The chinese sign GUA

John Bjarne Grover

On 2 july 2020, the last day of the first half of the fiscal year, I saw on the internet the recording by Yuja Wang and Gustavo Dudamel of John Adam's piano concerto published on Deutsche Grammophon Gesellschaft (from Some 3-4 days earlier I had with a new magic chlor-containing stuff cleaned the bathroom totally of all remains of fungus (Schimmel) and black silicon stripes - and the bathroom was shining white as if totally new. The next day, on 3 july (I am fairly sure it was the day after I saw the record on internet) I suddenly saw that the area on the wall above the bathtub had developed new black fungus where there had never been any at all - the whole upper part of the wall was now fairly black against the complete white it had been for at least a decade. I panicked a little, since I am not the owner of the flat, and wiped it away with a broom, but some shades were left after it nevertheless - and in the article Fatima, Kennedy, coronavirus and the new information technology I describe how these seemed to conform to the three letters S-T-A (norwegian 'stubborn') on the wall. There are some reasons to speculate that it really be about 'STÅ' = 'stand', 'erection' - when seen from 'outside' the bathroom it would be 'ÅTS-el' = 'carrion' as the reason for the Kennedy assassination - as if a spurt of semen on my newborn brain in july 1957 should have been the reason for this writing on the wall. This project of writing STA on the wall of Zinckgasse could in principle have been the project of Adolf Hitler's death camps as a part of Kennedy's US party's activities - including Hitler's Ge-STA-po. If this historic background should have been the case, then the apparent 'graffiti' theme of Kennedy relative to Wittgenstein's 'WÖrterbuch' would really have been only a pretext for the real reason - in terms of this ge-STA-po motive on the wall. The political function of this whole series of 8-9 Kennedy siblings could even have been traced to such a program of writing 'STA' in Schimmel on some wall - and that could even have been the reason for the name of 'sch-Heinrich sch-Himmler' as the chief of the death camp program. This could have been the socalled 'goodenough reason' for the whole death camp story and the presidency and assassination of Kennedy after the war.

That could have been - and then some could have claimed that the knockings in the wall and the emergence of the STA shape were a confirmation of Hitler's program. My article shows that this is not the story - rather the story tells that these problems of the western world can be understood in terms of the difference between chinese and latin script - and no death camp is needed for this. The following discussion shows that there is no need for the elaborate Kennedy assassination or a Vietnam war and lots of tragic 'service' projects for reaching that simple STA. The new technology will be much simpler and without such tragic detours.

This is confirmed by the continuation of the story: As yet some days passed, what probably was the same as the original Schimmel image on the wall of 3 july gradually returned and developed on 6-7-8 july a very clear and distinct image with a theme which seemed to be a direct function of my white metre books 'Stillhetens åndedrag' (2016) and 'Rosens triangel' (2018) - for the third chinese sign KUA. This new image seems totally unrelated to any Hitler- or Kennedy-generated ge-STA-po or 'STÅ'. The new image looks as follows - and seems to have settled on this form (enhanced version to the right):

There are some notable characters on this 'world map' (cp. the pandemic?) in contrast to the 'map of Europe' of photo 2:

1) On the lefthand side, in the region of 'northern America', if it is not Asia, there is an 'Elvira Madigan' type:

Her nipples would be on the eastern coast or thereabout, her hat could be around Canada-Alaska. Her hat could also be seen as a wrench form a la the one on the Chu silk:

This wrench form could also be seen in the tail of the wolf on the front page of DDS - under the Venus in marble.

2) In the mid of the 'world map', in the area of Europe (if it is not America) there is the 'strider':

He walks leisurely leftwards and downhilll towards Elvira with hands in pockets, tie flagging over shoulder. But by a Gestalt-switch he can also be seen as walking upwards and rightwards. On the way down he seems to stride or nearly stumble over an ovary form (which also may have an enlarged form in the 'T' of the overall STA form), on the way up he seems to read a letter he just got from her in the post (the mailbox is seen in the background). See below on his name and address on the envelope.

3) Underneath the strider (Africa, sort of) there is what looks like a mermaid that tries to come on land, on the beach. To the right there seems to be an eagle - could be an 'aquila fiscale' or 'har kvila fiskehale' = 'has rested the fishtail'? It is the male who says so - has rested his 'fish-tail' for a while. This fish-tail is called 'sporden' in norwegian - cp. also 'dia-sporden'. Has rested the diaspora? No, 'has dia-sporden' = 'has nursed the fishtail' - that nurser is the woman to the left. This element is shown to the left in the triptyk of photo 17 from the Danube Island - while the mid of this shows the man in a sofa with junior playing behind - he just opens a bottle of gin while watching the TV screen in the righthand third. The mermaid in the lower (Africa) part of the current image is otherwise quite similar to Caravaggio's Narcissus:

There is a face peeping up from the ceramic tile in the righthand side - it is looking at the fishtail, under the landing eagle. This element is what made me recognize the similarity with the illustration on the DGG record I had seen on the internet some days earlier - the face in a similar posture looking up into two fantasms. There exists a theory that a person who has been opened in the head a few days after birth has difficulties with 'fiscal' matters later in life - paying tax normally gives something of historic support in return for a normal person but for a person who was opened in the head soon after birth the opposite seems to be the case - and therefore the society's tax system does not really function for such persons. The alleged US expedition to the moon produced the words after the space rocket had landed: "The Eagle has landed". Could be the theme of this mermaid+eagle in the lower part?

This probably Schimmel 'graffiti' occurred on the wall probably on 3 july 2020 - the day of half the fiscal year: The general international rule (or normal practice) is that if you have been for 183 days of a year in a country then you are under its tax legislation.

Which chinese sign is it? Clearly the sign KUA (in modern pinyin GUA) is a relevant interpretation - here Mathews 3504 - and the sign pasted over the image on the wall, stretched a little horizonally:

The sign KUA (or GUA) means 'melons, gourds, cucumbers etc'. It is radical 97 in the 214 system and hence is interpreted by my 'Der Dornenstrauch' part 1 poem #74h and the mirror poem in part 2 #37. These poems seem to interpret the relation between the woman and man on the image.

The 'cucumbers' of the chinese KUA sign could be recognized in the doublewords for poem #5 in 'Stillhetens åndedrag'. This poem #5 is of particular importance for the study of the relation between meaning and matter - in the formation of the second 'lapis philosophorum' that seemed to get its shape in accordance with the words in the mid stanza (the 3rd out of 5) in poem #5. The socalled doublewords are described in my vol.4 - on my 'fundamental theorem of linguistics' which says that '2 and only 2 items can be the same across different realities' - see the article 'Fatima and the fundamental theorem of linguistics' for a discussion of this relative to poem #35 for the doublewords "starts, step, store...". The first 'starts' is for the title 'Savonarola's thought'. What are the comparable doublewords for the essential poem 5? The doubleword for the title 'When the times are edging themselves' = 'Når tidene kanter seg' is 'Cumbarias'. (The original title to this poem was 'I am dead', which could apply perhaps more to the 'carrion' theme of Kennedy, but I changed my mind and went for a more vivid instead). The lost notebooks - see also DDS part 1 #74h - were probably stolen from the 'oracle seat' in the church. The 20 doublewords for the 20 lines of the poem after the title could look like a 'Meldung' on 'please take care/goard': "Cursed, darling, date, dawn, / deal, dear, debt, december, / defeat, delphi, des, described, / desk, destroyed, detect, different, / direction, disco, discovered, district". This Meldung could be the letter from Elvira which the 'strider' is reading: The letter is sent to the addressee on the envelope when it is put in the postbox: 'Cursed' is the family name (see the left foot of the upwards-strider), 'darling' the personal name (see the right foot), 'date' is the housenumber of today (with the mailbox in the background), 'dawn' the streetname when the post is delivered and 'deal' the name of the town. The letter goes "Dear, debt december...".

The doublewords to 'Rosens triangel' are not from TEQ but from the blue metre PEB - the words that occur twice and only twice in the PEB, sorted alphabetically - and to the essential poem 5 the doublewords are "better, beyond, bicycle, births, / bit, blessed, bliss, block, / blood, bodys, boom, boon" - that is, the 8+2 = 10 'pomme pomme' knocks that could be recorded for some time - as an acoustic counterpoint to this graphics that could be seen after a while.

The doublewords to poem #5 of 'Stillhetens åndedrag' can be seen to be the letter from Elvira which the strider is reading, while the doublewords to poem #5 of 'Rosens triangel' rather looks like Elvira's desire: She would better be beyond the bicycle births where the strider's righthand foot is entangled in her ovary form. "Better beyond bicycle births", her desire seems to tell.

It was shown that the doublewords from PEB for 'Rosens triangel' #5 apply to the picture on the bathroom wall. So does the poem itself - here the literal translation - notice how the four first lines could apply to the four main characters on the image, including the mermaid as a 'lizard':

When the tumults of the day silence,
and a lizard climbs in the tree,
and the evening sun's reddening turns milder
there I halt on a place

where the dreams are visible in the time -
the vision that finds its fate/sound
where the angel writes on the side
of what is interiorly/inwardly/sincerely sown.

It writes not in runes
and not in fish on land
who twists/writhes in the human caprices:
It writes like bronze against water.

('Sound': the norwegian word 'lodd' as 'sound' in this context primarily refers to sounding of water in the sense of measuring its depth - the sense of 'fate' is equally present - while 'weight' - e.g. 'scruples' for measuring weight - is the normal sense of the word).

'Elvira bronzata' it could also be - who posted the letter to the strider.

The conclusion to these peculiarities is that the poem #5 is of particular importance for the issue of meaning finding its form imprinted ex nihilo in matter - here the ex nihilo image. It is poem #5 in 'Stillhetens åndedrag' which has the magic mid stanza that seems to be imprinted on the white stone matter. This book is special in the way it is written: I wrote originally 105 enumerated poems of 12 lines = 3 stanzas of 4 lines each except for poems 4-5-6 which were 20 lines = 5 stanzas of 4 lines each. The last four lines of poem 105 were used for titles to poems 61-64 and the remaining lines of poems 65-105 were distributed evenly and interlockingly over the 61 poems that had only 12 lines - to the effect that the resulting 64 poems had exactly 20 lines plus title = 21 lines each. The lines of poems 65-105 were appended to 1-3 plus 7-64 in interlocking couplets but in such a way that there was an interval of 31 poems between the 2 interlocking pairs. This meant that 2 lines from poem 65 would interlock with 2 lines from poem 65+31 = poem #96 - running up to #105 and there wrapping over to the remaining lines of #65 untill all were emptied. There is only one such 'wrap-over' and that occurs in the beginning of stanza 5 of poem 50 - which ends as follows (literal translation):

What the finger counted in the train's passion
like the anchor is falling -
as is it counted in the lightspeed's ration
like the anchor is calling.

And the sunflowers stood in an ageing blossom
on a twig.
In the train's compartment it was hot - and I believe        
in order to get conscious.
= from poem 74
= from poem 105
= from poem 74
= from poem 105

= from poem 74
= from poem 65
= from poem 74
= from poem 65

One sees the scissoring border in the wrapover from poem 105 to poem 65 - the sunflowers on a twig. (What are the doublewords to these two lines? It is 'fire, five'). This is the only such wrapover in the book and it lends particular emphasis to this poem 50. If one takes this as a 'virtual' end of the book, one can find the mirror point to the meaning-matter poem 5 (for which the doublewords spoke of Elvira's letter with her desire) in the poem 50-5 = #45 where the exact parallel to the wrapover border is in these lines from stanzas 4 and 5:

That could have been humanity's shipwreck
pressed into its norm.

There sits a dove in a surveillance mast -
that the rest is celibacy.

Interestingly, it seems that these four lines interpret the upper righthand corner of the KUA image:

The mid 'dodo' bird (looking rightwards) could be a 'sitting dove' while the 'surveillance mast' is seen up right - the pulling of the long nose. Humanity's shipwreck is to the left and the pig's snout (just above the letter-reader) is about 'pressing into the norm'. The humanity's shipwreck has a counterpart in the Chu silk:

The 'Dodo bird' and the nosepuller (or rod-biter) are very clearly present in the front page photo on the DGG record:

The chinese KUA sign then serves to split these peculiarities off from the person in the lower part - inserting the 'aquila fiscale' inbetween, such as it incorporated the sound in the script in the ZA sign compared with the latin script and knockings. The 'aquila fiscale' is the mermaid and the eagle in the 'hammer' form of the KUA sign:

You can see the light that shines forth from inbetween the columns of the chinese sign. The striding letter-reading man in the mid walks into the brightness of the 'forest glade', towards the Madonna = Elvira of the left side who seems by her desire to have been moved transcendently over to the upper right where she can meet the letter-reader. A wrapover or 'wraparound' function. (See also Matthew 3:10).

The 'narcissus' mermaid is a curled-up or 'sine wave' version of a tailed fish. From TEQ poem #635 I read: "This fish: What does it mean? / It is pointing in the ocean".

Could be the KUA sign should be spread a little further rightwards over the canvas.

The 'Hammerfest' is a 'ha-mermaid'?

The movement by desire of the woman from the left to the right third changes the 'cue-cumbar' (of KUA) into the 'cumbar-ias' of the first doubleword to #5. The graffiti has 'changed the house' (or at least the bathroom wall, at least temporarily) and the theme entails 'affection'. See the poem The movement from the book 'Hammerfest'.

One sees how the scene with the chinese KUA sign could invoke associations to a revelation among 't[h]ree columns' and hence to the Madonna in a 'forest glade'. There is a hammer in the front - but not of the Madonna?

4) Under the woman to the left there seems to be the concept of packing the suitcase (Delsey?) for the travel to the righthand column.

The concept could be readypacked suitcases for men and women, various sizes, for sale on the airport. You just change your mind downtown and instead of going home to the surveillance you go out to the airport and buy a readypacked suitcase (a 'wraparound') and the first ticket for sale and travel off. But this is like the letter she wrote - to the address 'Dawn' (when the post is delivered) house number today's date. It seems like the knockings in a row are included in the pack - as tells the diagonal of points under her packing. 'Rosens triangel' poem #50 the last stanza, that is where 'Stillheten' has the wraparound point:

Only the third column
carries the certain narration/story.
The bricks in the spirit
transcend your count.

One sees how the counts or knocks transcend the count. Is there a diagonal seal at her feet? She is going for the third column of the KUA sign so that she can meet ('counter-point') the man ('harmony') who is going upwards in that direction.

The conclusion is likely to be that the bathroom wall image tells of STILLHETEN + ROSEN = 'harmony' + 'counterpoint' = MUSIC.

Strangely, it happened when I with my Canon spiegelreflex photographed this 'world map' that 3 (not 2) round spots occurred in the upper righthand part of the photo. It may perhaps be a virus in the 'el' of the camera. I cant find out what it is - but have guessed that this is an imprint of my 'Rosens triangel' (2018) - about 'counterpoint' - but is this camera glitsch a matter of 'pointercount'?

Conclusion: Even here it seems that poem #5 of 'Stillhetens åndedrag' (2016) and 'Rosens triangel' (2018) have a direct impact on the form of matter - for the third chinese sign KUA or GUA.

Added on 11 july 2020:

I noticed the fish pointing in the ocean - the straight hammer at the foot of the mid column, with reference in Matthew 3:10 also to my name. It is fully possible that this 'Scheinrich Schimmler' over ('super' as chief of) the 'ge-STA-po' was a known schimmel phenomenon even to Hitler and a part of the construction - I mean, it is well possible that this schimmel motive was known in this form to the constructors of nazism - and hence also that it is the background of a use of the Madonna revelation to the logger Michalek in Poland in 1578. (This 'male' hammer plus the 'sickle'-form of 'Elvira's head - it is not the reason for the communist emblem?) The covid-19 = CO-rona-VI -rus-D-ecember-20-19 pandemic could in principle have been put in circulation in december -19 for reasons of the 'letter' (which the man is reading) of doublewords to my poem #5, although this is perhaps unlikely. Covid-19 increases mortality beyond average for a while before it drops under average thereafter - that makes for a mermaid-formed 'sine wave', sort of. The recipient of the letter as 'Cursed, Darling" can perhaps be spotted in the image - and it must be noticed that this distribution of doublewords (words occurring twice and only twice, here in my TEQ book 13, and sorted alphabetically) only strengthens the proof therein of independence of my work since it makes it evident that these doublewords - which otherwise cannot be analyzed by function 14 - adhere to the universals of the human psyche that also give shape to the image - but by adding a 'debt december' by a pandemic, there could occur a slight bias (unless, that is, the pandemic was spontaneous by the same human redundancies). For the theory of universals, see als Balestra's artwork on saints' rescue where most elements are present (even Elvira's strange head up right by desire, packers down left). 'Recipient' (of a letter) = norw. 'mottaker', pronounced almost like norw. 'mothaker' = 'counterhooks' of e.g. a 'cigar' in the intestines (cp. 'antonio gut'-erres?) of an agent. I am not an agent and my work is my intellectual property. The outbreak of the epidemic was in WU-han, like a mermaid hand curling or grasping around the hammer: Chinese for 'mermaid' is 'mei-ren-yu', cp. 'May-Theresa-Mary', while a 'hand' qua 'shou' or 'gong-ren' has graphic associations with the curling mermaid.

It was while I waited for the bus at Lugner Center that it looked as if Brad Pitt suddenly 'smatt ut' = leapt out (from behind my righthand side) from the curb into the street which he crossed diagonally in front of me, a little hesitant as if he were not certain if it were the right thing to do and he felt my look in his back. He wore a coat with a little long sleeves so his hands were barely visible. I wondered if it really were him or only an actor who impersonated the idea - well, he is an actor himself but would he take such a job? Or was it for telling me something? Would he take such a job against the money? It was only after I had taken the bus (a metallic container) down and crossed Mariahilferstrasse in the lower end where I met Angelina Jolie walking in the opposite direction across the street along with a man who perhaps could have been a bodyguard or something like that (these crossed the street somewhat like Pitt had done, could be an hour or so earlier, but in the opposite direction towards me) that I understood it: Ah, he wanted to say that this was still his woman. This was some time (could be a year or so?) after they had split. Such divorce takes some time, I thought.

The two had strangely small heads, it occurred to me. Could be the formula would be PIT PONY vs. PIN POTY. It is said in my 'International dictionary of english' (Cambridge 1995) under 'pit' that "In the past, pit ponies (= small horses) used to pull carts down the mines". This pony with the cart behind could be seen in the 'dodo bird' or rather small horse with cart on the schimmel - the mine being the righthand column of the KUA/GUA sign.

Clearly these two could have been the instantiations of Pitt as a metal strip in the banknote (with a job against the money) and Jolie as the teapot radiating warm ochre opium light. (I dont think the streetcrossers were these two for real but maybe there exist archetypal shadow versions of them).

When 'Pitt' so to speak 'smatt ut', this 'archetype' (if that is it) could perhaps be spotted in a background of 'Black Lives Matter': Clive 'blar' (leafs) in the banknotes/papers/'ark'. It can be hard to get the metallic 'cigar' out, in particular if it is attached with counterhooks.

I hope english administration do not plan to consider my work as being under the control of the Grøvers and hence whom these could have been in liaison with - thereby feeling that I have no right to be in that authorship. All this could have been preplanned but it reduces to nonsense and it can be proven by function 14 that my 16-volume Endmorgan Quartet cannot have been under their control. The metres I later wrote were in extension from this work, and early poetry was of the type developed on basis of e.g. morphs in different languages, explicitly given in the title. If Covid-19 seemed to provide an extra touch of apparent 'control' with my poetry by its beginning in december, this could add to the poetry notebooks that in the summer before were stolen or at least are not yet returned to me.

I refer to an interesting complex that came to my mind under these circumstances: On 23 february 2002, some weeks before I had to leave Lithuania (Vilnius) and go to Paris for an asylum application, I suffered a brainstroke that paralyzed my left side and hand for some time - it was mainly the left hand that was affected and I have gained some control with it again later. Then 4444 days later I suffered something similar to my right hand - it is not likely to have been a stroke but it was a very tough hindering of my right hand after I had used some 'Sensicutan' (very innocent and prescription-free) salve against eczema - but the salve went wrong way and a blubby red rash developed on the right arm instead. This could be called 'Rote Arme' as in 'Rote Armee Fraktion'. One of these bubbles broke ('Fraktion') and I microscoped the fluid and found the 'calf'. Baruck Obama (cp. also former israeli PM Ehud Barak) replaced his 'Kriegsweteranminister' (war veteran secretary) Eric K.Shinseki with a new one called Robert MacDonald (namesake of the pianist that accompanied Midori Goto on the recordings in parallel with my TEQ book 16) some 2-3 days later. The name of 'Baruck Obama' looks somewhat like '4444' in devanagari (sanskrit) - where it is pronounced 'Bhabha Bhabha'. (The Ma looks also like a '4'). There exists (here from Proll 2004) a photo of Andreas Baader of 'Baader-Meinhof' and later 'Rote Armee Fraktion' ('RAF', same as Royal Air Force) leading an activist performance in the form of a RAF coffin being carried by four (smoking = 'chin-ese'?) members in a row. This looks rather similar to the chinese sign XIEN (here drawn by me on basis of Mathews 2691) - it is so similar that one speculates if this were the purpose with the photographed performance. The sign means 'housedust' or rather 'motes in a sunbeam' - also 'minute, impalpable, bright, fibrous'. (I recall Vibeke Grøver in Tone Grøver's wedding with Lars Andreas Loe told the memory of when we got the message that a sister was born on 23 february 1961 - that was 41 years earlier - and such motes swayed in a lightbeam - it is true that there were some such beams in that house but not that early in the morning, as I recall it - rather we were jumping up and down - the wedding guests laughed a lot at this housedust story, I dont know why). Housedust' in norwegian is 'husstøv' while 'ustø' means 'unstable' - like the 'staggers' disease of horses - could be pit ponies as well. Were the aids-HIV epidemic put in circulation of fluids (not air) for such reasons of H-ustø-V? (Search this file for the 'staggers' of 'csíra'). If this were a political complex - e.g. associated with Obama's party - one notices the fourfold repeat of the SI sign for the assumed triangular political structure.

Added on 12 august 2020:

The 'graffiti' on the bathroom wall emerged after I had used a probably new cleaning chemical (against schimmel) which contained chlor. I got it at OBI (no, it was Bauhaus but they sell about the same). This was after I in the beginning of june 2020 had seen this video on the facebook page of 'Angelababy' - this video clearly could have led me to the finding of the 'graffiti' in the bathroom.


Adams, J.: Must the devil have all the good tunes? Yuja Wang, Gustavo Dudamel, Los Angeles Philharmonic. Deutsche Grammophon (april 2020). Front page illustration by unknown artist.

Mathews, R.H.: Chinese-English Dictionary. (A Chinese-English Dictionary Compiled for the China Inland Mission by R.H.Mathews, Shanghai: China Inland Mission and Presbyterian Mission Press, 1931). Revised american edition 1943. Harvard University Press, Cambridge, Massachusetts.

Proll, A.: Hans und Grete. Bilder der RAF 1967-1977. Aufbau-Verlag 2004.

© John Bjarne Grover
On the web 10 july 2020
Last updated 12 august 2020