30 july 2021

30 july 2021

John Bjarne Grover

Antonio Balestra

As I think I have noticed earlier on this web page, the work of the italian artist Antonio Balestra seems to be quite interesting relative to my own book 2 of 'The Endmorgan Quartet'. The theory is that Balestra is a 'function 2' artist - that nearly all his artworks have reflexes in my TEQ book 2.

Here is an example from my own TEQ #81 which is poem #21 in book 2. It is Balestra's 'Rest on the flight to Egypt' which is found in the Scuola Grande (Arciconfraternita di Santa Maria del Carmelo in Venice). I had most probably never seen this artwork (at least not as far as I can remember) when I wrote my TEQ #81, which seems to cover this artwork quite well - somewhat like Caravaggio's "The Martyrdom of Saint Matthew" relative to my TEQ #584 from book 9. (Interestingly, the following Balestra from the same Scuola Grande - his 'Dream of Ezekiel' - could find an interesting interpretation in my following #82 "There is something about eye-grenser" - which could tell of why Balestra could be seen as a 'function 2' artist). The beginning (10 lines) of this poem TEQ #81 - it is 47 lines in total - gives a good description of the puzzling behaviour of Josef relative to Jesus in this artwork and it describes what in Balestra's 'Rest on the flight to Egypt' is his right hand (with five fingers), his left hand, the (beech/birch?) leaves (of 'the beech/birch') in front of his eyes, the same leaves as 'thehoppers' on the other side of the tree trunk etc. The 'a [...]' is perhaps rather read 'A [...]' - the form of an 'A' of the leaning/listing trunk. It could perhaps be said that one could have some difficulties in understanding the depicted behaviour of Josef untill one understands that it is a part of 'function 2', as I call it.

Five! I consider
increased number of knowledges.

No, I have to take the part.
The answer is
reading more about Børkeley.
Do you know the number of any thehopper?
Well, I can give you a [...]
some folk want to squeezle in the part of making brensel.
I'm one of the authors saying:
I don't think it's listed here in the geography area.

etc - another 37 lines

('brensel' = norw. for normally wooden 'fuel')

(Added next day): The evidence that this TEQ #81 is a 'function 2' phenomenon in this Schuolagrande artwork of Balestra emerges from the relevance of TEQ #82 with the 'Dream of Ezekiel'. This poem is a 6-liner which I also quote for completing the simple proof of Balestra 'function 2' according to my concepts and definition:

TEQ #82
Luke 24:22 αλλα και γυναικες τινες εξ ημων εξεστησαν ημας, γενομεναι ορθριαι επι το μνημειον

There is something about eye-grenser.
Spitakel - I don't know who that is.
Synes' twilight.

There's one in deine Gedanken
or Rabbit Rank Funk,
but I read early every morning.

This means that the artwork 'Dream of Ezekiel' probably is created directly for this particular spot in the house, next to the white framework which the knee is pointing to - and if the 'Rest on the flight to Egypt' also is created for this particular location (and is not an independent artwork sold to the house as one among other alternatives), it proves the relevance of this 'function 2' (with TEQ #81-82) for Balestra's art.

John Mauropous

I was reading Giovanni Mauropode at my private workdesk one or two days ago - and now these 'ants' may probably already be sifting out through the power-controlled media. That would be probably only for an upper hand relative to abuse of my work generally - and if 'ants' are sifting out, it could be about a rape of my reading. It is all this abuse which must be brought to an end.

I tried (on basis of meagre knowledge) to translate one of Mauropous' poems - it is #32 in the de Lagarde edition, called 'Εις σταυρωσιν χρυσην' - and interpret it in accordance with the events around the woman-in-the-street (at Wiener Stadthalle) I have written about recently. The poem is the following:

Εἰς σταύρωσιν χρυσῆν

Κἀνταῖθα Χριστός ἐστιν ὑπνῶν ἐν ξύλῳ.
φέρει δὲ χρυσός τοῦ πάθους τὴν ἐικόνα,
ἀνθ᾽ οὗ πραθείς, ἔσωσε τοὺς κατ᾽ εἰκόνα.

which I interpret on background of the story with the madonna in Märzstrasse with the gold occurring 'ex nihilo' from my hand while reading the following day, and with the image on the gold corresponding to the incident in Hütteldorfer Strasse which I have interpreted as a possibly jewish archetype. On this background, the translation turns out to be much about just this Balestra artwork on the dreaming Ezekiel:

On/In the golden intersection

As the dream in the timber is facing the Christ,
the occurrence of gold is what carries the image
against who is 'overseas' - rescue all by the image.

The 'golden intersection/crucifiction', is that the same as the 'golden ratio'?
('ανθ' ου' is not 'αυτου' --> 'image of own betrayal'?)
The question is whether byzantine 'hupnos' here in plural genitive-partitive ('of the sleeps') can mean 'dream[s]' - the accompanying example (Ezechiel) suggests that it can. 'Hupnion' as a diminutive can mean 'dream' in byzantine greek. To rescue all by the image (or maybe 'down under' the image, as in Balestra, is better) would be to understand that the two 'barmhertzige Brüder' are the same as the two arms in the image on the gold - and then the world can be rescued against a new Hitler and Himmler if one understands it in time. Otherwise it is contradictive - images normally do not rescue much but in this case it could explain that the arms are about names that mean something but not necessarily the character of the ones who carry them - there is the 'dirty trick'. ('Am I stuff'?)

1 august 2021:

I have to add yet another observation, indeed the best so far - which I found this morning: It is from Mauropous' poem #34 in the de Lagarde edition, which I here first reproduce - see #34 in this source or Cantarella p.710 which is my source - thereafter my translation which differs somewhat from Cantarella's:

Ἄριστον εἶναι πᾶν μέτρον προεῖπέ τις:
κἀγὼ δὲ μετρεῖν πρᾶξιν εἰδὼς καὶ λόγον,
μέτροις ὁρίζω καὶ λόγους τοὺς ἐμμέτρους.
Μέτρον δ᾽ ἂν εἴη πᾶν τὸ συμμέτρως ἔχον:
μέτρον δ᾽ ἄμετρον οὐδαμῶς μέτρον λέγω.
Σκόπει τὸ ῥητόν, καὶ σύνες τί σοι λέγει:
ἐκ Πινδάρου σοι τοῦτο τοῦ σοφωτάτου.
Καή μοι μέτρει μέν, ἀλλ᾽, ἄριστε, σὺν μέτρῳ:
καὶ τὸν λόγον γὰρ σὺν λόγῳ χειριστέον.
Κακῶς δὲ μὴ σὺ τῷ καλῷ κέχρησό μοι:
ἀμετρία γὰρ πανταχοῦ κακὸν μέγα,
μάλιστα δ᾽ ἡ φθείρουσα τὴν μέτρου φύσιν.

My tentative translation for the sake of this discussion:

The best is to let meter prophesy all
while I, measuring things by appearance and logic,
divide into meters the metrical logic.
If all things were metric it would be symmetric:
For unmetred meter I never call meter.
Look at the spoken and mind what it tells you:
From Pindar comes all that is greatest in wisdom.
On my metric part, but, my dear, by the meters
the logic is by its own logic the worst.
Bad is it if you not with grace do reply me
for it is great evil if all is unmetered,
good when the destruction by nature is metric.

What caught my attention was first Mauropous' interest in metres which seems very relevant to my own poetic metres - the blue, red, yellow and white - in particular when Mauropous lived just 1000 years after Christ. This is why I studied the poem a little closer - and that is when I found the interesting discovery: It is in line 6 which contains a close phonological parallel to line 3 in my own TEQ #82:

σύνες τί σοι λέγει:
Synes' twilight.

Since this is also exactly the same place in both poems, taking the 12 lines of Mauropous to be 2 * 6, one easily finds the other correlates as well. There is one graphic-phonological towards the end

φθείρουσα τὴν μέτρου φύσιν
but I read early every morning.

The 'Rabbit Rank Funk' has a semantic correlate.

In fact the most optimal parallel, the 'synes twilight', is annotated with its own 'explanation' (or, if you like, with its own 'logical metre'): 'Look at the spoken' - and mind what it tells you. This could also be the logical symmetry mentioned as philosophically present - and indeed this could apply to Balestra's artwork on the same theme - the idea that Ezechiel is the vision which the angels see - and, one can add, this is the same phenomenon as the leaping Josef in #81 - where he imitates an 'A'. The conclusion is likely that although the philosophical idea (in human cognition) of symmetry between angels and humans is interesting, the relevant situation is likely to be more assymetric or unidirectional.

Conclusion: My 'The Endmorgan Quartet' (and my other poetic works) should be published - for those who are interested in poetry and art and scholarship generally, and not for those who want to abuse if for engineering power by terror and abuse. My work is not an intelligence project (and, say, the Kennedy assassination has absolutely nothing to do with my work) and must not be reserved for such abuse purposes. They call it 'use for principles of global government' and believe that this sounds respectable? It is not respectable! My work is mine only and is not for use in 'intelligence' or for power-engineering purposes.

Sources:

Cantarella, Raffaele: Poeti bizantini. A cura di Fabrizio Conca. BUR Rizzoli 2010.
Grover, John: The Endmorgan Quartet. London/Bergen/Vienna 1998/2013.
de Lagarde, P.: Johannis Euchaitarum metropolitae quae supersunt in cod. Vaticano graeco 676 Ed. P. de Lagarde and J. Bollig. Berlin 1882 (Standard modern edition) = https://archive.org/details/iohanniseuchait00vatigoog/page/n8/mode/2up
Trapp, Erich: Lexikon zur byzantinischen Gräzität (besonders des 9.-12. Jahrhunderts). Verlag der Österreichische Akademie der Wissenschaften. Wien 2017