The Strange Disappearance Of Bruno Silva Borges

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Bruno Silva Borges

On March 27, Bruno Silva Borges, 24, apparently disappeared—leaving his house with only shorts and a t-shirt, and his worried family with no clue what happened to him. But what Bruno left behind him has captivated Brazilian media…and has produced even more questions than answers.

Because his room looked like something akin to an updated version of a high magic temple, with an almost life-sized statue of 16th century philosopher and occultist Giordano Bruno as a centerpiece and a detailed oil painting of Borges with a gray alien.

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Giordano Bruno

At the time of his disappearance, Bruno (the missing man, not Giordano) was a psychology student with an apparently keen interest in the occult as well as aspects of UFO culture. The video of the interior of his room, with its elaborate decor, is absolutely jaw-dropping:

What happened to Borges? Did it have anything to do with his personal esoteric interests? And how did he connect the hermetic magic he seemed to be so interested in with images of “Communion”-style aliens?

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painting of Bruno and alien found in his home

The young man’s father Athos Borges, a prominent Brazilian entrepreneur, made a desperate plea for more information on his son’s disappearance. Athos confirmed that Bruno may have written as many as 15 books in “code,” and that they may need a specialist to translate.

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found on the wall of Bruno’s home

But somebody in Brazilian social media apparently did translate some of the writing on the walls (keep in mind between the initial translation and possible further translation from Portuguese to English, this may be a little mangled):

HARD WAY

For thousands of years the human being has been trying to find answers to questions such as “what is the meaning of life”? The philosophy that seems to have begun with Tales of Miletus in the middle of 700 BCE aims to find traces of unanswered questions. The deep search for absolute truth comes from philosophy, and when we talk about easy or difficult paths we are referring to this type of theorem.

It is easy to accept what you have been taught since childhood and what is wrong. It is difficult when you are an adult to understand that you have been taught wrongly since you suspected that you were correct. In other words, if you fit into some of the stimuli of the environment, you determined a certain behavior, making you at the mercy of well-established and established beliefs in dogmas and rituals, with a concentrated mass of people in it; Or allowing you to conform, accepting the concept of happiness and meaning of life embedded in the media and society, then clearly you are part of the easy path to the quest for absolute truth.

Does it fit the second option, that is, the one who suspected every set of beliefs that was rooted to him, then this one has everything to be a investigator of the truthfulness in the things around him, entering in a more complicated way, in which a minority Ventures or bravely faces.

One point that may have absolutely zero to do with this case, but which I could not help but notice, was that the date of Bruno’s disappearance is around twenty years to the day the bodies of the dead Heaven’s Gate cultists were found (March 26, 1997). And Heaven’s Gate had a portrait of an alien as well, entitled “How a Member of the Kingdom of Heaven might appear”:

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Heaven’s Gate alien

Again, these could all be merely coincidences. But then, Giordano Bruno had a whole magical theory about coincidences—or “links”—contained in his book, De vinculis en genere. Peter Levenda in Sinister Forces goes into the philosophy of De vinculis:

These links, according to Bruno, are those between human beings, but they could just as easily be those that link God to humans; the links to which he refers are any connections that could be made between any created objects at all.

In other words—coincidences. Which may be all we really have here, plus the story of a troubled individual. But if Bruno (the missing young man, not Giordano) is indeed troubled, he obviously believed in something so powerfully that he created an impressive amount of skillfully-rendered material. What drove that creation? What led him to identify with Bruno (the 16th century Italian philosopher, not the 21st century Brazilian man) so intensely?

There are only questions at this point.