28 september 2020

28 september 2020

John Bjarne Grover

More on the 'complex': The reason why I took the photo of the seaside 'hoisting gear' was that I had been there during the tumults and then observed two strips or bands hanging from the frame under the crane - two loops that would go under the small boat to be lifted from the water onto the pier - could be Odysseus was still aboard one of them. But when I came back to photograph them the cords were gone. Now I recently went back to try again and now they were on as before:

This could be recognized as the 're-cording' that could and could not be heard from the 'poltergeists'.

It was then probably on the day of the opening of the film festival with all the cheesing stars on my way to take a photo of this tannke-rem ('thought-band', 'tooth-paste'), as it could be called in norsemanships tongue, when I suddenly changed my mind and went the other way instead - and took there a photo of this 'auste' which I put out on the internet. I then looked up the chinese radicals to see which came closest and recognized this radical 78 which has a certain span of associations. However, the photo itself has a calm and pleasant mood and associations to the Tiananmen Square is of less relevance to the graphic lines in the photo. Is it rather 'long stride'?

Now the original intention in this was the 're-cording' toothpaste lift on the other side. It later occurred to me that 're-cording' could be the secret in the poem 'from' Ted Hughes which I wrote among the audiences while I waited for the London 1997 reading with Ted Hughes and Seamus Heaney (plus Times editor Peter Stothard) to start. These three poems were included in the application I sent to the norwegian research council - and it was included as part 4 of the PhD dissertation - but both the application and the dissertation were rejected as 'not goodenough'. However, as I looked the poem up again, it now occurred to me that this poem 'La Corona' was not so bad after all - as I now observed its 'Adam Kadmon' body format or rather 'Sefirot' - from the top crown down to the running feet at the 'Malkuth' bottom:

La Corona 'From' Ted Hughes

As it has grown to be my habit
in waiting for a poet on the stage
to read his work reciting in a voice
I use when I rehearse my age,

I write a sonnet in the humming noise
of audiences gathering around
the stage so far unlit by any man.
I write in slumber, and I write in rage.

Then as the audiencing girls and boys
let all their voices gather in the sound
negating what we know about the rabbit,

I hurry towards the end, as bound
by rhyme, and rhythm, and the fourteen strands
converging on the stage, as on a crown.

I notice the 'humming noise' of the coronavirus and the thorax audiences, the non-cannibalist abdomen, the bellybutton etc. This 're-cording' poem could have a counterpoint in the chinese radical 78 for the interrupted poem 'from' Peter Stothard - and the poem 'from' Seamus Heaney could perhaps be seen as recognized in the concept of 'ab-duction' in his name. It was when I sent the application including these three poems to the norwegian research council in the summer 1997 that lady Diana died and the envelope with the application was 'ab-ducted' and I had to 're-cord' it and send it again.

I normally do not analyze my own poetry but saw these things in my own three poems just recently. I noticed that Nelly Sachs' poem 'Schon / mit der Mähne des Haares' in fact is a good parallel to my own 'La Corona'. My poem is in vol.3 with an 'angelic' counterpoint in vol.1 - these two volumes are the 'wings' of the angel vols.1-2-3. This angel interprets knowledge in quite different ways compared with ordinary aristotelian logic - could be that is to get on the track of the new logic I have been talking of - the poetic-phonological (maybe 'acoustic') logic.

This knowledge can certainly inspire to ideas in other people (without these being aware of it) and then if they display ideas relevant to mine I dont know if they have peeped in my manuscripts or just followed 'own ideas' as they took shape in their own 'psyche'. Therefore crediting of the source is of utmost importance for the development of this new logic in the collective consciousness - it will be rather impossible to reach it if people 'grab the opportunity' when they get access to e.g. surveillance data.

The three poems from the poetry reading in London 1997 were written rather on the fly. Now there was a military air crash in Ukraine on friday 25 september 2020. I guessed that they could have peeped in my work - here the crane-ium etc. It is not permitted to grab from the opportunities in surveillance spy data on my work - run to the patent office to be the first etc - like the marathon runner who finally comes up the downtown streets for running into the stadion when a 'serviceman' springs forth from the garbage bins and jerks him out in the roadside for running into the stadion to receive the victory and jubel and applauds from the audience.

I dont think there was more to my three poems than the names of the three persons that would soon appear on the stage when I wrote them. I mean, I did not portray their persons or fates. This means that the body described by my self-referential poem is contained in the name. Cp. also chinese radical 177.

Here from the venetian Liceo Ginnasio - a winged lion showing its 'manuscripts':

Is it really permitted to look at such manuscripts - or must it be considered private?

Another dove showed me a CNN47 with a window - is it really permitted to take such photos of Windows? It is permitted to photograph facades, which must include the windows therein, but it is probably not permitted to take closeups of private windows if they reveal too much of the inside:

Here are two gulls (Seagull and Jahoda?) photographed on the Fondamenta San Simeon Piccolo in Venice, just outside the church there.

Analyzing the covid-19 data, one reaches the conclusion that the pandemic was very alarming in the spring 2020 when I lived in Austria but it reduced to nothing after I travelled out of the country. Now it is milder than a normal flue and in some time it is likely that even these symptoms reduce to nothing - except for a few occasional attacks from 'Breathing of silence' = 'Stillhetens åndedrag'.

The book has so far not been published. I hope it has not been (planned to be) subjected to abuse instead.