Mathias Grünewald and a global function 12

Mathias Grünewald and a global function 12

John Bjarne Grover

I have postulated that to each of the 16 books of TEQ there is one local and one global poetic function.

The work of Mathias Grünewald could be a case of a global function 12. I here discuss some aspects of this hypothesis without making any conclusions thereon.

The story goes that much of his work was lost as war booty that sank with a swedish ship. Another speculative theory is that the lost works landed in London and have been hidden there and could have been a part of the basis for the construction of the 'intelligence project' with Hitler for demolishing Germany under a pretext of 'Dritte Reich' - because Grünewald was german, as could have been the pretext. But this is sheer speculation. If, though, a substantial part of his work is lost, in particular if what is available today is selected from certain specific points of view and purposes, it could be of importance for understanding the complex in these artwork as far as the theory of 'poetic functions' in the work of an artist is concerned.

It seems that much of what is left of his work can find an echo in (or be tentatively associated with) the 25 poems of book 12 under the title "In Africa" = TEQ poems #1010-1034. I have tentatively tried to consider these 25 poems as having a mirror structure which is reflected in Grünewald's extant works - and it can then be postulated that this mirror structure extends to the global format of all the 1719 poems. I list some suggestive assignments and discuss a few of them in more detail and leave the rest to the interested reader.

His works are listed here and I use those links to refer to the works. (See also this listing). The numbers in the lefthand column are referring to the enumerated poems of TEQ = The Endmorgan Quartet in volume 2 in the part called "In Africa".

TEQ #1010 & 1034 = St.Antonius & St.Paulus
TEQ #1011 & 1033 = Mocking of Christ
TEQ #1012 & 1032 = Crucifixion 1, Crucifixion 2, Crucifixion 3
TEQ #1013 & 1031 = Christ falling with the cross
TEQ #1014 & 1030 = The last supper
TEQ #1015 & 1029 = Establishment of Santa Maria Maggiore
TEQ #1016 & 1028 = Angelic orchestra + Madonna & Jesus child
TEQ #1017 & 1027 = Temptations of St.Antonius
TEQ #1018 & 1026 = Holy Agnes, Holy Dorothea
TEQ #1019 & 1025 = Madonna + Jesus
TEQ #1020 & 1024 = Erasmus & Mauritius
TEQ #1021 & 1023 = Resurrection
TEQ #1022 & 1022 = Annunciation

I discuss some peculiarities:

TEQ #1011 & 1033 = Mocking of Christ

Assuming that the local mirror form (over the 25 poems in "In Africa") has a global reflex, the global mirror (around the mid point #860) to #1011 is 1720-1011 = #709. This poem has the signature 'AIK' which perhaps can be recognized in the two levels of the artwork - cp. also 'In A-fri-Ka'. However, the book 12 starts (after two motto poems) on #850 called "10.00", telling of a special role for the 'ten'. Adding 10 to 850 takes it to the mid point 860 (mid of the 1719 poems in TEQ) and the mirror across it is 870 - an interesting comment. Hence adding 20 to 709 takes it to TEQ #729 which seems to be a very precise comment to this artwork. There is not much genuflection in the artwork unless the two legs of Christ and the front figure are seen as joined at the knee. The resulting 'genuflection' when the two legs are mixmaxed has a counterpoint in the rope from his hand - and the 'Labour' of the V-shape between his own sprawling legs. The person who stands behind Christ lifting a fist is 'turning a calendar' with elbow corresponding to the crossing knees, and the 5 children out of which 4 were 'sleeping' are the fingers on his hand. These add to the 5 fingers of his other hand = 10. The lower hand touches the head of Christ who perceives the 5 people on the righthand side - the four behind are the normal fingers and the front figure is the thumb. (This comments also on the two levels of 'AIK'). The musician in the background is the last four lines. The 'turning calendar' could then be the swastika-shape of the arms of the man behind Christ - it could even be about a phenomenon resembling the magic images I made with a reflex in Rilke's Duino elegies.

TEQ #1011 tells that they mock Christ because he is the 'number' - that is, they need the work he has done (but probably dont want to pay for it). It corresponds perhaps to those 'brethren of Tom, Secret' who could want to control my TEQ (including this poem) for turning it into 'divine math'. But the poem tells that this should be too altmodish thinking today - the world should leave these problems behind and stop punishing those who have contributed to the positive development.

The 20 is added to #709 but should really have been subtracted if one wants to consider 850 (with the title "10.00") the mid point instead of 860 - hence not 709+20 = 729 but rather 709-20 = 689. The 'hinge' goes wrong way - and that is why there is genuflection, otherwise there isnt much of that in the image.

TEQ #1016 & 1028 = Angelic orchestra + Madonna & Jesus child

This is the artwork I discovered the global mirror phenomenon from - this Madonna and child (from this source) interpreted in two halves: The lefthand side of the artwork corresponds to TEQ #1016 and takes the angelic music to be the clothings of the Madonna - really the inside of her body where the Christ grew to birth. It seems that most of the lines in my poem have a detailed reflex in the left side of the artwork. 'Categority and his late' could refer to Christ as the logical truth by the fundamental theorem (by elements and categories) - and then 'his late' is the dependency-related Madonna.

For #1028 as the righthand side of the artwork, the relevant observation is that there could be some systematic relation between this and the Guadalupe Madonna of 1531 - assuming that the lefthand side of Grünewald's artwork is the 'tilma' of Juan Diego with the 'icon' of the Madonna on it. It seems that Grünewald painted this for the Isenheim altar between 1512 and 1516 and that he died in the late 1520's and that the Madonna of Guadalupe occurred to Juan Diego in late 1531. (Later theories that Grünewald may have died in late 1531 are likely to be about an 'intelligence service' wish to assign mystic value to the death of the artist, could be for lending mystic value to the spread of terror and death). I notice that the Madonna occurred in the Tepeyac district and that could lend some value to the word 'LaBridge' of my #1028. The Madonna embellished his cloak with roses, tells the story.

The global mirror to #1016 is (1720-1016) = #704 which is the very short poem "Yours and China" - which seems to be the righthand side if China means the ceramic potty in the lower corner corresponding to the 'divine custody' (upper corner) of the urine system.

A theory could be designed to tell that the entire british-monarchic intrigue is built up around this assumed correlation of Grünewald's Isenheim Madonna + Jesus child with angelic orchestra as the causal origin of the icon on the tilma of Juan Diego in Guadalupa, Mexico. The 'Feud as LaBridge' of my TEQ #1028 could have explanatory value for the question whether the name 'Labråten' (my residence since 1971) is a name constructed for its parallel to 'Tepeyac' of this 1531 Guadalupe Madonna, while the 'Feud' would be in reference of the 'fiefdom' ideas of the british monarchy which for the modern mythos construction could include rape of the puberty age. It is tragic 'intelligence philosophy' which could want to assign mystic value to the death of the artist (Grünewald) as the causal reason for the appearance of the icon on the cloak - and hence that spread of terror and death should be the format for a new 'global technology'. This could then have been stamped very secret for spreading this 'gospel of death and terror' in the world's 'intelligence services', and this 'intelligence project' could have been the basis for WWII and Hitler's holocaust - which then could have been on behalf of british 'fiefdom' ideas. Alas, how reactionary and altmodisch that would be - it would appear as only royal power clinging to their supremacist privileges after the french revolution. It is high time to understand that such 'intelligence projects' could be mainly 'intelligence pretexts'.

Since 1974 there have been attempts to move the time point of Grünewald's death to 1531 - probably without mentioning Guadalupe. Grünewald's wife had allegedly ended in psychiatric custody by some Jakob Folcker who (probably on her behalf) in 1532 asked for Grünewald's inheritance. When Hitler designed the Volkswagen beetle, it was possibly as part of the construction of a related quasi-religious philosophy. My official father in the 1960's told the joke about Volkswagen beetle that it is but a 'gravid blikk-plate' = 'pregnant plate of tin/look'. One guesses that this 'Folcker' controlling Grünewald's wife could be the origin of the state of Norway since it was established in 1814 - in norwegian 'Norway' is called 'Norge' which could derive from 'Volke' by greek 'v'. The norwegian language is called 'norsk' ('noshk'), cp. 'vuck'. When the form of the country resembles the counterpoint to Italy in the swastika on the map of Europe, it could even have been for resembling the arms of the man standing behind Christ on the 'Mocking of Christ'. Is it me who has the role of Christ - on the form PTRSIM PIK? The parallel street to 'Labråten' on the one side is called 'Pettersand' (cp. 'PTRSIM'), on the other side it is 'Risløkka' (cp. 'PIK').

All that 'intelligence construction' is the same as Hitler's nazism (with swastika logo) and should be dismantled - since it is an attempt to swindle people's goodhearted confidence. They must tell the full truth, otherwise the swindlers deserve no confidence. Here the full truth could mean that "if one could succeed in moving Grünewald's time of death to late 1531, then one can more easily postulate a systematic connection between his death and the occurrence of the Madonna in Guadalupe - and this could lend a shade of legitimacy on the concerns of intelligence business with terror and death". Such theories of course deserve no respect or confidence at all. It is possible that Himmler's holocaust was of a related kind. One could speculate that the entire WWII and the holocaust were an 'intelligence project' trying to interpret and install this Grünewald-Guadalupe connection, including NATO as the transatlantic link after the war. Alas, it seems rather naive, this whole assumed story - if 'Gratis Myndevalp' is the assumed factor in the transatlantic info transmission. The 'Nord Stream Disruption' could be about 'Tordenskjolds Soldater' (the story of warrior 'Tordenskjold' who let his few remaining soldiers walk around in a ring half visible half hidden and the enemy fled when they saw it and believed he had a great army). If my official father John Grøver were replaced with a copy in 1969, the new one who took over his identity and competence could have been a 'quackus' on the name Horatius Quintus Flaccus for the mixmax of Horace and Jesus. Ahja, it looks rather naive to believe that such 'transcendent information transfer' across the Atlantic could have been caused by a 'Jakob Folcker' in custody of Grünewald's young wife who even was originally jewish (if I got it right), but it is possible that this still is the matrix of much modern nazi and 'intelligence' philosophy. Were that the holocaust - the 'gratis myndevalp'? The 'greyhound' swing on the Madonna's leftside breast?

Even the 'Grüne' political parties could be about this 'Grünewald' story. Come out with the entire story in public! There is no basis for cheating the people of the whole world for the sake of dubious political aims and very gloomy quasi-philosophical ideas. If it has any value at all, then it can take daylight, and if it cannot take daylight there are good reasons for that.

There was some time ago a school shooting in Newport News in Virginia - in the elemenary school called 'Richneck'. It is possible that this 'Richneck' could have been because of 'Rieckenberg' who is credited with the theories from 1974 on the death of Grünewald in 1531. The clue to the shooting by a 6-year old could have been in remote control of his 'grip' on the weapon.

Tradition tells that most of Grünewald's works went down with a swedish ship who transported the 'war booty': Hitler's 'Volkswagen' beetle could have been modelled on basis of the probably jewish Belcez mystery, the bulby animal coming down from eternity as a pocket of time in perception.

TEQ #1010 & 1034 = St.Antonius & St.Paulus

The artwork (from this source) can be tested for its 'global function' by the characteristic macramé which St.Paulus seems to be dressed in. Searching for the word 'macramé' in my TEQ takes it to TEQ #614 (p.702), the poem called "Europe's" starting with the two lines "There was this soul of influence / flew over the macramé". This 'soul of influence' seems to be the face that can be spotted between the 'elephant' and the palm in the background - just under the '2' or '24' (or numeral 2 over the 4 with the golden icicle as downstroke) - the remarable evidence is in its similarity with the photo-enhancements of Jose Aste Tonsmann (unless it be about a piece of swindle) from the photographic enlargements and enhancements of the shadows or 'iris' in the eyes of the Madonna of Guadalupe (on the 'tilma' cloak) reported in this article: It is face #6 from these enhancements that can be compared with the detail from Grünewald (the excerpt here is from the reproduction in 'I maestri del colore') - here the Guadalupe face is mirrored for showing the similarity:

Are there traces of more of these Guadalupe forms in Grünewald's work? There could be traces of the negresse in the Madonna and child: Up behind the head of the Madonna there is a mask resembling the negresse's eyes and slanting nose surrounded by the 'blue clothes'. Her two breasts could then associate with the two characters standing down under the 'mask', or rather the forms under them (see also this excerpt from this source).

The characteristic dark top of the negresse's hair could resemble the castle down right of the mask and in the shadow in the corner under and behind the Jesus child one can also see outlines of such a form. In addition, the Mauritius character is itself a main role in this work who could perhaps be recognized as this negresse with a large breast.

It is noteworthy that if one assumes that all extant Grünewald works have a reflex in my "In Africa", then there seems to be mainly TEQ #1016 which covers this Madonna and Jesus child in the sense of the angelic orchestra to the left. TEQ #1019 could apply to the scene with Madonna and Jesus, including the roses behind the Madonna. It could mean that it is the angelic orchestra which is the Madonna's clothing - in Guadalupe that is the green coat with the uneven number of stars which could seem like a reference to her breasts. The horned pillow form at her feet has a reflex in the soldier on his back in the ressurection of Grünewald (annotations to this source from this article), that is the righthand wing on the same table. That would be the Jesus of resurrection that hides under the coat of the Madonna - one sees the vague outlines of a shadow that could mean a child.

Another notable aspect of this artwork is the triple 'telephone': An antelope, an elephant and the 'lips' of the bird above - the three up on a line from in front of the pointing finger of St.Paulus. Even this could be recognized in a +20 function from the macramé of #614 - that is #634, the theme of which could be recognized in #1706 (from the last part of the work, at the end of book 16). 'To try and reach the antelope' tells this TEQ #1706. Furthermore, one could interpret "I know what it means" = the flow of 'sand' = knowledge from the upper to the lower hourglass chamber between the two hands of the two saints. "Till you lead untill the constant, the unbroken and constant" = the horseshoe form hanging between the hands and the leftside man's hand imitating the horseshoe form. "To try and reach the telephone" = the pointing finger of the upper hand reaching for the antelope = the telephone. There is even an elephant in the air above the antelope and under the bird with the strange 'lips' in its beak - the elephant is the big form with a 'trunk' in parallel with the rod of the elephant driver 'reaching the telephone'. "Well [... him], I did some changes" = the left hand of the leftside man holding his 'horseshoe' around the rod. There is a mirror horseshoe behind the back of this man. Conclusion on this #1706 is that it has a remarkably precise correlate to this semiotic theory in this work of Grünewald.

The mirror poem to this #1706 is TEQ #14 where one finds the two antelopes or deer in the 'bambi' of 'fambulo-fambili'.

Most of the elements seem easily recognized. In #1010, the 'box' is likely to be about the bird in the upper left in the sense of the flying vessel in my volume 3 pp.1183-1885. When the 'box' is in the first poem #1010 listed above, it has even a mirror reflex in the last poem in the list which is #1022 (below). For this phenomenon of 'double folding', see also my volume 4 pages 1184-1195.

TEQ #1021 & 1023 = The resurrection of Christ

'The resurrection of Christ' (from this source) seems to be TEQ #1021 - by the 'circle'. Hand stigmas are 45 and 55 on the 'zifferblatt'. The soldier in the background is nearly horizontal with the ground - telling of the first lines "In the first version, I was inclined / to see these as happening from the earth".

The mirror poem (1720-1021) = #699 is likewise about circles, possibly including the massive 'millstone' formation behind Christ. Two of the circles seem to be about calendarial revolutions. Adding +20 to #699 takes it to TEQ #719 which has an interpretation in this story - one sees the 'millstone' in the broad red band with 'MALVA' script on it and the sword or lance in the artbrush, the opened grave in the colourbox etc.

This seems to get a verification from another aspect of this artwork that the defining circles also could apply to the idea of the 'zifferblatt' as the form of the human language faculty in the circle surrounding the resurrected Christ in terms of the local function 14 - while the massive 'millstone'-like formation in the background could be about the general apparent mirror form of the entire TEQ when considered in its function 12 properties. I refer to aspects of the local function 14 discussed in volume 3 chapter 23 (pages 1131-1151) - here by Weöres "Rongyszőnyeg II" poem #5 (pages 1134-1135) which could suggest a reference to the soldier closest to the spectator, the one lying on his back with his forehead covered with his helmet: This corresponds in vol.3 chapter 23 to TEQ book 14 poem #10 which is TEQ #1257 - and this has a mirror poem in (1720-1257) = TEQ #463 which likewise could find an interpretation in this Grünewald work - 'fells into the see' that could mean, with the massive circular stone as 'Mr.Holberg'. The helmet down in the face of the soldier could resemble the 'Mocking of Christ'. The circular 'calettfold' cap of the mid soldier suggests that the third soldier (on his back) is the 'reason' - and then the socalled 'photo' will be the spectator him/herself: Here it is called Photo Mittet while this story could call it 'Photo Malva': 'H-alva' = 'the half', like 'M-ittet'. Cp. also the only 'half' graphic design of the title to the third quarter 'A saga Hume' of TEQ books 9-12: This title has its leftside margin along which it is aligned in the mid of the page, not in the leftside margin of it. The massive granite stone of Grünewald could therefore be a sort of 'lens' of the spectator's eye for the 'wonders' described in TEQ #848, with a 'shutter' for the lens in TEQ #849 - wherefrom it is seen that the praise of the wonders is conceived as a 'level four' which then is the 'spectator' of Grünewald's artwork - the 'fourth soldier', so to speak. These two poems 848-849 constitute 'motto poems' for book 12 which indexes the mid point of the work in TEQ #860 by its title '10.00' to #850. See also e.g. TEQ #248 'Bird' - the 'roundness' and the 'coming soldier'. These considerations on TEQ #463 as the mirror poem to #1257 (with its relevance for vol.3 pp.1134-1135) suggest that the 'global function 12' finds its reference in somewhat complex form. Is TEQ #(463+20) = TEQ #483 something? If one assumes that the human brain is composed of 80 billion 'supercomputers' (with hardwared logical circuitry on a molecular level), the visual faculty could go out to the lenses of the eye and back again for a surveillance of the universe through mirror symmetries - and 'light' would be just the symmetric format of existence. Then the two soldiers in the background would be this 'enclosed' reality of the humans (living 'under the lens', the huge granite stone) while the two soldiers in the foreground would be their mirror symmetries - and the resurrected Christ would transcend these confinements of the human reality.

TEQ #1020 & 1024 = Erasmus & Mauritius

The circles recur as essential in this 'Erasmus-Mauritius' artwork and I have tried to search for a poem for this among the part "In Africa". I suppose TEQ #1020 can be used: 'Has been accused of KUA' could refer to the negro accusing Erasmus of KUA in the image at his feet (the chinese sign KUA), apparently displaced out from the rectangular open frame-shape he holds in his hand. 'Britannica you stay' tells of the black-and-white thresholded photo 2 with the rolling head of England whereby the staying arm of the negro would be up at Normandie. The golden halo around the negro's head would be the head of the leaping lamb on photo 2. In fact it seems that this circle could be the secret of Grünewald's function 12 - the 'Lead lushions in a bowl'. The negro on this work could tell why it is called 'In Africa'.

The mirror +20 image is poem #680.

TEQ #1017 & 1027 = Temptations of St.Antonius

The temptations of the holy St.Antonius (from this source) could find an interpretation in TEQ #1019 with +20 mirror in TEQ #681.

TEQ #1019 & 1025 = Madonna + Jesus

TEQ #1025 may perhaps be read linewise left-right and top-down - for example, the XJL 9 could be spotted along the mid line (with the rudimentary fence) and the low right 'froggy' formation is not a 'cri-therion' etc.

TEQ #1022 & 1022 = Annunciation

Annunciation (from this source) with a reflex in TEQ #1022 has a mirror poem in #698 which seems to tell of the character with the books in the up left corner. One can also read +20 = #718.

Comments

If the photo enhancements of Tonsmann are not swindle, there could be some empirical value assigned to them. My observations in this article tell of a correlation of these enhancements with my own 'Dornenstrauch' phenomenon of 'petrification point' - which also seems to be of much value for this study.

I refer also to the double-words aligned on pages 1023-1133 in volume 4 - there are three occurrences of 'box' at significant places - such as in the 'Annunciation'. See also on page 1041 the correlation of 'Valencia' and '42:109': This number 42:109 occurred crystal clear to me when I wrote SNEEFT COEIL but I got the explanation only after I had aligned the book against the 1823 event observations from Oslo in the spring 1995. It is possible that the Tonsmann data could be of this type - if it is not outright swindle created from aspects of Grünewald's work.

While I worked with this material I came across the +20 phenomenon. It is possible that my work was surveyed and it could have been used as basis for two massive mass shootings in USA:

On 21 january 2023 there was a mass shooting in a ballroom dance studio in Monterey Park. The name could suggest 'kommet av rape'. If 'visual faculty' tells 'vis-p-ual fac-p-ulty', it could have been about a 'ball-room-p', going up and down on the dance floor like currencies. It took place at 10:22, tell the new.

The next was apparently on 23 january 2023 at 2:22. (Article in China Daily). I had worked with the idea of a global-local principle resembling the phenomenon of 'inversion' reported in this article: Assuming that the 25 poems of 'In Africa' relate to the 187 poems of book 12 in the same way as book 12 relates to the entire work, and that this gives shape to the global function, I made some computations that landed me on lines 3-4 in TEQ #1035 (page 1146) - and it is possible that the two serious mass shootings could be recognized therein. I cannot find the procedure again but found an approximation by the mirror poem to TEQ #1016 (for the 'prostitu-hu-hu') which would be TEQ #704, and adding +20 to this for #724 it can be divided with the factor 0,7 (same as for the black textiles mentioned in the article) for TEQ #1034,29. The factor in the inversion article is 2,22 - which is that second time point. In short, it looked like terror interpreting the progress of my studies on this theme - as if it should be my way of thinking, which it is not. I refer to similar phenomena by the rejection of my doctorate in 1998, also in this file.

My official father was, according to my conception of the events, replaced with a copy in 1969 who took over his identity and profession untill 1990. I notice the 'loop'-rewrite of 'Horatius Quintus Flaccus' into 'flåratius hintus quackus' (or 'floor[dance/ratius]...') for a potential mixmax of me with the official father for the role of the mythos-Messiah - Horace wrote his poetry at the time of the birth of Christ.

It is possible that the theory of a connection between Grünewald's Isenheim altar of Germany (painted 1512-1516) and the Guadalupe Madonna in Mexico of late 1531 has been the basis of quasi 'intelligence' activities for centuries and that Hitler's WWII and holocaust were among the worst result of this type of philosophy. The crime against humanity would then of course have been that it has been held secret. Could be even NATO is formed on such a transatlantic basis? If this is the story, it is of course urgent to have it brought to public daylight and out of the shadows of murky intrigue. Of course such stories as Hitler would have been mainly of a reactionary kind for stopping any fruitful understanding of these semiotic mechanisms - under the pretext of being the opposite.

It can be observed that the recent mass shootings in USA add to the stories of the terror against US embassies 1889 and twin towers etc 2001 - for a potentially general transatlantic imitation of the connection between Grünewald and Guadalupe. It could have been this possibly false idea that the death of Grünewald coincided with the apparition of the Madonna of Guadalupe that is used as reason for such terror. Cp. also the cartoons of New Yorker Magazine with apparent reference to the postwar history of ÖVP in Austria. I refer also to the story under 20 january 2023 of the helicopter crash with Denys Monastyrsky which seems to have created the basis for the apparently 'styre-ski' controlled high-precision crash which could have included a form resembling the detail of the the 'bird' with 'lips' in its beak on Grünewald's St.Antonius & St.Paulus.

It may be that these 'intelligence services' could be rather crazy in this sense of it, if it is theywho organize the terror for the apparent Grünewald-Guadalupe connection. Sensible government should go for a total global ban on all 'intelligence projects'. It is the people who pay for these services and they have all rights to get all such information publically available.

If the rotor of the crashing helicopter in Brovary had been computer-guided to land on the parked car in such a way that it looked like the bird (with telephone-connotations) of Grünewald's artwork, the idea of such high-precision remote control could have been to encode the idea of 'denne småen har styre-ski' (= 'Denys Monastyrsky') = 'this little boy has a steering plank/log/rudder', cp. also the potential 'steering rudder' in this artwork in 1903 ascribed to 'Grünewald' in Kirche St. Michael in Lindenhardt Rückseite des Altars on the Linker Flügel. Within the nazi mythos that perhaps can be ascribed to my person's role in the mythos machine (including what I take to be Hitler's plan of a 'Dritte Reich'), it seems that the idea could have been to consider my poetry as guided by such a 'styre-ski', a steering rudder, in a similar high-precision way. The mythos construction could suggest that I had been raped by a maternal custody authority who could have been a 'trans' of Heinrich Himmler origins, and that the penis contents of this 'trans' could have been taken from my own penis organ (while I under anaesthesia got somebody else's) - this construction would then have been the 'steering rudder' which lent high-precision control to my poetry apparently via some organizing 'secret intelligence' who could have added intrigues of transatlantic terror to the construction - and in the case of the Monastyrsky crash the transatlantic counterpoint could have been the shooting by an alleged 6-year old in Richneck school - cp. Rieckenberg's biography - in Newport News, Virginia - with a potentially shared telephone signification. If this telephone signification finds an echo also in my TEQ, such as in poem #1706, the apparent terror could have been constructed (unless it be about some semiotic mystery) in order to try and lend secret intelligence control to my authorship. This nonsense should then, according to such mythos, endow these secret intelligences with the authority to my poetry or authorship generally, which of course is nonsense. The global function 14 (by book 14 "If you're going to København") in TEQ constitutes a proof that this nonsense has no value, since it assigns to every word in the work by their distribution in time over the 11 years it took to write the 16 books a distributional semantics which suffices as proof that the writing was not under control of any intrigue. (I notice also that the title to my book 14 resembles the name of the paper and notebook sellers "Flying Tiger Copenhagen" which seems to have reached an impressive spread after my book was completed). It must be understood that such mythos construction - gloomy nazi constructions - could be a main aim of the work of some state intelligence services, and one wonders if even NATO has this function of adding to the Grünewald-Guadalupe connection. Clearly such 'intelligence projects' are probably a more or less desperate attempt to try and block for the interface to the metaphysical reality - and the standard reason could be fear of the unknown, in particular of what comes after life, for which reason such mafia involvement in state administration could be an attempt to get control with the definition of the new computer technology. Therefore also there could have been the two recent pieces of mass shootings in USA apparently commenting on this article in progress. It is possible that school shootings in USA generally could be of a similar kind - and that attempts to keep my authorship suppressed or used and abused without crediting of me as the source of it could be of similar nazi mafia purposes. Many people could still have some confidence in state intelligences which could need serious revision. Hopefully the state governments are still in charge of some control and that this spread of the nazi-mafia involvement in state administration can get under constitutional control enough to be brought to an end. Is it really possible that a helicopter can be sabotaged in such a controlled way that the rotor that is ejected from the crashing aircraft is thrown around to land on a car in such a way that it resembles Grünewald's artwork with relevance for my TEQ poetry - which thereby can be suspected of being under control of a 'styre-ski'? If this is not likely, where is the 'mythos-construction' rooted? My guess is that this is part of the wishes of the international secret intelligence services to gain quasi authority to my work - in such a way that it also can be brought under the umbrella of a quasi 'Grünewald' conception which may have been central to the construction of nazism. If the state of Norway were constructed on basis of Grünewald's 'Mocking of Christ' with the 'swastika' arms of the man standing behind Christ, it is possible that the reported terror of Newport News and Brovary is in line with intentions of terror of 1998 and 2001 (and maybe the phenomenon of mass shootings in USA generally). If I am assigned the role in this gloomy mythos of being a quasi 'Messiah' (with whom e.g. Hitler could have hoped to swap roles), it could explain the apparent mobbing phenomena such as these ones. Of course I do not support anything of this kind and I most strongly protest against any uncredited use and abuse of my work - and most certainly I do not believe that my authorship is under more control than I myself overview and credit as normal. It seems that these 'administrative control attempts' (by international terror, the history of nazism, even aspects of NATO?) try to prevent the poetic inspiration which makes it possible to reach new knowledge beyond what is under conscious control. If so, that would be only a normal reactionary mechanism against new knowledge. The attempt of Ukraine to approach NATO membership led to the russian military operation which could be targeting indexes of defining value for this nazi tradition in the western hemisphere, including possibly aspects of the 2019 election campaign of Zelensky. It is high time that the western world gets over these problems, not the least for preventing that it be stranded in the murky backwaters of superstition. At least it should be possible to have all aspects of this Grünewald story thoroughly published and analyzed in publically available format.

Added 29 january 2023: Above I mentioned the phenomenon of 'inversion' reported in this article as having a potential relevance for the Madonna imprint on the icon of Juan Diego (in late 1531) by the mechanisms of 'lapis philosophorum'. I can add the following: 1) The 'coat' as a cover to 'In Africa' can be reached by the mirror to 1016 which is 1720-1016 = 704 to which +20 is added for #724 - and 724 / 0.7 = 1034,2857 whereby the 0,2857 constitutes the 'coat' onto the part 'In Africa' = 1010-1034. This would lead appr. to lines 3-4 in poem #1035 - which seems possibly to have been indexed in the 2-3 cases of mass-shooting terror in USA while the work with this article was still in progress. 2) The other assumed principle was by the 'petrification' which took place when I had reached 'sonnet' 77,3 in DDS part III and could not come any further but had to collapse these to 64 poems of 16 lines each. This 'petrification' has a strong correlate in the relative enumeration (from 1 to 187) of DDS part I - see this article which tells how the essential 'petrification' has a second referential point on poem of relative enumeration 77,3. The idea is now that the global function 12 could find a rationale in the relation between the part "In Africa" which are the 25 poems 1010-1034 and the rest of book 12 - which in total consists of 187 poems, just like the relatively enumerated DDS part I. Now the Grünewald 'tilma icon' would be in #1016 which is 7/25 of "In Africa". Hence (7/25) * 187 = 52,36 which is added to the 847 poems before book 12 starts - it gives #899,36. If, now, I subtract 20 even from this I come to 879,36 - which in the poem line 3 is the number '96812'. If this is divided with the poem number itself, that is 96812 / 879,36 = 110,0937 - that is the 'petrification point' of DDS in absolute enumeration, providing the following excerpts from the same poem: "die äußere Bedingungen / die innere Erscheinungen / wiederspiegeln" - which is quite perfect for the Guadalupe Madonna icon on the tilma coat of Juan Diego after she had embellished it with her roses. It is a good guess that this is precisely what the line 3 (= '96812') of poem 880 is - here are the lines 2-3-4: "ooh, social of a prayer. / 96812 / My magic and still as teeth grow" which adds this 'magic tooth' of the 'lapis philosophorum' to the story. See the parallel text from Acts 10:31. (As far as I remember, when I studied the greek new testament around 1988-90, I read the four gospels and continued with Acts untill chapter 10 verse 30). It could suggest that '96812' = 'wiederspiegeln' = 'ἐλεημοσύναι σου' = 'your alms'. This could support the theory that 'inversion' is something. The number read upside-down is '21896' which divides with 25 for poem #876, which I have taken to be about the potato peel filter in the sink - that is, where I found the 'lapis philosophorum' (but without such a filter in the drainhole). Jaja. Also, if the petrification point is at 110,3 in relative enumeration (out of 187 in DDS part I), one can consider the same in book 12 (with its 187 poems) which takes it to 847+110,3 = 957,3 - that is a third through poem #958, which exhibits a lacuna, as if the magic tooth had fallen out. But this was written in 2001 - more than 13 years before the real stone appeared during my writing of DDS part III. Would ελεημος (main part of 'alms' = 'ἐλεημοσύναι') compare with '96812' = 'ל-e-m-ו-z'? Could be my fundamental theorem of logic would suggest that numbers and alphabetic symbols can come to be merged for a new form of math (It was once suspected that I harboured a mathematical talent - this is normally quite well hidden but may perhaps flash up occasionally in this innocent form of the 96812 - see also the above 42:109).

Source:

"I maestri del colore" #123 Grünewald - by Fratelli Fabbri Editori, Milano 1966