Letter to CICAP
John Bjarne Grover
Vienna 7 march 2016
To CICAP
Padova, Italy
I see from the internet that you are concerned with studies in peripheral para- or pseudo-phenomena and I can report the formation in 2014 of what probably is a 'lapis philosophorum' - as a piece of matter ex nihilo - resulting from my work with a book of poetry. It occurred at the end of the writing of 64 poems of 16 lines each - and, as it later turned out to be the case, each title of these 64 poems interprets a Caravaggio painting by some essential aspect of observation immediately above the head of a central character in each painting as the HI value - and each poem under the title interprets a LO value of another work in Caravaggio's oevre (see end of this letter). The book" - called Linien die prägen die Sternen über uns" - enters into a large structure of books which interpret the human semiotic constitution, but it is this extra-literary evidence from Caravaggio which can serve as a proof that there is an interesting metaphysical basis for the extraliterary 'lapis'.
I found it in my kitchen sink after a long period (some weeks/months) of strange behaviour of the salt - it had started producing water which rose even above the top level of the salt in a container - and after I had found the stone the water level started falling again.
The story had been pre-heralded in 2006 when one morning I heard something fall down in the bathtub and it was a 'potato peel filter' of the 'stonehenge' type one has in kitchen sinks. See johnbjarnegrover.com/matter.htm. I could find no rational explanation to its origin (no shelf or anything wherefrom it could have been ejected by rational senses). The 'filter' landed on a line between light and shadow in the tub - with 180 degrees on each side of the line - the shadow came from the top edge of the tub from the light source over the bathroom sink. When I found the lapis, it was in the corner of the sinkhole where such a filter otherwise normally would be found. I had no such potato filter in the house neither in 2006 nor in 2014.
See johnbjarnegrover.com/recursivesamples.htm for photos of the 'lapis' - which traditionally should consist in incombustible sulphur, salt and mercury. The one I found contains some shadows of apparent symbolism - dark spots (of 'mercury'?) and 'impressions' here and there which seem to tell of the essential christian symbols: The man with the upwards-pointing nose = resurrection, the mountain (calvary?), the sleeping sheep or is it eagle (Christ), the diagonal line (son of God) etc. That makes sense for the traditional view that the lapis is Christ himself, in some sense of it, could be in the sense of transubstantiation in terms of 'matter ex nihilo' like the holy biscuit. As far as I have understood from very superficial studies (leafing in books), the vedic SOMA should be of a comparable type when it was crushed in mortars and drunk by the community in juices.
The time before I found the lapis was crammed with 'matter ex nihilo' - typically small pieces of dirt and other things found often on the floor. Could be this was about my unfortunate role as 'wordless krepper' for a political intrigue that could involve names such as the Clintons and Tony Blair and Gordon Brown. But some of the pieces I had found was of a high level of articulation and seemed to derive directly from poetry I wrote or had written not so long before - such as the 'wigwam' or the sad 'language philosopher': The latter tells that language consist of two interlocking loops (or möbius strips) which I later found as part of the semiotic constitution of the work which the 64 poems were part of. The wave of 'matter ex nihilo' had reached a climax around mid 2014 and the 'lapis' could be seen to be a part of the 'breaker' - before it calmed down. I still find a few things now and then but try to get out of the Fausty trap. The most impressive I found was a horned beetle which took place in front of my eyes on the point 75-25 on the coordinate system of the 'cutting plate' I have on the table surface. I also found the 'elf-reade jelly-neck' when turning a page in a book I was reading and a sizable clot of humid and fresh jelly attached under the page I was turning - but there were no traces of it on the page it was lifted from and this was a very impressive proof that it had taken shape in the moment when I started the page turn. The yellow plastic flower (of the type which can be put on whipped cream - foamy! - birthday cakes) under the shoe was also quite impressive - since it co-occurred with the 'indian' ('mud graphics' style but in a white matter on a green surface pad) who seems to be looking up under a low surface ('det går vel så vidt det er' in norwegian language - [ADDED LATER, not included in the letter: it must be added, though, that this norwegian line did not come to my mind untill the day after I had made mention and probably added photo of the flower on my home computer, and it may be that the line is not really my flower]).
One notices the similarity with the 'potato peel filter' from 2006. I had bought the shoes some days earlier and used them constantly since then when outdoors - and the door was bolted at night. I had found a 'stigma' symbol inside another but similar shoe some time earlier, on the inner sole but same place as this flower underneath, and believed first that it had been pasted in there by the shoe factory, but it was after I found the same stigma symbol on a piece of fine wood (see the internet page johnbjarnegrover.com/recursivesamples.htm) that it seemed to be of this strange type. These 'stigma' symbols told of the phenomenon of two and only two occurrences of 'the same'.
In short, the matter was falling ex nihilo in quite impressive amounts around that time - but it seems and I hope that I will succeed in getting out of the maelstrom without landing in a state of extreme exhaustion.
I have to mention the 'turkey' or what it is called - one day (not so long ago) I found that I had stepped on an apparent piece of excrement on the side edge of the shoe and it was smeared out on a floortile in the entrance room, and I believed it could have come from outside untill I discovered the source of it on the bathroom rug where it looked as if it had been pressed out from a tube like brown shoe polish. It could not have come from me and retained that perfect tube-out form - or from other beings indoors. It had a foamy character and apparently no smell. It is this which could be the secret called 'skum-bæsj klinten' and could be a secret of the Clinton campaign relative to my person since 1972 (johnbjarnegrover.com/cork.htm). I have absolutely no problems with dumping all that in the public space - and do not want to be associated in particular with the terror-driven political power that seems to be accumulated thereby. Clearly I very much hope that terror-affiliated political elements do not come to any constitutional power in America or elsewhere.
The reason why my person could have been pulled into these problems - totally against my will and intention and participation - would have been in the custody parenthood of the person who could have been Josef Mengele during the war - if he escaped to Norway and took on the identity of John Jensen Grøver from 1946 onwards. I have now come across - by own search and translation - the poem of Du Fu which could have been the source of much of this history - with the chinese sign FENG in the sense of 'Phoenix' or (without a crossbar) 'wind'. It is in the middle of the series of signs jian-dao-gui-feng-xiang which could have been the origin of these names of his identity. A 'Feng' seems to be translated a 'phoenix swirling overhead' and could even have been (by this poem) the origin of the idea of the 'peacock' throne of the shah of Persia: The youngest daughter Leila of the shah was born om 27 march 1970 and the shah himself died on 27 july 1980 - exactly 4 years after the earthquake of Tangshan ('tongs of the shah'). My official custody father Grøver/'Mengele' officially died on 27 november 1990 - which completes the 'tongs' by being in the exact mirror point to the birth of Leila around the death of the shah. It was also exactly 160 years after the Madonna revelation in Paris in 1830 - and hence it doesnt look much like a coincidence. The 'tongs of the shah' could perhaps be conceived as the cross inside the square of the symbol FENG for the socalled 'phoenix' - swirling overhead.
These official custody parents never told me anything - and as late as the year 2000 I still believed that they - and I myself - were just extremely normal people from a norwegian background. But they told me a lot of 'cues' which were nuts I could break later. One of these was a story he told of a person who in a crowd of people started pointing upwards in the air - pointing and looking up - and people around him naturally started looking for the strange object up there, untill the whole crowd stood looking up and waiting for the 'revelation' or whatever - a 'Phoenix' perhaps. In norwegian language this could be called 'KIKOP' - and it is of course possible that he wanted to tell me of the 'CICAP'.
If the ontological status and form of 'skum-bæsj klinten' ('foam-excrement smeared-out') as a piece of 'matter ex nihilo' is of essential importance for the launch of Hillary Clinton, the immensely important question could be: Is this sort and form of matter ex nihilo verified or attested more or less officially by anybody? There was the 'Eurovision Song Contest' winner of 2014 with the song 'Rise like a phoenix' and a 'drag' performance which could have been about a 'drop and drag' phenomenon of this type. But to whom can I turn to find out whether the phenomenon is attested by others - and not only by me myself? If it is attested by others, that could give a basis for claims of a systematic abuse relation of Clinton relative to my historic person since 1972-73. It is a theory of mine that such matter ex nihilo is characterized by a peculiar identity FORM = MATTER, that is, if it is a certain matter then it is also always of a certain form - such as that assumed triadic chemical composition of the lapis always co-occurring with its special form of christian symbolism. This means that if foam-excrement exists, then its form or occurrence of 'klinten' = 'smeared out' also necessarily co-occurs with it. However, who has any knowledge of this?
"Try CICAP" - could be that is what he wanted to tell - could be in particular since that could have left his footprint on this faint possibility - which thereby perhaps would be uninteresting for me since it meant that CICAP would be on 'their side'. (I also got a book of Eco for christmas from them - could be they wanted to tell that 'he is one of our guys').
Could be the question is not so vital for me after all since it seems that I have solved the historic problem myself in terms of the 'blue metre' (johnbjarnegrover.com/bluemetreagain.htm, johnbjarnegrover.com/bluemetreinpolitics.htm) which makes the whole political intrigue antiquated and uninteresting for future administration. This 'blue metre' tells that the phenomenon of 'divine observation platform' (the spectacled divine man-on-wagon crossing the street and lifting up on the curbstone) is the same as the 'cross' inside the FENG square for the Phoenix above - and the same as Hitler's swastika and much else. It is the blue metre which can show that when political administrations tend to group on the political map in formations that resemble these crosses or swastikas, then it is only a special case (function 4 out of at least 14) as part of the blue metre - and it is the fear of this which makes NASA produce such apparently strange reports from their space explorations. The blue metre is contained in my book "POLAKK English Bloggi" - and I had just written the title to it when the top 100 of the polish administration seem to have crashed in Smolensk in 2010. Clearly the political panic about the blue metre turning out to be a general format for the 'phoenix' and 'swastika' and other things is about a very great change in the status of political power. It is therefore possible that the question whether anybody else has heared about 'skum-bæsj klinten' ('foam-excrement smeared-out') or not is not so vital any longer. My view is that the theoretic corollaries to the finding of the 'blue metre' in 2010 is more than enough for the whole power intrigue to be packed down - whether matter ex nihilo exists and can be verified or not.
It is the 'human big obligatoriness' which calls for the work it takes to articulate this letter - and to put a copy of it out on the internet.
To support the credibility of the apparent 'lapis philosophorum' I found, I add to this the following two observations on my 'Dornenstrauch' book - of which it seems that it was the 3rd part that released the 'lapis':
1) Part 3 is the 'immanent' part that 'takes down into history' the effect of part 1 (294 poems - a 'catalogue of mysteries') and part 2 (64 +2 poems - the 'transcendent' part). It seems that independent evidence of such 'transcendence' can be obtained from a comparison with the Rigveda - and the parallels from Genesis. See the article johnbjarnegrover.com/rainbow.htm for details.
2) Part 3 'Linien die prägen die Sternen über uns' in extension from this receives another kind of independent evidence in the form of Caravaggio's total work - or at least those works of his which are generally accepted as authentic. It seems that each poem has a HI interpretation of the title (and generally the rest of the poem as well) in an element just above the head of a central character on the artworks - see e.g. poem 37 'Gegen das runde Licht' which has its interpretation in 'The Judas kiss' with the round lamp right over the head of one of the soldiers. There is also to each poem a LO interpretation of another of his works - typically an aspect of a lower type on the artworks. There are only four poems which has the same artwork for HI and LO. The 'Annunciation' has a HI interpretation in #48, 'Das Trennen von dem Mann', title telling of what is immediately above the head of the Madonna (the finger dividing off from the hand), and a LO in #32 'Materienlos wie Sprache', the immaterial slough at the bottom of the artwork. The 'Flight to Egypt' is HI #44 (over the head of Jesus) and LO #12. 'Madonna dei pellegrini' is HI #64 and LO #48. As is seen, there is even an abstract underlying logic in ther distribution of HI vs LO which allows for HI = LO in #4, #20, #36 and #52 - that is, with intervals +16 - and, generally, the HI and LO are aligned regularly with displacement interval +5 - like the indian's sunflower under the shoe. One naturally wonders if HI = LO means FORM = MATTER for the case of 'matter ex nihilo' - such as this 'lapis philosophorum'. I notice the 'drag and drop' taint of Caravaggio's #20 'Calling of Matthew'. It is important to notice that I wrote the poems first and discovered this phenomenon only much later - and my studies in Caravaggio had been only rudimentary and superficial. Could be one could find other artists of similar interest as well. The following list leaves a few details open and there is room for other solutions - I leave it as it is nevertheless - with displacement factor +5 between HI and LO:
| No. | 'Linien' title | Caravaggio HI | Caravaggio LO |
| 1 | Aufgehängt wie ein Kleiderschrank | St. John the baptist | Martha und Magdalena (1595) |
| 2 | Die Kleider über den Schatten | Emmaus 1602 | Crucifixion of St.Andreas |
| 3 | Das Griechische ist ohne Rache | Emmaus 1606 | Lazarus resurrection |
| 4 | Mit plötzlicher britisch | David with the head of Goliath (1609-10) | David with the head of Goliath (1609-10) |
| 5 | Die sprechen eine fremde Sprache | St.Francis receives the stigmata | 7 works of mercy |
| 6 | Wir sehen was wir gestern sahn | Thomas | The holy Katharina of Alexandria (1600) |
| 7 | Der Himmel ist uns heute nah | Lute player | Alof di Wignacourt w/ pagen - vs alone? |
| 8 | Rasch erzählt | Concert of youth | Medusa |
| 9 | Fräulein fährt auf rasche Linien | Peter's denial | St.Francis receives the stigmata |
| 10 | Hinter der Mauer, doch, die graue | The martyrdom of Matthew | Bacchus with grapes in hand |
| 11 | Durch die Welt | The cheaters (Falschspieler, I bari) | Crucifixion of Peter? |
| 12 | Die all-wandernden Pferde | (Conv of Paul 1/2???) Matteo? Flogge? | Rest on the flight to Egypt |
| 13 | In schönem Ringturms Gang | Sacrifice of Isaac | Carracci: Mary's Ascension |
| 14 | Die gehen auf der Erde | Boy bit by lizard | Thomas |
| 15 | Wo wahre Liebe an es fängt | Madonna dei Palafrenieri | Judith and Holofernes |
| 16 | In Straßenkreuzungen es hängt | Flagellation of Christ | Narcissus |
| 17 | Der Liebe schneller Blitz | 7 works of mercy | Buona ventura 1596-97 |
| 18 | Wie sie es auch verstände | Bacchus with grapes in hand | Madonna del Rosario |
| 19 | Des harten Zufalls Witz | Judith and Holofernes | Lute player |
| 20 | So hängt es an den Wänden | Calling of Matthew | Calling of Matthew |
| 21 | Unter dem Marmor- Bund | Jupiter, Neptune and Pluto | Salome and the baptist's head (1610) |
| 22 | Man fühlt es als Beschwerde | Salome and baptist head (1609) | Burial of Christ |
| 23 | Bei Tisches bronznem Fuß | Regretting Mary | Burial of St.Lucia |
| 24 | Man setzt den Fuß auf Erde | St.John the Baptist | Concert of youth |
| 25 | Wo Lilienblätter ruhen | The conversion of Paul (1601) | Jupiter, Neptune and Pluto |
| 26 | Als Wasserflächen schmiegen sich | The conversion of Paul (1602) | John the Baptist (1609) |
| 27 | Wie Wasserlilien tun | (Ragazzo con) Canestra di frutta = 2x | Incoronazione di spine??? |
| 28 | Mysterien offenbaren sich | St.Gerolamo writing | Sleeping Amor |
| 29 | Wenn beide zwei sind nur wie eins | Martha und Magdalena (1595) | Peter's denial |
| 30 | Es kann die beide zwei nicht sein | The holy Katharina of Alexandria (1600) | Salome and baptist head (1609) |
| 31 | Wie Meinung unentdeckt | Crucifixion of Peter? | Birth w Lorenzo & Franciscus |
| 32 | Materienlos wie Sprache | Narcissus | Annunciation |
| 33 | Die sich in Luft versteckt | Salome and the baptist's head (1610) | Maffeo Barberini |
| 34 | Es ist die runde Sache | John the Baptist (1609) | The martyrdom of Matthew |
| 35 | Wie Wörter in Gedicht | Birth with Lorenzo and Francesco | Regretting Mary |
| 36 | Das will das Selbst beleidigen | St.Frances in meditation (1607) | St.Frances in meditation (1607) |
| 37 | Gegen das runde Licht | The Judas kiss | St.John the baptist (1610) |
| 38 | Wie kann man sich verteidigen | Martyrdom of St.Ursula | David and Goliath 1599 |
| 39 | Von Erde Pol zu Pol | St.Frances in meditation (1606) ??? | The cheaters (Falschspieler, I bari) |
| 40 | Wie Schatten als sie fielen | Buona ventura 1596 | St.John the Baptist |
| 41 | Mit Zusammenhängen wohl | Shepherds admiration | The Judas kiss |
| 42 | Zusammenhänge spielen | Crucifixion of St.Andreas | Matthew and angel |
| 43 | In kleiner Kinder Spiel | Alof di Wignacourt w/ pagen - vs alone? | Decollazione del Battista |
| 44 | In des Türkises Stiel | Rest on the flight to Egypt | (Conv of Paul 1/2???) Matteo? Flogge? |
| 45 | Und wo der Ring erzählte es | Buona ventura 1596-97 | The conversion of Paul (1601) |
| 46 | Auf dieser Ecke Rand | Burial of Christ | Martyrdom of St.Ursula |
| 47 | Dieselbe Liebe fehlte es | Incoronazione di spine??? | Death of the virgin |
| 48 | Das Trennen von dem Mann | Annunciation | Madonna dei Pellegrini (1605) |
| 49 | Der Herbst hat angefangen schon | St.John the baptist (1610) | Sacrifice of Isaac |
| 50 | Zu lassen Tauben Flug | Matthew and angel | The conversion of Paul (1602) |
| 51 | Als wären sie der Farben Fron | Death of the virgin | St.Frances in meditation (1606) ??? |
| 52 | Das schöne Laubwerk trug | Victorious Amor | Victorious Amor |
| 53 | Und eben Hunde wissen es | San Gerolamo scrivente 1607-08 | St. John the baptist |
| 54 | Ist nun der Anfang in dem Selbst | Bacchus??? | Boy bit by lizard |
| 55 | Und warum ist die Liebe | Lazarus resurrection | (Ragazzo con) Canestra di frutta = 2x |
| 56 | Das Fräulein mit den grünen Hosen | Medusa | Buona ventura 1596 |
| 57 | Ists mir wohl gesehen | Carracci: Mary's Ascension | San Gerolamo scrivente 1607-08 |
| 58 | Es fährt vorbei, die Rosen | Madonna del Rosario | Emmaus 1602 |
| 59 | In dieser Landschaft stehend | Burial of St.Lucia | Madonna dei Palafrenieri |
| 60 | Schlaf überkommt mich, Schlaf und Schlaf | Sleeping Amor | St.Gerolamo writing |
| 61 | In meinem Schwarz- Anzug | Maffeo Barberini | Shepherds adoration |
| 62 | Schaf nennt man es, Schaf und Schaf | David and Goliath 1599 | Bacchus??? |
| 63 | Dass die Erde trug | Decollazione del Battista | Emmaus 1606 |
| 64 | Schnell fahren wir auf den Schienen | Madonna dei Pellegrini (1605) | Flagellation of Christ |
The conclusion is, it seems to me, that Caravaggio has been concerned with the same metaphysical complex and that is the reason for the correlations. Further support for the theory of an independency of my poems relative to Caravaggio comes from the observation of symmetries - both semantic and phonological - in the 64 poems of 'Linien' - in halves (1-32 against 33-64), quarters, eighths etc. This as well as the evidence from Rigveda should suffice for the assumption that the theory that it could be about a real and authentic 'lapis philosophorum' as matter created 'ex nihilo' deserves serious attention.
Thanks and with best wishes,
John Bjarne Grover
Pf.15
1152 Vienna
Austria
Email: see Contact page
(but it is possible that my postal connections are censored - see the article johnbjarnegrover.com/bluemetreinpolitics.htm on this).
I enclose part 3 with its 64 poems relevant for the study of the correlations with Caravaggio.
© John Bjarne Grover
On the web 7 march 2016