph in the image had to be related to the same one in the real text, so as to be able to reconnect to the context, thanks to the new editorial composition with nested numbering of verses and their parts.
There was no reason or way for this to happen before the new version matured; and the very idea of combining tweets and text to enrich readers' reflections had taken me by surprise, too, since it was nothing planned.
That it had a complete meaning seemed more and more likely to me, even if initially it had arisen from the intention of not leaving so much work to chance, according to the increasingly less probable fate of the new X, in which I considered my work concluded.
It may please more or less, since it is a work without precedents or rules, perhaps in step with the universality of the times; but I believe that it will not fail to stimulate and at the same time to pace the minds to more inviting, relaxed reading times, interspersed with figurations that have always traditionally fulfilled a complementary function.
I must point out that if sometimes the text superimposed on the image gets confused or does not stand out clearly, this is intentional, with the aim of inducing the reader to ponder each word slowly and confidently, exactly as the dictation of the Light has taken shape.
These tweets were treated as posts, but they are not disposable flyers.
These Letters are not meant to be read.
They are meant to be PONDERED and this means
you have to stop on the words in print which
hold up the flow of words and THINK about
what the words are trying to convey to you.
Recorder – Foreword, p. 8
from tweets to the “Moments”
Almost in support of this, Twitter's "Moments" allowed from 2015 and for some years to collect and present together the most significant tweets in relation to a particular title-topic. Tweets that could therefore be easily recalled, regardless of their publication date and consequent position in the general list. I describe them on the site that I dedicated to what I was able to obtain of the entire archive, but of course they have no weight in the work on LETTERS . On the other hand there are applications for reading PDF , which allow a search for words or phrases, even offering the list, and accept bookmarks.
managing images in the PDF
The images do not intersperse the text: each one is a poster and occupies a separate page, leaving the original layout unchanged. Thus the number of pages from 334 rises to 503, for an optimized file of about 280Mb.
Their dimensions are varied, based on the 391pt × 631pt format corresponding to the golden ratio Φ adopted for the e-book.
This means that to facilitate scrolling and containment, combining the best graphic quality with the least overall weight, the short or long side have been uniformly calibrated to one side of the page, and almost always overflow onto the other, although there are some figures that, due to the format and content, do not adapt to a sharp horizontal restriction, but would be too large to be adapted to the maximum vertical.
Naturally, landscape images are rotated 90° counterclockwise (or they would be very unsightly if forced into the width of the page), so viewing them will require a rotation of the view, easily obtainable with a simple keyboard command; or a manual one on the mobile device (if its automatic screen rotation is disabled, otherwise the opposite effect would be obtained).
How to enjoy this unique work
Considering that any browser can reach and open the page of an e-book only by loading it in its entirety, it is not conceivable to offer direct online access.
Such automatic access could put many devices and the server itself into crisis; therefore I decided to make the files with the rel images available, indexing the pages involved one by one, both in PDF and in the more immediate HTML
Having already prepared an offprint of 2 pages containing 5 illustrations with different orientations, in order to test the practicality of use and give an idea of what I have described, I applied this formula to each page containing paragraphs that gave rise to illustrations (from 1 to 6!), creating PDFs containing only the page and its images, so as to make each illustration visible together with the page of the LETTERS of which it illustrates passages.
At the addressing stage [focus.htm] that offers the choice of available formats, between PDF , the 3D flippable e-book, or the quick and light text HTML , if the requested PDF page is plaied along by images, the view of the illustrated file will be proposed.
For HTML Web pages, on the other hand, the management of the illustrations is entrusted to each page, which will also offer it when flipping from one to the other; if cancelled, it will stop proposing it for the remaining session in that browser Tab.
I can therefore only suggest viewing this almost unrepeatable work, via computer equipped with a good monitor.
This is the sample set up, now in a compressed file:
Initially it contained two pages, which can now also be viewed using the appropriate tool:here [1] and here [2].
Those who wish to download the entire collection in the illustrated and complete file of the 9 LETTERS (190Mb) can find it here.
How the text page display works
Single images opened via HTML are lighter than PDF , but less accurate in the definition of fonts, which in PDF are managed and scalable like live text (except for special graphic and perspective effects).
By accepting their viewing when loading the HTML file, the images will be displayed one at a time in a default Tab on the side, in a window self-adapting to the size of both the image and the display, in which you can enlarge and scroll in any direction, alternate if more than one is on the same page, as well as zoom both the image within its frame and the entire web window containing it.
Of the 5 commands below, two: (+90° | -90°) will allow you to rotate them clockwise (or counterclockwise), being reproduced as in the PDF layout, one (next) will be active to alternate them when there is more than one.
The cursor 
will help to combine the two maneuvers, which are complementary, taking care to distinguish their effect.
The center icon toggles the image magnification on/off, fixing it at its original size.
The first button on the left in the console therefore contains the number of the matrix web page of the images on display, which can in turn be read in its text with a click; the same goes for the associated PDF button, which can be used to directly download the complete document.
In order to enrich the vision, images from 8 pages are proposed at random among those illustrated (e.g.: 253: page no. and number of figures).
Clicking on one will display its images, and the list of 8 below will regenerate with new choices.
It is therefore a precious support, to be bookmarked in the browser, since it will always propose new views as in a gallery, and new concepts and truths to ponder and deepen.
In short, it is a process as sophisticated as it is unpredictable on the range of existing devices, systems and formats, many of which will not be suitable, or able to correctly perform the desired graphics and/or management operations.
In reality I have only tested it on some Chromium engine and Firefox browsers, which in turn handle some fundamental aspects differently (forcing quite a few global adaptations). I have not been able to see the routines reproduced with Safari, from the Windows environment, nor test other browsers due to lack of time. Instead I have tried to complete a quality work, hoping that it will remain accessible over the years, beyond fashions and version changes, which suddenly have the effect of deadlines…
Vers. 3.15.EN indicates some minor typographical corrections to the text - Revision March 31, 2025 indicates the progress date of the illustrations, which may be increased in the future, updating it.
work in progress…
with expressive illustrations?
«The #Path to #Christ #Consciousness is outlined in these #LETTERS»https://t.co/1BvhuINh1m
— laVITAlaVERITÀlaVIA (@RitornaCristo) 1 aprile 2017
AS THESE ARE THE #SEEDS, SO YOU ARE THE #GROUND! pic.twitter.com/B7rAMyDuiL
The LETTERS OF CHRIST
are not literature. Many thoughts have been expressed so that they can be scanned and held suspended in the mind, meditated for the necessary time and integrated into your Consciousness in an indelible way.
Certain images have already enriched this reading rhythm.
Neither an ambitious dream, nor a project born as such.
A real undertaking, which lasted for years, and which can help over time.
The hypothesis would have seemed unlikely to me a priori, if I only think of the banality of the many images attributed to him, from the nostalgic human form to the humanoid projection of the figure of Jesus among the clouds.
In reality, I have not attempted in the slightest to depict the steps of the story that He tells us about Himself, of His presence in Palestine – a hackneyed thing under multiple spotlights of a light distorted by erroneous beliefs, which cannot respect his true narrative.
In editing the 9 LETTERS in a renewed editorial format, more suited to the reading and assimilation of the many passages in which every word has a weight, I felt I had to spread them, like The Good News of two millennia ago, submitting as many passages as suggested it to everyone's eyes, through the simple, direct and immediate instrument of Twitter.
From the tweets of Twitter's @Ritornacristo
I opened the @RitornaCristo profile while I was still optimizing the translation into Italian; but once structured, reworking the original into an even more advanced standard took over in its most far-reaching language, with a much broader horizon, up to the 900th tweet.
After the first uncertain posts, it became natural to me, thanks to the special arrangement of the paragraphs, to extract and focus on the salient contents, also proposing them through basic graphics, as long as it was able to focus attention on precise concepts, which in continuous reading would slide like the clear water of a stream, or the views of the landscape from the window of a moving train.
At times, even in just one of the 333 pages in which the text now unfolds, topics of such singular importance emerge that others fade away; and if the essential black-on-white of the first PDF , drawn up by RECORDER via Word™ could not help but unite them in an overall view, not always easy to meditate despite the available accents that She carefully adopted, even the new drafting could not have held the mind for long, precisely because of its strong invitation to keep on.
So I began to fix some of them against the background of figures, which had no common style, no connection to a criterion of continuity, no correspondence other than an imaginary one to the passage they hosted, stimulating with their content the interpretation and the memory.
They were tweets.
A production rhythm that I could define as casual, uncoordinated except by the flow of months of work; sometimes a jumping from topic to topic, following calls of the moment and associations of ideas.
Soon such an exercise contributed more and more to the search for special images, to enliven the teachings themselves with more or less intuitive scenarios.
So, conversely, I happened to come across images that suggested relevance to certain passages, probably already illustrated weeks before in another way, but that precisely for this reason remained in my mind for their importance; and since the nature of tweets was to overlap in a short time, and to have to be replaced by new ones, I seized the opportunity willingly.
#Learn how to become the #world you want, from the highest #ineffable #LOVE Source!https://t.co/TvwMnwIlyO pic.twitter.com/jO2vggwLRV
— laVITAlaVERITÀlaVIA (@RitornaCristo) February 1, 2017
Of the 900 tweets accumulated up to the day of the 8th birthday of @RitornaCristo,
notified to me by Twitter on Apr 26, 2022 – with a tweet whose symbolic content went well beyond what Twitter could have suspected – some disappeared for technical reasons, external links etc. Of these, 169 are reproduced in the PDF, since quite a few had been retweeted over the years, and many were dictated by personal traits or interactions due, always and exclusively in the name of the Master and his teaching.
Only two or three comments appear in the PDF , of my own initiative and signature, that is, not extracted from the LETTERS .
Their distribution among the pages is therefore not homogeneous, sometimes there are clusters of replies of arguments around them, leaving large empty spaces between the other pages.
There was no shortage of challenges; among the most heartfelt was certainly that of Jun 2, 2017, in which Christ describes His experience in the desert… (there are 3 figures, to be seen on X).
The style of each tweet was therefore more than ever heterogeneous, sometimes inspired, but always based on improvisation, of characters, shades of colors, special effects tending to be refined with practice. From the first, each tweet was accompanied by some descriptive or introductory phrase to the link to the source page.
from images made of screen dots, to the real PDF
Certain creations required more than a few hours of attention, sometimes days, in order to be meditated on and made effective.
Necessary care then, but which multiplied to reproduce them in the context of the 9 LETTERS , since while a tweet was nothing more than a bitmap image, in which effects and resolution are forced and limited in size, in the real PDF I could not treat the texts in the same way, but I had to reduce their graphic overlaps often used for tones and shadows, to a single text that did not present graininess when zoomed in, and was indeed readable when searched (except special cases), just like that of the pages, while maintaining their special effects.
Furthermore, at a certain point in the conversions, I realized that each paragraph in the image had to be related to the same one in the real text, so as to be able to reconnect to the context, thanks to the new editorial composition with nested numbering of verses and their parts.
There was no reason or way for this to happen before the new version matured; and the very idea of combining tweets and text to enrich readers' reflections had taken me by surprise, too, since it was nothing planned.
That it had a complete meaning seemed more and more likely to me, even if initially it had arisen from the intention of not leaving so much work to chance, according to the increasingly less probable fate of the new X, in which I considered my work concluded.
It may please more or less, since it is a work without precedents or rules, perhaps in step with the universality of the times; but I believe that it will not fail to stimulate and at the same time to pace the minds to more inviting, relaxed reading times, interspersed with figurations that have always traditionally fulfilled a complementary function.
I must point out that if sometimes the text superimposed on the image gets confused or does not stand out clearly, this is intentional, with the aim of inducing the reader to ponder each word slowly and confidently, exactly as the dictation of the Light has taken shape.
These tweets were treated as posts, but they are not disposable flyers.
These Letters are not meant to be read.
They are meant to be PONDERED and this means
you have to stop on the words in print which
hold up the flow of words and THINK about
what the words are trying to convey to you.
Recorder – Foreword, p. 8
from tweets to the “Moments”
Almost in support of this, Twitter's "Moments" allowed from 2015 and for some years to collect and present together the most significant tweets in relation to a particular title-topic. Tweets that could therefore be easily recalled, regardless of their publication date and consequent position in the general list. I describe them on the site that I dedicated to what I was able to obtain of the entire archive, but of course they have no weight in the work on LETTERS . On the other hand there are applications for reading PDF , which allow a search for words or phrases, even offering the list, and accept bookmarks.
managing images in the PDF
The images do not intersperse the text: each one is a poster and occupies a separate page, leaving the original layout unchanged. Thus the number of pages from 334 rises to 503, for an optimized file of about 280Mb.
Their dimensions are varied, based on the 391pt × 631pt format corresponding to the golden ratio Φ adopted for the e-book.
This means that to facilitate scrolling and containment, combining the best graphic quality with the least overall weight, the short or long side have been uniformly calibrated to one side of the page, and almost always overflow onto the other, although there are some figures that, due to the format and content, do not adapt to a sharp horizontal restriction, but would be too large to be adapted to the maximum vertical.
Naturally, landscape images are rotated 90° counterclockwise (or they would be very unsightly if forced into the width of the page), so viewing them will require a rotation of the view, easily obtainable with a simple keyboard command; or a manual one on the mobile device (if its automatic screen rotation is disabled, otherwise the opposite effect would be obtained).
How to enjoy this unique work
Considering that any browser can reach and open the page of an e-book only by loading it in its entirety, it is not conceivable to offer direct online access.
Such automatic access could put many devices and the server itself into crisis; therefore I decided to make the files with the rel images available, indexing the pages involved one by one, both in PDF and in the more immediate HTML
Having already prepared an offprint of 2 pages containing 5 illustrations with different orientations, in order to test the practicality of use and give an idea of what I have described, I applied this formula to each page containing paragraphs that gave rise to illustrations (from 1 to 6!), creating PDFs containing only the page and its images, so as to make each illustration visible together with the page of the LETTERS of which it illustrates passages.
At the addressing stage [focus.htm] that offers the choice of available formats, between PDF , the 3D flippable e-book, or the quick and light text HTML , if the requested PDF page is plaied along by images, the view of the illustrated file will be proposed.
For HTML Web pages, on the other hand, the management of the illustrations is entrusted to each page, which will also offer it when flipping from one to the other; if cancelled, it will stop proposing it for the remaining session in that browser Tab.
I can therefore only suggest viewing this almost unrepeatable work, via computer equipped with a good monitor.
This is the sample set up, now in a compressed file:
Initially it contained two pages, which can now also be viewed using the appropriate tool:here [1] and here [2].
Those who wish to download the entire collection in the illustrated and complete file of the 9 LETTERS (190Mb) can find it here.
How the text page display works
Single images opened via HTML are lighter than PDF , but less accurate in the definition of fonts, which in PDF are managed and scalable like live text (except for special graphic and perspective effects).
By accepting their viewing when loading the HTML file, the images will be displayed one at a time in a default Tab on the side, in a window self-adapting to the size of both the image and the display, in which you can enlarge and scroll in any direction, alternate if more than one is on the same page, as well as zoom both the image within its frame and the entire web window containing it.
Of the 5 commands below, two: (+90° | -90°) will allow you to rotate them clockwise (or counterclockwise), being reproduced as in the PDF layout, one (next) will be active to alternate them when there is more than one.
The cursor will help to combine the two maneuvers, which are complementary, taking care to distinguish their effect.
The center icon toggles the image magnification on/off, fixing it at its original size.
The first button on the left in the console therefore contains the number of the matrix web page of the images on display, which can in turn be read in its text with a click; the same goes for the associated PDF button, which can be used to directly download the complete document.
In order to enrich the vision, images from 8 pages are proposed at random among those illustrated (e.g.: 253: page no. and number of figures).
Clicking on one will display its images, and the list of 8 below will regenerate with new choices.
It is therefore a precious support, to be bookmarked in the browser, since it will always propose new views as in a gallery, and new concepts and truths to ponder and deepen.
In short, it is a process as sophisticated as it is unpredictable on the range of existing devices, systems and formats, many of which will not be suitable, or able to correctly perform the desired graphics and/or management operations.
In reality I have only tested it on some Chromium engine and Firefox browsers, which in turn handle some fundamental aspects differently (forcing quite a few global adaptations). I have not been able to see the routines reproduced with Safari, from the Windows environment, nor test other browsers due to lack of time. Instead I have tried to complete a quality work, hoping that it will remain accessible over the years, beyond fashions and version changes, which suddenly have the effect of deadlines…
Vers. 3.15.EN indicates some minor typographical corrections to the text - Revision March 31, 2025 indicates the progress date of the illustrations, which may be increased in the future, updating it.
work in progress…
The hypothesis would have seemed unlikely to me a priori, if I only think of the banality of the many images attributed to him, from the nostalgic human form to the humanoid projection of the figure of Jesus among the clouds.
In reality, I have not attempted in the slightest to depict the steps of the story that He tells us about Himself, of His presence in Palestine – a hackneyed thing under multiple spotlights of a light distorted by erroneous beliefs, which cannot respect his true narrative.
In editing the 9 L
From the tweets of Twitter's @Ritornacristo
I opened the @RitornaCristo profile while I was still optimizing the translation into Italian; but once structured, reworking the original into an even more advanced standard took over in its most far-reaching language, with a much broader horizon, up to the 900th tweet.After the first uncertain posts, it became natural to me, thanks to the special arrangement of the paragraphs, to extract and focus on the salient contents, also proposing them through basic graphics, as long as it was able to focus attention on precise concepts, which in continuous reading would slide like the clear water of a stream, or the views of the landscape from the window of a moving train.
At times, even in just one of the 333 pages in which the text now unfolds, topics of such singular importance emerge that others fade away; and if the essential black-on-white of the first
So I began to fix some of them against the background of figures, which had no common style, no connection to a criterion of continuity, no correspondence other than an imaginary one to the passage they hosted, stimulating with their content the interpretation and the memory.
They were tweets.
A production rhythm that I could define as casual, uncoordinated except by the flow of months of work; sometimes a jumping from topic to topic, following calls of the moment and associations of ideas.
So, conversely, I happened to come across images that suggested relevance to certain passages, probably already illustrated weeks before in another way, but that precisely for this reason remained in my mind for their importance; and since the nature of tweets was to overlap in a short time, and to have to be replaced by new ones, I seized the opportunity willingly.
#Learn how to become the #world you want, from the highest #ineffable #LOVE Source!https://t.co/TvwMnwIlyO pic.twitter.com/jO2vggwLRV
— laVITAlaVERITÀlaVIA (@RitornaCristo) February 1, 2017
Only two or three comments appear in the
Their distribution among the pages is therefore not homogeneous, sometimes there are clusters of replies of arguments around them, leaving large empty spaces between the other pages.
There was no shortage of challenges; among the most heartfelt was certainly that of Jun 2, 2017, in which Christ describes His experience in the desert… (there are 3 figures, to be seen on X).
from images made of screen dots, to the real PDF
Certain creations required more than a few hours of attention, sometimes days, in order to be meditated on and made effective.Necessary care then, but which multiplied to reproduce them in the context of the 9 L
Furthermore, at a certain point in the conversions, I realized that each paragraph in the image had to be related to the same one in the real text, so as to be able to reconnect to the context, thanks to the new editorial composition with nested numbering of verses and their parts.
There was no reason or way for this to happen before the new version matured; and the very idea of combining tweets and text to enrich readers' reflections had taken me by surprise, too, since it was nothing planned.
That it had a complete meaning seemed more and more likely to me, even if initially it had arisen from the intention of not leaving so much work to chance, according to the increasingly less probable fate of the new X, in which I considered my work concluded.
It may please more or less, since it is a work without precedents or rules, perhaps in step with the universality of the times; but I believe that it will not fail to stimulate and at the same time to pace the minds to more inviting, relaxed reading times, interspersed with figurations that have always traditionally fulfilled a complementary function.
These tweets were treated as posts, but they are not disposable flyers.
They are meant to be PONDERED and this means
you have to stop on the words in print which
hold up the flow of words and THINK about
what the words are trying to convey to you.
from tweets to the “Moments”
Almost in support of this, Twitter's "Moments" allowed from 2015 and for some years to collect and present together the most significant tweets in relation to a particular title-topic. Tweets that could therefore be easily recalled, regardless of their publication date and consequent position in the general list. I describe them on the site that I dedicated to what I was able to obtain of the entire archive, but of course they have no weight in the work on Lmanaging images in the PDF
The images do not intersperse the text: each one is a poster and occupies a separate page, leaving the original layout unchanged. Thus the number of pages from 334 rises to 503, for an optimized file of about 280Mb.Their dimensions are varied, based on the 391pt × 631pt format corresponding to the golden ratio Φ adopted for the e-book.
This means that to facilitate scrolling and containment, combining the best graphic quality with the least overall weight, the short or long side have been uniformly calibrated to one side of the page, and almost always overflow onto the other, although there are some figures that, due to the format and content, do not adapt to a sharp horizontal restriction, but would be too large to be adapted to the maximum vertical.
Naturally, landscape images are rotated 90° counterclockwise (or they would be very unsightly if forced into the width of the page), so viewing them will require a rotation of the view, easily obtainable with a simple keyboard command; or a manual one on the mobile device (if its automatic screen rotation is disabled, otherwise the opposite effect would be obtained).
How to enjoy this unique work
Considering that any browser can reach and open the page of an e-book only by loading it in its entirety, it is not conceivable to offer direct online access.Such automatic access could put many devices and the server itself into crisis; therefore I decided to make the files with the rel images available, indexing the pages involved one by one, both in
Having already prepared an offprint of 2 pages containing 5 illustrations with different orientations, in order to test the practicality of use and give an idea of what I have described, I applied this formula to each page containing paragraphs that gave rise to illustrations (from 1 to 6!), creating
At the addressing stage [focus.htm] that offers the choice of available formats, between
For
I can therefore only suggest viewing this almost unrepeatable work, via computer equipped with a good monitor.
This is the sample set up, now in a compressed file:
Initially it contained two pages, which can now also be viewed using the appropriate tool:here [1] and here [2].
Those who wish to download the entire collection in the illustrated and complete file of the 9 L
How the text page display works
Single images opened via
By accepting their viewing when loading the Of the 5 commands below, two: (+90° | -90°) will allow you to rotate them clockwise (or counterclockwise), being reproduced as in the
The cursor
will help to combine the two maneuvers, which are complementary, taking care to distinguish their effect.
The center icon toggles the image magnification on/off, fixing it at its original size.
The first button on the left in the console therefore contains the number of the matrix web page of the images on display, which can in turn be read in its text with a click; the same goes for the associated
In order to enrich the vision, images from 8 pages are proposed at random among those illustrated (e.g.: 253: page no. and number of figures).
Clicking on one will display its images, and the list of 8 below will regenerate with new choices.
In reality I have only tested it on some Chromium engine and Firefox browsers, which in turn handle some fundamental aspects differently (forcing quite a few global adaptations). I have not been able to see the routines reproduced with Safari, from the Windows environment, nor test other browsers due to lack of time. Instead I have tried to complete a quality work, hoping that it will remain accessible over the years, beyond fashions and version changes, which suddenly have the effect of deadlines… Vers. 3.15.EN indicates some minor typographical corrections to the text - Revision March 31, 2025 indicates the progress date of the illustrations, which may be increased in the future, updating it.
work in progress…