'Brief comments' 22 february 2023

'Brief comments' 22 february 2023

John Bjarne Grover

From 'Brief comments' 22 february 2023 (on background of the comments of preceding days):

Assume that the earthquake of Turkey were triggered from a computer in austrian intelligence. It was (as the fantasies can go) about 10 years ago that they built a supersecret laser cannon on a concrete platform dug down under a barn in a place 'meaning' appr. 'the beast of terror' - say, in 'Einfühlstadel' or thereabout - it can release earthquakes and is based on the principle of earth magnetism from iron magma causing movement of the tectonic plates by having a different rotation than the crust - and a laser cannon beam can shoot down through the crust a local disturbance in this magnetic balance causing an earthquake in zones prone to such response. What they did not know is that the factual effect is semiotic rather than seismic: It shifts the meaning of Giovanni Lanfranco's "Roger arrivé en Bretagne fait descendre Angélique de l'hippogriffe" = DDS part III:34 by a +5 function over onto DDS part III:39 'Von Erde Pol zu Pol' which thereby receives a 'nazi' interpretation by making the 'hippogriff' being understood as the intelligence finger (pressing the earthquake button) being understood as the griff on the hip of Angélique - cp. also the name of 'Ingrid Betancourt' and my cerebral haemorrhage of 2002 - this would have been the background of the 'challenge' of the austrian president to the pope (german 'Papst') during the inauguration ceremony in 2013. Thereby they hoped to achieve the effect of earth magnetism being shifted 'Von Erde Pol zu Pol' - as if the gates to heaven swung open by a magic password. Another 'nazi' effect of this is that the socalled 'indo-germanic' substrate gets under a synchronic squeeze by comparing a holy cow with a 'hippogriff'. The effect is magnified by the earthquake not being +5 (cp. also Caravaggio's 5-step cycle) but rather magnitude +7,8 which takes it from #39 down to #31 line 3 in stanza 1: "Spät dringen wir vorwärts". More precisely, it is the word 'dringen' which has a function comparable with the "plötzlich versteinert" in DDS I:78: Here it be about Lanfranco's artwork to #31 "Norandino and Lucina Discovered by the Ogre" - and it is seen how the essential 'dringen' is in the hand of 'Lucina' moving forwards - not the one in the background but the one under the ogre - when she moves her hand forwards in front of her face it will glide into an apparent 'glove' in the air, just over a split in the sheep under it: Indeed a 'glove in the face on a glittering ball' - and thereby Norandino's forwards-reaching hand is turned into the mighty forces of the ogre's hand. This is the effect of magnification of the forces that can be obtained by such a laser cannon.

'Yamachoba' with Akpinar and wellingtons. The two quakes of magnitude 7 would be #31 "Wie Meinung unentdeckt" - telling that by 'unentdecken' the 'Meinung' (by 'rak ulla') under the ogre, the forbidden laser cannon cannot be discovered.

Alas, an illusion that was. 'Laser cannot' is the agreement from 1955.

Will the planform (since Wannsee 1942) of an 'Einfühlsnadel' dug down under the surface come into reality? We hope not.

Are the quakes 'meaningful' - like expressions of divine and holy wrath? Is that because the collective consciousness feels the geological state of the globe and its quakes in advance, or is it because some intelligence types them in on their keyboard or even has an automated link from the surveillance of the brain of the 'beast of terror' to the seismic activities of the globe? ('The-lens-key' was elected on the day of the terror on 'Sri Lanka', like typing on a keyboard). The 'semiotic' account could give a joint explanation to these alternatives by explaining it in the form of dependencies in the maya - and hence be the field of study of a 'phrase structure technology' - like that invincible drone. It could be 'the reflex of the reflex' (or revelation of the revelation) in the yellow metre - see the TEQ vs DDS version of the 'nude young man' of Lanfranco - that make for both the lefthand and the righthand parentheses in one and the same account.

This could be the third patent (p.1128) from the chapter 'The patent bureau' (p.1125-1128) from 'And hang under the Justcan keys' in 'My mention e Anna' in volume 1.

It is understood that the exposition of this mystery normally would have had a more general and serious taint - but it is a fact that it would remain fluttering in the air if there were not an element of empirical proof present. And what is that? It is the role of Austria - how they struggle for finding a 'foothold' (= 'molecule') on their territory but are constantly suffering under the evidential pressure from the 'zidalweidun': Since this word is not anywhere else attested there is the danger that it could be fraud and hence the territorial rights are falling away - and their foothold therewith. Therefore 'a glove in the face on a glittering ball' and this 'zidalweidun' problem has come to be important for austrian culture. But why? For finding a piece of evidential proof for this third patent mystery. There is of course no other reason for these problems. And that means that as soon as the evidential mystery is revealed - how the yellow-metre 'revelation in the revelation' can lead to the discovery of a 'computationally possible' phrase structure theory and technology - there should be no reason to uphold these problems any longer. This 'revelation of the revelation' could also be closely related to the symmetries discussed in this article.

The 'foothold' could be the essential element. I refer to DDS III:64, the last poem in DDS part III, ending in the following two stanzas:

Hier spricht es die Welt photographisch
als ziehn wir den Fuß übereins.
Wir setzen den Fuß holographisch
im Lande des goldenen Steins.

Wir werden einst nach dem Hause ziehn.
Wir leben für fernere Ziele
auf großer Nachrichten Tausend-Schienen.
Wir stehn auf der trockenen Diele.

3-dimensionally it is the foot of the ogre but 2-dimensionally it is the glove in the face etc. The mystery is the last line. I searched Lanfranco's works on the web for a dry plank and found his mystery painting in Stockholm called 'The death of Seneca'. Is it extremely early experimental art or is a tragically demolished artwork? I find no comments on this. Here is the mystery:

The death of Seneca = volume 4 page 455

It must also be understood what large discoveries these things may be - and they emerge in the interface and interaction between two of my poetic works (TEQ and DDS). It should be recommendable that I get sufficient working conditions. (Put all those old nazi ideas and projects away, please - those are none of my business and nobody has the right to impose those onto my person). And I hope to keep up the present web page.

Continued 23 february 2023:

It seems that this 'Death of Seneca' ascribed to Lanfranco has certain strong similarities with an excerpt from an ex nihilo which I found in my home in Zinckgasse in Vienna. I quote from this file:

The ex nihilo is from 26 june 2019. It is a small plastic item that looks like a crumpled plastic water bottle or something like that - here in larger view and in details:

In my childhood there was also the children's saturday night entertainment on radio called 'Lørdags-barnetimen' ('saturday's children's hour') which here links to the ex nihilo by 'Lør-dachs-vanne[t]-timen' = 'Lør-dachs-water-the-hour'. 'Vanne[t]-i-huse[t]' could also be an interpretation of that water and the quasi book.

The following compares a fragment of the ex nihilo - under the dachs-head, the mouth and running water down to the 'breasts' - with the 'Seneca' artwork (from this source) turned 90 degrees rightwards - and I add also the annotated interpretation of the same in 270 degrees (or turned leftwards) - so show how this possible artwork also exhibits a mirror symmetry relative to the ex nihilo piece:

It is of course natural to speculate if this artwork ascribed to Lanfranco could be a piece of swindle from e.g. the british secret intelligence service MI6 who by the reasoning in this file could seem to be indexed by this ex nihilo. The 'dachs'-head is not included in the 'Lanfranco' artwork. Is this sort of reasoning associated with ideas of 'Mira-leksa' and/or the dog-head which appears when the white stone is revolved - as by the terror (or even recent earthquake) in Syria? If the artwork is authentic and not a piece of swindle, its purpose could have been just that - the ex nihilo symbolism without the doghead. But clearly it could look a little special.

If the recent earthquake of Syria were man-made and served to index the austrian government by way of 'Löhr-dachs-barnetimen', it could be about a related form of symbolism. But, again, I dont know if the 5000 aftershocks is anything within the reach of modern technology.

I quote, though, from Grimm's "Wörterbuch" - (front page) - the fragment 6 from the article 'Diele':

6. brett zu besonderm gebrauch eingerichtet. [...] die kelterdille tabulae torculares Henisch 695. katzendiln kleine altane am giebel eines oberländischen bauernhauses Schmeller 1, 365. käsdiele, auf welche der neue käs gelegt wird, und um welche eine furche geschnitten ist, damit die schotte (nachmolke) herabrinnen kann Stalder 1, 282.

This 'tabulae torculares' (cp. also the 'Wermuth-Weinkellerei') could resemble my 'trockenen Diele' and then the 'nachmolke' could resemble what comes after 'Moltke Moes Vei' in the vision I describe in volume 1 page 157:

X and I are standing on the big square in front of the faculty of arts at the university in Oslo. We are talking about something. Then there appears a tiny little moving spot in the sky. We are talking all the time while this happens. The moving spot starts to grow, first slowly, and then more rapidly as the moving object comes closer. At last I observe what it is: It is an enormeous motorbike, larger than a bus, coming towards us from outer space with extreme speed. It passes just clear of the top of the 12-store university building and crashes into the asphalt in the road intersection at Eventyrveien. It happens as unhesitantly as a meteor coming in from outer space, and makes a huge hole in the road.

The area is shown in this map: The road intersection was the one between Evenyrveien ('Fairy Tale Road') and Nils Henrik Abels Vei - which could be the 'nach-Moltke' compared with the other road intersection - or a 90 degrees turning. (The vision can be seen as relevant to the structure of my DDS). If the quake were terror, it could also have been about pretending that this 'Moltke Mor' = 'Moltke Mother' is the reason why it should be considered permitted to drain the ideas off my work for abuse in the faculty of arts at the university of Oslo. That clearly would not be permitted. There was this old joke told by the official father on Vågstranda in the 1960's (before the replacement that was) about the man who had been picking 'molte' berries on Finnmarksvidda - so much that he tried to beat/whip them in a barrel inside of which he put an outboard motor, but due to the trembling it caused he had to put the structure on a bed but the vibrations made the barrel disintegrate and the motor starting whipping up bedclothes and berries and was hopping dangerously around in bed untill he had to shoot it. It could in principle have been this story which were the background of the helicopter crash in Brovary some time ago - leaving the helicopter rotor in this position after the crash (photo from this source).

The question is then even if this 'nachmolke' is what could have been intended to be understood as what led to the 'furche' (of the 'käsdiele') in the turkish earthquake.

Of course all these things do not grant any permission to the norwegian or other authorities to use my work without crediting me as the source.