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35 starts step store stupid substance suggesting sum survive sweet sword symbol taking talking tape teacher temperature ten therefore third thirty though |
35 Savonarolas tanke Mennesker reiser i rom. Jeg sitter og hviler blant dem og jeg grubler og tenker på om jeg noensinne har gått frem. Fuglene reiser i tid som byggekunstenes hjem. Savonarola var i tanken som tenkte dem. Husene tett i tett bak løvverkets grønne skur skildrer mitt synske vett. Tiden ligger på lur. Dette landskapet skygger sitt grønt og hang med hodene tyngre, forteller om det du nettopp har skjønt at når vi kom frem var vi yngre. Dette landskapet henger sitt brunt som dreier sitt hode om. Rovfuglen kaster sitt legeme rundt mellom det hvite skum. |
35 Savonarola's thought Humans travel in space. I sit and rest among them and I ponder and think if though I have ever progressed. The birds travel in time as the home of the art of building. Savonarola was in the thought that thought them. The houses tightly and tightly behind the foliage's green shed describe my clairvoyant intelligence. The time lies in ambush. This landscape shadows its green and hung with its heads heavier, tells of what you have just understood that when we arrived we were younger. This landscape hangs its brown which turns its head around. The bird of prey throws its body around inbetween the white foam. |
It is because the fundamental theorem tells that logical order and semantic assignment are one and the same thing that one can take the lines of 'Stillhetens åndedrag' in the righthand columns as definitions of the entries of double-words in the lefthand column. What is 'step'? It is when 'humans travel in space'.
Now 'SNEEFT COEIL' contains approximately 1823 lines in chapters 1-7 which are aligned against the 1823 double-words of TEQ books 6-12 and against 1823 event elements that I recorded in Oslo in 1995: There were 163 events in the street outside my home and these contain a total of 1823 event elements. Chapter 8 contains 163 lines which run in parallel with the 163 events - this is why chapter 8 can be seen to be a 'level up' compared with the chapters 1-7 which are in parallel with the 1823 event elements. Vol.4 contains a list of the 166 double-words of TEQ book 5 - and a list of the original order of writing of the 163 lines in chapter 8.
Chapter 7 finds the Catalan number at 0,915... through poem 1: This chapter 7 contains 20 poems - 16 of these have 16 lines and 4 have only 12 lines. That makes for 304 lines. Poem 1 in chapter 8 has 16 lines. To compute the correlate in chapter 8 with its total of 163 lines takes it to
((0,915965 * 16) * 163/304 = line 7,858 in poem 1 of chapter 8.
That is line 8 "du freundlichst war nah". It is the grammatical error which attracts interest: Duden prescribes 'du freundlich warst nah' while I wrote 'du freundlichst war nah'.
Since this chapter has lines correlating with events numbers of 1995, the corresponding event to line 7,858 in chapter 8 is then event 8 which has 29 elements: Multiplying 29 with the constant G takes it to element 26,5 = element 27 which is #331:
|
SNEEFT COEIL du mit diesen Reisen und weißt und treut |
331 332 |
WORD poor position |
1493 1492 |
EVENT - The yellow car stands as I pass, and then it drives past and in front of me. I walk behind it. - Car parked by Sofie's restaurant, to the left in the street: MØKK is written with a finger on its dirty driver seat window |
This is just before #332 which tells of 'weißt und treut' and the writing of 'muck' on a dirty car window = white and black. The list of 1823 elements is mirror symmetric and one looks up 330-331-332 counted from the end - which is in event 121 - corresponding to line 121 in chapter 8:
|
SNEEFT COEIL nachfragend wie ein Kind. |
1492 |
WORD asked |
332 |
EVENT (121) - As I am about to pass the boundary, I see a woman coming down Glükstad's gate towards me. WAY BACK: |
| Man gibt es zu dem Präsident | 1493 | author | 331 | - Nothing in the significant stretch of thee street, but four people in Krumgata outside the dentist mechanic's workshop: A man, a woman, an older woman, all visible, and the speech of a child. |
| Begnadigung zu sehen | 1494 | authority | 330 | - As I step onto the stairs, I turn my headd and look down the street, and catch a glimpse of the child. |
Returning to the list of double-words from TEQ book 5, the entry #121 (corresponding to this event #121) on this list is the word 'says', while the list containing the original order of writing of the lines of chapter 8 (against the eventual order) in SNEEFT COEIL tells that line #121 is written as #118 and line #125 is written as #121: These lines 121 and 125 are lines 6 and 10 in poem 8:
Line 6 = ist in diesem Leben letzt (originally written as #118)
Line 10 = ...sechzehn wechselt mit sechzig... (originally written as #121)
Now returning to the list of double-words in TEQ book 5, assuming, as suggests line 10, that 60 interchanges with 16, I found that on this list entry 16 = 'call' and entry 60 = 'identical'. But this is just what the spirit does when it - according to the fundamental theorem of linguistics - identifies two items from two different realities as one and the same - which then is considered material body - it 'calls identical' - while the difference between them is relegated to the constitution of soul or semiotic 'meaning'.
(Some unfortunate politics has made the mistake of believing that the call for the identical means replacing a person with an engineered copy - and presents this as 'heaven on earth'. That is a very deplorable mistake).
Now the sum of this comes to be 'says call identical' - or simply 'says a new SNEEFT COEIL' - the words for the self-.referential Catalan number of chapter 7. It thereby suggests that a SNEEFT COEIL can be understood as that item from one reality which the spirit recognizes as the same as one from another reality.
The third principle
This chapter is called 'Die Verwandlung (Unter vier Wänden)'. It contains 16 poems which are assigned to national characteristics of the languages of 16 european countries. The example is the hungarian language with its code word 'hymen'. See also this file on the Beachy Head cliff fall for the estonian example. It is probable that some 'national parametre' in natural language exists and that this somehow regulates the interface between subjective and collective memory and cognition.
My guess is that the chapter 'Die Verwandlung' is about the change that takes place when the Metaphysics of 2 and only 2 (by the fundamental theorem) turns into History with 3 or more - for the distributional semantics of TEQ book 14. In contrast, 2 and only 2 is the semantics established by recognition of 2 metaphysical items as one - which gives shape to the human psyche and is something else than categorization and classification. When only 2, one can draw one and only one straight line through it - when 3 one can draw one and only one circle through them. These are contained in the lapis philosophorum which I made in 2014:
The lapis was found in the drainhole of the kitchen sink. Die Verwandlung is the turn from 2 on the lefthand side of the diagonal - the man and the woman - and the third on the righthand side of it. It is the boy who pulls the wagon with the man on it. Both male and female archetypes cross the street - and in the dogs paradox inbetween ('My mention e Anna') the dogs dig a hole which comes to contain water, probably coming from the rope that goes under the fence from the tree
. The mystery is that the water is the light. It comes from the tree = the triangle under the man on the lapis, it crosses the fence = the diagonal and goes into the space. It is the zigzag form of egyptian hieroglyphs - crossing the diagonal along the lower line of the square - which tells that the water is below the eyes of the man:
Could be this paradox is the squaring of the circle.
S NEEFT COEIL
SQUARED CIRCLE?
If you fold the stone along the mid line, the righthand side of the square, you will get a sort of squared circle - and the boy will share views (and woman) with the man. If you fold the word COEIL over along the word SNEEFT, you get something resembling the CHRIST with a JESUS on the crossover.
The diagonal is the rope with which the boy pulls the wagon across the street. The square is the curbstone into which the wagon slams - as if the wheel of the wagon suddenly turned square - before it lifts itself up by magic force contradicting even the law of gravitation. That is because the square is a little higher up than the circle. It is a LIFTED COEIL.
Hence the curbstone is the squaring of the circle. The man on the wagon does not say anything - but he gave me a friendly look in return for me waiting for him to cross.
The first thing one sees when meeting the man-on-wagon is when one spots in the corner of the eye the boy lifting a finger on the other side of the street - to catch your attention. In the moment when one turns the head to look what it is, he starts running across the street with the wagon after him in a rope. This finger could be the erection in the square - approximately on the position of the golden ratio in the vertical dimension. That ratio is 0,618: Computing this for the first poem in chapter 6 one finds
in meinen Fenster-Rahmen hinein
als gleitet die Vision von meinen Au[gen]
while the same position in chapter 7 is
Das Essen ist das schnelle Licht.
Das Trinken ist der We[in].
This tells why the faculty of vision is the water - or the wine. It is installed in christian holy communion.
The catalan number is believed to be transcendental or irrational - that is (probably) a matter of definition by cantorian diagonals of notation. In the present case the 'transcendence' or 'irrationality' can be said to emerge from notation issues by the comparison of the alphabetic script with the decimal notation of the catalan number: If it were to be notated with 26-imal notation of the latin alphabet, it would not resemble my poem at all - not the least because it would be much shorter or 'denser'. Hence the paradox which can be recognized as 'transcendence' or 'irrationality'. This proof is 'poetic' and 'intuitive' more than strictly formalistic - it is based on the fact that the 20 poems in my chapter 7 run through the poetic-semiotic definitions of the numbers in natural language from 0 to 20 and that is when the isomorphy with the decimal notation occurs. But what is so holy about decimal notation? It is the 10 fingers of the working hand and the 1000 years of the blue metre - which defines the interface between collective historic and subjective consciousness - that is, precisely where the 'national' parametre of language must be situated. But that is just where the chapter 6 is.
I notice also that by decimal notation there are 333 digits from the beginning to the end of the self-referential string in the Catalan number, including the comma as a third it goes thrice up to 1000 = 10*10*10. That is perhaps something.
The number 'π' is also proven to be transcendental, and the natural logarithm base 'e' likewise. The 'π' is in the circle while the 'e' is in the lapis philosophorum itself.
The fourth principle
Chapter 5 contains 32 poems, the double of the more usual 16. I multiply the Catalan number with 2 and get 1,83193 from which I subtract the first poem 1 - that leaves 0,83193 which is multiplied with the 12 lines of poem 2 - for nearly 10. It is 9,98... but since the chapter is called 'Ich ginge aus zu Breleon' it can count as 10 when seen through the berylls. This line 10 = "'Wie heilig ist Judas doch auch!'" which looks like a cantorian diagonal.
The cantorian diagonal is based on the possibility of proving that an adjectival quality can be negated and from this conclude that the negative of the adjectival quality exists. If the set is countable, then so-and-so, but since so-and-so does not obtain, it follows that the set has the quality uncountable - that is, that 'bigger than normal infinity' exists. Like letting a drop of red into the infinite green ocean and from this conclude that 'the ocean is no longer green - hence it is red'. But this is all and only about the epistemological status of the adjective ('countable'). It can perhaps be argued that "der Mensch wenn er ist", with temporal-conditional ambiguity, is a hallmark of adjectivism - which likewise can be recognized as the same as the status of being witness. But that is just Judas - the very Witness of dubious quality.
What goes out to these Breleons is the light that goes out from the eyes. Or it is the faculty of vision that goes out into the eyes.
Chapter 4 likewise has 32 poems and is the mirror to chapter 5. I compute in the same way (G*2)-1 = 0,83193 times the 8 lines of poem 2 = line 6,66 = 'Wirkichkeit lebt' in line 7. That is the story of the witness and the constitution of the human reality. Computing the same from the end takes it to the line 'am hinten ist es schnell' - which is an easy reading of 'wenn er ist der schneM'. Cp. also the form 'Schnee der dunkle 2-3'E' from chapter 3.
Chapter 1 is about the 'Wahrnehmungen'.
Summary of the four principles
|
1) G = 0,915... ... G... 2) Call identical on higher level: G = 0,915......G...? 3) Squared circle = unsolvable by euclidean tools 4) Holy Judas! = cantorian diagonal |
= recursion = recursion = transcendental/irrational = transcendental/irrational |
This suggests that (e.g.) the Catalan constant as a 'transcendental number' (determined by Cantor-diagonal method) could be the secret nexus between language and mathematical number.
General considerations
The Catalan complex described here tells of the semiotic nexus between language and number. That the number may be transcendental means that it exists and is not algebraic - that means it cannot be written as a polynomial with rational coefficients. The proof that such numbers exist is the normal symbol manipulation style of a cantorian diagonal: If all such polynomials can be listed, then one takes the diagonal which is not in the list - hence transcendental numbers exist - is the logic.
But isnt this somewhat nonsense? The logic would be based on the idea that number is the same as a series of symbols - but then one finds a number that cannot be squeezed into these series of symbols and therefore cannot be written down. But doesnt that rather mean that 'a series of symbols' is not a goodenough definition of number? Modern mathematics is perhaps much the art of moving symbols around on paper.
It seems to be about a paradox based on the involvement of perception on the border between matter and soul - the very borderline between the 'call identical' turning into matter and the surplus soul or semiotic meaning. The present study suggests that the ratio between matter and soul in this sense of it is the Catalan number - and that this number also tells of the border between number and natural language: It is a number which cannot really decide if it is a number or only an obscurely written language.
It is likely that the cantorian diagonal tells of this border more than strictly speaking any bizarre uncountable sets - that is, that a transfinite number tells of the soul rather than the countable numbers which can be represented on visible paper. Then the diagonal makes sense - as on the lapis philosophorum. My fundamental theorem of linguistics tells that different realities exist - and that is what the cantorian diagonal tries to tell as well: Some numbers can be ordered in this reality but not all, and those which cannot be ordered belong to another reality. It means that numbers exist which cannot be written on material paper.
It is probable that conditional entropies can be used for describing the affinities between realities.
Conclusion
The story can be said to be 'if you could explain it' = 'om du kunne forklare det' = 'wenn Sie es erklären könnten'. This is 'der Mensch wenn er ist' = when the psyche is turned into stone - which can be folded to the squaring of the circle.
PS It can perhaps be considered trivialities that these observations on the parallel of my poems with the number of Catalan obtain for decimal notation and german language. Or maybe it is not so uninteresting?
Added on 18 august 2019: As is seen from the article, my poetry can come to lead to a new information technology which even can come to allow for communication with remote intelligences. But that is only because of my poetry. Could somebody please help me get my rucksack with the poetic notebooks back? It is particularly worrying if it has been stolen by political interests for abuse in the upcoming election. There could be international interests more than only local independent ones who use terror. Simon Walther Hauge (who died in 1980) once told me that he had travelled 'on the thumb' to Copenhagen for finding a violin teacher in his youth. He was a good violinist but worked as a farmer because, as he said, he was 'too bound to the earth' to be a professional violinist.
Notebooks are in the news. I forgot the rucksack in a church on 3 august 2019 and when I came back a good hour later it was gone. Jeffrey Epstein died a week later, for whatever reason.
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The author thanks the friendly white cat who gave me the cue to this discovery
© John Bjarne Grover
On the web 15 august 2019
Last updated 18 august 2019