Film-scroll and wickerwork

John Bjarne Grover

NOTICE This article contains some photos of socalled 'recursive matter' that probably has taken shape in accordance with the perceptual properties of the human psyche and thereby perhaps also could come to affect perception or its functionality temporarily. In case this should happen, it is likely to go down again in the course of a few days if you do not consider the photos too intently again.

In the article on the 'wigwam', I showed how it is likely that this piece of transcendent matter is falling out of eternity - crossing the border from poetic to historic reality and looking the same each and every time - has a central function in politics. The strategy which 'creates power' for administration is then in the idea that light and sound can be swapped by controlling the 'causation' arising from the wedging-into historic time of the arriving matter - and by this administrative swap the historic tellurian forces are vestiged in the authority of the Divine Creator - and that is often sufficient for making an impressive impact on the public.

Now there are another two pieces of related transcendent matter I can tell of which apparently are on a comparable scale of political importance. The first of these is the socalled 'film-scroll' - an apparent small scroll of gauze or linen material, wrapped in some rudimentary plastic coating and with a humble wind-around of some black thread. I think it was on 12 january 2014 that I found this. It is probably wound up on a thin wooden rod inside. It looks like one of these 'christmas presents'. It is what can be called 'amazing'. The story is how it occurred: I had been looking down into the bathtub and saw an allover white enamel surface when this suddenly started to turn insubstantial and I understood that I was looking at a sort of indian maya illusion - when underneath it there emerged some 4-5 dark spots (I think I first saw 3 or 4 and then they expanded to 4-5 and landed on 5). I could pick up three of them for my 'collection' but the fourth ran away in a drop of water - it turned out to be a small spider - it was a very auto-mobile piece of substance which ran to the edge of the still humid bottom of the tub, and when I tried to pick up the fifth, it turned out to be too hard to get off the spot right away and was as immovable as the fourth was mobile. I could not get it off with a fingernail and went for a metal tool with which I tried to scratch it off, but only some superficial 'muddy' semi-fluid wet dust material got onto the metal tool and I smeared this out on the microscope glass whereon it attained a gray and dusty cloud-form. I could not get all of it off the enamel - and quickly gave it up when I saw that larger holes and 'cliffs' of canyons started to open up in and under the white enamel - it was not my tub and I let it be. (These later closed again or at least I could not find them - the bathtub looks normal and I suppose I had just looked hard at some very tiny scratches). It was in this process, or a little before it came as far as that, that the textile scroll suddenly was washed up on the shore of the water still remaining in the bottom of the bathtub. When I went to microscope the dusty gray soup that was dried on the glass, it turned out to expose a series of highly strange and fantastic images - resulting from an apparently total 'smear' without any form in the way that I had distributed it on the glass. Here are some examples:

Poultry meets Mirrori who presents a scroll-in-hand, or is it a recording

Young girl playing an upright piano, animals are listening
to her concert while the piano turns the sheet

Lying woman (knees up) being kissed in moonlight by man with beatles-hair

Scene in the park: A bearded man, a cardinal or priest,
a fleeing woman and a man with lightbeam
climbing over a fence in the background:
What had they seen in the darkness?

Man-on-wagon (head with sunglasses and some beard),
a nose-trunk polar bear standing on hind legs
and a dogs paradox behind

James Joyce reading without surveillance blazer,
dressed in roller skates

The redundancy is in the sudden appearance of this nearly matter-less visual phenomenon alongside the appearance of a piece of transcendent matter in the form of a scroll wrapped in plastic coating - that is, the material film-scroll wrapped in its maya-illusional coating:

As seen, it is loosely tied near the middle with a thin black thread. There seems to be a small wooden rod inside, upon which it is rolled. Some evidence suggests that this could be or be related to the phenomenon of a rod divided into three parts (the bark missing at two places).

There are clear similarities between these two defining pieces of matter - the wigwam theoretically (or in its 'political interpretation') swapping sound and light or audition and vision - and this film-scroll of gauze or linen which detaches the visuals (the photos above) from the material being.

The scroll could also have affinities with the idea of a Torah scroll.

The obvious strategy for political intrigue is to try and define a third mid level, a third piece which combines the two and thereby contains 'the secret of historic time', as some ideologists could be dreaming of, in a sort of abstract average. The relevance of this phenomenon is clearly to be seen as installed into earthquake history by the giant and destructive earthquakes of BANDA ACEH (26 dec 2004) = the BANDAGE of the film-scroll gauze and the Big BAM (26 dec 2003) = WIGWAM quake exactly one year before. The third phenomenon is the copyright registration in Washington Library of Congress of my two TEQ books 11 and 12 (26 dec 2002) . This also seems to be in the streetnames around Literaturhaus in Vienna.

This third 'combining' piece which can be postulated by such political dreams - or conceived as such - is apparently what I found on 23 january 2014 - same day as the 'wigwam' - in the bathtub water - it is a sort of 'wickerwork' structure, looks like a parallelogrammed chessboard:

It shares colour and e.g. 'cameleon eyes' as well as even 'twisting/turning' with the wigwam piece (the mid region, covered with 'spectacle glasses' or a transparent plastic film) with two teeth on the man-in-moon face in the lefthand side of his mouth, and it shares web or woven form with the film-scroll. If one takes this wickerwork chessboard web ('veven' in norwegian) to be a geographic map of the place-function 'Manhattan', the two teeth seem to be the Twin Towers that were knocked down on 11 september 2001. (The cameleon eyes will then be at about Broadway). The proof that this is of essential importance is found in a closer study of the details in the lower part of the 'map' - around the area wherefrom one can take a ferry out to the Statue of Liberty - which means the 'jewish inheritage centre' which in political intrigue perhaps is associated with a 'latue of stiberty'. Zooming in on this detail of the 'map' shows the fragments of what looks like SHAH or alternatively 444 - or '4114' which suggests a 90 degrees lifting of half of the first '1':

This clearly could be the story of the iranian hostage crisis under Jimmy Carter, with the hostages released after 444 days with the swearing-in of Ronald Reagan. My view is that the hostage crisis well could have been a US security program of e.g. 52 US security agents ('52 pick up'?) or similars, and that even the iranian hostage-takers could have been americans - although of course I know nothing about these details except for the puzzling redundancies which can spotted in the official data. The idea, if it were a US project, would be that it served to encode this 'transcendent piece of matter' (which, it must be assumed, always attains more or less identically the same form whenever it arrives from eternity to earthen circumstances) conceived as a map of Manhattan - for the downing of the Twin Towers symbolizing the downing of the 'jewish inheritage' - there is, as seen on the details of the wickerwork map, no grounds there at the Zattere Dogana tip of land in Venice. Clearly this could have been the contents also of the Beachy Head cliff-crash in England - the cliff falling into the water and going out to the lighthouse a little out in the sea. Indira Gandhi was shot quite close to a 'wickerwork gate', tells the data. If one assumes that it is a low gate, the door handle can be seen on the top of the gate and the latch-notch mechanism can be spotted on the lefthand side of the piece, about at the middle of it:

I found this piece in the bathtub water on 23 january - and in fact I had found a green variant of it in the dishwash water on 19 february. It looks like a green sheep:

I did not use 'gummi-votter' (rubber mittens/gloves) when I dishwashed and found this green-piece, nor was I in need of 'gummi-båter' (rubber boats). There was a flooding of my kitchen floor when I lived on Rekustad in 1977-78. There is the theory that somebody was into the kitchen and opened the tap. The Watergate scandal was a story of tapping.

There is also the story of Pol Pot in Cambodia. ('Pol vott' = the 'polar mittens' produced by Helly-Hansen's factories in I think Fredrikstad and Moss). If the story should be so deplorable that Pol Pot could have been an agent for a political program which could have planned to build a world on the assumption that the wickerwork piece is primary in combining the traits of the wigwam and the film-scroll (for example, the news of 2001 could have served to put this in the forfront of public attention) while the green piece is a secondary coloured copy of the primary piece, while the secret fact of the intrigue-makers is that the green piece occurred four days before the primary piece, then it must be concluded that 1) time must come to end such puerile 'competitive' tricks in 'politics', and 2) it is not permitted to exterminate one fourth of Cambodia's population for such purposes, if that is what happened under Pol Pot.

The political aspirations is probably to get the detachment of light from sound under control and to use this 'wickerwork' as a coordinate system for controlling the inner poetic articulations of humans - like a Big Brother talking to you inside your head. That is, in some politicians' view, to gain political control - and it is this character of the program which could have provided a feeling of socalled 'goodenough' reason for both the '444' days of Teheran, the revolution of the 'SHAH', so to speak (Gröver/'Mengele' died officially on 27 november 1990, which was in the mirror point to the birth of the shah's youngest daughter relative to his own death, and it was exactly 160 years after the Madonna in Paris), and the downing of the Twin Towers. Could be the towers even were specially constructed for this specific purpose. "Trust us, we know what we are doing, and this is sufficiently important for the future of our country".

In my view, it is a tragedy to run the pile driver into the gates of heaven like that 11 september 2001 - in a desperate attempt to gain divine authority and to talk propaganda in the hearts of the people. This sort of semiotic studies should be open and the details published and be considered a serious and scientific study. However, it is well possible that humility and integrity is the only way to a deeper understanding of these matters and then bombs and terror is not the fastest of ways. It is a matter of poetic logic and not of political intrigue and strategy. My 3-volume work (as of 2013) is about the foundations of this sort of study - but it is not for political intrigue. The present details fall under the study of the socalled 'form of being'.

(The wickerwork piece may unfortunately have been moved and I cannot find it again. It is of course possible that 'politicians' could have been here in order to prevent more detailed microscoping of some essential parts of it - unless it got hidden in some mess on my desk, which also is possible. I don't know how many there could exist of this piece in the world).

These pieces of 'transcendent matter' is apparently the passion of 'international secret intelligence'. The word 'poiesis' is greek for 'creation' and for 'poetry' and can thereby mean such materialized pieces as a matter of poetic logic and thereby can be seen as a hallmark of the poetic phenomenon - how the poetic reality transforms into the historic. But, as in other fields of poetic cognition, it has been warred down by 'secret intelligence' who thinks that this looks interesting and wants to have the control of it for themselves. Adolf Hitler had the job probably on behalf of the angloamericans of leaving the stamp of 'nazi' on all such studies, never mind if it is the border to another reality. Now the 'services' hope to keep it for themselves and to keep all these things secret - and use them for such things as Manhattan 11 september 2001 - for 'meaning something' - without telling the public anything about it! It is all that which must be stopped - and the archives which exist on research in these fields must be downgraded and made available to the public. Consider the visual mysteries I have reproduced above - they all show archetypes of the sort which it was Hitler's task to war down for reserving for intrigue for getting new Hitlers into the parliament and government. It is massively important and interesting for semiotics and poetic logic and should not be reserved for the power games of the services.

I must add that it could be that some could come to claim that my current studies have been facilitated by the political and perhaps geographic circumstances. For example, one could think of the wigwam being installed in one place and the film-scroll in another place and then the inbetween 'mirror' on a third, such as e.g. Manhattan or 'Kvadraturen' in Kristiansand. I am not inclined to believe so - although the pieces I have presented here could have been telling of 'political circumstances' - I would rather believe that the phenomenon in general is an integral part my work through the preceding 20 years with the TEQ and the poetic logic therein.

It is well possible that there are aspects of the present studies which tell of a defining information technology in the third millenium, and it is well possible that it is right to understand that there is a revelational aspect of this poetic knowledge. But to believe that this 'revelation' has anything to do with homosexuality is a serious error and possibly a part of a planned strategy for those who want to start this new knowledge-revolution only for driving it in the ditch in the hope that it will never come up again and be reserved for secret intrigues and gloomy government only. A comparison to the 'poetic revelation' which this really is about can perhaps be made with the O-shape which swans sometimes form of their wings when swimming on the water - but I don't think swans are homosexuals. Nor is there any reason to believe that historic time goes backwards.

I add that there could have been a burglary of a copy of a handwritten manuscript of mine. I am not informed about anything such, though. There also seem possibly to have been some sabotage of electronic equipment in my home - such as a programmable shortwave radio, a washmachine, several computer motherboards etc. It is possible that this - if not only normal apparatus breakdown - is for installing the concept of 'Fiskefösker' and that the 'services' or whoever it is who are into this sort of 'political planning' apparently for making a new Hitler try to allot roles in this way. It is not impossible that it is 'international secret intelligence' collaborating with 'our colleagues in England' who are trying to construct a new Hitler for the eventual complete power and control take-over - and the plan could have been to keep all these semiotic aspects locked down. I hope descent administration can stop further burglaries and 'fiskefösker' activities if these have been going on.

© John Bjarne Grover
On the web 12 february 2014
(Some orthography adjusted on 4 march 2014)