24 november 2020

John Bjarne Grover

Fir needle hanging in spider thread

From corner of Calle de la Malvasia

I have earlier published the study of 'The transfiguration of Venice',
and before that, 'the transfiguration of the mount'.

At the same time (around 12-14 october 2020) as I heard the impressive xylophone music at the institute of linguistics, there was also a very amazing 'crystallophone' sound, small campanile [i.e., campanelli] sounds like ice crystals in winter cold, on the corner between Ramo San Nicoleto and Calle Drio l'Archivio and the sound seemed to be around the house number 3075C - see also this file. It recurred again some 2-3 days ago (ca 21 nov) and I stood there wondering where it could come from and was convinced that it had to come from some small-tube chimes moving in the wind. Now it seems that I have found some correlations which could be suggestive of the idea that it could be 'ex nihilo' (unless, of course, there is a hidden acoustic decoration there - such as this very noisy amateur recording which I later made seems to be telling of). On Yuja Wang's recording of Skriabin's Sonata #2 the first movement there is at ca 7:31 and thereabout (from, say, 7:00 to 7:40) some sounds like what I heard. Then I discovered that this 7310 is the end of the word 'Nicoleto' of the street name turned 180 degrees around each letter - the LETO = 7310. Then I looked up the line in my TEQ book 16 for the time point 3075 in the Bach-Bartok recording with Midori Goto and Robert McDonald - I computed total length 3535 seconds minus ca. 3075 = 460 seconds from the end = appr 2:25 into Bartok movement 3 and found for this in my book the line "and having produced 'Mikael'" - or only 'Mikael'. This is ca.7:40 from the end - if one computes 7:31 from the end there is the title 'What a mess' = 'Ramo S.'.

This could be the C of 3075C - in Nikael = Nicoleto or 'My Israel' = Olmert in the story of the Madonna of Märzstrasse. The 7:31 occurs twice in the Nono correlation with my white metre 'Stillhetens åndedrag' - in movement 1 it is in poem #29 the line 'i sjelenes mytologi' = 'in the souls' mythology' - in movement 2 it is in poem #60 'så lenge den har bensin' = 'as long as it has petrol'. In an archetypal interpretation one observes the obvious relevance of norwegian 'skjeden' = 'the vagina' (onset like in 'sjelen' = 'the soul') in parallel with the word 'bensin'. The 'Mikael' is in the middle of the short poem 'Echtskap' = nearly 'marriage' - say, 'merriage' or 'message' or something like that - the real word is 'ekteskap'. The poem 'Echtskap' (#134 in book 16) goes from 2:16 to 2:33 and the title to the next poem 'What a mess' (#135) is from 2:34 to 2:36.

Added day after: See the mystery sign XI (first visible illustration) on ex nihilo sample #28. A friendly cat let me photograph it - and showed the relevant sign for Matthews #3535 KUAI. This sign includes the idea of 'certainty' = norw. 'visshet': Search this file for the word 'visshet'. This could suggest that the 'sounds in the air' is a phenomenon that ultimately are related to the mystery of the strangely humanoid computer glitches which I discuss in vol.4 - wherein I also notice (p.1255) the relevant similarity with the word 'village land'.

Added on 28 nov: The cat may have spoken about the 'symbol' in 'Stillhetens åndedrag' in the line 'behind the foliage's green shed ' - the mid line in the (parting) poem. See also the last line in that catalan article. Is there a symbolic mouse in front of the cat - for the theme of 'tempus and topos'? For the mystery of the time point (tempus) 0333 mentioned in this file, there could be an explanatory framework available in the topos of 333 mentioned in this file. The interval between the two dates (in 2005 and 2008) seems to be 947 days - just kissing PTRSIM PIK on 948. (File see here). My thanks to this cat.

This phenomenon is likely to be part of 'the acoustic reality' of 'my Israel'.

The story with Olmert (if it were him) and my alabaster associations to the 'Madonna of Märzstrasse' could be in this 'my Israel'. The possible background could be in the small alabaster-like Ganesh figure or, say, 'bas relief' (I had listened quite a lot to Zelenka in those days) I had as book support for some years in my bookshelf - and I could not escape the idea that this could have been a factor in the eczemas that did not give in to Sensicutan and other things - it could be in contrast to jewish views on sculpture - in particular of other gods. Now I did not worship this book support but wondered if it could be the sheer phenomenon of a 'protestant' sculpture of a non-jewish god that was the story, so I eventually threw the alabaster-like book support away. Some time later I was attacked by the two avatars - and then later again there was this story with possibly Olmert and the alabaster-like Madonna - as if Olmert tried to tell me that it was not in conflict with jewish views on the matter - they could have things like that in the ethlologic museum in Jerusalem as well - or it even would have been about the resurrection of the people and culture of Israel after the holocaust.

The two counterpoints in 'Rosens triangel' are 'opp på et sted' ('up on a place') and 'flyr øst og vest' ('flies east and west'): 'Opp på et sted' could be the 'resurrected' alabaster sculpture in the sense of the drill in the 'Sobibor' mystery, while flying east and west would be the mechanic sounds as in the flying geese - or the hindu or oriental aspect vs the hebrew, as to my DDS.

Added on 26 nov: In the poem there are the lines "a bill's technical evidence of a flytevest, / five, / she is prepared to fly / adessed, she shows" which could be relevant to the xylophone story (possibly including the 'bill' in the shopwindow with the 'technical evidence' outside - in a north-south axis). I recognize this poem as relevant by its poetic logic to the poem 'Abraham der Engel' from Nelly Sachs' "Und Niemand weiss weiter" (1957) - such as my 'Silver bow death' with her 'silberne Schmuckstücke der Trauer'. The 'Abraham Engel' could be the volumes 1-3 of my work - such as the front page of my TEQ apparently preannounced in chinese poetry nearly 3000 years ago.

This means that the resurrection theme may be recognized in the isomorphy of this complex with the 'Sobibor' complex which started with the 'sounds in the air': I was sitting in the hotel room in Szolnok one evening in june 2015 when I heard the sound of geese crying in their flight - I went out on the balcony to see but there were no birds there, only a huge drill going up and down - the drill making some technical metallic sounds like geese. This tall drill - attached with 6 long ropes = 'bardunes' - went up and down and turning quickly round ceaselessly and apparently without any purpose for many days while strong sobbing sounds developed from a place in the vicinity - I had to close the window ('vindu') and put on a sound protection headset but it was still loud enough to make it difficult to sleep. The sobs lasted for an hour or two, then there was silence for a few hours, then it started again - on and off with quasi-'mechanic' sobs that were too regular and loud to be a human but still too human to be a machine. I have guessed that this is the form of existence - also in the meeting between vision and audition (or, say, semantically and acoustically based logic).

In the present complex, it is the displacement factor that calls for attention. In Nono's quartet movement 1 there could perhaps at 7:31 be the harmonic space of a xylophone sound (?), while in movement 2 there is a pause at 7:31 and the sound starts only on 7:32-33. A good guess could be that the phenomenon of 'sounds in the air' derives from the displacement of one single semiotic feature and that moves the sound from one source to another. (That of course entails the need for understanding the importance of crediting the source).

One could fancy the general idea that not all in the society likes talk and public discussions about sounds made in the air at a certain house - but I emphasize that there is nothing hateful about this, rather on the contrary, and it is not about the sad idea of a 'curse', rather the contrary, and it may perhaps be true that in general a serious study of this kind could come to make corruption and similar phenomena more difficult since that includes the idea of 'controlling thought'. The sounds in air are not controlled thought - but displacement of certain 'cognitive features' could perhaps resemble this phenomenon (hence one must credit the souce as well as one can). Sounds in the air would then suggest that there is no corruption there - and perhaps even that corruption has not much chances there.

See interesting poem for this complex Jesenin's 'Kolokolchik': Tempus in line 7, topos in line 8. Guadalupe Madonna etc. But the 'sigh of the grave' is probably not the same as my 'breathing of silence' - rather the contrary, and hence the wish to never wake up again is the wish or 'certainty' to resurrect. Campanile, campanelli.

There had been even a short piano onset (1-2 seconds - like the once 'spröde Chopin') in Ramo Castelforte (just around the corner and a little down the street from Ramo S.Nicoleto) where I took the photo of the brick with the 'rabl' for this file. This 'rabl' could perhaps be the russian 'рояль' = 'piano-forte' (in Ramo Castelforte) as a derivation from the 'тайной' in line 11 - and then the 'слова' = 'собака' in the pasticceria. This is because the last stanza is negatively expressed - the wish to not rise means the wish to resurrect - the sigh of the grave is not the same as 'the breathing of silence' and the word and the mystery that do not embrace are not the same as counterpoint interweaving the harmony.

The story must be completed for the WORD = 'слова' = 'собака' in the pasticceria: The white dog ('Adesso'?) that suddenly was there (how?) and barked a little was the same type as the one that belonged to the people who sold the house to me in Szolnok. When the sale was ended and I had got the keys, they were about to leave and I followed them to the gate - when they left out through the gate and I remained inside, I used the wrong speech act word 'köszönjük' instead of the conventional 'köszönöm' (I thank you) - but the word I used at the gate would rather mean something like 'the society thanks you' or 'we thank you' (I believed that I had got the house as reward for the work I had done for the society). No sooner had I closed the gate, I discovered that their little white dog was inside the fence instead of outside - and the two of us made for a plurality that otherwise would have been missing - and I opened the door again and let it out. (Well, strictly speaking, I may have used the word before we came to the gate - could be the reason why the dog hesitated?) This could be the story of that single WORD = 'слова' ('word') = 'собака' ('dog'). Could be the story could be completed with the hungarian fence law that exhibits a similar ambiguity. The 'plastic ambiguity' is mentioned in my 'Rosens triangel' #28, first line after the mid. The counterpoint to this is in 'Stillhetens åndedrag' #37 where the mid line is 'white as powder on your sill' = 'hvit som pudder på din karm' = nearly 'white as poodle' - the white poodle-sized dog. This is why the 'слова' = the 'собака'. One word, one dog.

The question whether the silver bells really were there or were sounding 'ex nihilo' seems to be essential - Jesenin's second line tells of that. The below photo of 'Pose-i-don' is likewise read from #28 and #37 in my books - poem #5 from the mid. I took only these three photos of the fountain. They tell of the mid, the first third and last third line of these two poems. Do I sing, or is it the heart dreaming this? (Unfortunately I made the recording and eventually spotted the metalling chimes hidden in a bush - which seemed to settle this issue - but the similarity with Wang's recording remained).

From a fountain in Venezia Mestre


Esenin, Sergej: Poesie e poemetti. A cura di Eridano Bazzarelli. Poem #18. Mondadori, Milano 2018.
Goto, Midori and McDonald, Robert: Bach, J.S.: Sonata No.2 for unaccompanied Violin in A Minor, BWV 1003, Midori solo violin. Bartok, B.: Sonata No.1 for Violin and Piano Sz. 75, BB 74, Midori violin, Robert McDonald piano. Sony Classical 82796977452
Wang, Yuja: Scriabin, A.: Piano sonata no.2 in G sharp minor, op.19 'Sonata Fantasy' (recorded 14 nov 2008). In Sonatas & Etudes, 2009 Deutsche Grammophon 4778140.

© John Bjarne Grover
On the web 24 november 2020
Last updated 3 december 2020