13 june 2021: The black textiles
John Bjarne Grover
It happened twice that I found a black textile on a tram seat in Vienna: One sunday some years ago I stepped into tram line 1 at Volkstheater and found a black very fine textile on an empty seat - it was humid even if the sky was sunny. I asked a woman sitting nearby if she knew about it but she didnt. I gave it to the driver. I think it was the next sunday (even this sunny weather) that exactly the same happened - now (I think it was this second time and not the first) I unfolded the slightly humid textile a little (it was folded several times) and saw that it was semi-transparent and seemed to be sewn along a part of it - before I gave even this to the driver. A third time I saw it but then it lay in the sleet outside the tramwindow and I did not go out to pick it up.
It could have been of the type used for 'chagrin' (mourning), cp. the 'croup' seat, but it could also have been a socalled 'scapular' - a cloth to be worn over the shoulders - which the Madonna hands out to San Simon Stock, according to Pinna 2016. Here is an artwork showing this handover of the textile (from this page) by Gianfrancesco Modigliani, and here is one by Tiepolo - these artworks are represented in Pinna 2016. See also my Li Bai translation.
There are also the two black textiles hanging from the wrists of the Madonna of Guadalupe - see mention of it in this article. These could correspond to aspects of the bathroom wall image: This occurred in black on white first very spontaneously after I had cleaned the room, and, after I had wiped it out (since it was not my bathroom), it recurred slowly in the following days untill it reached this form (and later yet a little more) - that makes for a synchronic and a diachronic dimension.
I have written two poetry books in german language - the diachronic 'Der Dornenstrauch' (2009-2015) of 440 poems and the synchronic 'SNEEFT COEIL' (2014-2018) of 142 poems. Could be these were the 'scapulars' given to me from an inner spiritual source? The example of the encoding of the chinese radicals in the first part 'Kinderhilfe' (294 poems) of 'Der Dornenstrauch' is telling: When I wrote this part I (up to 2012) I knew little or nothing about chinese radicals or script generally, so that cannot be the reason why the first 214 poems seem to follow the 214 socalled 'Kangxi' radicals very closely from 1 to 214, and the remaining 80 from 215 to 294 down again from 214 to 135. The poems in part I of the book are numbered both in 'relative enumeration' from 1 to 187 (with many subnumbers 109a, 109b... 109f, 109fa, 109g...) and in 'absolute enumeration' from 1 to 294. It is this absolute enumeration which follows the Kangxi radicals. See the poems relative #61 (= absolute #76), relative #74h = absolute #97 and #136 (= absolute #225 which lands on #204 on the 'way down from wrapover at #214) with discussions of the corresponding radicals:
Kinderhilfe #136 = absolute enumeration 225/204 = radical #204 = ⿋
Kinderhilfe #61 = absolute enumeration #76 which means radical #76 = ⽋
Kinderhilfe #74h = absolute enumeration #97 which means radical #97 = ⽠
It is seen that #136 describes the early historic stages of the the sign well and maintains its semantic value in the form of the embroidery needlework that goes through the textile, turns and returns from the other side.
Poem #61 likewise maintains both early graphics - and semantic value
Poem 74h - see this article on the GUA sign ⽠ with the bathroom graphics plus radical 97 = ⽠ (here for 'Lebensfroh' overnatural light) - see this page with particular relevance of the early bronze script form for the historic development of the sign contained in the poem.
But how can this be the case if I knew little or nothing about the radicals? It would have been poetic logic about the natural progress from 1 to 214 of logical units that constitute a poetic form available to poetic intuition. This would also have been contained in the title 'Kinderhilfe': The child is 'brought up' (1,2,3...) - and necessarily so - by human custody authority for which divine concerns can be assumed to be involved.
These poetic-logical forms constitute a framework inside of which the 'secret garden' is found and the poetry is taking place.
It would have been these 'concerns' that were granted to me from a heavenly source ('inspiration' it can also be called) and shown in the form of black textile - assuming that it occurred quasi ex nihilo on the seat of the tram in the moment when I entered. The textile I unfolded a little seemed to show a wrapover with the fold-over part sewn to the main part - like that wrapover at #214.
But if the two black textiles for my two german poetry books (plus the third unfinished/unwritten which was left in the dirt and sleet outside the tram) were symbolic of my inspired authorship, why was it 'given' in such a way that I had to give them on to the driver who could give them to the lost-and-found office? Clearly the divine intention could have been that the lost-and-found office would scan their surveillance data and find that the textile had taken shape in the moment when I entered the tram and hence concluded that it was mine - therefore they could have contacted me: "Here, John, this textile is yours". And then I could keep it without problems. And then the austrians could have got their own land without problems of 'ostarrichi' authenticity and 1919 Jungholz/Pamhagen with 1919 Wittgenstein book submission and things like that (PTRSIM PIK). Hence it would have been a gift from heaven. If it really were ex nihilo by my entering the tram, I hope they have not given it to somebody else who has scissored it up in parts. And of course I hope that my books can be published and not be subjected to plagiarisms or other forms of abuse.
I refer also to this file - on a poem from the other german poetry book 'SNEEFT COEIL'.
The historic background
The theory exists that the austrian rejection of Wittgenstein's book was the main reason for the holocaust and WWII and therefore the new austrian borders of 1919 told of the logisch-philoso-Phische-mand. The borders at Jungholz to Germany remained, though, as in 1914 - and Jungholz seems to have existed in this form since the mid 19th century. Here is a map of Jungholz/Füssen from 1909, according to the internet. The narrow passage from Austria in to the area of Jungholz goes through an opening of a handful metres which even seem to be on top of the peak of the mountain 'Sorgschrofen' close to the peak 'Zinken', cp. 'Zinckgasse'. These two peaks could also be the theme of the artwork on the wall in this cartoon of The New Yorker 8 february 1999. Jungholz looks like the chinese hen and then the opening at 'Sorgschrofen' is at the vietnamese border. One could speculate that if the US involvement in the Vietnam war and the theory (whether rooted in reality or not) of rapes of me - by the one who had 'Sorgerecht' to me - in 1970-71 served to install a quasi 'Kennedy curse' (would it be difficult for 'me' to get out of Zinckgasse?), it could also have served to create a systematic link between Pamhagen/Pentagon on the eastern border and Jungholz on the western. This means that although Jungholz in this 'pimple' form on the border is from the mid 19th century, it can be seen as rooted in the 1918-1919 rejection of Wittgenstein's book and the enormous avalanche of terror-and-monkey-business that seemed to have led to.
The theory is that Austria would get the chance to repair this damage to the world when I - in the role of a PTRSIM PIK like Wittgenstein - came to live here a century later. I have guessed that this could mean that the chance should be to accept PTRSIM PIKs book when the failure of the 20th century was that it had been rejected in 1919. The end of terror-and-monkey-business that should mean, and a return to a development of serious culture. Every sensible administration in the world would support that program.
My theory is that Adolf Hitler surfed on the historic support to PTRSIM PIK Wittgenstein and intruded into and abused the eldorado of the later PTRSIM PIK me - therefore this strange mix of terror and mysticism. The Barmhertzige Brüder at the woman on the ground at the end of Zinckgasse could be an archetype at the foundations of the monasterial order with that name - but Hitler and Himmler abused their public support to win support for their terror program. This is the reason why the occurrence of this 'archetype' could look like a very alarming signal that Hitler is on the rise again, while in actual fact it should have been the signal of a restauration of jewish life and philosophy. I dont know much about administrative logic - but I sometimes have the feeling that it is the formalism based on the assumption that all things go as wrong as they can - the strange idea that this should be the 'safest' solution: Is this the 'Hütteldorfer' mystery - lifted from jewish to nazi philosophy? 'Jungholz' is itself a little 'Hüttel-Dorf' and it may be that this is the same as the front page photo of 'Sanger av Bjarne Eidsvig'. In the chinese hen on the map, this 'Dorf' is about the region of Tibet.
A 'Schrofen' is (according to Duden) a '(nicht sehr) steiler (bewachsener) Fels' - like the 'Mozart' headland on Røsholmen described in this file.
In short, it could have been Kennedy who got USA involved in the Vietnam war - and he could have been shot therefore (whether real or theatre assassination) - and if I furthermore should have been (according to hypohesis) raped with quasi 'Kennedy curse' by the custody holder with 'Sorgerecht', this in total could have served to create global concerns and protests against the abusive war-mongering contained in the Jungholz parametre. At the end of all this, the global concern could have been that PTRSIM PIK must get his german poetry book published - instead of the book being held back and abused for terror-and-monkey-business purposes - and thereby the century-old story that led to Adolf Hitler and the great tragedies thereby should or could be ended.
It is noticed that this account could resemble the concerns of the Madonna of Fatima. Hitler probably couped Lenin's revolution as well. Pinna (2016) reproduces on p.12 also the artwork 'Our Lady of Mount Carmel' (from this source) by the artist Moretto da Brescia: This artwork shows the Madonna dressed in outspread black textiles that perhaps could resemble the ones I found.
14/6-21: I started working with the idea of the 2 black textiles and the 2 german-language poetry books on saturday 12 june - there is a mention of it in my diary that day. A gas explosion at about 00:44 (appr.) Vienna time in Shiyan in Hubei in China yesterday 13 june morning could have served to tell of a correlation between DDS rel #44 (abs #55) with Kangxi radical #55 = ⼶ contained in the probably ex nihilo teaspoons and brass clip discussed in the 2016 version of the article "The fundamental theorem of linguistics". (See also PEB 177-179 for the Guadalupe Madonna).
18 June 2012: Some evidence
The black textiles could perhaps be called 'shawl' which resembles russian 'zhalj' = 'a pity'. Combining this with the 'STA' phenomenon on the bathroom wall image, in the form of
(cp. this image vs this image) as well as this image from the Danube Island as a detail of this image #23, there is the combined form 'zhalj-sta'. This calls for preposing of the russian 'PO' for the form 'пожалуйста ' = 'PO-zhalj-STA' = 'please', 'here you are'. In russian handwriting this 'po' looks like english 'no' which is a negation, the every opposite, as for a western or anglophone rejection of the application which is russian is accepted. There is a slight protrusion of the dress of the Madonna of Guadalupe icon: In the mythological interpretation, this could mean PA[pa] rather than the western NO - and hence the russian pronounciation PA-ZHALJ-STA. The western program of rejection of me could have its origins in just this phenomenon - that the only accept should be in the stretch of Norwyay up towards Russia for the popular opinion of Norway escaping the ridicule of 'Heimskringla' (if closer contact with England causes such ridicule). This could harvest popular global support for a program of rejecting me.
The following passage is from this article of 18 june 2021:
This video by Rolv Wesenlund and Harald Heide-Steen (called 'political nonsense/fog-talk') seems to be a joke about the text on the plaque outside Wiener Stadthalle when all onsets of words are moved 5 places rightwards - something which will produce approximately the following text:
iei ednewr tadthsalle
eplangt ach ont nnd aurtehr riegskzeit ls eudgnzis er
ndgdeburochenen raft kes rdbeiatenden olkescv on ievn
webangt ner iuidngjen reihe fit er eidmaht ls eraspvrechen
ür infe echönsere ukunfzt
ewidmget er ugdenjd iens wem odlk ver edpubdlik sterröeich
nd lluena utgesginnten er eldt wls eaimshtatte
es ridedflichen ettstwreites er ündstke nd esu pdortses
usgefaührt uter uem ürgebrmeister
ndenu mdtes faührenden tadtrsaten
ohannj esch rür ifnanfzwesen
ans mahndlm ür ulftukr olksbvildung nd chuulswesen
eopolld halletr ür aufanbgelegenheiten
ach enn ldaneps es arcdhiatekten rof rp oldanrd ainerr
nen iadhrjen 954-1958
1aulebitung ienerw tadtbsauamt
This text seems to be the conversation - such as at 1:15 'Anne Kvikksølv' = 'ans mahndlm ür' (cp. 'his almond-mother') etc. 'Overingeniør Fritjof Gløgg' = 'iuidngjen reihe fit er eidmaht'? The video starts with what looks like the adjustment of the nose - which could mean that the 'new father' since about 1969 - if an agent - could have had the job of talking this plaque rewrite as his undertext? It is of course possible that the real intertest would have been in a similar rewrite of the latin 'Ostarrichi document'.
It is noted that the rewrite text and the speech of Heide-Steen ('Gløgg') 2-3 times repeats this 'PO' - and in the text it seems to be followed by traces of the name of 'Pål Danielsen'. (Cp. also the traces of the name of 'Ellen Berger' in the context of the woman on the ground at the corner to Wiener STA-dthalle: On the corner Alliogasse / Witzelsbergergasse there has for some time been a graffiti telling "Bedingungsloses Grundeinkommen jetzt!", and searching this file for 'Landsberger Allee' tells of a possibly computer-controlled car crash in Berlin in 2004 which had its counterpoint in the similar car crash of two police cars in Vienna outside a 'haberdashy' shop where a person who has reminded me of 'William Moltzau' (in fact the theme of unidirectional 'traffic flow' seems to be present in this video wherein I think I recognize some aspects of the story of William Moltzau throwing eggs after me from a higher window, could be thereby invoking associations to the role of the Madonna of Guadalupe, cp. also the last mention in the video of 'carry-around's problem' which could be about the throwing of eggs - while 'hangler og går' could be a description of the car crash itself) was working at the time of the crash, if I remember right. [7/8-21: However, this idea could rather be an effect of the phenomenon that the police cars stopped outside the 'Santander Bank' and the Moltzaus lived in Pettersand with a little uproad ('bakke'), cp. 'PTRSIM PIK'].
The video on the 'political nonsense/fog-talk' is not dated but the popular comedian duo Rolv Wesenlund and Harald Heide-Steen ('Wesensteen') split in 1971 - and the reason for this was told by Wesenlund after the death of Heide-Steen: He then told that they had stopped collaborating in 1971 because of the problems with 'alkoholen' = 'the alcohol'. Hence the video is produced at least before this split.
Pinna, M.G.: "Lo scapolare della Beata Vergine Maria del Monte Carmelo", Editrice ELLEDICI, 10142 Torino 2016.
The complete cartoons of The New Yorker. Ed. Robert Mankoff. Including 2 CDs with 68647 cartoons ever published in the magazine. Black Dog & Leventhal Publishers, New York 2004.
© John Bjarne Grover
On the web 13 june 2021
Last updated 18 june 2021