The helicopters

The helicopters

John Bjarne Grover

I wrote in my private diary on 22 september 2013:

I went for a walk along the Danube. A mighty cloud of helicopters came up along the river - five big military helicopters, two of them of the big size with two big rotors in either direction. They made an impressive sound which could have founded any church in stone age times. After they had disappeared up the river, there came another helicopter down again, a small civilian-looking one - I think it was white - it turned after it had passed me and flew back where it came from.

This was a sunday. It was only in 2020 that I first time heard Yuja Wang's impressive record published in 2010 called 'Transformation' - which I now immediately recognized from this story: The five pieces of music are the five military helicopters. The two 'transport helicopters' (with two big horizontal rotors going either way) would have been the two sonatas by Domenico Scarlatti. This being the contents of the rotating CD, it is the first piece (Igor Stravinsky) which most clearly sounds like the helicopters (or even their formation) - followed by the little whimsical white civilian one (Scarlatti) which came back as if it had forgotten a rucksack or something but it wasnt there. In fact I took this photo not far from the place where I was walking just when the helicopters passed. (This photo is registered on my computer on 12 december 2013 which could have been when I photographed the rucksack). As I came back to Zinckgasse, there stood a car in the intersection to Goldschlagstrasse and a woman inside seemed to look out at me - I bent down and looked into the car and noticed that she resembled the same Isabelle Daniel (see 'Smultronstället') - but it wasnt her. This could be a relevant observation on the last piece on the record - Ravel's 'La Valse': 'Lav hals' = 'low neck' vs 'high neck' = the high neck jumpers which modernist musicians used to be dressed in years ago, like white and black swans. It is therefore possible that the formation of helicopters contained the entire trip out that sunday in accordance with the contents of the CD.

But I had never heard the record before 2020. It is today that I understand that it came through to me in that form via a platonic transmission - somewhat perhaps like the vision of Ezekiel. As of today I understand the platonic transmission in the form of two poetic quotes, by Nelly Sachs and Sappho - here both reproduced by memory. The quote from Sachs is from one of the last poems she wrote - in the posthumous collection 'Teile dich Nacht' (which I do not have present here) - the three lines being approximately these:

Wir stehen unter den Waffen.
Vogelfeder fliegt unter den Waffen.
Holunder steht unter den Waffen.

This means that there could have been a 'Holunder' in the area where I was walking and this released the vision. There is a formation of plants nearby which I photographed (registered on my computer on 15 december 2013):

The quote from Sappho which seems relevant to the music on the record is the fragment which here is Lobel-Page 47: "Love shook me like a mountain wind shakes an oak" (a translation from several decades ago - I dont remember if it is my own). It would have been the music on the record which makes this relevant - but the formation of plants looks like an interesting comment, in particular if there were a 'Holunder' nearby. Cp. also the idea of 'fliegender Holländer'.

German for 'helicopter' is 'Hubschrauber'. 22 september 2013 was just a few days after the news of the Annaberg terror by 'Alois Huber'. If a later political intrigue has been built up around this story told in my private diary, cp. the 'Bay-route' thunderbirds, the innermost secret could have been in the political despair contained in the 'sap-foe' story of the holocaust - the helicopters would have had a long way to travel along the Danube if they had come up from the coast of the ocean. But Sappho is no sap-foe (and a transformation is no trans-formation) - it would have been the despair which breaks that heart in two. And maybe the intrigue hopes to mend their broken hearts by peeping in my private diaries? That is perhaps not a good idea.

I see that a new fragment by Sappho seems to have been discovered recently - it was a briton who attributed the 'Brothers poem' to her (mainly due to the sapphic metre, it seems). One of the reasons why I have concluded before I heard the record that the helicopters could have been a vision was that they flew low over the water of Danube - but there are some bridges (norwegian 'bro') there - and did they really jump over them, or were they 'low jumpers'? It didnt make normal sense. This was not so far from the area where I took the 23 black-and-white photos. (See the first photo).

In addition, Yuja Wang's bread is the piano, while my ex nihilo bread seems to relate to my fingers (black vertical, white horizontal). It could perhaps be a little 'british' to reinterpret the idea of a 'hieros gamos' into the idea of a 'La-brot-en' rape of me by a trans - as if this should prove that the authorship were 'hers'. It is said that the Brothers poem could be an ancient forgery. How ancient? The loss of the Madonna cult by the protestantism (including anglicanism) could have been a tragic story for Europe. If the Brothers poem attributed to Sappho is a forgery, it could have been on basis of general feelings and intuitions.

Political intrigue seems to be inclined to pose the matter in this way: Either the helicopters had to be normal military helicopters sent out for political reasons after the Annaberg terror (if that were a classified security matter relating to me and the Johnstrasse complex - for example for making 'backwards'), or, if there were a metaphysical taint about it, this had to derive from a 'trans-formation' of Ragna Grøver of Labråten - as an 'intelligence project' constructing a new quasi 'Madonna' for the protestants. It is likely that none of these explanations are right - in particular the latter is very deplorable. And of course such 'anal fixation' of broken-hearted services cannot take it anywhere. There should be a thorough dish-wash of all such plans.

The saudi arabian prince and culture minister Badr Al Farhan Al Saud has (a couple of months ago) donated a grand piano worth 180 thousand euros to the Benedetto Marcello music conservatory in Venice, reports Il Gazzettino. This conservatory is the place which has a LISP and a YAWN at its entrance door - perhaps recognizable in the foot 'cushion' of the Madonna of Guadalupe.

Added on 17 september 2023:

Now that nearly 10 years have elapsed, I suddenly see the trivial explanation to the vision of the 5 helicopters on 22 september 2013: As told on the intro pages to 'Der Dornenstrauch' in volume 4 (page 12 of vol.4 is here - 11,4 MB), I started writing part 2 on 22 november 2013, which was 2 months later, and part 3 in the following year. It is therefore possible that the 2 large transportation helicopters meant part 2 and the 3 more normal ones meant part 3 - followed by a smaller concluding part 4. The vision (or event) could therefore have been significant of 'Der Dornenstrauch'.

Added on 18 september 2023: Some hours after I published this addition, an earthquake 4:8 at Marradi in Italy - possibly for the mythos-making of adding 'Morandi' to the newspiece of mine - could be (if manmade quakes of this size are possible) for linking to it this nazi quasi 'madonna' character - possibly also via the Ponte di Morandi collapse some years ago. Il Messaggero in italian, here news in english reporting it to 5,1. See also addition of 17 september 2023 for understanding the potential quasi-'political' importance of this semiotic notice of mine yesterday - here by the 'upbringing' (= 'Kinderhilfe') effect of the helicopter rotors.

Added on 7 october 2020:

Further evidence of connection between the helicopters and my diary

In the above I discussed how the 5 helicopters that I saw and mentioned in my diary on 22 september 2013 could be related to Yuja Wang's record 'Transformation' from 2010. As it turned out to be the case, my great discovery of her art (i.e., my discovery of her great art) in the hospital when I found her 3rd Rachmaninoff piano concerto (a recording from Dresden - Sächsische Staatskapelle - with chinese conductor Xian Zhang) could have a certain rooting in her recording of the same concerto with Gustavo Dudamel published on 8 october 2013 - that is 16 days after I saw the helicopters. (This date is the US 'pre-release' - other sources give a date in early 2014 for the world release). I looked up my diary to see what I had written that day 8 october 2013.

8.10.13: On mellom-mannen - it was perhaps in 'pose-te'n'. // It seems that Sergei Alexandrovitch Jessenin is the hot name in 'intelligence'. etc

This 'Sergei Rachmaninoff' is of course an interesting correlation - but the real interest is in the first line with the extremely high relevance for my analysis of the chinese sign KUA:

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 poem #37. These poems seem to interpret the relation between the woman (left) and man (mid) on the schimmel image.

Hence this 'pose-te'n' = 'posture-to-him' is the female with the breasts and his 'post-to-him' is the letter he is reading when he turns - it has just arrived with the post to this 'melon-mannen'. 'Mellom-mannen' is norwegian for 'the man between', such as a messenger or liaison.

This was what happened in june 2020. The story is that I had cleaned the entire flat, in particular the bathroom, of schimmel - the bathroom was magically clean and white as if totally new. Then after a couple of days in this new clean world without any schimmel at all there was suddenly a strong image of schimmel concentrated on the bathroom wall - I saw it suddenly (I dont think there was much gradual emergence) and it had a quite strong effect and I grabbed a broom and wiped it off - since it was not my flat (I only rented it). After the wipe-out the wall was rather clean again but first a pale shadow appeared and it quickly grew stronger and exposed a shadow of what looked like STA - a form which is also found in the last photo from the Danube Island:

This attained new schimmel after another couple of days the full image was reconstituted, as if the wipe-out had no effect on it. I must quickly admit that I did not study the first image (pre-wipeout) and cannot know if it is just the same, but the location and rough outlines are the same. I naturally had to believe that it was the same - since that is the only natural or rational explanation - but notice that this problem is about the same as the question whether the stone tablets which Moses got from God on top of Mount Sinai the second time he was there were identically the same as the first: He had got the tablets on the first occasion and went down to the people of Israel with them, but when he saw the dance around the gold calf he got furious and smashed the tablets against the ground and had to go up on the mountain again for getting new - presumably copies of the first. But whether these really said just the same as the first version remains perhaps uncertain. It is after having understood the logic in this schimmel graphic ('graffiti' on the wall could be the basis for the Kennedys qua the 'graffiti' in Wittgenstein's 'Wörterbuch').

This double occurrence in the sense of a failed attempt to change the original version is apparently said to be a character trait of the Guadalupe mantle of Juan Diego with the imprint of the Madonna on it: It was subjected to an accident in 1785 and 1921 but was left unhurt or soon regained the original form (like a living organism healing?) and the textile also stays extremely well and seems to defy the decay of time. (Copies made as test samples later seem to decay much faster, if I got it right). A report by a Dr.Callahan of 1981 (I have only the secondary reports on the internet) - a study by infrared photography of the socalled tilma (the cloak with the imprint) - seems to tell that the golden rays around the Madonna's cloak and the golden stars on it as well as the decorations at her feet seem to have been added to the textile at a later time. This is interesting in view of the phenomenon that I found the ex nihilo piece of gold falling off my hand not long after I met the 'Madonna of Märzstrasse' - but it was some time later (some hours, could be nearly a full day). However, it was ex nihilo and was not added 'manually' - well, it fell off my hand while I was writing, that is true. But it can well be considered a part of the same 'apparition', if the woman in the street was not just an ordinary woman. She did in fact resemble the image on the Guadalupe textile and possessed what occurred to me as an 'overnatural' beauty.

Could be the elements that were added later to the Madonna image are what is needed for making it 'recursive' and self-reproductive - that is, fertile, and hence this is what a human being is. Likewise, the golden stars on her cloak (stars which Callahan's study seems to suggest were later) would two-dimensionally be of the number and kind which makes them a part of the human body relative to the size of the textile and the 3771/3221 number visible on the lower 'cushion' part at her feet, according to my analysis. When it is said that these things have been added later, like the gold that fell from my hand not many hours after I had seen her, it could also mean that these correspond to organs that develop later in life (puberty). Also, if Euler's constant is an essential part of this number of stars relative to the size of the tilma, it is very possible that these have been added 'ex nihilo' some time after the image first took shape.

It is said somewhere on the internet that the cloak of Juan Diego with the Madonna imprinted on it holds a constant temperature of 36,5 degrees, but that sounds like rumour interpreting just these things.

Another puzzling story is the research done by a Dr.Tonsmann who investigated the eyes of the Madonna with a 'good lupe' that could magnify 2500 times. What did he see? He saw the reflections in her eyes of several people that he believed had been present in the moment when the image took shape - such as the bishop 'Juan de Zumàrraga', an interpreting secretary and other people. This is called the 'Purkinje' effect - after John Evangelista Purkinje who was the first to discover that the eyes reflected things in the environments - could be a pale variant of the phenomenon of 'otoacoustic emissions' in the ears. (This story sounds like me when I first time looked into a microscope at an ex nihilo occurrence and saw what looked like a human eye looking back at me - say, from the other side of the universe). It is of course possible that organismic organs are of just that kind - they get their form and function from the possibilities of recursive self-reproduction through (metaphysical) dimensions, and the image of the Madonna of Guadalupe is in two dimensions: That is how humans look to the human eye.

This means that the story of the record with Rachmaninoff 3rd with Yuja Wang 'pre-released' on 8 october 2013 - 16 days after I saw the helicopters - and my diary could explain this phenomenon. The schimmel image appeared on the wall very soon (some hours) after I had seen the cover illustration to the 'pre-release' of Wang's new recording and I believed that this illustration (from this file) could be recognized in a fragment of the schimmel image - showing in its righthand half the two main characters in the upper part of the pre-release cover illustration. (In fact the upper part of this fragment could be a symbol of the 'purkinje effect' in what he is reading in the letter). Very clearly the schimmel image could thereby have been in extended function from the helicopters and my diary note on the day of the US 'pre-release' of her Rachmaninoff recording. (Clearly this pre-release date is here rather essential - I do not have more detailed information than the internet and must assume that this date has not been adjusted later, for example against an illegal surveillance copy of my diary).

This means that the chinese 'KUA'-sign superimposed on the schimmel graffiti - producing an 'overnatural light' which could be associated with the Madonna revelation in a forest glade for the logger Thomas Michalek of Lezajsk, Rzeszów, Poland in 1578 - that is 47 years after Guadalupe - and some would perhaps associate also with Madonna's mention of this light in the third secret of Fatima - is directly connected with this mention of mine of 'melon-mannen' = 'the melon man' in my diary on that day of the pre-release of Wang's record. The sign 'KUA' = 'melon'. Hence:

13 april 2010 record 'Transformation'
--> vision of helicopters 22 september 2013

+16 days
= 2013 record 'Rachmaninoff'
& diary mention 'melon-mannen' 8 october 2013

+ 6 years and some months
= 2020 record 'Adams'
& schimmel image on bathroom wall

(The second interval is nearly the double of the first). Could be these 6 years and some months could be compared with the 6 years and some months from I met the female archetype in Märzstrasse in february 2012 untill I met the 'Madonna of Märzstrasse' in may 2018. It is when the KUA sign of 2013 is superimposed on the schimmel image of 2020 that the 'supernatural light' emerges. One can speculate that this 'sign of hope' is the reason for the communist emblem of 'hammer and sickle': The hammer is the one on the lower mid leg of the KUA sign and the sickle is the shape of the female's head on the left of the schimmel image.

The combination of this chinese sign in 'schimmel circumstances' with the meaning complex of 5 helicopters in the sense of Nelly Sachs' poem can be recognized also in a Tiepolo artwork in Chiesa di Sant' Alvise in Venice, where there are as much as three big Tiepolos. One of them is the Flagellazione di Cristo alla colonna: It displays a deep understanding of the chinese sign WO in combination with the above-mentioned three-liner from Sachs for 'the vision of God' (Ezekiel) in the 5 helicopters. See my study of the WO sign. The righthand side of the WO sign is in chinese the correlate to the WAFFEN (halberds etc) which tells of the WE in the sense of the society, the lefthand is the subject, the I - the sign tells of the unity and difference of the I and the WE. This is the theme of the artwork - the subject Christ as the I and the 'society' whipping in a desperate attempt to make a WE out of it. On this artwork there are two elderly men coming walking (to the left) which combine to a very unbeliving head of an 'I' - is this really possible? This sad grimace society? The left eye of this sad face - the head of the arriving walker seen on the right from the spectator's viewpoint - resembles the artificial 'kneecap' under the flagellator - as if this sort of 'WE' (comparing with the kneecap of Christ) is what is obtained through the sad act of society's brutal unification with the flesh of Christ.

Now in Sachs' poem, the WE is said to 'stand under the WAFFEN' which here are seen up right, the battle-axes (halberds etc?) in the back room, while the 'Vogelfeder' is the tool of the flagellator that flies like a bird through the air (however, there is what looks like a big birdhead with long beak between the head of Christ and the head of the flagellator - and what is to the right of Christ's head?) and the 'Holunder' is the man who 'holds under' down right.

The two openings with the column between look like two (german?) soldiers with helmets who arrive at the scene as the salvation, the Deus ex Machina or Red Army liberating Auschwitz - they constitute the two parts of the WO = WE of the healthy part of the society - here seen more easily in my own photo from the church:

The 'Holunder' is not the best or healthiest type, it is a man who 'holds under' (a la the 'brot here' of Sappho), and the 'Vogelfeder' is not of the best type either. Therefore the WE who stand under the WAFFEN is not in a good condition - it is even a little doubtful whether it really is a WE and not only a suffering I, like the face (two elder men) down left. The flagellator is not under the WAFFEN - otherwise there could have been a WE. This tells of the high precision in Nelly Sachs' jewish poetry - why she says that it is 'we' who stand under the Waffen.

These elements are also clearly present in my third photo from the Danube island - taken not many meters from the place where I saw the helicopters.

To have such artwork in a church is to have a high culture in town. Here is my pocket-camera photo of a part of the interior of the Chiesa di San Alvise - a sculpture of the Madonna with the child:

Combining this with the Tiepolo could have some explanatory value for the history - and maybe it is just the chinese sign which provides the needed understanding for avoiding tragedies once again.

Now I write these things is my diary - it can in combination with the recordings of Wang perhaps explain some aspects of the Madonna image in Guadalupe - and the secret intelligences tap it. Do you think they can keep their hands off - or have they already stolen and taken out a patent on this idea? "This is too important for the world of intelligence - we have to make a computer analysis of your diaries relative to Wang's recordings - it is too important - a groundbreaking discovery it could be". And so they send the whole corpus of my very private diaries around to colleagues in 'the world of intelligence' - all over the world - without asking for my permission, even if they have not the copyright, because it is 'too important'. Wouldnt that be a good example of why progress in knowledge in anything but surveillance technology is at a standstill? The pretext is that I should be their 'intelligence project' and that should be why I saw the helicopters - but isnt it really the other way round? It is rather urgent to have a thorough uprooting of all that 'world of intelligence': For once, secret intelligence is probably not necessary any longer, and secondly serious research should not be restricted to those gloomy halls of intrigue (including brutuses and caesars) but should be conducted in a serious manner - without the swindle which necessarily follows immediately in the wake of such massive violation of copyright as a please-help-yourself circulation of my private diaries through many years to all secret intelligences and everybody with 'access' (and that is perhaps nearly anybody who has some attachment to administration) would be. Clearly if that should have happened, it would be a very efficient way of stopping the serious research I am doing for getting it under the control of the power-intrigues of the secret intelligences.

What sort of 'intelligence' would that be? Of course if the society were of any cultural level they would - if they had come across such a piece of knowledge in tapped material from me - have written a letter to me: "Dear Mr.Grover, we have been made aware of a certain discovery in your private notes and would like to pursue the study of this. We would therefore like to invite you to carry out this study and we can provide the facilities needed for it, in case you are interested. If not, we hope for chances to make an agreement with you on studies of the material, under strict secrecy and respect of privacy concerns. This is because the results could be of great value and the material is probably unique. The best would of course be if you could carry this out and publish the results yourself - with access to the needed facilities and assistance which we can provide" etc.

I am an educated PhD in linguistics (the official papers are not yet sent to me, though) and I can certainly do the work if it does not cost me too much of money and resistance by dirty tricks etc. However, this does not mean that I am interested in making a more substantial project out of this: It is my poetic work that has value - but clearly I want my writings and the authority to them to be respected.

Sources:

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.