= ס / ם
Garasjetulla
John Bjarne Grover
In this article I discuss one sonnet of Auden and one poem from my own TEQ ('The Endmorgan Quartet') with particular emphasis on the parallel text from Exodus to my poem, with corollaries for a hypothesis on the socalled 'octogon' complex. It has been shown several times (see e.g. this file) that the hebrew and greek parallel texts to my TEQ exhibit extraordinary explanatory force, as also the present discussion could suggest.
Auden "Sonnets from China - XVI" (1938)
| Auden | TEQ | ||
| 1 | 11 | Our global story is not yet completed, | |
| 2 | 12 | crime, daring, commerce, chatter will go on, | |
| 3 | 13 | but, as narrators find their memory gone, | |
| 4 | 14 | homeless, disterred, these know themselves defeated. | |
| 5 | 1 | Some could not like nor change the young and mourn for | |
| 6 | 2 | some wounded myth that once made children good, | |
| 7 | 3 | some lost a world they never understood, | |
| 8 | 4 | some saw too clearly all that man was born for. | |
| 9 | 5 | Loss is their shadow-wife, Anxiety | |
| 10 | 6 | receives them like a grand hotel, but where | |
| 11 | 7 | they may regret they must: their doom to bear | |
| 12 | 8 | love for some far forbidden country, see | |
| 13 | 9 | a native disapprove them with a stare | |
| 14 | 10 | and Freedom's back in every door and tree. | |
TEQ #340
Exodus 13:19
ויקח משה את-עצמות יוסף עמו
כי השבע השביע את-בני ישראל
| TEQ | Auden | ||
| 1 | 5 | To what extender | |
| 2 | 6 | stackle for rain-drem | |
| 3 | 7 | everything blessing | |
| 4 | 8 | the Kurd-line, | |
| 5 | 9 | the first, the forest: | |
| 6 | 10 | It was recovered in 1966. | |
| 7 | 11 | They have a lot of these example, | |
| 8 | 12 | worse in the morning, guthing the man, | |
| 9 | 13 | and the stairs of the jokings are. | |
| 10 | 14 | I think all the numbers you get | |
| 11 | 1 | and then I've heard it's crossed this, too: | |
| 12 | 2 | Nebinger over tight. | |
| 13 | 3 | And then I plan to write a distended Fullbright. | |
| 14 | 4 | I've shewed it more than you, | |
| Author | North Zen / of Stemmer, | ||
| Title | für andere Sicherheitsmomente. | ||
Exodus 13:19
ויקח משה את-עצמות יוסף עמו
כי השבע השביע את-בני ישראל
| 1 | ויקח | COPULA + 3psm לקח = take, buy, catch etc, also take wife =
'conceive; learning, teaching, instruction = 'that which is received' |
| 2 | משה | to draw out, Moses, silk |
| 3 | -את | ACC marker |
| 4 | עצמות | nfp עצם = close the eyes, be strong, break/gnaw bones, power,
body, self, substance, essence; עצמות = substance; עצמאות = 'independence' (modern word) |
| 5 | יוסף | יסף = add, increase, enlarge; Josef |
| 6 | עמו | 3psm עמם = hide, conceal, people, nation, to dim, darken; עמס = take up, lift, load, carry a load, burden עמוד = arrange in columns, pagination |
| 7 | כי | that, if |
| 8 | השבע | ה + שבע = seven, swear, oath; be satisfied/filled; plenty |
| 9 | השביע | 3psm of the same שביעית = 'shemittah', the sabbatical year השב = restoring, giving back |
| 10 | -את | ACC marker |
| 11 | בני | the sons, בנ = son, offspring, worthy, branch, shoot, inhabitant בניה = building, construction etc; filiation etc |
| 12 | ישראל | (of) Israel |
For the second computer glitsch, I notice that CULTURE → ZUM suggests 'culture-zum' possibly for 'Kurd-line' of my line 4.
The first error with 'contain' is the one of halted incrementation on 1966 - which occurs in my poem line 6. In Auden's corresponding line there is the ambiguity with the question of 'wound' = 'sår' or 'years' = 'år'. Element 6 of the hebrew:
3psm עמם = hide, conceal, people, nation, to dim, darken;
עמס = take up, lift, load, carry a load, burden
עמוד = arrange in columns, pagination
=
'contain' (hide, conceal, people, nation, to dim, darken)
'arrange in columns' = the 'Laren' woman on the ground
1966 = the counter in the computer where 'contain' arises from the halted incrementation
משה = to draw out, Moses, silk = Tintoretto's raindress/glove
ישראל = Israel with אל
=
אול
=
first/forest = add, increase, increment
Stairs/stares of joking = step 7-8-9 = ...1966,1966,1968...
The step (of stairs) 1967 is in the diffence between
עמם = hide, conceal, people, nation, to dim, darken;
עמס = take up, lift, load, carry a load, burden
This difference is contained in the fact that I did not take the pink marble stone (which I found on 31 july 2022) with me but left it on the ground-grid of the nation - it had a 90 degrees 'elbow' corner on its roundedness - like the hebrew final M vs S - it is the opposite of 'pointed elbows' to leave it there.
= ס / ם
If the stone is photographed from below righthand angle, it could look like the final M.
| 8 | השבע | ה + שבע = seven, swear, oath; be satisfied/filled; plenty |
| 9 | השביע | 3psm of the same שביעית = 'shemittah', the sabbatical year השב = restoring, giving back |
The sabbatical year is traditionally the year of rest for the agricultural fields - every 7th year that was - when you do not bend and pick things up from the fields.
The sum of these seems to suggest the error of computer incrementation ...1966, 1966, 1968...
It is the definite article (the introductory ה) of השבע which in השב is a part of the root which makes the difference - the nation could give the pink marble stone to me after having used their surveillance technology (which is developed precisely for being able to solve such problems of owership of ex nihilos) - otherwise the ARTICLE 9 of the Staats-ver-trag will apply with DEFINITE effect. A definite article that means.
עמוד = arrange in columns, pagination = the group of Laren spirits (elfs from the garage) that are conceived as the female body on the ground, resembling the 'Dunkel-Birne' of 'Belcez' vs 'Bunkel-Dirne' = female body on the street. This of course is a variant of the phenomenon of paradigm/syntagm or synchrony/diachrony shown in the example of 'Savonarolas tanke' (translation here).
It is the Tintoretto raindresses or 'stackle for rain-drem' that unites the stack of Laren into one body by a vertical-horizontal version. See e.g. the baptism of Christ mentioned also in this article as 'raincover' - the group of humans or train of spirits in the background.
Full-bright = worthy-branch
'Nebinger over tight' = 'tight over nebinger' in the sense of Tintoretto's rain-cover in several artworks of Scuola Grande (my 'stackle for rain-drem') - relating the 'crossed' = Jesus the jew who was crucified as the incarnated christendom via a 'catch 22' of 'tight over nebinger' qua 'nebinger over tight'.
Auden's sonnet is vibrating with a possible alternative:
Our global story is not yet completed,
crime, daring, commerce, chatter will go on,
but, as narrators find memory deleted,
homeless, disterred, these know themselves alone.
Some could not like nor change the young and mourn for
some wounded myth that once made children good,
some lost a world they were not really born for,
some saw too clearly that man is all food.
which can be twisted into a sort of reflex in my poem:
To what extender
stackle for rain-drem
everything CULTURE
the bless-ZUM
the first, the forest:
It was recovered in 1966.
They have a lot of these exemptest,
worn in the morning, maxing the mix
For the idea of a motivation in the graphic form of the parallel text, see e.g. this poem: It is fully possible to see the poem as being essentially about the written form of the hebrew:
קא
משמע
לן
ul eq = HE LU
לן - looks like '17'
שלשה - means '3'
קא
משמע
לן
rel iam Shn aT = Tannskje mailer (backwards)
8th = shemini → civili
8 = shemonah → ongwar
However, the poem was written years before I (the poet) came to find the Talmud as parallel text - not to speak of the particular fragment. And clearly such a graphic parallel should presuppose that the poet had the fragment visibly in front of his eyes while writing. Hence this mystery is a case of blue ecstasy - a time machine phenomenon. It is poem #1147 on the way towards the top #1719.
An even better example is this poem - considerably higher up on the mount of mystic enlightenment:
רבא אמר
r t a w → watr, water
followed by the R which is a 'strange' revelational letter
רבא אמר
dr ř F → Fřrde
Hebrew 'cow' = פרה (= 'parah')
It is true that 'the strange leans after' - and this bridge is just outside the place where I heard the 'xu-lophone' (cp. 'ku-lo/ro-Førde') play - and these are deep mysteries indeed - which are not diminished but on the constrary enriched with this function of the hebrew script. It is the same here as with the previous - the poem was written first and the fragment found later. And indeed the annotated fragment is motivated by a lot of external factors - mainly it is a fragment in a text which applies serially to the poems of my book throughout from book 13 to book 16 so there is not much altrenative - but this was unknown to me when I wrote the poem.
Yet a third example in this poem #1518 suggesting
תא שמע
wur aF = Fine row
פא רוע
and the (rowed) 'tile' between = ש = 'tri-thing' in the gap
These three examples suffice to show that the form of the parallel hebrew script 'contains in itself' its meaning when it enters into mysteries of this kind - and it may well be that the xylophone of Venice finds its optimal explanation by way of a hebrew-script account.
Reality took on shape (acoustically) in accordance with the cultural (semiotic) logic contained in the script.
The 'octogon'
25 september 2022 - a tuft of wooly kind I found on the floor, probably ex nihilo, and put under the microscope for an arbitrary viewpoint (another aspect of the ex nihilo character, I guess) - shows a related phenomenon in the form of a Gestalt-switching young female who turns her head towards you while her down-falling hair constitutes the face of an Odysseus returning from Troy - at the rudder of Esmeralda catching sight of land ahoi - with quite impressive bicepses which constitute the female's breasts in the Gestalt-switch:
The dog (to the right) breathes its levitating 'levegö' on the mirror glass - cp. #4 'to gnaw bone' - like the woman sees her breasts in the 'picasso' mirror.
The male could be called 'Karen Anne Axelsen' - 'aksel' is norwegian for 'axle' as well as 'shoulder' - and the young woman with female-archetype hip-and-femur could be associated with 'Tulla Elieson' - the two names of the first element in the 'octogon' below. This 'KAren-Axel-Tulla' could then be 'garasjetulla' - for the sumerian 'ga-rash-túl-lá' which means 'Lauch', 'onion'.
The male bicepses are here shown as the female breasts which 'Adolf Hitler' is massaging when the small doll-size sewn-on arms hang down along the female thorax and the 'real arms' could be held in A-crossbar-parallels across the chest.
The 'octogon' is the hypothesis which contains the following names - with suggested interpretations on basis of the story with the woman on the ground, at the end of the zebra stripes by the traffic light at Wiener Stadthalle - see also this file:
1. Tulla Elieson = garasjetulla in Hütteldorferstrasse
2. Tordis Skjærven Søderlind = massage of biceps 'breasts' = Adolf Hitler
3. Jette Råboe Larsen = giant shout for help = Heinrich Himmler
4. Ayo Jardar = the eye that sees the one in need of help
5. Kirsten Ribu = cursed on rib-U = massage of biceps, BUL?
6. Tonje Kolle = the thorax BUL occurs like hernia/'brokk' = goes down
7. Herdis Eggen = acoustic reality on corner to Wiener Stadthalle?
8. Ellen Berger = the woman on the street? CULTURE-ZUM = Berger-eLEN?
(I notice also 'CURZUM- TULE' for 'GARASJE-TULLE').
If there should be political intrigue interests in the assumed construction, it could be about creating a structure in the irrational links between apparently disconnected elements - in such a way that it goes down for you and up for us, for the idea of competitive winners, sort of. Norwegian for 'pulled down' = 'dro ne[d]' - cp. the political model described in this file. 'Dro ne[d]' can also mean 'flushed the toilet', cp. the apparently large political programs on 'vanne[t] i huse[t]' ('the water in the house') from Yijing 'yang wu-xue'.
Now consider Exodus 13:19 discussed above - the 12 words can be enumerated 1-8 plus #4,3,2,1 for #9,10,11,12.
This has the effect for the political intrigue that the identity obtains in element 2:
ADOLF HITLER = MOSES
The computer glitsches tell of the real epistemological phenomenon - which politics tries to convert into action or profit by intrigue. Element 8 = the number 7.
For the question of the status of the 'octogon', an empirical question remains if this is 'administrative logic' or if it is only my personal history which tries to mend the gaps of history. There probably is an empirical answer to that question.
Conclusion
The conclusion obtains that what can be called the postwar era of secret intelligence mythos control has been sailing under the pretext of having something very important to present to the world - and that very important thing is the apparent major progress in information and computation theory in the humanoid interface of my two computer glitsches. It is the machine that answers meaningfully to the redundancies in the human semiotic constitution. However, the mistake is to believe that this can be obtained via a grandiose but alas so tragic conflation or imposed quasi identity of Adolf Hitler with Moses. It is true that these computer glitsches can lead to the discovery of knowledge that can constitute very important progress - but it is a mistake to believe that it has anything to do with bizarre and tragic intrigues of the type 'Hitler = Moses'.
A very serious and tragic misunderstanding that is. It is very high time that the world can escape the roaring whirlpool of the secret intelligence's way of understanding the world. The shieves of constellations of stars (Mussolini's symbol) under which the aurora borealis are hanging curtains (the northern 'Elfenbeins') recognized in Holm's poem 'Vendevon' - see 'Tulsa' possibly for 'garasje-tulla' - is no reason for a holocaust and horror programs on an eastern arm of a european swastika. To install such gigantic misunderstandings as a new era of computer science on the world reshaped on basis of the secret formula 'Hitler = Moses' is an enormous mistake.
The postwar era of secret intelligence control is the end of a long era of administrative control - it is not the beginning of a new. It must be understood that the formula 'Hitler = Moses' was the world of the former era - and the computation theory is the new. The exploitative program probably wants to say that Moses was the former 'cabbalistic' world and Hitler is the new 'computational' - but clearly a violent program can impose errors in machine performance although that does not mean that these errors are fruitful points of departure for new knowledge. The glitsches of Moses' cabbalism is a fruitful point of departure for new knowledge.
My view is that my TEQ is for the new era what Dante's 'Divina Commedia' was for the former. That also means that my TEQ is not for power intrigues of the secret intelligences - it is for readers who do not want to lock precious knowledge down into secrets.
Sources:
Auden, W.H.: Collected poems. Edited by Edward Mendelson. Faber 1994.
Ellermeier, F: Sumerisches Glossar, Band 1, Teil 1, Lieferung 1-2: Sumerische Lautwerte. (Theologische und Orientalische Arbeiten aus Göttingen 4). Selbstverlag Dr. Friedrich Ellermeier, Nörten-Hardenberg bei Göttingen 1980.
ELLERMEIER/STUDT, Sumerisches Glossar, CD-ROM zu SG 3,3
Hübner, B. & Reizammer, A.: Inim Kiengi. Sumerisch-Deutsches Glossar. Selbstverlag Dipl.-Ing.Univ. Albert Reizammer, Wichernstr. 3, 8590 Marktredwitz 1985.
© John Bjarne Grover
On the web 17 october 2022
