The art biennale, Venice 2019 - Palazzo Mora
John Bjarne Grover
I had studied the relation between the 24 meanings of sumerian cuneiform 'U' and the third secret of Fatima, adding to this my book 'Rosens triangel' (RT). The 24 meanings of sumerian 'U' relate to the third secret of Fatima in their order exposed by Hübner/Reizammer as follows:
|
The 24 cuneiform meanings for the big wedge 'U' |
The third secret of Fatima |
|
RT #15: |
RT #15: |
| Besitzer von | "I write in obedience to you |
| Herr | my God, who command me to do so |
| König, Fürst | through his Excellency the Bishop of Leiria |
| Bringen, Gabe, Gebrachtes | and through your Most Holy Mother and mine. |
| Geschenk | After the two parts which I have already explained |
| Finger | at the left of Our Lady and a little above |
| Hand | we saw an Angel with a flaming sword in his left hand; flashing, it gave out flames that looked as though they would set the world on fire; |
| Klaue, Zehe | but they died out in contact with the splendor that Our Lady radiated towards him from her right hand: |
| Gasse, Weg | pointing to the earth with his right hand, the Angel cried out in a loud voice: 'Penance, Penance, Penance!'. |
| Gesamtheit, Welt | And we saw in an immense light that is God: |
| Schweigen, Stille | 'something similar to how people appear in a mirror when they pass in front of it' |
| Weisheit | a Bishop dressed in White 'we had the impression that it was the Holy Father'. |
|
RT #14: |
RT #14: |
| Verstand | Other Bishops, Priests, men and women Religious |
| fähig | going up a steep mountain, at the top of which there was |
| gut | a big Cross of rough-hewn trunks as of a cork-tree with the bark; |
| tüchtig | before reaching there the Holy Father passed through a big city |
| einknicken, sich zusammenziehen | half in ruins and half trembling with halting step, afflicted with pain and sorrow |
| rechnen, zählen | he prayed for the souls of the corpses he met on his way; |
| Haus | having reached the top of the mountain |
| Kultnische in Außenwänden | on his knees at the foot of the big Cross he was killed by a group of soldiers who fired bullets and arrows at him |
| Ohr | and in the same way |
| alt werden, lange dauern | there died one after another the other Bishops, Priests, men and women Religious, and various lay people of different ranks and positions. |
| hoch | Beneath the two arms of the Cross there were two Angels each with a crystal aspersorium in his hand, in which they gathered up the blood of the Martyrs and with it sprinkled |
| wo? | the souls that were making their way to God." |
It was the relation between finger, hand and 'claw' that interested me, and I recalled at the time of my possible brainstroke of 23 february 2002 that Ragna Grøver had told that the difference between monkeys and humans is that humans have a 'claw' in the hand while monkeys have not. Recognizing this in the series of meanings, on the background of the data in the file The 'depression', I conjectured that if the correlation of the meanings of 'U' with the third secret of Fatima were known to the organizers of the political mythos, then it could well be that it is just this Finger, Hand, Klaue which is the essential point. Notice that in the scheme I have seen the first 12 elements as related to my 'Rosens triangel' poem #15, and the next (last) 12 as related to my 'Rosens triangel' poem #14 - hence an inherent paradox which is found precisely in the relation between Hand and Klaue if the 48 poems of 'Rosens triangel' are aligned pairwise with the 24 meanings of 'U': Then Hand (element #7) will be poems 13-14 and Klaue/Zehe (element #8) will be poems 15-16. However, a closer study of these poems shows that poems 13-14 apply better to 'Finger' and the corresponding fragment from the Fatima secret, poems 15-16 to 'Hand' - and poems 11-12 apply better to Klaue/Zehe + Fatima fragment than to 'Finger'. (Dont use pirate copies for checking this - wait untill you can get a legal copy in the bookshop: This is not a collective project, it is all and only my lonely work). This means that the 14-15 and 15-14 apply with much precision to the story told in The 'depression'.
However, an even closer study shows that it is not really the poems 11-12, 13-14, 15-16 that permute to 13-14, 15-16, 11-12 - but rather the poems on the other side do so: The poems 35-40 assigned to 'rechnen/zählen', 'Haus' and 'Kultnische in Außenwänden' do so better in the order 39-40 ('rechnen/zählen'), 35-36 ('Haus') and 37-38 ('Kultnische in Außenwänden'). This phenomenon is likely to be the reason for the depressions and the apparent white stripes in the nails.
I was for a trip to Venice and decided to see some of the art biennale (or is it spelt 'bienniale'?) which opened on 11 may 2019, being naturally suspicious that there could be uncredited borrowings from my work therein. I guessed in fact before I went to see the exhibition in 'Palazzo Mora' that it (on this background of the 'U') could be about the following main parametres (which in fact can be seen as strongly motivated by the three stanzas of poem 15):
1) Ga-ve(d) = norwegian for 'gave wood' in the sense of 'gave' = 'gift', 'Geschenk': A piece of plank pulled out from a wooden structure could be used as 'gift'/'Geschenk'.
2) Brown on the wings, white (Lamb) on its back
3) Two objects (the tendency could be two wooden objects) that strictly speaking should have been (united into) one.
I saw the exhibition and was quite amazed how well I had guessed. For example, three of the elements in Jon Jaylo's "As the moonlight echoes on still waters" are these:
wherein there is some brown on the 'wings' (the bird) and the white pages are on their back etc. Another example could be Herb Rosenberg's 'Altered space' (2007):
which 'gives' (the little animal in the middle seems to be a small cow, partly white on its back) by '3' metal legs, not by 'wood' because the space is altered.
The three parametres - 1) wooden Geschenk, 2) brown wings, white back (it was a dove who told me this - I thank for the help), 3) two should have been one - could be in imitation of the three parametres of my fundamental theorem of linguistics which is the theme of my vol.4. In this volume I also discuss these three principles for the case of the three basic cuneiform graphemes - but in the manuscript I sent to LEV in the christmas 2018, I did not discuss the fourth grapheme - the big wedge 'U'. But that is easily done by anybody (after having read through the book) who have access to Hübner/Reizammer's sumerian dictionary 'Inim Kiengi' (I refer to this in vol.4) and they may easily follow the same principles of reasoning and reach the 'semantic assignment' of the 24 meanings of 'U' to the third secret of Fatima - on basis of the order of words given by Hübner/Reizammer, such as I do for other cuneiform signs.
There could be a symbolism of 'England' via the concept of 'arsenic' (Finger-stripes etc) - and there could be the concept of 'S-preposing'. The story of the Shah of Iran ('shah[e]n' in norwegian) could be about this S-Hand: His youngest daughter born in 1970, he himself died in 1980, Grøver/'Mengele' died on 27 nov 1990 - in the exact mirror point to the birth of the shah's daughter - and exactly 160 years after Madonna in Paris. If this structure were deliberately constructed, which of course it could have been, it could have been for just the S-preposing and that HAND. You jump S over S (as in a paragraph sign) = 'Eugene Paisseau' = 'Ø kjempesår' - Hitler's postcard which seems to contain a responsibility claim by Quisling on the death of Lenin a few days later. Quisling, who enjoyed the confidence of the bolsheviks, was travelling in Russia in those days and could well have been let in to Lenin. But even if the HAND should be old in the business of S-preposing, the HAND among the 24 meanings of 'U' relative to the third secret of Fatima could be new.
'S-hand' = 'shahen' = 'the shah' - cp. also 'S-John'
'S-finger' = 'sphincter' = the opening/closing lock for the urine in the urine channel - cp. the catheter issue
(After the fire in Notre-Dame it may have become clear that it could be difficult to find enough long big oak beams - norw. BJELKE - to repair the roof - simply because long strong oak is now a rare resource - but maybe one can do it by putting smaller wooden beams together - what in norwegian is called S-PJELKE?).
The exhibition in Palazzo Mora were mainly by international artists ('Personal structures') but it contained also, as is announced in big lettering outside, the 'pavilions' from Mozambique, Kiribati and Seychelles - which could make for 'Mo-Ki-Se' = '(e) må kisse' = '(e) må pisse'. (The words pisse, tisse and kisse can mean appr the same urination - even nisse can be used even if that normally means a little gnome or Santa). However, a closer study of the details of the 'inspector' in this file seems to tell of a 'Schuhbert' with some female knees underneath, as if he in 'Quisling' style had been involved in 'kisse'. (There are also some photos in the beginning and end of the voluminous catalogue to the exhibition which could be indicative of such an interpretation). This photo of 'Schuhbert' is 'ex nihilo' (from my studies in such matter) which then could turn it into 'e må kisse' = 'e må pisse'.
But this photo was a detail in the private (unpublished untill a few days ago) files of mine on my home computer and only I have the copyright to these.
The second parametre could suggest a possible theory (there are a few theoretically possible references I have seen in other exhibitions) that I were raped in drugged condition in the hospital wherefrom I sent (by email) the manuscript to LEV = Libreria Editrice Vaticana - the nearly 1300 page manuscript to my vol.4 . I do not believe that I was raped or that anything such happened there in the hospital - but it is a fact that 1500 euros were stolen from my wallet there while I slept (and I still have not got them back) - which could mean that if a theory of rape is involved, it could mean that it was my 'money' that went out of my 'wallet' and disappeared - as if I should have been the rapist. To this I must tell that what went out of my email account was my work.
Of course I do not endorse the use of my work for such purposes - in particular not the use of my fundamental theorem of linguistics for uncredited borrowing (abuse) - but I have not seen much of the biennale and had in fact guessed the three parametres in advance, so maybe it is not a justified analysis. The first version of the book was completed in the end of november 2018. I wrote the poetry book 'Rosens triangel' in Venice in july 2018 and self-published it in september 2018.
© John Bjarne Grover
On 12 may 2019 the exhibition opened an hour or so after schedule.
I saw also the azerbaijanian exhibition and believed that I recognized elements from my vol.4, whether that be coincidental or not.
I saw also the exhibition 'Transcoded structures', the pavilion of North Macedonia, with Olga Tobreluts and Mice Jankulovski which seemed to show not 'Rosens triangel' but rather 'the squaring of the circle'. Is that also where there were some royal scenes in an upper back room, including princess Diana showing a 'finger' with a nail?
On the web 12 may 2019
Last updated 13 may 2019
