The submorphemic sign reconsidered
John Bjarne Grover
This article is written in the continuation of
this study of some parallel texts in my 'The Endmorgan Quartet', followed by comments of
2 november 2022,
3 november 2022,
4 november 2022 and
11 november 2022
My PhD dissertation 'A waist of time' is given in volume 3 of my collected works. I have repeatedly pointed to the significance in the pages 82-85 wherein there is a discussion of 'the submorphemic sign reconsidered' which is recommendable for a theory on the nature of the submorphemic sign - and now I once again point to the importance of these pages for an understanding of the nature of and the theoretic status that can be assigned to these inner poetic articulations - could be also on how they relate to e.g. the apparition of Knock discussed in this file. It is seen on p.84 of this vol.3 that the period of attachment with irregular submorphemic assignment in child language acquisition can be characterized two important aspects:
1) social features are relegated to dialogue, while
2) sensorially perceptual features are relegated to reference
It is, as I repeat it once more, this which is the important transform: It could mean that if what here is called 'social features' are considered the structure in the acoustic reality between the handwriting and the Bible/Talmud quotes ('social' here because child signification is the suggestive framework of understanding), the inner poetic articulation is part of a dialogue with the divine or poetic realm. In the inner poetic articulation, it is the divine-poetic which addresses the poet in a dialogic movement from the metaphysics to the physics, and when that movement is precisely what creates referential objects when the 2 metaphysical 'items' are recognized as 1 and thereby a sensorially perceptual-referential object is formed along with a linguistic item ('labelling' it) which serves to maintain the integrity of the 'primordial' difference between the original 2 metaphysical items or realities (this means that the human semiotic constitution is characterized by this 'bias' of two metaphysical states being reshaped into one referential object and one linguistic name on it - and this 'bias' being the essential difference between metaphysics and physics), then the mystic conversion takes place when it is realized that for the human mind and reality the acoustic form of the linguistic item is just as sensorially referential as the referred-to object is. But that is just when the human mind enters into a dialogue with the 'divine addressor' and the turn-taking is recognized as this transform of the dialogic utterance from linguistic labelling to referential object. It is with this switch of status that the primordial unity can be regained and the human bias overcome - in the constitution of the acoustic reality as the nature of the realm between (in my work) the handwritten manuscript and the quotes from the Bible and Talmud.
This transform - from linguistic form to referential object - is probably the same as the bending of the divining rod that must have been used for finding water in Arawane in Western Sahara.
'Attachment' (in this sense of child languag acquisition in a period of transitional irregular submorphic status) is then a modern 'socio' term for 'mystic rapture' if the theory of my book applies to the mystic quest. Otherwise the mystic quest is of course the opposite of social 'attachment'.
For the apparition of Knock 1879, these theoretic components are shown by the '2' in the finger sign (also for the 'handwritten' state) and the printed Bible book of John the evangelist (being between the fingers sign and the book). The ambiguity in the turntaking transform is then shown in the form of an ambiguous status of the book - it can be either the printed Bible or the handwritten manuscript. This transform furthermore applies to the whole apparition: Mary looks up in the devotional engagement of the dialogue into which she is 'attached' in transformational ambiguity of the left and right between which she measures the 'bias' and transform of it, Josef narrows the distance to null or identity as in the fundamental theorem of logic/statistics (the equation of 'attachment' entropies), while the lamb on the altar is the transform itself - as in the christian mysticism (based on jewish philosophy) of Christ being both divine and human.
Then what are the angels? They are what makes for the motion or movement in the transform. The change of the house is then the 'dialogic' transform of the gable of the church, the wall itself, and the 'changes' would then be constituted by the 'ber' of Josef and the 'virgin'. This was also reported by some of the witnesses to the apparition - they believed that the priest had acquired embellishment for the church but left them outside. The apparition could therefore be seen (from the viewpoint of my TEQ) as the turntaking in the dialogic constitution of the text. 'Gred' is then simply the cross behind the lamb on the altar - constituted by the interdependent ('attached') logical order and semantic assignment, the syntagm and the paradigm which I first discovered in the study of the double-words between TEQ and the white-metre 'Stillhetens åndedrag' - see this file, search for 'Comment on the alternative title "Stillhetens åndedrag"'. As in Knock, not all witnesses saw that the white 'likenesses' moved faintly back and forth in a 'stillness' like a respiratory movement - but some of them did - could be those who did not were those who felt that it was proper to keep some respectful distance.
In fact the apparition of Knock can be recognized in some aspects in poem #1 of "Stillhetens åndedrag". It was on 21 august, just at the time of sunset. "Calls the Lord those mouths / you see it as it was" = the dialogic character. "...counts she the clouds' way" = one of the witnesses mentions the wind from the west. Another of them mentions that a 'Mrs.Campbell' was in the condition of dying.
'Solens pike' could then be the golden crown on the head of the madonna - in dialogic counterpoint to my own probably ex nihilo spike of 'ancient' iron in the sole of my shoe soon after I had completed this book in september 2016: 'Sålens spiker' this is called in 'norwegian' = 'norsk' = 'noshk' language. In fact one of the witnesses tells that the madonna was the tallest of the three characters - and hence the golden crown would be the top line or 'title' to the poem. But the madonna is also said, by one of the witnesses, the one who studied her in perhaps most detail and on the closest distance (one foot), to have a 'rose' attached just below the golden crown, like a 'third eye', so to speak: That could be the counterpoint book 'Rosens triangel' - which reads the poems in counterpoint from the end to the beginning relative to the beginning-to-end of "Stillhetens åndedrag". Harmony and counterpoint relate to each other approximately like paradigm and syntagm or semantic assignment and logical order.
John the evangelist wears a 'mitre' on his head, tell the witnesses - could be the 'mitre' even was a 'white mitre' or 'white metre'. It would be the counterpoint to the golden crown of the madonna.
Knock could then be a white-metre version of the yellow-metre Dornenstrauch: The silent and nearly immovable vision of substance or referential objects in the white metre vs the speech of the divine voice in the thornbush of Moses = the yellow metre.
If one should think of the apparition of Knock in 1879 in the sense of being a dialogic counterpoint or response to my TEQ and the metres, then it is also possible to think (suggestively) of much inbetween history as 'controlling' or 'influencing' the form of my book - such as by an Adolf Hitler in the role of Josef. See also the John Grover 1823 and 1843 of British Library - whether these be authentic or not. My poem about the 'Endmorgan' contains a dialogic character referred to in "Let me just consider the kind nature of your inquiry" and the sculpture-like apparition in the "stuffer/staffer".
I notice that the dialogic character is the basis also for the brief outline of the theory in volume 3 page 16, such as by "This reference to the social space is attested in what seems to be a universal tendency for the formal exposition of grammatical person".
It is possible the 'the submorphemic sign reconsidered' could consist in the simple reinterpretation of 'the social component' in the triadic sign as being in reference of 'the acoustic reality'. Which does not mean that the acoustic reality is the same as 'the social space'.
The conclusion is that if one should consider Knock an apparition 'generated' by my book, then why could one not consider even Christ himself to have been? The parallelism of my book with the Bible and Talmud fragments could mean just that? But then even the 3000 year old chinese 'Shijing' could be as well, such as in Shijing #145 which seems to be a good description of the cover to my book - the back page, the spine and the front page. Had the ancient chinese seen the remote future of my book appearing on the screen of their crystal bowl? Of course, for once, it cannot be a matter of ordinary causality functioning backwards in time (rather it would be about a mystic level beyond the causality generated by the redundancies in the human semiotic constitution), secondly my TEQ can be seen to be about the form of time even in this sense. Thirdly, rather than the bold theory that Jesus Christ could be a 'charismatic emanation' from my book, the eventual conclusion is rather likely to be that the phenomenon lands on the interpretation that my TEQ can be seen to be a good book in the genre of poetic-mystic inquiry, and that could explain much or most of this. It could mean that it is a sensible conclusion that my book could deserve serious publication and attention. It is in any case important to steer clear of hysteric and sentimental mythomania - and, most importantly, it must be lifted out of the gloomy shadows of 'secret intelligence mythomania' that could try and link it to the humbug theories on the socalled 'PTRSIM PIK'.
But then the poet must get better working conditions for continueing the work - not the least for escaping those who hope to take the place of the poet's poetic muse and inspiration only because it feels so nice and cosy there. In older days the land owner had the right to the first night - the wedding night - with a new bride - it felt nice and cosy - but clearly was only a means of suppression. Nowadays it may be that the surveying secret intelligences could seem to feel that they have such rights, in which case it could be about attempts to construct new class divisions.
The angel wings
Now consider the 'angel wings' of my volumes 1 and 3 - the isomorphic correlate to this p.84 (of the 'submorphemic sign reconsidered') in vol.3 is p.84 in vol.1 where one finds:
The interesting distinction to be made here is that a finite state grammar can be learned from a corpus of speech, as it is based on conditional transition probabilities. It can be used to construct a pushdown automaton with a finite memory. The theoretical construct of a pushdown automaton with an infinite memory is equivalent to a context-free phrase structure grammar, but such infinite memory is not available to human cognitive processing. It was Chomsky's purpose to show that human language is infinitely creative, with the corollary that it cannot be generated by a pushdown automaton with a finite memory, and hence human grammar must be on the form of phrase structure grammars. However, this cannot be derived from experience, which implies, as is the cornerstone of Chomskyan grammar, that the fundamental principles of human grammar is innate.
Clearly the 'infinite memory' is in the divine-poetic field between the handwriting on the one hand and on the other the Bible and Talmud (and Xenophon) quotes that are given as phrases in parallel with the printed poems. It is found between the righthand and lefthand wing of the angel. It is an appealing idea to consider the transform of the inner poetic articulation (in the dialogic interface to the divine-poetic - between the printed book and the handwriting with the movement of the hand) to be a transform from 1) the status of linguistic labelling of some object in the dialogic addressing to 2) the status of a sensorially-perceptual referential object (the acoustic form of the linguistic label is in itself a sensorial object) as being 'the same' as the transformations suggested by Chomsky's transformational grammar. It would be this transform which the apparition of Knock really were about.
One could, on basis of my TEQ, postulate 16 fundamental functions or 'principles'.
This means also that if the isomorphy of transforms and acoustics is a result of redundancies in the acoustics ('learned from a corpus of speech'), then there is a finite state grammar (in the handwriting part) turned into a pushdown, but if the acoustic redundancies are a result of socalled 'innate' transforms, then there is a phrase structure grammar (in the bookprint part). It would be this 'quasi-electromagnetic field' which constitutes the acoustic reality inbetween.
D A
↑ ↓
C ⟵ B
A = acoustic language, inner poetic articulations
B = hand-writing technology, handwritten manuscripts
C = bookprinting technology, the printed poetry book
D = phrase structure, Bible and Talmud parallel texts in 'phrases'
The 'acoustic reality' in question will be in the transformations of chomskyan grammar arising from the axis A-D in the 'divine-poetic' knowledge-space. The great day for the new information technology of the computer will be the day when the D-A axis is mastered - that is when the computer is transformed from a mere pushdown automaton to a context-free phrase structure grammar. As far as I know, but I know little of informatics, this is so far not achieved.
The thesis that each step A → B, B → C etc constitutes a millenial span is the theme of book 2 'Epistemes, language and information technology' in my PhD dissertation 'A waist of time' in vol.3 pages 193-336. It is the theoretic basis for my blue metre poetry book 'POLAKK English Bloggi'.
Book 3 'The theatre of the heart' on pages 337-538 should then be the theoretic basis of the red metre 'My mention e Anna' on gender archetypes - which could concern the relation between the human and the divine - which means where the 'social component' (in e.g. child language acquisition) converts theoretically into the 'divine-poetic knowledge space'.
Book 4 constitutes the counterpoint to my two yellow metre books of synchronic and diachronic knowledge.
Book 5 for the 'white metre' outlines the basics in how an acoustic grammar can come to look. Could be that is why John the evangelist of Knock wears a white mitre on his head and symbolizes the scheme with his fingers and hands.
Logical order in the apparition of Knock
It seems that chinese radical #95 = 玄 ('deep, mysterious, black, reddish-black, sky' - it was sunset time) can capture the apparition and its name (by parallel text and title) in my poem on TEQ p.1823 ('Syngrou Avenue') well - here as DDS I absolute enumeration #95 = relative enumeration #74f (register to these poems is in vol.4 p.898-917 - the mirror radical poem is seen in the third column on p.903-908) for the name and its mirror radical occurrence on DDS II:39 for the event:
DDS I:74f = 'Syngrou Avenue' - possibly on the form 'grow-syn avenue'
Als man älter wird
denkt man anderswie (mit Behagen)
so wie auf den Erden
89 Tagen.
Ein Baumes Blatt
fällt auf Erde runter.
DDS II:39 = the apparition as event
Und dreimal schlug es die Glocke
als ich die Kirche betrat.
Sie hängt auf hölzernem Stocke
und dreht sich auf eisernem Rad.
Und draußen regnet es nieder
auf dem letzten Tage des Jahrs.
Man weiß wie singt man die Lieder,
wie spricht man die Welt wieder wahr.
Die Kirche ist reich an Wunder
und Dimensionen und Licht.
Hier leben die Zeiten in Stunden,
die Seele lebt in Gedicht.
Die Gabel zerspringt in den frischen zwei
und jedoch isst man das Brot dabei.
The radical #95 'xuan' = 玄 has alternative form 'xuan' = 伭 which can be seen to have a striking similarity with John the evangelist in the apparition - holding his right hand with two fingers pointing up in the air and on the other side of his head (the little stroke on top of the sign) he holds the outfolded book (sources the internet 'wiktionary' and an edited screenshot of this photo):
In addition to the basic meanings of 玄 ('deep, profound, mysterious, black, reddish-black, sky'), this 伭 can also mean 1) a surname and 2) angry - hence Xuan the ev-angry-list, so to speak. Angry about all the theft?
When above I wrote:
"the transform of the inner poetic articulation (in the dialogic interface to the divine-poetic - between the printed book and the handwriting with the movement of the hand) to be a transform from 1) the status of linguistic labelling of some object in the dialogic addressing to 2) the status of a sensorially-perceptual referential object (the acoustic form of the linguistic label is in itself a sensorial object)"
it is likely that this means
that the status of a dialogic addressing, which is a speech act in an event structure, finds its interpretation in the event status of the apparition of Knock - contained in one of the two poems of DDS with shared reference to the chinese radical 95. Here one poem is the event (the apparition contained in the hebrew parallel text) and the other is the name (in the title to the poem) - which is precisely the two parts of the transform.
It is possible that the three main characters of the apparition, in the representation in Knock looking like marble statues, is precisely what can be called STATUSes, and their dialogic addressing is seen in on the one hand the two oppositely-directed attentions of Josef and Mary - Mary is addressing the heaven when looking up with hands apart and Josef is addressing the ground when looking down with hands united as in prayer - on the other hand the dialogic addressing (in semantic assignment) could be seen in the relation between the lamb to the right and John the evangelist.
The sculptures or 'likenesses' were levitating, told some of the witnesses - their feet were swaying appr. 2 feet above the ground. This could be for 1) the possibility of a transform from up to down and vice versa, and 2) for the unit of 2 seconds time interval assumed to be the duration of what can be held in the acoustic memory format of the phonological loop - and evidenced in the correlational study of my TEQ book 16 with the Bach-Bartok recording of Midori and McDonald in chapter 20 (pages 1032-1100) in volume 3 of my collected works. This would be another aspect of the socalled form of time.
In the sign 'xuan' = 伭 or more properly the radical #95 = 玄, there is a small upstroke at the 'foot' which could compare with the small upstroke on the top. Clearly this could be about the apparently ancient spike of iron in my shoe vs. the golden crown of Mary.
It is likely that the lamb is the transform itself - the acoustic reality - surrounded by angels. It would be the semantic assignment which is assumed to be 'the same' as the logical order. Hence the semantic assignment is the group to the right in the apparition of Knock - the lamb, the altar, the cross, the angels - while the logical order is in the three persons to the left.
Horace
Perhaps the most convincing evidence for the relevance of this role of chinese radical 95 is found in my study of Horace under radical 95. The fragment of Satire II.iii.240,6-256,5 is a description of the two fingers and the book of John the evangelist, while the fragment of Epistle I.xiv.14,4-30,6 tells of Mary looking upwards towards heaven and Josef looking down into the ground, with a 'ploughing' gesture of his hands:
DDS I:74f = RAD #95 = Satire II.iii.240,6-256,5
Scilicet ut decies solidum absorberet, aceto 240
Diluit insignem baccam: quî sanior ac si
Illud idem in rapidum flumen jaceretve cloacam?
Quinti progenies Arri, par nobile fratrum,
Nequitia et nugis pravorum et amore gemellum,
Luscinias soliti impenso prandere coëmptas, 245
Quorsum abeant? Sanin creta an carbone notandi?
Aedificare casas, plostello adjungere mures,
Ludere par impar, equitare in arundine longa,
Si quem delectet barbatum amentia verset.
Si puerilius his ratio esse evincet amare, 250
Nec quidquam differre utrumne in pulvere trimus
Quale prius ludas opus, an meretricis amore
Sollicitus plores, quaero faciasne quod olim
Mutatus Polemon? punas insignia morbi,
Fasciolas, cubital, focalia, potus ut ille 255
Dicitur ex collo furtim carpsisse coronas
Postquam est impransi correptus voce magistri?
...how much wiser was he [in doing this,] than if he had thrown the same into a rapid river, or the common sewer? The progeny of Quintius Arrius, an illustrious pair of brothers, twins in wickedness and trifling and the love of depravity, used to dine upon nightingales bought at a vast expense: to whom do these belong? Are they in their senses? Are they to be marked With chalk, or with charcoal?
If an [aged person] with a long beard should take a delight to build baby-houses, to yoke mice to a go-cart, to play at odd and even, to ride upon a long cane, madness must be his motive. If reason shall evince, that to be in love is a more childish thing than these; and that there is no difference whether you play the same games in the dust as when three years old, or whine in anxiety for the love of a harlot: I beg to know, if you will act as the reformed Polemon did of old? Will you lay aside those ensigns of your disease, your rollers, your mantle, your mufflers; as he in his cups is said to have privately torn the chaplet from his neck, after he was corrected by the speech of his fasting master?
Here clearly the 'illustrious pair of brothers' is the two fingers of John the evangelist while the rest - from the aged person with the beard - is the book. I quote from my own TEQ #21: "The book is because it contains insanity" which matches Horace' "madness must be his motive". I have earlier noticed that the verse from the Exodus 14,7 where the jews cross the sea and the army of pharaoh follows after them, with horse-wagons and much equipment, seems to be a description in hebrew of the mystery of a book spine - how the foldings in the spine contain a unity beyond rationality. I used this as explanation to the mystery of dust apparently collecting on the spine of my books which had a diachronic-linguistic or mathematical contents. That would be the miniature world in the fragment from Horace of baby-houses, to yoke mice to a go-cart, to play at odd and even, to ride upon a long cane.
Having observed this, I notice that my own TEQ #21 in some aspects resembles this fragment from Horace.
DDS II:39 = RAD #95 = Epistle I.xiv.14,4-30,6
Nunc urbem et ludos et balnea villicus optas; 15
Me constare mihi scis, et discedere tristem
Quandocunque trahunt invisa negotia Romam.
Non eadem miramur; eo disconvenit inter
Meque et te: nam quae deserta et inhospita tesca
Credis amoena vocat mecum qui sentit, et odit 20
Quae tu pulchra putas. Fornix tibi et uncta popina
Incutiunt urbis desiderium, video, et quod
Angulus iste feret piper et thus ocius uva,
Nec vicina subest vinum praebere taberna
Quae possit tibi, nec meretrix tibicina, cujus 25
Ad strepitum salias terrae gravis: et tamen urges
Jampridem non tacta ligonibus arva bovemque
Disjunctum curas et strictis frondibus exples;
Addit opus pigro rivus, si decidit imber,
Multa mole docendus aprico parcere prato. 30
Nunc age quid nostrum concentum dividat audi.
...you wish for the city, the shows, and the baths. You know I am consistent with myself, and loth to go, whenever disagreeable business drags me to Rome. We are not admirers of the same things: henoe you and I disagree. For what you reckon desert and inhospitable wilds, he who is of my way of thinking calls delightful places; and dislikes what you esteem pleasant. The bagnio, I perceive, and the greasy tavern raise your inclination for the city: and this, because my little spot will sooner yield frankincense and pepper than grapes; nor is there a tavern near, which can supply you with wine; nor a minstrel harlot, to whose thrumming you may dance, cumbersome to the ground: and yet you exercise with plowshares the fallows that have been a long while untouched, you take due care of the ox when unyoked, and give him his fill with leaves stripped [from the boughs]. The sluice gives an additional trouble to an idle fellow, which, if a shower fall, must be taught by many a mound to spare the sunny meadow.
Come now, attend to what hinders our agreeing.
Clearly, if the poem DDS I:74f is corresponding to the name 'Syngrou Avenue', this fragment, corresponding to my DDS II:39 on the 'event' of the apparition described in the hebrew parallel text on p.1823, could partly be seen to be about the divining rod turning down towards the ground, partly about Mary in the first half and Josef in the second.
This suggests that Horace - according to the concordance I have established relative to my DDS - seems to describe the elements corresponding to the logical order while the elements of semantic assignment are not immediately present. Horace wrote around the time of the birth of Christ. Could be this is the explanation to the peculiar phenomenon of Horace that the inner countenance (like what can take shape in your more or less controlled memory of a personal presence - german 'Antlitz', if I understand the psychology right) seems to go through to the outer face ('Angesicht') and leave a strange raccoon-like mask over the eyes. (Or maybe it is a giant panda - as by the chinese radicals?)
Caravaggio
In Caravaggio's "Emmaus" (1602) it is seen how the 'Lamb' (Christ) suddenly emerges like a 'semantic assignment' inbetween the 'logical order' of the other three - the mid one of them with a 'crown', one with hands outstretched like John the evangelist. Instead of a book the Christ has a robe over his shoulder (cp. the giant panda). But this is the HI version (notice the chicken on the table) of the LO - the "Crucifixion of St.Andreas" has strong similarities with the 'xuan' = 伭 in chinese (see above) - and exhibits also a peculiar levitational posture of St.Andreas. See also 'Cheaters' - one sees how they are cheating: The man with two fingers up has (like Emmaus 1602 - this was after the invention of the printing press) a robe but not a book, the one who looks down is a woman and not a man, the logical order of the persons is altered (see this study on the pair 26-39) etc etc.
Continued on 24 november 2022:
Li Duan's poem
Above I gave the basics for the scheme of A-B-C-D:
A = acoustic language, inner poetic articulations
B = hand-writing technology, handwritten manuscripts
C = bookprinting technology, the printed poetry book
D = phrase structure, Bible and Talmud parallel texts in 'phrases'
I here present the interesting interpretation of this in the chinese Tang dynasty poet Li Duan's (743–782) fourline poem
聽箏
鳴箏金粟柱，
素手玉房前。
欲得周郎顧，
時時誤拂絃。
which in my translation goes as follows:
Tomorrow yesterday
Spoke yesterday the precious millet's measure
the first handwritten beauty's homely thing,
it now wants help the youth regain the treasure
that chanced for the assistant stroke of string.
One notices the similarity with the puzzling phenomenon mentioned in this file - the millet exloded in the fridge and the brown substance on the glass plate in the bottom of the fridge - including the kaputt main fuse right above the fridge.
Then it is the volcano of Geldingadalur in Fagradalsfjall (a part of the 'golden' Krýsuvík system) on Iceland which is interesting. It should be line 3 - if line 1 is the millet, line 2 the brown mass and the broken fuse line 4. There was the electric cord to the other side of the wall leading to the double outlet over the sink: Since the icelandic volcano had a sensational 'double outlet', a double crater pouring the golden masses out, I early associated this with the double outlet over the sink. The cord or 'chord' is present in the poem in the last sign which also can mean a 'chord' in the sense of a straight line joining two points on a curve - here the fusebox and the double outlet.
Line 3 can be made in at least four ways, corresponding to the four classic faculties of university scholarship:
it now wants help the youth regain the treasure = faculty of arts, philosophy
it now wants to administer the treasure = faculty of law, politics
it now wants help the darling gain the treasure = faculty of medicine
it now wants help the poor obtain the treasure = faculty of theology
These again correspond to four different realities in a classic sense: A man tells that he has seen a flying elephant - medicine says that he is hallucinated and needs help, philosophy says he is an inspired poet, theology calls it a mystic vision and law tells that he is doubletalking for a conspiracy. The story (I think it was Copleston who wrote it) goes of Thomas Aquinas that he believed a monasterial brother who told that he had seen such a flying elephant outside and Thomas ran to the window for seeing it - and the other brothers laughed at him since he was so naive - to which he answered that it is much more probable that an elephant can fly than a monasterial brother telling a lie. In fact I personally observed such a flying 'elephant' outside the window - in the form of a flying coffin looking like a boy's hut in a tree (14 november 2022). I ran to find the pocket camera and tried to photograph it - but I could not get the autofocus fix onto it - a shadow flashed over the screen but it would not attach before the coffin sailed over the horizon and was gone.
The phrase structure theory in the PhD dissertation
The metaphysics tells that humankind's limited reality can recognize two different items from two different realities (principly in a more radical and metaphysical sense than only the above examples of 'law' against 'philosophy' etc) as one and the same item - this reductionistic conception creates - due to the human limitations qua 'sinners' - the 'Fall' from the metaphysical paradise into the historic existence of ontological substance of being - and this reduction leaves the difference between the two original items unaccounted for but therefore humans are equipped with language which relegates this difference (cp. the relegation of 'semiotic components' onto dialogue and reference) to the semantic assignment which serves to preserve even in history the integrity of the original difference via the syntactic or logical relation between the two proposed items/realities. That is why humans depend on the faculty of language and rational reasoning for upholding a connection - however sinful, blurred, frail - to the original paradise, since otherwise they would shipwreck in the ocean of eternity.
This historic reality constitutes a MAYA screen of observable nature.
It is this aspect of metaphysical reality which can lead to - or has already led to - a new information (including 'surveillance' and telecom) technology based on the principled 'symmetries' of existence (the maya screen) via the two original metaphysical items recognized by humans as 'the same'. (It follows that such symmetries are not real symmetries - it is only in the historic MAYA existence - that is, anything that can be observed - that the symmetries can be postulated on basis of one single 'object' or 'information' - the difference from true symmetry is shuffled under the rug of language). It would come to resemble the 'Cantor machine' I outlined in book 3 chapter 9 (p.500f.) of my PhD dissertation - and the technology will (or is already), as suggests my dissertation in book 5 "A waist of time", be based on the principles of categorial thresholding which relates the first onset of categorial formation by some threshold value from either complete silence or completely white noise (p.598) - when the grammar is based on a recording (registration) of this first thresholded formation and interpreted by the property of sameness in energy value relative to another such registered observation, it amounts to declaring these as the two endpoints of a principled symmetry which arises from the primordial formation of the maya screen of scientific observation.
My PhD dissertation "A waist of time" postulates a principled symmetry between the knowledge of addressor and addressee via the mirror phase in early child development - which then means that the MAYA will be constituted by such mirror symmetries. In principle these should be computable.
If, therefore, the subject A has a reality which constitutes an object + linguistic label to it which is a reduction from two original items or objects in the metaphysical reality, one can postulate that another subject B will constitute another object which in principle should be the reduction from two metaphysical realities one of which should be the same as one of the two for subject A. If only one of them is the same, then the difference can be postulated as computable from the knowledge of a third subject C. In principle, it should be possible to postulate the symmetric sameness of the knowledge of A and B, and this is fundamental for the human society. However, even if the two metaphysical items can be the same and shared for A and B, the reduction of them to objects 'a' and 'b' need not be the same objects nor the same linguistic labelling. This corresponds to the phenomenon of my TEQ function 14 with its rainbow phenomenon.
I refer to my A6 edition of 'Stillhetens åndedrag', the postscript part 4) 'The fundamental theorem of linguistics' p.141f. - in particular the outline of conjectured function 13 at p.145f. - for TEQ #1409 - which got an interpretation in "18. The mystic airplane" in vol.3 p.1181f., TEQ #1293 - which corresponds to the Lamb entering the 1-2-3 in Knock - and TEQ #1203 with the line "guilty with two, / guilty with five" which then corresponds to the essential 'calibration point' in Nono relative to my book via that numeral '8' for the Lamb of Knock in the 1-8-23 of the 'distance 1823'. This could tell of the concept of 'quartet' and I have conjectured that it could be the essence of function 13 - that it serves to contribute to balance off the observations onto a reconstructed mirror symmetry between addressor and addressee. Or, more generally, between the observing subject and the object observed.
Most generally, it suggests that the difference between a pushdown automaton and a phrase structure grammar is that the pushdown can account for information transmission through signals (standard modern telecom controlled by digital computers) while the phrase structure grammar can do it without signals - through such symmetries. What is needed for reaching this will be a grasp on the computations in the metaphysics beyond the mathematics based on empirical observations - such as symbols.
My TEQ is supposed to be 'beyond the maya' while the four metres are probably 'in the maya'. A concept or convenient conceptualization for TEQ could perhaps be that the inner poetic articulations are like the Lamb that occurs like an '8' between the metric '1-2-3' sculptures of Knock - but that does not mean that the inner poetic articulations of my work are like the explosives of terror that burst open a slit in existence for intruding into the matter and mind. TEQ function 12 is supposed to be about 'divine-poetic revelation' - which is nothing like such terror philosophy. It is possible that the entire TEQ + metres can account for the inner architecture of phrase structure computation in such a way that information transmission without signals can be achieved.
However, the poetry (except for TEQ book 1) was written after the PhD dissertation was completed. On basis of the dissertation only, a simple model of signification resembling the A-B-C-D scheme above can be postulated:
A = the acoustics of the linguistic labelling = PHONOLOGICAL COMPONENT
B = the metaphysical item #1
C = the metaphysical item #2
D = the social component = SOCIAL COMPONENT
It is when B and C merge into one that the OBSERVATIONAL COMPONENT arises in ontological being. This observational component includes the observable handwriting and the observable bookprint (by the printing press of Gutenberg). The distinction between these is a correlate to the period of attachment in child language acquisition whereby social features are relegated to dialogue and sensorially perceptual features are relegated to reference, as described above. These openings and closings of the corners of the triadic sign - forming quadratic signs of various types - are described in the dissertation e.g. vol.3 on page 333 or chapter 9 p.500-533 (see e.g. p.525-527), as well as in e.g. vol.4 p.1276-1277.
When I wrote the dissertation in 1997, it was futile to even think of how the submorphemic units or functions would come to look - the work I have done since then has probably brought me closer to that matter, but in 1997 the analysis of the acoustic data (p.602-608) would necessarily have to be suggestive and illustrative only and to have little or no value for assessing the theory which the dissertation outlines. To reject the study for such reasons would have been a sheer pretext only.
The terror indexing the semiotics
I delivered my dissertation to evaluation at the university of Bergen in the beginning of december 1997 and waited for the answer which I believed would be positive. Instead there came a letter of rejection in late july 1998 and there followed, while I wrote my appeal, the twin bombings of the US embassies in Dar-es-Salaam and Nairobi - plus the bombing of the peace conference in Omagh. In total these three bombings can be summed up to the formula "rejected on a political basis" which could have been planned would be the contents of my appeal, as if it were I who wrote my appeal by way of these bombings. (The rejection + terror took place in the context of the appointment of Gro Harlem Brundtland to the position of chief of WHO). News followed that the bombings in Africa had been planned and carried out by 'Al Qaida' and as far as I remember this was the first time this terrorist organization and their leader Osama bin Laden surfaced on a broad scale in the news. See this article with the mention of this story in the introduction - it is perhaps possible to postulate (a guess only, this idea) that 'Al Qaida' could have been formed for reasons of the role of the base in my paper on 'generalized number'. Although this idea of alphabetic letters conceived as numbers isnt very original, it is something nevertheless in light of the 'semantic assignment' via or by way of the 'logical order' of 1-2-3 inserted as an '8' inbetween 1 and 2 for the 'distance' of 1823 (km etc) by way of the formula 1 * 23 - that is, briefly, what I call 'the yellow metre' - evidenced in e.g. Horace or Caravaggio. Then it is more than a probably frequent idea of students in an introductory course in symbolic logic.
The terror in Africa (which could have signified the OBSERVATIONAL component by 'Dar-es-Salaam' = 'there is the sausage' and the SOCIAL or sexual in 'Nairobi' = 'now it is up in it') was followed up by the same 'Al Qaida' in the attack on the twin towers of Manhattan in 2001 - as for the split PHONOLOGICAL component - along with the aircrash on a former diamond mine in Lambertsville and on Pentagon. One draws the conclusion that these four pieces of terror were made for constituting the formula 1-2-2-3 via the apparition of Knock and the '5' (of 'Pentagon') added to the second digit '2' for the '1-8-23'. But such a terrorist attack could in principle also have been concerned with the '58' of Labråten - for example for the idea of associating Josef and Mary with the modern terrorist mythos around me as PTRSIM PIK which appears to be in construction. Of course I do not support such mythos making at all. Rather I emphasize the importance of seeing the Josef and Mary characters of Knock as aspects of the general human semiotic constitution which has nothing to do with any secret intelligence intrigues.
In sum, one sees how the twin bombings of the US embassies in Africa in 1998 and the crashing of the twin towers on Manhattan in 2001 could have been designed as deplorable 'responsibility claims' on a theory (for constructing also a telecommunication technology) which could be derived from my PhD dissertation 'A waist of time'.
It is no surprise that Knock is used - it is an extraordinary special apparition not only by being well documented but also because of the immovable 'sculpture' character of it.
John Grøver (there seems to have been two of him - the first up to 1969 when a second person seems to have taken over the role), whether he was Adolf Hitler or not, died officially from pancreas cancer on probably 27 november 1990 which was 160 years exactly after the revelation of Madonna in Rue de Bac in Paris - and in the mirror point to the birth of princess Leyla daughter of the persian shah who died in the exact mid point. It means the fairy tale of 'the princess and half the kingdom', if not the whole. Hitler seems to have dug up probably the best delicacies of jewish mysticism for turning them into terror - such as the death camps of Treblinka or Sobibor: Clearly that was not for being 'mystic' but rather for planting nazi boots deeply into the mystic bodies. Such terrorist interests in the apparition of Knock is of course of the same kind.
A quite interesting idea arises from the theory that the apparition of Knock (1879) - by e.g. the logic described in this file - could be seen as the reflex backwards in time of my 'The Endmorgan Quartet' (1997-2008). Of course it is possible to postulate such a hypothesis. What would it mean? It could suggest that much of the inbetween history could have served the purpose of buffering off the sensational impact of such a 'phrase structure' information transmission - could be even going backwards in time. For example the story of the attacks on the Gandhis in India could be seen as telling of not a REFLEX but a RETROFLEX - for lending a ridiculous taint onto this hypothesis - such silly 'backwards' jokes cannot be taken seriously. Should it mean STArTOIL? Hitler's holocaust likewise could have served to make it possible to formulate claims that the poet's inner articulations were controlled by secret intelligence power. It is of course possible to make this hypothesis about the cultural construction of a computable phrase structure grammar - for a technology that can look not only potentially anywhere in the universe but also backwards in time - not the least since it is so easily refuted. The endowing of the PTRSIM PIK with quasi-divine feathers likewise could have served to handle the problem of potentially mistaking it for being about 'divine status' - since it is all easily shown to go in the category of 'humbug' by the construction method of the Stammbaum. There could also have been fears of what could come to happen with the christian creed if a backwards-in-time-looking camera came to be constructed - we hope the story of Christ is not shown to be mythos only.
It is possible to see my Stammbaum as being constructed since about the time of Napoleon - for the purpose of lending divine feathers to monarchic majesty which a republic could not present. Then it is also the question whether John Grover 1823 and 1843 are authentic potentially as part of the same program - or if they were constructed with fraudulent dating after Knock 1879 - for example as part of plans for a Hitler program. The 4-part terror of 11 september 2001 could have been based on the idea that the John Grover documents in British Library are authentically from 1823 and 1843 and hence that the apparition of Knock 1879 so to speak were under 'monarchic' control. However, the 1823 document claims to be from Brighton, published by the author, the telegraph house, in the valley, which sounds improbable (telegraph in 1823 was semaphory and that could not be in a valley). I read the three early John Grover documents 1823, 1843, 1845 in British Library and it was the 1845 book that left with me with a feeling of high fever and clattering teeth. It is of course possible that 1845 is authentic and the other two constructed later on basis of it.
Alternatively, it is of course possible - and that has probably also been done - to claim that 1823 and 1843 were authentic and to suspect the apparition in Knock of being pure rumours fabricated by agents who had been installed in e.g. the entire small community in preparation of e.g. Hitler. However, it would certainly be much easier to fabricate 1823 and 1843 than the entire story of the apparition of Knock - which also could appear as authentic for other and independent reasons.
Then one sees how the terror in Africa and Manhattan could have been designed deliberately for indexing my PhD dissertation and its theory as Knock-related (and hence potentially fraud) - and of course without mentioning my name: That could have been for the intention of swapping Adolf Hitler around with me on basis of that 1823 and 1843 in British Library. When I was in London 1997 the library was still on the location it always had and where Marx was writing his works under the high dome - but I think it was in the end of the 1990's that the library moved to new locations in Pancras in London - cp. the alleged 'pancreas' cancer of Grøver 1990.
Hence one sees what the whole story with the rejection of my dissertation and the following terror could have been: It could likely have been rejected for the purpose of swapping me around with Grøver/'Hitler' on basis of 1823/1843.
Were my dissertation the theoretic basis for a new telecom/surveillance technology of revolutionary character - information transmission (or 'reading' of a remote source) without signal transmission and hence possibly faster than light? Could be it was - whether my dissertation were before the construction of this technology started or not. If it were after it was started, the terror could have been designed for pretending that I was first since that would lend a stronger swing-by effect to a swap with e.g. Hitler. This potential phenomenon could tell of how critical it can be to mix power interests in with scientific interests. This story of such conjectured 'phrase structure technology' should be for sensible knowledge interests and not for power struggle. Rather 'power struggle' will come to be an outdated phenomenon which will go out of use with such a new information technology - and maybe 'power struggle' does not like that.
It is likely that the reason why the terrorists could have succeeded in this and - as one could guess - could be in elaboration and installation of the ideas of my work into various 'projects' could have been because of the assumed opening of my head in july 1957 - the evidence in this brainscan (MRT Mariahilf) probably suffices for such a conclusion since it also shows that my skull is intact. Such early child abuse seems to be a plundering of the child's future which it is hard to counterbalance and it is all too easy to dump the blame for various sins and crimes on such a victim of early child abuse. It is therefore very possible that the plan was to credit Adolf Hitler for this contribution to the development of the new revolutionary technology and to dump the blame for his war crimes and holocaust onto me.
But that would not be good behaviour - and of course such terror as in Africa 1998 or USA 2001 isnt good behaviour either - so it could be that the state of Norway should think it over and grant me the doctorate nevertheless - in particular if the dissertation can be identified as at least a part of the source for this new technology. (And it would be unfortunate to accept a swap mechanism on basis of e.g. my apparent 1957 story as basis or resource for norwegian leadership career, in particular if terror is the driving force in the swap). I have written the obligatory lecture - included in the dissertation in vol.3 p.347-365 (also in this file - and the rejection letter from the committee plus my appeal, their answer to this and my answer to their answer are contained in my publication 'Doktorgraden' (1998) (I think plus independent postscript) and can count as enough for a 'disputation' ('viva'). Such 'disputation' serves only the purpose of preventing fraud (that people with little knowledge or skill in the field buy false competence by paying another person for writing the dissertation) and it is probably easy to establish that I have written the dissertation myself.
Would somebody suspect that my work is fraud for matching e.g. the apparition in Knock in a quasi-convincing way? I emphasize that in particular the yellow and white metres are written as (or even on basis of) REFLEXES in culture of the 'poetic revelation' in TEQ (and that is why they are 'metres'): For example, when I wrote the above poem of DDS II:39, starting with "Und dreimal schlug es die Glocke / als ich die Kirche betrat", that was because I had gone into a church and the churchbells were giving off three knocks with the bellhammer - and I think I had gone in there because it was raining outside. (See brief comment on 24 november 2022). When this comes to land on being poem #39 in the work in progress and it thereby correlates with Caravaggio and Horace, this is how the TEQ leaves 'reflexes in culture'. Is the yellow metre reflexes and the white metre reflexes of reflexes? In fact it seems to be an interesting question whether the fifth column in this study - that is, DDS II considered against slices vertically, diagonally and horizontally of Caravaggio's artworks - can be given an even more precise or deeper interpretation if the poem numbers in this column are read as the poems of not only the yellow but rather of the white metre - mainly 'Stillhetens åndedrag' - also in 'vol.4 where one also finds the counterpoint 'Rosens triangel'. I pick out two arbitrary examples - and the readers can continue the comparisons themselves: 1) The top left part of the diagonal to 'The cheaters' (there is a faint copy of the turbulent hair of the lefthand person under the surface in the top left corner) for DDS II:39 and hence SÅ #39 first lines + possibly counterpoint in RT #26 last line, and 2) the vertical line 75% from the top with 'flom,litus and blomst' in 'The conversion of Paul (1600-01)'. This theory should of course have been explored in a much more extensive study but I have not the needed working conditions and facilities for that, at least not for the present moment.
It is noticed also that this theory of 'white metre as reflexes of the reflexes of the yellow metre' could be a background also for a theory of a role for the idea of 'retroflex' in political history - for this story of the development of what could be a 'phrase structure technology'. It could also be these reflexes which 'intelligence' try to meddle with by attempting - could be for unfortunate and more or less personal needs - to go inbetween the 'poetic revelation' in history and the poet. Unfortunate that is indeed.
I allow myself the following observation: After my PhD was rejected in july 1998 because it was allegedly 'not good enough', I became unemployed and there was for a few years a continuous draining of my resources when I - for upholding my unemployment benefit - had to send loads of applications for work which were rejected over and over again (while, it could have been, others were continuing the work I had started and should have continued with - had I not had such an unfortunate start-toil), untill I was driven to forced psychiatric treatment and, after I had come out again with lost illusions about judicial rights, had to flee from the country and eventually ended up sleeping in the streets of Paris - before I got a disability pension which rescued me. It is on this background that the question of a correlation between my need for finding a 'place to bo' (a housing solution) against the curve of covid-19 could be seen as interesting. Almost the entire world's population got a 'place-bo' vaccination - only I am still in need of finding a permanent solution for my residence need - outside a potential 'auschwitz' Austria. If I should continue residing in Austria, then the world could come to look like Auschwitz after some time, as it seems, so I had better find another solution. But how? My chances are rather worn out in almost anything I do relative to society. Is the pandemic all and only that issue of my need for finding another residence - without being able to solve the problems by own efforts? Then it could be a good idea to help me find a place to live (a new permanent residence) where I can continue my work. This story of the early infant head opening as basis for swap-arounds of criminal stories (or, say, illegitimate harvesting of the profits for another person's work) seems to be the foundation of terrorist politics and could be considered the world's political problem #1. Also for this reason could it be important to accept my PhD degree on basis of the dissertation and the lecture and the discussion that followed on basis of the opponents' (the evaluation committee's) comments. If they do not want to accept it, that would - as I see it - be on basis of political reasons, and that is not really permitted.
I hope the publication on the internet of my collected works will not lead to only rejections. Does there arise such a 'rejective impulse' of some sort - a 'get out of here' - while somebody else gets an application accepted or is even contacted for a solution to housing needs or interesting work projects started? It 'feels right'? That could be precisely the world's political problem #1.
9 december 2022:
Another two points in defence of my PhD dissertation:
It seems to have been argued that the analysis of the acoustic data in part 5 was too brief and incomplete. But in 1997 it was not possible to guess what sort of 'semantics' could be assigned to the redundancies of the speech signal and to open up that chapter would be a vast new field of study. I have worked with that since then and my 16 'poetic functions' of TEQ is a good start - but that was 11 years of work. The dissertation had to be rounded off in two ends in order to prevent excessive size but with a door to be opened to the continuation. This matter of 'semantics of the submorphemic constituents' was rounded off to the simple acoustic model in the fifth part, of suggestive value only. The other end, as discussed above, was the theme of the discussion on p.84 in vol.3:
1) social features are relegated to dialogue, while
2) sensorially perceptual features are relegated to reference
This likewise opens up a vast new field of study - how the two 'same' = 'symmetric' metaphysical points disunite for a larger metaphysical space. That is when another vast field of study is opened - but the dissertation had to be rounded off to sensible size and this was the other essential point.
The combination of these two new vast fields of study that open up is what could lead to the construction of a phrase structure technology.
In volume 3 part 3 (the theoretic basis for the red metre) called 'The theatre of the heart' there are the outlines of a 'Cantor machine' described by the turnings of the triadic sign. For extending this to phrase structure level it is likely that the triadic sign will open and close its corners to butterfly signs spanning such metaphysical 'samenesses'. The chapter concludes the study of the sculpture exhibition in Bergen which was an impressive 'symmetry' to the elegy of Rilke I had been studying when I talked with one of the curators to the exhibition, and it is assumed that this 'mirror symmetry' can find its explanation via a 'Cantor machine' format.
But, says the critic maybe, this study is worthless if the curators had cheated and it could be that they, on basis of surveillance of Mr.Grover, had constructed the exhibition with Rilke's elegy in hand, and common sense tells that this is a much more likely explanation than such elaborate Cantor mechanics theories.
To which it can be answered that such 'common sense' of scepticism probably does not understand well enough the role of the esthetic factor. The question is what is the nature of knowledge 'beyond the maya'. I tell this story, which I have told before: In the spring 2014 I stood in the bathroom of my home and looked down into the white-enamel bathtub when suddenly 4-5 black spots took shape as if from 'beyond the maya of apparition'. I took an artist's palette tool and rubbed off the ontological substance of one of them and smeared it out on a microscope glass which I thereafter put under the microscope and photographed - there were several distinct esthetic objects to be observed there and one of them looked like this:
This is a very precise representation of the beginning lines of Rilke's first Duino elegy:
The dog to the left is 'crying', the woman is 'hören' (she seems to play a violin or otherwise 'play with a string', a bowstring or whatever), and one from the 'Engel Ordnungen' suddenly touches her at her heart. There are symmetries - she touches her 'Schöne' symmetric to the angel touch, the distribution of the 'bow' is symmetric with the dog etc.
The bowstring can be recognized in the last line of Li Duan's above poem 'Tomorrow yesterday' - and there is also the angel's help for the youth and the homely thing of dog.
Even more, the first part of this first elegy, down to line 25, can be read as successive reading of the four rotations of this magic image:
How come the 'magic image from beyond the maya' and the text of Rilke can be so similar? It is a matter of esthetic logic (also in Li Duan's poem) which guides it down onto this ontology. Rilke's elegy is guided by such transcendent esthetic logic as also guides the formation of this ontological substance on the microscope glass - and clearly the same could have been the case with the exhibition in parallel with Rilke's fourth Duino elegy.
These beginning lines were also famously heard by Rilke as (if I got it right) the voice of an angel from over the sea of Duino. It corresponds to the inner poetic articulations of my TEQ.
The similarity of text and image is a matter of that mirror symmetry which the phrase structure technology is searching for. It is perhaps beyond reason for sceptics who say that "but this is not probable" - but that is precisely why the new technology is called 'new'.
For this reason it is absolutely well possible that the sculpture exhibition in Bergen went in parallel with Rilke's fourth elegy without having consulted the text. It is of course theoretically possible that they had 'cheated' (peeped in the book), which, as shows this example, they had probably not - but the question is not essential for the evaluation of the logic in the dissertation. The theoretic matter would be the criteria for the idea that 'information' can be seen to have been 'transmitted' (or 'paralleled') from the text to the exhibition without any signal transmission.
Added 11 december 2022:
In fact the proof by Rilke can be extended even to the fourth Duino elegy - by way of another of the 'ex nihilo' images from the same microscope glass - the 'young pianist' under #6 - the previous was the cover to 'Der Dornenstrauch' and it turns out that the planned cover to 'SNEEFT COEIL' exhibits the same qualities for the Duino elegy #4:
Notice the 'Löwe' in the first image, the 'Weite, Jagd und Heimat' for the dreaming indian on the toy horse in the second, the raft up to the left from this study and this. Notice particularly the detail
dann erst kam der Tänzer.
Nicht der. Genug. Und wenn er auch so leicht tut,
er ist verkleidet, und er wird ein Bürger
und geht durch seine Küche in die Wohnung.
Sources:
MacLeane, A.J.: The works of Horace, with english notes, revised and edited by Reginald H. Chase. Allyn and Bacon, Boston 1895 - in E-book edition on https://www.gutenberg.org/files/46938/46938-h/46938-h.htm
Smart, C: The works of Horace translated literally into english prose. A new edition revised by Theodore Alois Buckley - in E-book edition on https://www.gutenberg.org/files/14020/14020-h/14020-h.htm
© John Bjarne Grover
On the web 18 november 2022
Last updated 11 december 2022
