5 january 2021

5 january 2021

John Bjarne Grover

It seems that PTRSIM PIK is a power sausage from England for taking the catholics. The secret may be called 'suzuki' - and the method is the swap. The standard trick seems to be to make a child who in its Stammbaum looks like the table of PTRSIM PIK and about whom it therefore is some sense in saying: "There is PTRSIM PIK". But the dirty trick is that PTRSIM PIK is a power program from England and the little catholic or jewish child is thereby falsely recognized as the threat against the catholic culture - while the constructors of the intrigue are recognized as the opposite - the Messiah who has come to rescue you from the threat against the catholicism. When the little child in addition is a genetic jew (the PTRSIM PIK table is from the book of Moses and therefore inherently jewish or at least apparently so), the Messiah from England has come to preach the gospel of the Endlösung, upon the last day.

Brigate Rosse may have been a 'security program' from Italy, although it is of course more natural to believe that it was from abroad. Whatever the origins, it could have served to index me as the PTRSIM PIK for swapping roles by tough methods - and thereby plagiarisms and swindle program (monkey business) could have come to enjoy the confidence which naturally is associated with the creator of the art.

It may be that PTRSIM PIK is the same as terror-and-monkey-business - but that is not me! I am a victim of that program, not its representative. It is monkey business to claim that it is me - and thereafter dumping the blame for the terror on me.

My view is that England can have had bad conscience for the anglican church in its warfare against catholicism and therefore they created the 'Klipra connection' to Norway in 1814, after Napoleon, for channeling that unfortunate feel off: That 'Klipra connection' could be the core of the PTRSIM PIK program since Wergeland - and one naturally speculates if it is the same as this political triangle.

The 1954 US film "There's no business like show business" could hide in itself the idea that "There's no[rwegian] business like 'shoah' business". ('Shoah' is the jewish word for the holocaust). I have earlier analyzed some aspects of it in my ABC of politics - the point at 42,666% through a film which I have recognized as a 'responsibility claim' for various phenomena. (The percentage probably means 2/3 through a structure of 64). The 1954 US film seems to be about the Eidsvig family in Fjellgata 72 in Klipra in Aalesund - and this address seems to have been the 'contents' or 'meaning' with the shot in Sarajevo in 1914: It is a theory that the entire WWI had this single purpose of putting the little Klipra field in Aalesund in Norway on the map of world attention (in the collective historic subconsciousness). When I wrote about this film in the ABC, I used a DVD edition of the film which was shorter than the one which is on youtube.com. Search the ABC for the title of the film "There's no business like show business" and see the following discussion. When I wrote the manuscript some 15 years or so ago, I noticed the scene with Mrs.Donahue singing - today it is easy to see that her dress also looked like the 'graffiti' which could have constituted the Kennedy names on basis of Wittgenstein's 'Wörterbuch'. With the shorter version of the DVD edition of the film, the 'responsibility claim' of 42,666% landed on the scene at 47:58 with the suitcase spinning in the air - apparently a possible responsibility claim on the attack on Word Trade Center on 11 september 2001 on Manhattan - a scene which also seems to have been preheralded with the first images of the film after the intro text. When I now look up this 47:58 in the youtube version of the film - it is not the spinning suitcase but on the contrary two artworks on the wall - and 2 seconds later there is the probably first scene with who could have been about Aron Eidsvig looking like Adolf Hitler serving the beers. In other words, if these two versions of the film are the main versions, it means that the attack on Manhattan on 11 september 2001 could have been an outright 42,666% responsibility claim on Hitler. On the old Adolf from the 20th century? But 2001 is a new century!

But what are the two framed artworks on the wall? (See also the frame in the lower righthand frame of the scene at 46:50 - the apparent 'drinking and whoring' sequence). I have shown in the ABC (search for 'beauty by Tiepolo') that the 'ceramic decoration' that precedes the two frameworks and 'Hitler' beerscene with a few seconds seems to be in imitation of the artwork of Tiepolo in the church of Apostoli in Venice - here is the 'ceramic decoration' - probably the ceramic KAMIN in the living room in Fjellgata - first shown in the film web edition at 47:32 alongside the annotated painting by Tiepolo (my photo):

Now this Apostoli church in Venice is just visavis the evangelic-lutheran church where they have the Tizian 'Salvator Mundi' which shows the thumb phenomenon - which could be the 'cannibal' of Skaret etc. From the beginning of the file 18 august 2020:

The time in Molde in the 1960's included some two-some walks with Grøver/'Mengele' in the rather flat (although a little up above the ocean level) district paradoxically called 'Skaret' (mountain pass, normally rather V-shaped, but the word associates with the idea of 'the cut', possibly also with 'hard crust surface of snow') outside town. On one such walk, Grøver/'Mengele' pointed with his (I think it was) righthand index finger towards the thumb palm ball on his left side, encircling it with the tip of his finger - telling that this is the favourite part ('del') for cannibals. This idea of 'cannibalism' could apply to the issue of christian communion and hence the evangelic-lutheran church in Venice (assuming that old schism of the anglican church with the catholic) where they have to the left of the altar a 'Salvator Mundi' by Tizian (my photo) with the thumb phenomenon.

I have articulated the theory that this thumb-ball of the palm is the same as a strategy of 'deal-and-thumb-as' for 'Dylan Thomas', another possible PIK: He was walisian and maybe the reason why british intelligence seems to be associated with the name 'Alice'. It may be that this single artwork of Tizian in Venice is the reference point.

The postcard stories, including Hitler's postcard, could be recognized in this 'På Skaret' where he showed the thumb of cannibals - and hence even to this US film with Hitler in the 11 sep 2001 place.

Now this Tizian is in the church just visavis the Apostoli church (there could be 30-40 meters between the two artworks, with a piazza inbetween) with the Tiepolo - and my theory is then that these two framed artworks are the sense of the image at 47:58 in the 1954 US film.

It could tell 'british intelligence'? See also the concept of Moeringg.10-12.

The film also seems to include the concept of 'child abuse' - the child in the early scenes for the doll thrown around (50:40) after the suitcase propellar (50:00). If that child is me, it could also be noticed that the Father Donahue ceramic decoration tells of 'continuous performances every sunday', whatever that could mean.

I refer to this file, the comment in small lettering at the end:

For the 'eglise', I notice that GLIS is norwegian for a slightly mocking grin or smile, could be it is hiding a little bad conscience, and it can also be used about a luxurious car (type long Chevrolet or Buick, sort of). This reference makes also mention for the latin etymology of a meaning from mineralogy 'a tenacious kind of earth' - cp. the recent landslide in 'Romerike' (means 'the roman empire') in Norway. 'Glei' in norwegian means 'slipped' e.g. on a slippery slope - 'glis' will then be present passive 'it is glided'.

If the earthquakes of Croatia and the landslide in Norway were for representing 'the cover to the book' (of my TEQ) like the 'slippery slope', that is to pick the best parts of my work and turn it into terror. There should be no support to harvest from such terror-and-monkey-business which probably could have been made for creating the illusion that 'this is PTRSIM PIK'.

The poetic work with its cover is mine.
The terror is not mine.

Very bad it is if the PTRSIM PIK program is to turn these two around.

It can be observed that if PTRSIM PIK is a power sausage from England writhing forth from Henry VIII's anglican brexit, if the pharmaceutic industry which now is about to rescue the world from the threat of covid-19 (that is, like veritable Messiahses) in unison are named according to the format of PTRSIM PIKs (see this file, e.g. 'AstraZeneca'), then it is absolutely interesting to notice that covid-19 broke out at the time of England's Brexit from the European Union. It is therefore natural to speculate that those who put covid-19 in circulation, if not a natural virus, could have shared interests with England's brexit.

If the swap by PTRSIM PIK succeeds, it could mean that the aim is to recognize the terror as mine, the work of PTRSIM PIK (a techical Messiah), and hence if the pharmaceutic industry now is recognized as the Messiah = PTRSIM PIK who has come to rescue mankind from the doom of covid-19, it could mean that Adolf Hitler is planned to be recognized as Messiah because he was such a grandiose terrorist.

In short, when the theatre seems to be that I am the person recognized as PTRSIM PIK, while in actual fact I am the victim of the political program recognized as PTRSIM PIK, then it is important to understand that it is very wrong to reject me in the hope of rejecting the political program. Of course I do not support that political program: I am probably a victim of abuse of that program.

The 'anglican' interest would perhaps say: "Mr.Grover is PTRSIM PIK". To which the italians must not take it that I am the threat against catholicism but must understand that "the anglicans are the PTRSIM PIK" in the sense of a (potential) threat against catholicism.

Of course they do understand it but it may perhaps be possible that the anglicanism wants to make it difficult to understand it clearly.

This could add to the reason why the covid-19 mortality in Italy goes up when I am in Austria and down when I am in Italy. This is also the reason why I should reside in Italy and not in Austria. If somebody could help me with that?

It is a common view that terror is forbidden and should be tracked down by the police and the perpetrators - including the organizers - should be thrown in jail and stay there for 21 years.

Some corollaries:

1) Covid-19 started at the same time as Brexit.
2) It is solved only by vaccines resembling 'PTRSIM PIK'.
3) This 'Messiah' function could be swapped over onto Hitler by intrigues including 11 september 2001 etc.