'He who doesnt understand it'

'He who doesnt understand it'

John Bjarne Grover

As decribed in the four levels, the highest level of poetry is likely to be the situation of writing by inner poetic articulations wherein the poet does not know (cannot guess) what the next line will be. This also gives a maximal information contents (technically) and it means that the poet lets 'divine' (high metaphysical) inspiration through in the work of writing. That is prophetic language. The alternative is to have 'full control' and to be able to account for any choice - why, how, on what background - working by socalled 'skill' which means that a computer can do it much better.

My TEQ consists of some 23.000 or so of this type of 'inner poetic articulations' which contains an element of metaphysical inspiration which I believe transcends my own limitations. It is only this which has any real value - and that is when my function 14 (to take an example) can reach the highest level of explanatory force which even can lead to a groundsolid proof that the secret intelligence is not involved in the composition of the text in any form and cannot make claims of being credited for the intellectual property.

'Secret intelligence' may perhaps think: "Hah, you are only trying to let the PTRSIM PIK matrix through". That is not right, tells my proof.

This means that a very substantial part of the poetic work is the moral and poetic integrity - the purity of the heart - which cannot be obtained by terror, theft, intrigue, swindle or monkey business. It is the sense of inner truth which then guides the discourse - it is the poetic-moral integrity which is the poet's skill. In the beginning stages of the work with TEQ, and well to the end of the book in somewhat diminishing fashion, the memory traces of the inner poetic articulations were very short and the inner sensation of them comparably strong: In the beginning it was a matter of a handful seconds at the most before it disappeared and was irretrievably lost unless I wrote it down immediately. In the last book this had expanded somewhat, could be because I had learnt to rehearse the articulation a little. But it is a very different part of the cognitive system that is used for this rehearsal - so it feels sort of irrelevant and is not easy.

It is this way of writing which has the highest explanatory value - and those who try to design treacherous strategies for couping the work are perhaps out for calling it 'the poet who doesnt understand what he writes'. By defining this as 'the highest quality of his work', it could be the basis for an apparent propaganda strategy which seems to aim at supporting the poet - and if everybody join the chorus with the refrain 'John Grover is the person who doesnt understand it', a smart and sudden twist can turn this over into the planned conclusion: "But TEQ is very advanced high-level poetry - and Mr.Grover doesnt understand anything of it: How could he have written it?" This certainly could be the strategy of those who hope to be able to coup the whole thing and refuse to pay reparation money after a lot of abuse of the work.

They seem to be working bisili day and night with plugging every hole.

Political intrigue out for power and control doesnt like this sort of 'inner poetic articulation' which comes from a metaphysical reality bigger than the poet's subjective consciousness (how could I keep a count of every word and their dates of writing when I wrote book 14 - and chose a title for book 15 which told that I knew that book 14 was about this distributional semantics? - it is only poetic integrity which can reach this level of complexity in articulation) - and could be prone to call it 'hallucinations' and 'mental disorder'. The poet could be a little vulnerable in this respect.

See, however, the article The transfiguration of Venice: There are reasons to believe that the xylophone sounds were 'recordable imaginations' - and that would be on basis of integrity in the inner poetic articulations. I do not so far have access to recordings of them or surveillance data which could contain them, but I made a few pale correlates in a hotel room - nothing of the same sense of music but something worth for the idea of 'border to music'.

Xylophone sound 1
Xylophone sound 2

These sounds are not impressive as music (they could have been from a timid kindergarden xylophonist) but they seem to be authentic and recordable ex nihilo sounds - could be from a similar sort of 'transcendent source' as the inner poetic articulations.

Conclusion: If you consider yourself a friend of my case, it is nice of you to reject invitations to join the chorus 'Grover doesnt understand it' which could have been designed under the pretext of being very supportive of my work - since 'he himself says that this is the best part of his work'. It is not that sort of shortage of understanding I mean. The famous 'Cloud of unknowing' is more to the point - but that is a via negativa poetics which cannot be used for claiming that the mystic is 'lacking understanding'.

Nazism can perhaps be defined as the fundamental misunderstanding - in the sense of digging up the finest and most precious mysteries of the human psyche and turning them into terror - on such ridiculous misconceptions as Rilke's 'Ein jeder Engel ist schrecklich'. That is indeed to lack understanding - but it is not that sort of misunderstanding I am a proponent for.