7 march 2018

7 march 2018

John Bjarne Grover

I recently saw a music video - about the music performance there is much good to say but I did nourish suspicions that the presentation framing could have been guided by elements from a so forth (or is it 'so far') strictly unpublished and highly private poetry manuscript of mine. If such abuse, it could perhaps have been guided by interests potentially akin to the Rohingya crisis (not far from reconstituted China). I must emphasize that my work has absolutely no affiliations with international secret intelligence services - it is written by me who am a private individual who has no affiliation at all with politics or political mythos making and the work (here manuscript) is copyrighted and others do not by the law have the right to take or read any single copy from it - before it is published, that is, released to public attention by the authority of the author. Copyright obtains at all levels - not only above the surface of public attention. It means that if somebody has made unauthorized use of the material in my manuscript, they have no right to do that.

I have not shown or otherwise released the manuscript to anybody, and I am not willing to let myself be replaced by a copy.

Added on 4 april 2018: The DVD in question was ?Midori Plays Bach?. She writes that it was 'released by Accentus in October 2017'. When it was at the beginning of the stairway of production, I don't know, but it seems that the article she refers to about the German Record Critics? Award?s Quarterly Critics? Choice List for the first quarter of 2018 seems to be in possession of the piece of information that it was produced in August 2016. And then, as it seems, released in October 2017, if these data are correct and not subject to slips of tongues or fingers. (The DVD is mentioned, as I notice, alongside a production called You'll never walk alone made by Andr? Sch?fer). Parts of my book manuscript was written after august 2016, so if the data are correct, I can just crush the paper letter I otherwise could have sent to the police. (A puzzling aspect of the visual DVD, which perhaps could be due to a failure on my computer, is that it not easily hops forwards or backwards but prefers to play in true time only).

The similarities of my manuscript with the visual DVD ideas could invoke the association of 'titbits buffer[ing]'. Whether this is a format which could be particularly suitable for turning roles around, I dont know - but I may add that the manuscript of mine is an integral part of my recent achievements in linguistic semiotics that could have reached the ultimate solution to the riddle of the emergence of the power of the 'services' in extension from the schism of christianity around the time of Luther. Some would say that this is the same as the german problem in history in the 20th century. With my most recent studies I may have found the solution which could be called the 'holy grail' (in norwegian 'hele greia'). And what is that? There is a scaringly dark hole in the middle which branches from hebrews in Egypt onto hindu cyclicity - and which contains the element of doubt which nobody can find a proof against:

If you say with B?hme that the white philosopher's stone is the same as Jesus Christ, then you mean that the stone is materialized from the form of the human psyche and if the divinity (Christ) should step down into the human reality as a material incarnation, he could not escape suffering from the characteristics that you find on the stone - and that is the reason for the puzzling relevance of those patterns on the stone with the story of Christ.

But the Doubt says: "You may be right there, but how can you prove that it is not the other way round - that the white stone is a fact, okay, but a small group of 'service' people sat down in the middle ages and wrote the stories of a fictional Christ on basis of just those patterns on and form of the white stone? Then there isnt much left of proof for the reality of that divinity - it could have been the 'services' all of it?"

Against this systematic Doubt - which can be called the logic of Satan, the very master of swipswaps - nobody could find a proof, and that was the schism that broke protestantism off from catholicism like a calving iceberg and which ultimately led to the power of the 'services' with Adolf Hitler and all that.

That is the black hole in the bottom of the semiotic mystery. But there is a solution to it in the Holy Grail - and that is the mystery that existence is the same as faith and faith is the same as human language - and then you dont need that Doubt. That is to learn to walk even if you cannot prove that gravity doesnt exist. It could have been this which led Luther to the conclusion that only the scriptures (qua human language) could do - but the problem is that this conclusion could have been triggered by the Doubt which he could not get rid of by proof. He threw the inkbottle after it, though.

It is this which could be the German Problem: How can you prove that the titbits are not from the 'services'?

This is the field of semiotics which my poetry manuscript is ideal for studying, so I dont know. But my manuscript is not from the 'services' and not from Satan.

Germany and german-language culture should not feel threatened by studies which could lead to the elimination of the phenomenon of nazism and should not try to swap such studies away - such as by recourse to 'little faith' and things like that.

PS I did in fact find a proof of where the schism by protestantism is - I could predict that if this reasoning were valid, then there should be egyptian hieroglyphs in Vermeer's work and I could compute which glyphs in which works - and indeed that seems to be the case. Some examples:

1. Hieroglyph 'egyptian vulture' would be found in Vermeer's Young woman interrupted at music", ca. 1658-59 (the vulture has its beak onto the table surface)

2. Hieroglyph 'quail chick' would be found in Vermeer's 'A lady writing", ca. 1665-67

3. Hieroglyph 'owl' would be found in Vermeer's "The love letter", ca. 1669-70

4. Hieroglyph 'water' would be found in Vermeer's "The guitar player", ca. 1670-72

5. Hieroglyph 'foot' would be found in Vermeer's "Girl with a pearl earring", ca. 1665-67

6. Hieroglyph 'stool' would be found in Vermeer's "Girl with a flute", ca. 1665-70

etc

As far as I know, these are new discoveries in the study of Vermeer.

***

5 april 2021:

The photos were taken in Vienna on 3 april 2021, easter saturday afternoon.
My book is called 'SNEEFT COEIL', not really the 'acus bacchus filijackus'
which can be spotted on the bricks.

8 april 2021:

In 2017 an edition of Johannes Bobrowski's poems to his 100th birthday was published on Deutsche Verlags-Anstalt (Johannes Bobrowski: 'Gesammelte Gedichte'). As I looked it over, it struck me that the posthumously collected poems in part II had a strange similarity with my own 'Kinderhilfe', the 294 poems enumerated 1-187 as part 1 of my 'Der Dornenstrauch' (2016). I made my own self-published edition of 'Kinderhilfe' in 2014. The parallelism would start at Bobrowski's 'Gedichte aus den Jahren 1950 bis 1952' on Bobrowski Teil II page 165 - there are 187 poems to the end of this book and these run in parallel with my poems in the enumeration 1-187.

For example his 'Spätsommerverse' on page 233 is a parallel to my #55 'Sie war so gelb und schwanger'. Or the Bobrowski-edition page 237 'Heimat' - "Wie solltest du weiterleben? / Wir gingen dir all davon. / Die Seen blieben, das Schweben, / der Wolke, der Dünenton / etc" corresponds to my own #62 - "Ich geh' wie eine Karawane / durch die Straße" etc.

If this 2017 edition in its Part II is a plagiarism of my 2014 book on the diachronic state of german language, it could add to the apparent 'hiphop actions' against my synchronic study in 'SNEEFT COEIL'. A pity it would be if is only a sort of 'howdoyoudo[it]' insults for finding out what it is. (Ragna Grøver once used the word 'howdoyoudo'). Plagiarisms could serve to lift the achievements from my work over onto the political establishment - which even could be constituted by an illegal party (ÖVP) - and this story would add reason to why it could be outlawed.

My own 'Kinderhilfe' runs in parallel with the chinese radicals - so why shouldnt Bobrowski's poems do as well? It is also an empirical question whether it is a piece of crime or a piece of semiotics - and I cannot find out of that.

The postscript tells that many of the relevant poems were unpublished and collected from friends and relatives - while Bobrowski himself seems to have destroyed his originals. The last words of the reprinted postscript from 1998: "Wenige eindeutige Schreibversehen Bobrowskis sind stillschweigend korrigiert worden".

The edition tells that it is the same edition in two volumes that was published in 1998. The same empiricism would have to find out if that vol.2 really were in the library shelves then or if they were added later.

Bobrowski vaguely resembles a 'Petter' I know - hence a 'PTRSIM PIK'?