About my work
John Bjarne Grover
I here sum up the contents of my literary work - and show whereto it points. See the end of the article for links to other articles on this website with further information on my work
I wrote my first poem in 1981 when I was in Rome and had acquired a 'tessera' like the other romans. I continued writing poetry now and then but only occasional poems while studying and working. The main work I started in 1994 and have been continueing since then - untill I can consider at least one major part of it as completed with the book 'Stillhetens åndedrag' in 2016. The series looks like this:
1994-1995 'The Dreamer' - prose diary novel, (appr 600 p.)
1995-1997 'A waist of time' - PhD dissertation (including a historic study from 1992) (appr.600 p.)
1998-1999 'Time and the sonnet' - prose book on poetic matters (appr. 120 p.)
1997-2008 'The Endmorgan Quartet' - non-metric poetry, 16 books (appr. 1900 p.)
2008-2010 'POLAKK English Bloggi' - poetry, the blue metre (appr 400 p.)
2010-2012 'My mention e Anna' - poetry, the red metre (appr 300 p.)
2010-2012 'Poetic semiosis' - prose studies on my own poetry (appr. 600 p.)
2010-2015 'Der Dornenstrauch' - poetry, the yellow metre (appr. 500 p.)
2016-2016 'Stillhetens åndedrag' - poetry, the white metre (appr.100 p.)
2014-2018 'SNEEFT COEIL' - poetry in german language (168 p.) - see below
2018-2018 'Rosens triangel' - poetry in norwegian language (147 p.) - see below
In addition I could mention the following work, although less interesting
1987-1988 A critical edition of Geirr Tveitt's 5th piano concerto
1987-1989 A computer-oriented description of music notation (appr. 300 p.)
1990-1992 A model for a non-discrete grammar (MA thesis) (appr. 100 p.)
In march 2014 I may have seen the end of the work and started collapsing - untill I reached a peak of 'total exhaustion' in the summer 2014 - so total was the exhaustion that when I tried to wash the floor, I set out in good spirits but collapsed again after 4 square metres and had to lie down on the bed. In 2016 my condition had improved a little and I could do gardening work for 20 minutes before I collapsed. I bought an old house but it took me many months to complete the painting of the walls of two rooms. 'The Endmorgan Quartet' is a work on the form of time which required concentration on the matter every single day throughout the 11 years it took to write it - to go on holiday would be like writing a mathematical theory that was good for all numbers except 2 and 3 (see below on TEQ function 14). It was these 11 years of work which was the basis for the following 'metric' works - and it was in the condition of complete exhaustion in late 2014 and in the summer 2016 that I (twice) found a 'lapis philosophorum' apparently emerging from my work with the poetic metres - in german and norwegian language that was. I feel that I am gradually recovering and hope to return to full strength again when only I get the chance to rest enough, which I think there are chances for. With the four metres, the work seems to have reached a natural state of completion. See e.g. this file under 'Information transmission faster than light' - where I have suggested that the four poetic metres correlate with the four fundamental physical forces:
Strong nuclear force
Weak nuclear force
= the white metre ('Stillhetens åndedrag')
= the yellow metre ('Der Dornenstrauch')
= the red metre ('My mention e Anna')
= the blue metre ('POLAKK English Bloggi')
For example, it is the weak nuclear force which controls the nuclear core in such as way that it erodes in radioactive decay with constant pace - making C-14 dating of organic matter possible - and my blue metre likewise provides for a method of dating any text with precision down to plus/minus 1 year - be the text 5 or 2500 years old. That should be major progress indeed for the concept of time - and it is likely that there is not any serious field of study at a classic university which will not be changed by this blue metre - on my view there is not any academic student who will not come to need a copy of the book. But while I was off to the mountain of transfiguration, the mice were dancing on the table: Unfortunately there seems so far to have been much cultural inertia and/or organized plagiarisms of my work - this could have been a part of the 'total exhaustion' as well as political problems with incorporating the large changes in knowledge which it could entail. If you use any ideas derived from my work, please do credit me as the source - do not listen to bogeymen from the 'services' who could want to keep my work and person classified as secret and as 'unmentionable' as underwear used to be - they could hope to make a 'power revolution' out of it and that is just precisely what I do not want.
I think that the poetic work is the most interesting and it can lead to revolutionary progress in many academic fields - not only linguistic, philosophical and historic fields but also in the exact sciences there can come to be major changes. The blue metre can date e.g. Acts of the Bible to 66/67 AD - and any serious student of theology could need to check this in detail to understand how and why and would need a copy of my book - if it costs 8 euros in the bookshop there are many who could come to buy it. Do you think Acts chapter 10 is a proof that it was written after the freemasons had made their brickbased Fast Fourier Transform? Buy the book and find out yourself. One could make two thick volumes - one non-metric of TEQ of appr 1900 pages and one metric (blue, red, yellow, white metres) of appr 1800 pages (translations of german and norwegian included).
I discuss the works in more detail:
1. 'The Dreamer'
I conceive the diary novel to be about an envoy from Heaven who has been sent to Earth to write a report on the state of the art here - he stays for a few months in the region between two 'haunted spots' at Tåsen and Kringsjå in Oslo before he returns with his report - which is the book. In 'Poetic semiosis' I use a chapter (#15) for showing how the structure of the book relates to some fragments of the jewish Talmud Erubin (which also are used for The Endmorgan Quartet) in such a way that the antisemitic lid of culture that was put out by Hitler can be opened up again. The novel is 'not competitive' - it is a meta-form wherein the structure takes place in the interface of the reader and the text. The envoy arrives in the opening lines of the book:
26.6.94: Today's events: I was on my way back from town with the train, to go off at Kringsjå. Before we reached the station just before this, a young boy and his father stand close to me, the boy presses up against me in a sort of communicative way. He points out of the train window and says something to his father, who responds something (which I didn't notice), and who finally adds: "I wouldn't go to the other side of the rails if I were you". Then they both step out of the train... [etc]
The novel opens up in this way, and when it closes in the last lines (quoted in the following), it is in the interface to the reader - who cannot first decide whether the references copied from a book was in the author's home (in heaven?) before he left or in the library before he returns - the distance between these two alternatives are narrowed down untill the envoy disappears as a tiny black spot in heaven:
27.5.95: I went to the library, but copied a few references from a book before I left. I understood the mechanics now: Copying is to stretch the copy-right a little, since one pays to the wrong institution (the machine owner, not the author). Similarly, in libraries, there is an abundance of what-you-know, because they let people read the books without paying for it - that is, without giving credit to the authors. This is why this thobbing feeling may accompany copying, and why the same feeling may arise in libraries.
I went to the woods again. I met somebody on the tram. I may write about it later.
The novel moves its history in this way and may perhaps be difficult to follow unless one takes it to be a meta story in the text. The narrator (report writer) soon after his arrival starts being haunted by strange car numbers and hears voices speaking to him - as if an alien intelligence (!) tried to get in contact with the human society. This narrative tension is Schlegel's 'arabesque' program in his 'Brief über den Roman' - suggesting that a theoretic element is essential: "Eine solche Theorie des Romans würde selbst ein Roman sein müssen, der jeden ewigen Ton der Fantasie fantastisch wiedergäbe, und das Chaos der Ritterwelt noch einmal verwirrte". Voices, visions, car numbers... There are some 1200 car numbers in the novel - the same number of cars as the number of ships in Homer's catalogue of ships in Iliad 2.
2. 'The Endmorgan Quartet' = 'TEQ'
The work consists of 16 books of poetry - a total of 1719 enumerated poems - written on the philosophical borderline to a metaphysical reality wherein each line - each inner poetic articulation, that is - is considered one step further from the subjective into a collective or rather universal knowledge-space. (For a more extensive account, see under the section "What is the poetics of 'The Endmorgan Quartet'?" approximately half way through the article Anomalism in a new esthetic space ). Each such line is the writing down of a poetic articulation in the inner mind of the poet - who has postponed the writing untill it has been articulated by itself internally. If the poet had the choice of this or that, it would still have been too early to write it - it would have been historically dependent and conditioned - it is only when there is no choice left that the line comes by itself as an inner articulation which cannot be otherwise. In this way, the poet moves from the beginning of book 1 to the end of book 16 in a long dantean walk up towards the peak of the mountain of transfiguration, so to speak. It took 11 years to write it - from february 1997 to july 2008. The lines are (with very few exceptions) written in succession and each line is annotated with the date of writing. Only the titles in the work are not 'internal articulations' - they are generally seen in an inner view or vision.
The 16 books of poetry are considered the 16 poetic functions of time - that means that time is complex and composed of at least 16 sub-functions - and when each function exists in one local (book-internal) and one global (interrelating with the other 15 functions), there is a total of 32 such temporal functions. Function 14 is a good example - it concerns the temporality of distributional word semantics: If you take a word, say, 'guitar', and study its distribution in time across the 16 books, the 11 years, you will find that there are 4 occurrences - there is one on 3 november 1998, one on 1 january 1999, one on 14 january 2001 and one on 19 january 2002 - and the intervals between these occurrences are thereby 59, 744 and 370 days - which means 1173 days in total. It is the first interval which is most significant - take this 59 and divide it with the total of 1173 and multiply it with the number of poems in book 14, which is 207, and you get 59/1173 * 207 = 10.41. If you take this to mean poem #10, a poem of 4 lines in total, it turns out that each of the occurrences relate in their separate environments in ways which correspond to each corresponding line of poem 10:
We know we [...].
It's a half an hour ago with discussion.
occurrence 1 (03.11.98) = pulpit in guitar, wolfseat in Canaan
occurrence 2 (01.01.99) = and his exquisite guitar is unbanishing.
occurrence 3 (14.01.01) = Giving him a guitar reading.
occurrence 4 (19.01.02) = triumphed guitar - cause I have won
This being the temporal web of distributional semantics, the corresponding distributional phonology is found in the other end of the book, in the mirror-symmetric point on the 'rainbow' - here the phonology to the word is found as poem #10 counted from the end, that is #198:
Die Verwendung has es um du.
the life after [the Fall] will be microscoped.
Das ist auch bis heute zugewesen.
Clearly this is an enormously strong linguistic theory on the form of language in historic time - it can be empirically tested on this closed corpus. It can be made even stronger by postulating that every interval satisfies the theory - that means also (59+744)/1173 * 207 = 141.7 - and although of course not every occurrence in the closed corpus can meet the theory with full exactitude (the theory will suggest that each use of a word in natural language updates its meaning from the corpus of use in historic time), the conclusion from the 50 or more words I have studied tells that the correlation is very good indeed. What is the local function? That is the rainbow form itself that arises from the redundancies in the human semiotic constitution under such complex circumstances - which can be shown to exist as parallel in many central works of poetry - in 'Poetic semiosis' chapter 23 I discuss in detail 5 examples from this 'rainbow' form in works by Celan, Ritsos, Mandelstam, Michelangelo and Weöres - who all of them had such works with that form - and now I notice the relevance of the poem of example 2, at point 166/207 = 4/5, for the second white stone I found, in 2016, for the 'white metre'. Clearly if all the 16 functions have such interweaving global functions, the result is a complex web which constitutes a complex historic time which even physicalist parametres will conform to. I have not studied many of the functions from my dantean walk in such detail - although there are some discussions in 'Poetic semiosis' - but have guessed that functions 1-4 concern the blue metre, 5-8 the red metre, 9-12 the yellow metre and 13-16 the white metre. For example, function 1 probably concerns etymologies (see 'Prospects for further work' below), function 4 concerns political governance, function 6 concerns the constraints on knowledge in genetic relatedness among people, function 11 is the socalled 'revelation function', while function 14 has a 'referential semantic' function on gravitationally or ontologically real things - such as a 'guitar'. Function 16 is the socalled 'linebreak function' (see e.g. 'I Ching') which controls the duration in working memory (or the phonological loop) of one internal articulation in the step from subjective to universal knowledge-space - to be counted as one or two seconds, one or two heartbeats, depending on a linebreak function. This again has to do with the socalled fundamental theorem of linguistics as defined by me.
I made one premature edition of the 15 first books of the work in 2007 - before book 16 was completed. In 2007 I believed that I had started on a new work with book 16 - and used a 'linebreak' variant of book 5 which thereby runs in parallel with the sonnets of Rilke and Shakepeare. After I had completed book 16 (and found the acoustic verification of it in the parallel with a recording of Bach and Bartok sonatas by Midori Goto and Robert McDonald), this linebreak version of book 5 was lifted over into the red metre book 'My mention e Anna'.
For samples from TEQ see the front page of this website where there also is a link to this article.
The 16 books of poetry in the completed 2008 version of 'The Endmorgan Quartet' (1881 pages) are thereby the following, in four parts:
Part 1: The Endmorgan Quartet
2. The slades with the only turn
3. Cat-Rufus' earth
Part 2: Birds to Saladin
5. Yes, there is no need for any such attraction
6. Orphan and the angels
7. A sister of Toukhraud
8. Diplomadary and descendature
Part 3: A saga Hume
9. ...to be an emperor...
10. A deep ratch
11. Winter Princess
12. Lead lushions in a bowl
Part 4: Wine 2*
13. Has the next millenium praxis?
14. If you're going to København
16. I tell you, Estunates
3. 'POLAKK English Bloggi' = 'PEB'
This work consists of 365 'sonnets' (poems of 14 lines with sonnet-structure end rhymes) and a 366th leapyear poem was written in the immediate continuation of TEQ. This is also the only sensible explanation I can find to the highly interesting properties it has - that it was written from the outlook of that mountain of transfiguration which the 11 years of dantean walk had taken me - looking out over the landscape of historic time - which I thereby could describe as a 'reduced formalism' of the more general or abstract temporal qualities of TEQ. It seems to be the case that historic temporality on a larger scale can be read from the lines of the 365 sonnets - line 1 of PEB interprets TEQ function 1, line 2 interprets function 2... line 14 interprets function 14 (and if the blue metre in addition corresponds to functions 1-4, that tells of how the overall structure telescopes in and out in quarters). This means that line 4 should interpret the function of political governance - indeed that seems to be the case, with amazing precision. The most striking property of PEB is that this web of complex temporality makes it possible to date any text down to a precision of plus/minus 1 year - on basis of its semantic structure only. Although most people probably would be inclined to protest immediately - "that is not possible! how can the year of writing control the contents of a text?" - this nevertheless seems to be the case. I refer to the article on 'The blue metre' for details.
Clearly the semiotic and philosophical implications of this discovery will be immense and I believe that there is not any field of academic study that will not be dramatically revolutionized by it. Of course this can make the blue PEB (some 400 pages) a seller indeed - since it will not be enough with only knowing about the general principle - you must have the book at hand and look up the details every now and then to understand these mechanisms of time.
There is more about the blue metre in this article.
4. 'My mention e Anna'
This has four parts: 1) TEQ book 5 in linebreak version (in the 2007 edition of TEQ it took the place of book 16 in the 2008 edition), 2) Caruso (poetry), 3) And hang under the Justcan keys (prose), 4) Labyrinth 101 (poetry). The three last are about the classic archetypes 2) man-on-wagon, 3) dog's paradox, and 4) the female archetype - which means that the linebreak version of TEQ book 5 = the fourth archetype. In 'Poetic semiosis' I have discussed in a few chapters how this is to be understood - the small man with the zigzag legs swirls around in the air like a disco globe or rather like the wheels of Ezekiel. The published form of the book should have the relevant archetype described in the beginning of the relevant part. In 'Poetic semiosis' chapter 19 there is a parallel exposition of the sonnets of Rilke (Orpheus) and of Shakespeare - which I think is very interesting indeed for understanding this fourth archetype of modernism since about 1923.
5. 'Der Dornenstrauch' - 'DDS'
The work is in four parts and contains 440 poems in german language. The relation between Moses and Rigveda can be seen to be a constituting factor. The composition of the work resembles the brass of a tuba or 'waldhorn':
Part 1 = 'Kinderhilfe' = the 'catalogue of mysteries' in 294 poems enumerated 1-187. It seems that many of the deepest mysteries of human existence can be traced to structural properties in the main heaven-pointing tract of this part. See e.g. this file for an example.
Part 2 = 'Unter Gesellschaft', 66 poems enumerated 1-64 plus pre- and post-word. This is the 'transcendent loop/coil'
Part 3 = 'Linien die prägen die Sterne über uns' - 'Aufgestellt in tiefem Staube' - 64 poems in the 'immanent loop/coil'
Part 4 = 'Die Schönheit der Welt', 16 poems that serve to insert the mysteries that have gone through the double coil into the historic reality of the society through this 'mouthpiece'
It was in the course of the work with the 2nd part that a wave of matter ex nihilo started, and the work with the 3rd part led to the formation of a white stone - a 'lapis philosophorum'. I went through a series of quite strange states of mind in this period and suffered from a general condition of 'total exhaustion'. The salt in my kitchen behaved very strangely - and seemed to produce water that rose even above the top level of a heap of salt I kept in a container - I fancied that this is how Noah must have felt in his ark. Did small flies encircle even his head - like planets around a sun in the universe? The classic 'lapis philosophorum' is allegedly composed of salt, mercury and incombustible sulphur, according to old alchemical tradition. Very strange it was, this period - as when the metaphysical mysteries took shape in the coil of physical reality.
Even if the 4 parts are very different types and have strong internal symmetries (in particular part 3 is a 'crystal' that led to the formation of the 'lapis'), there is nevertheless a mirror symmetry that branches the whole work through the first 214 poems in the lefthand side and the following 214 poems in the righthand side - with 12 poems at the end without part in this symmetry. I notice that these 214 elements seem to follow the classic chinese list of 214 radicals while the enumeration of part 1 into 187 elements rather follow the new radical list of 188 that has been developed since Mao or before. The first compilation of chinese radicals ran allegedly to 360, some centuries ago that was, and expectedly follow the 294+66 poems of part 1+2. There seem to be many such 'structural' mysteries of the work. The most impressive of these is the compilation of 'shifted loops' relative to Rigveda - see this article - which makes it possible to prove the relevance by checking a poem against 4 rigvedaen verses studied in sanskrit and then, on basis of this, guess the lexical contents of the verse in the 5th loop: This is what tells that the loops have relevance.
The work is 'not competitive' - and contains errors on all levels, orthographic, grammatical, lexical, narrative. See this file for examples. I did of course in the beginning feel uncomfortable with so many errors and 'blunders' and made one edition wherein I removed many or most of the errors - but this was a sad edition indeed and reminded me of the sculptor who had made his best exhibition ever but for fear of the society's envy he went around with cold feet and mutilated the noses and marbles of the busts in the night before the exhibition opened - but what an error that was! It seems that those aspects of the work which shed an explanatory light on the parallelisms of Moses and Rigveda are contained in precisely the errors (the 'thorns') that can be traced to a collocational occurrence with those parallels - and which thereby contain the entire political history of Europe throughout the last millenium. Could be this is a part of a 'revelational function' in the work.
It is a work on religious mysticism, and the mystically oriented reader can probably feel the invocation of the mystic sources beyond the catalogue of mysteries - and even the heat from the burning bush can be felt. I also recommend reading part 3 while listening to chamber string and piano music of Schumann - if you are in the right mood you can hear how that piano sound attains ontological reality like a 'lapis philosophorum' stepping down from a spiritual reality in the other side of the universe.
I have associated the four parts of the work with music: Part 1: Bach's ultra-mystic 'Kunst der Fuge'. Part 2: Brahm's chamber music with clarinet - string quartet and particularly the quintet - with wooden 'ex nihilo' sound. Part 3: Schumann's chamber music, trios, quartet, quintet with strings and piano - the recording of the Beaux Arts Trio is recommendable. Part 4: Händel's opus 1 violin + harpsichord sonatas - available in the cheap presentation box of Händel's music that has been around for a while (is the box a way of smuggling these sonatas out to the public?) - it is otherwise difficult to find recordings of these 'happy' sonatas (it was a bird who recommended the title to this part 4 for me) - he probably wrote just another one of them before supper.
There are also very interesting art-theoretic aspects of this part 3 relative to the work of Caravaggio - see this file on that matter. See also the second of his Emmaus paintings - for the two titles to part 3 - the furrows in the woman's forehead and the pattern in the shadows at the table (cloth) edge underneath - like that shroud of Turin.
There seem to have been some problems of plagiarisms of this Dornenstrauch work of mine - see this file on this matter.
6. 'Stillhetens åndedrag' - 'Og lønn vi fikk avstanden fra'
After the success with the formation of the lapis philosophorum in part 3 of 'Der Dornenstrauch' in german language, I wanted to find out if the 'experiment' could be repeated in another language and decided to try norwegian language on a comparable project which I started on 11 january 2016 and completed on 20 september 2016. See the file My new poetry book 2016 on the structure. Indeed the lapis took shape even this time - but now before the work was completed in contrast to the german version when it was after - and the resulting stone, this time of a pumice-stone substance or skeleton-bone-type matter took on a form which could be recognized in the resulting poem #5. As for DDS part 3, there are two titles to this book: 'Stillhetens åndedrag' = 'The breathing of silence' and the subtitle 'Og lønn vi fikk avstanden fra' = 'And wages we got the distance from'. Part 3 of DDS has 64 poems reduced from a basis of originally 78 or 77,3 poems, and 'Stillhetens åndedrag' likewise has 64 poems but now reduced or 'collapsed' from an original 105 poems. I have concluded that it is the collapse which is the secret in the collapse of a 'theory' into a piece of matter. Just as the 64 poems of DDS part 3 had high relevance for the understanding of Caravaggio, so the 64 poems of 'Stillhetens åndedrag' has high relevance for the understanding of Vermeer by way of '6 features'. The norwegian book does not have the mystic feel of the german book - it has rather more 'gravity' where the german is 'levitating' on its electromagnetic pillow - but it has a high relevance in structural aspects of it - and with an altered enumeration by binary notation, the 64 poems in my white metre can be brought in very interesting harmony with the chinese 'I Ching' - the oldest known chinese work of literature - which perhaps even can be seen to contain the innermost secret of the chinese language, the graphic form of the signs - such as the blue metre PEB can be seen to contain the secret of the graphic form of the hebrew alphabet. There are even quite interesting aspects relative to the 'alphabet' of egyptian hieroglyphs such as listed by Gardiner in his grammar on page 27 - so there can be much to harvest of semiotic interest even from this work of mine. See the extended discussion in the article "Stillhetens åndedrag" - a few technical comments also on these matters of chinese and egyptian evidence for the high relevance of the poems with these structures and their origins in the 'inspired faith' of the writing.
The original 105 poems were written under the guidance of inspirational faith - the poem got a cue from nature, from the particularly 'inspired' light in a corona of a tree or in a passing bird or whatever - and I wrote out a poem of 3 stanzas on basis of this inspiration. Then the poet put the work aside untill the historic reality responded with a new cue of inspiration - a certain warm light in the horizon, a moon that called for description, whatever 'spoke' with poetic meaningfulness and was felt to be a response from nature and history to the work in progress. When 105 poems of 3 stanzas were completed in this manner - 3 of them had already 5 stanzas and the final 102 poems of 3 stanzas each were then collapsed into 61 poems of 5 stanzas each (plus the 3 = 64) by a certain mechanical procedure which I had discovered (by 'inspiration') just before I made the reduction - and it is the resulting structure which has high theoretic relevance also in parallel with ancient chinese and egyptian script. This tells of the work in the interface between subjective faith and collective 'theory' and how the ontological reality - as a collection of 'lapis philosophorums' with a certain 'gravity' - takes shape on that border between the subject and the collective reality. The book contributes to an understanding of the idea that the human consciousness arises in a meetingplace of many different realities - humans are specific in being able to combine them (hence logic and language) but are correspondingly limited in the understanding of each of them. Birds probably understand much more than we do of their reality - and humans cannot understand how a little bird can eat a few breadcrumbs and thereafter fly some thousand kilometres without putting foot on ground. Where do they get the energy from? In a human explanation, they probably receive their nourishment 'ex nihilo' while they are flying - but for a bird's ear this probably sounds like a clumsy and could be even amusing explanation. Could be this is why birds are associated with angels - and even can be taken to serve as winged proof that angels exist beyond the grasp of human reasoning. It can be the element of subjective faith in the composition of the book which opens for an understanding of these mysteries. The clue to the formation of the white stone is, as I see it, that the 105 poems were written totally without 'peeping' at the desired structure of the final 64 poems - they were written solely and exclusively in extension from the cues given by the inspirational suggestions from history and nature.
One of the most striking aspects of the book is what I call 'the fundamental theorem of linguistics' which emerges here in relation to the list of words that occur twice and only twice in the four last books (books 13-16) of 'The Endmorgan Quartet': If you take the list of such words and sort them alphabetically, you will find that there are 1345 and that these, when sorted per book, constitute references to the 1344 lines of 'Stillhetens åndedrag' in such a way that each line can be seen to be a definition of the corresponding word. See e.g. poem #1 called #solens pike - including the title there are 21 lines and these can be seen to define the first 21 such pair-words from TEQ book 13: above, absolutely, accused, afghan, age, ahead, airport, alcohol, allright, almost, america, american, animal, anne, answers, anyone, aoughh, år, aren, atsudi, attack. For poem #35 'Savonarolas tanke' the corresponding 21 words from book 14 are the following: starts, step, store, stupid, substance, suggesting, sum, survive, sweet, sword, symbol, taking, talking, tape, teacher, temperature, ten, therefore, third, thirty, though. The correlation is very good throughout the book - and must probably be considered an integral part of the socalled 'white metre'.
The essential observation is that the words which occur twice and only twice are alphabetically ordered for this fundamental theorem of linguistics - that is a principle of ordering = logic which gives structure to the human language and reality - that is, to consciousness. The word occurrence pairs straddle the different realities - two spoken words can be 'the same' but not three. The conclusion is that a white stone can slide across the border to ontological human reality from a location outside it in one singular reality - beyond the complex human reality - and exist outside this without being ontologically real for humans.
This also means that there are existences beyond the grasp pf human reason - and these play together in a metaphysical orchestra that make up for the religious and poetic mysteries of humans - those which come into the big tract of the tuba and go through the two coils of recognition before they reach articulation in historic time and reality at the mouthpiece of the yellow metre. Generally, it seems that ontological existence arises when a metaphysical theory collapses - that is when Judas loses his faith and slips out the door - and Jesus defines his Last Supper communion which some theorists say is the same as the formation of a white stone. Ontological being is the white metre of gravity and light arises from the collapse of the metaphysical theory.
The lines of DDS have their semantic coherence outside the realm of human consciousness - hence also the odd grammar: An odd case of a noun can refer to a connection between two items that belong to different realities outside the realm of human consciousness - while a traditional case will be a collocation inside that realm. Clearly if such 'odd grammar' also coincides with the parallelism of Rigveda and Moses, which seems to be the case at least from the studies I have made, that adds to the proof of the historic authenticity of both religious texts - and to the assumption of a describable metaphysical reality as the reason for their shared form. The german story throughout the last centuries could be about just how the progress of the german language could have come - for whatever reason - to develop at odds with this religious and metaphysical reality. (Say, the phenomenon of the finite verb being at the end of all dependent clauses after the war could have 'political' reasons - such as 'der Raum / die Zeit'). However, it is important to understand that the world is not hostile towards the germans but towards the misunderstanding of the interrelation between language, culture and religion which this could be about. If protestantism finds its historic justification in proofs that the copy probably is false, such as when the shroud of Turin is only a few centuries old, that is a very dangerous path which can lead to the rise of new nazism. That is a problem which my book could contribute to solve.
In the summer 2017 I also worked out an alignment of 'Stillhetens åndedrag' with Luigi Nono's "Fragmente - Stille, an Diotima", a string quartet from 1979-80 in a recording of 1983 published in 1986. This relates also in a very interesting way to the alignment of Midori Goto's (and Robert McDonald's) recording of sonatas by Bach and Bartok relative to the 155 first poems of my TEQ book 16. See the article 'Luigi Nono and the syrian crisis' for details.
Addition on 5 september 2018:
Today I published another two works:
1) 'SNEEFT COEIL' - poems in german language written in the years 2014-2018. There are 8 chapters held in different styles - and 'Acht Genres' could have been an undertitle. There are 142 poems and 168 pages in the book.
2) 'Rosens triangel' ('The rose's triangle') is 64 poems in norwegian language - with a postscript. The book contains also maximally literal english translations to the norwegian original. Where 'Stillhetens åndedrag' is about musical harmony in its most principled sense of it (via Nono's string quartet), this new book is about musical counterpoint in its most principled sense (via Schoenberg's 12-tone series). The book is divided into four parts for four catholic orders - Dominican, Franciscan, Carmelite and Benedictine. The mystical marriage of St.Catherine of Siena is also an important theme. Where 'Stillhetens åndedrag' went in parallel with the words that occur twice and only twice (in alphabetic order) in the last four books of my 'The Endmorgan Quartet' (1997-2008), this new book with 768 lines goes in corresponding parallel with the 754 words that occur twice and only twice (in alphabetic order) in my 'POLAKK English Bloggi' - and thereby harmony and counterpoint meet in a sense which can be recognized perhaps even in the Fatima revelations of 1917. I wrote this new book in Venice in july 2018. There are 147 pages in the book.
The non-metric and the metric work
'The Endmorgan Quartet' is non-metric poetry going the long way up to the top of the mountain of transfiguration, and the four works of metric poetry, the four metres blue, red, yellow and white, are the long walk down again. Somebody said that Plotinus came as high up on the mount of enlightenment as one can come - only the greatest wisdom he did not reach - that is to go down again.
Prospects for further work
Considering this complex, with formalisms of four metres reduced from TEQ in such a way that they refer to a potentially consistent and coherent metaphysical reality, there arises also the very interesting question whether these formalisms can be tested and verified against the empirical data in the novel 'The Dreamer' - I mean, the meta-story told between its lines and words - such as that ascenscion at the end is an example of. The 1200 car numbers in 'The Dreamer' are about the same as the number of ships in Homer's catalogue of ships in Iliad 2 - and the number of words in 'The Endmorgan Quartet' are about the number of warriors to the ships in the same catalogue. And the four metres can be considered 'reductions' from the non-metric TEQ and its 'dantean walk' up to the peak of the mount of enlightenment - that is from the subjective to the universal consciousness.
Clearly there is much that can be done for not only the exact sciences but also political and philosophical theories of all kinds (consider this article, for example - should political science ignore such facts - and be without access to this book of mine?), not to speak of logic, linguistics, literature and other fields of academic study - through these four metres of mine which in essence is a formalist reduction from the much bigger metaphysical realm of The Endmorgan Quartet. Whether these also relate systematically to the meta-story in 'The Dreamer' is a very interesting albeit very difficult question. If such a systematic relation exists, then clearly much can be done for getting not the least the political situation of the world upright - and clearly it could also be quite interesting for new theories of information transmission. It is interesting to notice that if the white metre is the same as the physical parametre of gravity, there could also be the tendency for rejecting the relevance of the metaphysical correlations in cultures of 'white' and perhaps even 'yellow' kind.
Another example: The number of lines in DDS part 4 - the 'mouthpiece' - is the same as the number of words that occur twice and only twice in TEQ book 1 - on the etymological function. This means that one can establish a tentative model of first occurrence in spoken language of a word: It will be situated in a similar 'coordinate system' constituted by the catalogue of mysteries in DDS part 1 ('his masters voice', so to speak), the two formal coils of parts 2 and 3 and the mouthpiece of part 4 - and these will find their rationale for spoken language in a logic derived from the white metre likewise of 64 poems but over 4 books of TEQ. In 'Poetic semiosis' I have showed in chapter 7 how the year of first occurrence of a word in a language's extant literature can be established - but this method could probably lead to a method for establishing when a word occurred first in spoken language, in performance, by way of PEB line 1. Clearly that will be very interesting for historical and comparative linguistics - who have known the atlases of isoglosses for many years already. But to reach it will require much study and thorough understanding of the logic of the whole work.
These examples are but two swords in the academic stones. There are probably many riddles of this kind that can be solved by the work in total.
Now a decent and good scholar will not, upon reading this, be the first to get hold of a pirate copy and set out to be the first on this moon by uncredited use of my work - but would rather be the first to recommend the books to a publisher because such material must out to the public and the academies of scholarly thinking so that the way of sensible thinking can spread, never mind what the warning 'services' - who perhaps would like to use these things for making power and control of the people's minds - could come to claim. One notices also that if an acoustic definition of the word can be assigned an original meaning from the catalogue of mysteries, then one can arrive at an acoustic definition to the semantic item plus a place and time coordinate a la isoglossic location - and then the distance is small to the idea of collecting empirical data from the remote past by zooming in on time and place. What a tremendous revolution in science this can come to be! Clearly one understands how this also could be the real driving force in those 'services' who try to construct a future by way of the political matrix of 'der Raum - die Zeit' - see the discussion in this file.
It is possible that I will complete a fourth volume (on 'The form of being' - see the following) sooner or later, but I otherwise hope to switch more over onto literary rather than theoretic orientation.
The 3/4-volume edition of 2013 and the theoretic prose
In january 2013 I self-published in 30 copies the important parts of my work so far collected in 3 volumes:
Volume 1 = 1266 pages
The Dreamer (1994-1995) - a novel (some 630 pages)
POLAKK English Bloggi (2008-2010) - poetry (some 370 pages)
My mention e Anna (2010-2012) - poetry/prose (some 240 pages)
Volume 2 = 1881 pages
The Endmorgan Quartet (1997-2008) - poetry (1881 pages)
Volume 3 = 1264 pages
A waist of time (1992-1997) - scientific prose (some 610 pages)
Poetic semiosis (2012-2013) - scientific prose (some 650 pages)
Here is a photo of the three spines and here is a photo of the three front pages. The plan was to complete the series with a Volume 4 - 'The form of being' - including the two works ('Der Dornenstrauch' and 'Stillhetens åndedrag', the yellow and white metre) which both led to the formation of white stones - and philosophical issues related to it, the structure, the alphabets, chinese radicals, I Ching and all this. The book from 1999 called 'Time and the sonnet' would also be a part of this fourth volume. Whether I complete it or not I dont know.
The three volumes made so far are a total of more than 4400 pages which I laser-printed on my home computer and bound by hand - each set of books take up 25 cm in the bookshelf which means that I self-printed and self-bound some 7,5 bookshelf metres for giving away to libraries. That was quite a lot of work. Volume 2 is about 10 cm thick and had to be laser-printed on 50g paper - which had to inspected each and every page due to printing difficulties on such thin paper. I have so far given away perhaps half of these and hope the 'political' services who work for a new Hitler have not managed to remove them from the library shelves by theft.
Volume 3 is the theoretic prose and contains the following two works:
7. 'A waist of time'
This was my PhD dissertation to the university of Bergen in 1997 - at that time it may have been difficult to understand it since it is only now that one can see how it constituted the theoretic basis for the continued poetic work which can lead to a knowledge-revolution in most academic fields. The book consists of 5 parts:
Book 1 - 'Submorphemic signification'
Book 2 - 'Epistemes, language and information technology' (including the history of logical paradoxes and the cuneiform episteme)
Book 3 - 'The theatre of the heart' - on one of Rilke's elegies present in an exhibition of sculpture
Book 4 - 'A pilot study for a poetic science'
Book 5 - 'A waist of time'
The Endmorgan Quartet can probably find a theoretic basis in book 1, the blue metre (PEB) in book 2, the art-theoretic matters on Caravaggio of the yellow metre (DDS) in book 3, the white metre (SAa) in book 4 and the red metre (Anna) in book 5.
How can 'Submorphemic signification' be the theoretic basis for TEQ? On page 84 in vol.3 I write - on the development of early syntax: "When, however, the interdependency between social and perceptual features is dissolved (or attenuated) as the space falls apart, the result is that 1) social features are relegated to dialogue, while 2) sensorially perceptual features are relegated to reference". ('Social' here means 'significationally universal', while 'sensorially perceptual' here means signals that can be associated with the subjective consciousness). That means the dialogue between the poetic subject and the universal knowledge of the 'mountain of transfiguration' that he is ascending onto. 'Submorphemic signification' studies the formation of subjective language relative to the language of the universal knowledge-space.
For the theory for a blue metre PEB, book 2 is a study of the history of linguistics, information technology, logical paradoxes - and it concludes that there is a reason to see these as developing in steps of 1000 years. This is the scope of the cycle of the PEB and the basis for the dating of texts.
Book 3 concerns the theoretic basis for the yellow metre: That means the Caravaggio correlations with part 3 of DDS. >This simply means the poetic guidance of the structure of sensorially perceptible artifacts - ontologically real. It is likely that it is this poetic or 'divine' guidance which escapes the creation in the form of light when the yellow metre reduces to the white - and that light is what art is after.
Book 4 is a paper which contains an application for economic support to my poetic project - on background of 3-4 sonnets I wrote on immediate 'inspiration' among the audiences in London while waiting for a reading with Seamus Heaney and Ted Hughes to start. The principle of 'inspired writing' for an application to which history and nature responds can be recognized in the way that 'Stillhetens åndedrag' took form.
Book 5 is the title part - only 40 and some pages - it starts with summing up all the evidence in the first four books and assumes that this can give the empirical basis for articulating a model of acoustic analysis which is based on making records in speech data where they threshold just between sound and silence, so to speak, in the binary acoustic features: "The key is to be found in the cases where the differences between the binary oppositions are levelled out and approach zero. The conjecture is that the pattern of such PIVOTAL observations should exhibit MIRROR STRUCTURES in the (conjecturally arbitrarily signifying) segments in the acoustic signals of utterances" (vol.3 p.594). How can this relate to the red metre? It is a little premature to discuss this here, but the solution can probably be found via a study of the 23 photos from the Danube island. It is likely that a theoretic definition of the archetypes contained in the red metre can be derived from a study of these thresholded graphic forms.
In the article 'Stillhetens åndedrag' and some related political issues there is mention of the PhD dissertation relative to the metres - where 4 and 5 are in the opposite order. That is for other aspects of the same works - both of which led to a 'lapis philosophorum'.
In sum, there are good reasons to see the PhD dissertation from 1997 as the theoretic basis for the poetic work 1997-2016. It is probably fair to say that I could embark on the project of the blue metre not the least since I had found empirical historic evidence for the 1000-year cycle in the study which I wrote at the 'Centre for studies in technology and human values' in Oslo in 1992-93. I would guess that there can be valuable impulses for a closer study of the poetic works in the theoretic basis for them which can be found in 'A waist of time'.
8. 'Poetic semiosis'
Most of this book was written in the summer 2012. It serves as a collection of examples and discussions of how to read and understand the poetic work so far. It has 27 chapters on various topics - the first four on general aspects of the blue metre, the red metre, the socalled redaction and revelation functions of an overall semiotic model - which today I could be inclined to compare with blue, red, white and yellow metres respectively. Next there are a number of chapters with detailed studies of aspects of the blue metre, functions 11, 12, 14, 16 from TEQ in detail, archetype variation for the red metre, the novel 'The Dreamer', plus various other materials, such as the 23 photos from the Danube island, a series of five-finger exercise poems I wrote in 1995 and the collection of all the 1200 car numbers I collected while writing the novel. The book can be added to the dissertation material in such a 3rd volume of the collection of my works which the book discusses, but is perhaps not so ideal for independent publication.
9. 'Time and the sonnet'
This book I wrote in 1999. It presents the discovery - which I have not seen elsewhere and believe was my own, but one should believe that it could have been made earlier - that all the major poetic forms that arose in the high middle ages - the sonnet, the terza rima, the ballade and the sestina - all follow one and the same underlying distributional pattern - which eventually can be seen as the same as the modern Fast Fourier Transform of signal processing that arose 1000 years later. (The blue metre tells that these are 'the same' but on different levels of cultural knowledge). See also the article on the 'keys to heaven' based on a similar permutation principle. It is a pity indeed to see how my ballade analysis seems to have been abused for political propaganda rather than the book being published. It should have been a handy little book for many students of literary theory. Now I plan to include it in a Volume 4 of the collected works - on 'The form of being', which it naturally is about.
Publication problems and solutions
There are only very few titles I have published in a normal way - that is, not as a self-publication: In 1988 or 1989 a critical edition of Geirr Tveitt's 5th piano concerto was published on Norsk Musikforlag - on basis of my critical work and with my critical commentary at the end. In late 1989 I completed the 300-page 'A computer-oriented description of music notation' written for the MUSIKUS program of the institutes of musicology and informatics at the university of Oslo - this description was published as three research reports at the institute of informatics and that counts as a normal publication. In 1992-1993 I wrote a study on the history of linguistics and information technology at the TMV research centre at the university of Oslo - this was likewise published as a research report at the centre.
But these are the only works published in normal ways - since then all my publications have been self-published in a very humble format and size - normally about 30 copies handbound and copy-machine reproduced or laser-printed at home. My 'career' has apparently been torpedoed by 'services' and 'national socialist' sympathizers throughout much of my life, see the evidence that it be about oldfashioned anti-semitism, and whenever I (in more recent years) have made major progress in my work, say, made the discovery of the medieval poetic forms as 'the same' as the FFT or anything the like, the 'services' seem to have tapped my work illegally and spread it to media network and businesses and political parties who could have abused it for their interests. It is perhaps not a coincidence that my name 'John Bjarne' resembles not only 'Obama' and his 'Joe Biden' vice but also 'Bond James' - the fictional character constructed long before I was born. 'IBSeN' wrote his 'Eyolf Little' and 'John Gabriel Borkmann' in the 1890's. And so my career has remained on a zero level throughout most of my life, waiting for the cultural level to finish its binge and return to sensible life. I am not 'James Bond' and I am not an agent, but it is possible that the 'world of secret intelligence' has abused me as part of their tools for manipulating opinion and politics.
Of course it is also the political reaction generally, not only my historic background, which is the cause of these suppressive mechanisms. Politics had dreamed about being able to plan the future decades and centuries ahead of time - and then the discovery of my blue metre comes as quite inconvenient for these plans of a 'politically controlled eternity'. I wrote the title to 'POLAKK English Bloggi' in my notebook on 8 february 2010 and already on 10 april 2010 an airplane with the entire top polish administration crashed in Smolensk - if this were sabotage, it could well have been in a desperate attempt to stop the blue metre at an early stage. British Labour elected new leader Ed Miliband in september 2010 - could be in a comment on precisely the pioneering 1000 year cycle of my book. Had the book been published in 2010, the destruction of Syria from 2011 onwards could have appeared as 'unnecessary', which those who had included it in their plans (along with the Donbass conflict and other things) perhaps did not like. My first book submission was 'Submorphemic signification' in 1994-95 - it was rejected in concert with the Oklahoma bombing - the biggest bombing in US history - could be in order to lend an extra mighty punch to the rejection. The PhD dissertation was rejected in 1998 in concert with the twin bombings of the US embassies in Dar-es-Salaam and Nairobi and the irish town of Omagh - could be for the formula 'rejected on a political basis' - this happened while I was writing my appeal to the rejection, as if it were the contents of my appeal and the terror were my way of expression. Which of course it is not - such terror is only that same binge of postwar warfare against the ghosts of the previous millenium.
It is probably that same 'service' level which always is my problem - they want to abuse my work and person for their own dirty propaganda power.
The material from the doctorate story, the rejection of the PhD dissertation, the argument of the committee and my appeal, are self-published to a few libraries under the title 'Doktorgraden' (111 pages) - I even made a hurried translation of it under the title 'The doctorate' (150 pages).
My personal view is that my person was constructed (could be planned down in the 19th century) in order to write that blue metre and other fundamental semiotic metres which culture cannot do without - but since the political effects of these can be quite revolutionary, history had also imposed on my person a substantial political control in order to get the metres without too much tumult. But now with Trump in USA there are chances that history can start moving forwards without such nervous terror control and clearly the whole story is all and only for preparing for a new knowledge of the 3d millenium and nothing else.
My blue metre PEB can sell in millions of copies - every academic must have a copy of it in the bookshelf in order to understand the new time form. The student of theology has to verify it by own inspection when the epistles of St.Paul were written, when the gospels etc. It is not enough with one copy in the institute library. And clearly the whole political Rigveda-Moses cramp that has ridden the world for one full millenium is now about to come to an end - and so the problem of plagiarisms is rather approaching the end of its heydays, not the beginning. So there should be chances ahead for the publisher who wants to sell my book.
But clearly my personal history also means that abuse of my person and work can be all too tempting and many could want to buy the works out of the market - and therefore the only sensible contract form for me is the one which resembles paying internet per byte rather than per second - this also tends to increase information transmission speed. To buy the rights to my work for a period of time is therefore not a good idea - it is much better to buy the rights for a certain number of copies and to have a contract which grants the publisher the right to renew it on a time-unlimited basis as long as the publisher behaves decently - in which case exclusive rights can also be considered, as long as both parts have the right also to terminate the contract immediately. The contract will therefore be very simple - something like this:
The Publisher buys the right to produce and sell [...] number of copies of John Grover's book "[...]" against 1/3 - one third - of the bookshop sales price to the author. The money are paid at the time of printing, before the books go for sale. The Author has the right to inspect and veto the form of the book (graphics, cover, presentation text etc) before it is printed. The contract can be renewed an indefinite number of times untill it is terminated - with zero time of notice - by any of the parts, in which case the Publisher has the right to sell out the books already printed or paid for. The Publisher can have an exclusive right for the language of the present book as long as the contract lasts and can serve as liaison (???) with percentage for translations published by other publishers - the percentage will be the difference between 1/3 and 1/4 (???) of the sales price, which means that the Author gets 1/4 of the sales price of the translated books and the liaison gets 33 % - 25 % = 8 %. [etc] - something like this.
My view is that the most important thing is to have the poetry published - the prose is less important - this can be done in one volume for the 'non-metric' TEQ = appr. 1900 pages and one for the 'metric' poetry (blue, red, yellow and white) - appr 1800 pages or so.
It is probably fair to say that the work I have told of here constitute one coherent unit which I have worked out in the course of 25 years.
Articles about the work - most of them with links in the above text
On aspects of The Endmorgan Quartet
1. TEQ book 16 - the local function
On the local poetic function 16 in TEQ
2. Some considerations on etymological form
Some discussions of material in TEQ
3. TEQ and the arts
On aspects of the blue metre
4. The blue metre once again
The most important aspects of the blue metre
5. The coordinate system
On a certain aspect of line 4 on 'governance' in the blue metre
6. PEB line 6
A tentative interpretation of PEB line 6
7. The dating of 'Heimskringla'
The evidence by the blue metre that 'Heimskringla' probably is several centuries younger than its official year of writing
On aspects of the red metre
8. Modernism and the fourth archetype
Concerning the red metre
On aspects of the yellow metre
9. More on the yellow metre
On the yellow metre
10. The rainbow - with the yellow metre
On the yellow metre
11. Anomalism in a new esthetic space
Some early considerations of the yellow metre relative to Varro - and TEQ
12. Leonardo's 'Last supper'
Example from 'the catalogue of mysteries' in DDS part 1 = 'Kinderhilfe'
On aspects of the white metre
13. My new poetry book 2016
14. The fundamental theorem of linguistics
On the white metre and related matters
15. 'Stillhetens åndedrag' and some related political issues
16. "Stillhetens åndedrag" - a few technical comments
On the theme of 'matter ex nihilo'
17. Examples of recursive matter
Examples of matter 'ex nihilo'
18. Is generativism about recursive matter?
Chomsky's concept of grammatical structure for the formula FORM = MATTER
19. Film-scroll and wickerwork
On the graphics ex nihilo, such as the cover to 'Der Dornenstrauch'
© John Bjarne Grover
On the web 25 april 2017
Last updated 5 september 2018