Adolf Hitler's stringhook farce

John Bjarne Grover

I have never been told a single word about all the apparent 'project' around my person but there seems to be an enormous lot of plagiarisms on my work launched on the market. All that should be easy to stop - and it must be stopped in order to prevent a war and terror which otherwise inevitably results from it - - but how come nobody does anything to stop it? A book can now be scanned in a second's time and its pages come up on the screen in readable format - and it is easy for an intelligent computer to compare two texts for plagiarism. If, say, 50% correlation counts as plagiarism, a book with 71% correlation will be a certain proof that it must count as plagiarism and safe for a case in court. In particular if the computer also has access to the 'intelligence data' which seem to be the basis for many plagiarisms. TV programs, films, business, advertisement and other activities can also be easily checked for plagiarism by way of intelligence data.

The idea that the phenomenon of plagiarism is a boon for the economy is of course at best a bad joke: It can lead to quick money like professional swindle can, but it is a disaster for the society's economy. If your country has a large state debt, it is likely to be proportional to the amount of plagiarisms.

One reason why it is not stopped by public authorities is that the following war can be explained easily by "it was our own fault - we had produced too many plagiarisms". That means that another war can be avoided by avoiding plagiarisms - so there is hope. Likewise with terror and crime - that can be misunderstood as a 'payment' for the plagiarisms. It is very unsmart to allow plagiarisms.

Another reason could be that intellectual property is still evaluated only in terms of commercial value. How can you make sure that your literary work is available to the public even after your death? By giving the commercial rights to these works to a friendly name in your will - and hope that the name will secure that the work is available to the public and not sell the rights on to somebody who is out for locking the work down - say, in order to prevent that plagiarisms of it will be discovered. That is because a literary work by the law probably is considered a value only in terms of the commercial value it has. Which is too bad and oldfashioned. The reason for this is that the logic used to apply that if a work had a literary or scientific value, then it would be published by a publisher because of its literary or scientific value and that meant that there would be demand for it which guaranteed the income. But modern publishing has gone into the opposite of what it was: Nowadays a literary work can be published on the internet to almost no cost and reach the entire world and then a publication via a publisher is only the opposite of what it was - if the publisher will have the exclusive rights to it then it means to narrow down the spread of it. This is compared with the value of e.g. metal - there is a lot of iron in the earth but little gold and the reason why gold is more worth than iron is that there is less gold than iron. Hence the literary work has commercial value because it is hard to get hold of. The most precious works are in danger of being grabbed by the secret intelligences and stamped 'secret', protected from escape by a fire-spewing dragon of terror.

Of course all this nonsense must come to an end. The internet is the best form of publication one can get - and it avoids all the vanity hype of a publisher. But one must find a new way of crediting the intellectual work - such that the higher quality there is in a literary or scientific work, the more will the author be credited. One must also find a method for securing the integrity of the work itself. Paper publication is still something worth from that point of logic.

As the machines and computers take over the work, a new economy can be defined which lets everybody have a minimum salary which also can serve as basic economic crediting of the work. That should ideally lead to better intellectual work since the aim is not to make sellable works but to make quality work.

But this depends on one essential factor: That the swindle parametre is tuned out of public administration.

It means that the truth of history must be told.

The most important history to be told nowadays is the one about Hitler and the new Messiah. It seems that I was made for the role of Messiah. The pretext for taking that Jesus Christ at the root should be that there never was a worse mistake in the history of mankind than the crucifixion of Jesus: It was this crucifixion that led to so much divine punishment of the human species afterwards. Therefore, said the organizers probably around 1814, at the end of Napoleon, we must make a new start and make a new Jesus who is not crucified by the jews. This could be the pretext for all the ado around my person - that I was made with Stammbaum for looking like a Messiah and Hitler was made for being the new Moses who should secure a better fate for the Messiah compared with the former. The 'erste Reich' was Germany 1933-45, which was the old standard of 'christendom' punishing mankind in the sense of jews. The 'zweite Reich' was, as goes my hypothesis, in Norway 1969-1990 or more properly my life since my birth, while the 'dritte Reich' could have been planned to be Hitler taking over the leadership of the people of Israel for securing that they do not crucify Jesus once again.

This should lead to a better - updated and improved - form of christendom with a less tragic world.

Of course it is a horrible farce only and an attempt to usurp the power in heaven and it has little or nothing to do with religion.

Why was Jesus crucified? Because a divine who lives in the human reality cannot avoid that fate - and that is because the story of Jesus tells of the form of the redundancies in the human reality. By understanding those we can get a glimpse of the bigger reality outside.

If Hitler wanted to improve christendom, it means to update God's Creation - it wasnt goodenough, that means, and Hitler can do it better. Of course it means only that the bunch of secret intelligences can pull the threads behind the new priests and thereby be in charge of doom and heaven and secure their own salvation thereby.

I have never agreed to any role as Messiah and I consider the whole program a bunch of crimes and swindle only. That is likely to be the reason for the plagiarisms.

Why hasnt the public administration stopped the plagiarisms? They cannot seriously take faith in that Hitler-Moses who wanted to improve God's creation of the world? Plagiarisms lead to war and Hitler wants war because he then can hope to grab global control in the middle of the tumults - under the pretext of a better world for everybody.

It is all this pitiful misunderstanding which must be confessed if the world is to move into a peaceful millenium and avoid all that war.

Plagiarisms should be avoided by 'cultural workers'. A publisher who has many plagiarisms on the list must face the potential fact of being closed down. An author who has earned a lot of money on selling plagiarisms must also see the same possible fate of having to pay heavy fines and the work withdrawn from the market.

But to leave it to little me to tidy up in this is like considering the value of an intellectual work as being identically the same as its commercial value. States who want to avoid being sucked into war can establish a special committee who takes the work with going through the list of cultural and commercial-business plagiarisms, start on the top of the ranking list and work themselves downwards. A plagiarism must be stopped, it must be a public fact that it was a plagiarism and heavy fines must be imposed on the publisher - enough to make it not much tempting to make another one. From these state-imposed fines a certain evaluated amount of money should then be paid to the creator of the original work.

This could apply to published works, presentation and programming in media, business, administration and everybody who use intelligence data as basis for their activities.

The logic of the present day seems still to be based on that oldfashioned reason for a publication - that since the plagiarist earns the money which the original creator otherwise could have earned, all the income from the plagiarism must be paid to the original author. That means that if, say, Dan Brown's novels have earned him 1,5 billion dollars, and if the novels should have been plagiarisms of my novel 'The Dreamer', then all the 1,5 billion should be paid to me. This rule is considered safe - but is it really fair? Could I have earned 1,5 billion from the sales of my novel? It is this logic which is the reason why plagiarisms are not stopped by the police. That judicial logic is probably exactly what makes plagiarisms flourish. It is also that same rule of commercial value which leaves it to little me to take up the glove and try the case in court, and if I win the gamble I am rich otherwise I must pay for the case and cannot try another one. It is a logic which seems to guarantee war in the future and it offers to the administration the chance to blame themselves for the war since they could have stopped the plagiarisms but did it not.

It is not impossible that my novel could have sold for 1,5 billion - if the world had been a little different. It is a novel without fiction and I personally believe that it is its literary qualities which is the real reason for the apparent tsunami of plagiarisms. But those who organize it probably had interests in my work being recognized as quality work - and it is possible that the story of the 'XP' which I told on 25.9.94 in my novel was the real reason for the name of the 'Windows XP' version around the millenium shift or a little later. Of course what the story told could have been organized by way of a virus planted by a burglar in my computer. Since Windows XP probably was used by people all over the world, it is not impossible that this phenomenon could have been the basis for the later apparent floodwave of plagiarisms of my novel. But this reasoning could serve as waterproof evidence that it is not the literary quality of my work which is the reason, it is the intrigue organized by somebody which is to be credited with the reason for the plagiarisms. This intrigue could have been organized as soon as espionage noticed some literary quality in my ongoing work - that is my version of the story. But clearly the dangers for the society contained in plagiarisms is a factor independent of this - and those who organized it would probably have been out for the effect of plagiarisms - that it is a provocation which leads to war - could be what Hitler would be out for.

If this story should be related to reality, it is clear that a committee investigating plagiarisms of my work and data from my life would have to investigate Microsoft.

A state-appointed committee which stops plagiarisms can also stop the world war which Hitler had planned. Then there wont be a new swindle Jesus but of course that swindle Jesus must be avoided - not by avoiding me but by avoiding Hitler.

It is the task of the society to stop plagiarisms - not to leave that to the single individual author who has been insulted when he leafs through a book in the bookshop and discovers the swindle. Hah! This must be tried in the court! All this logic is very oldfashioned and out of date since long.

This logic tells that there never was a worse criminal in history than Pontius Pilatus who was formally responsible for the crucifixion of Jesus.

The name Pontius Pilatus could mean that 'stringhook' paradox which I have explained in the article 'Palma il Vecchio and a theory of grammar' - in the sense of this stringhook being conceivable as a vector expressed in polar coordinates - that is 'pointius pi-latus'. This could be the essence of Hitler - that he was the world's most ardent opponent to the new logic without negation - his philosophy served to secure the role of negation in logic and the role of the name. The farce on 'the people of Israel' and its 'Führer-Moses' with the Heil Hitler sign would have been the symbol of that stringhook vector in e.g. the example 23.

This makes sense also for the idea of the assassination of Olof Palme being organized by 'nazis'.

It is of course possible that a non-discrete dimension of formal grammars can be contained in a 'stringhook' in polar coordinates.

It is for avoiding war that a non-corrupt and not too pragmatically oriented committee should be established for investigating plagiarisms - and it is probable that my work and data from my life must be given high or top priority. It is also for maintaining the functionality of the law. And, of course, this committee must not listen to all those political and intelligence interesters who come running to try and stop the investigations.

It is also possible that cognitive and other surveillance data from my life could have been abused. This problem (a serious crime it would have been) should also be given high priority by such a committee if it should have been the case. There have also been some apparent cases of mobbing in the form of manipulation of my computer files via the 'back door' access which e.g. Microsoft uses for updating Windows. Such mobbing must be considered an extremely serious crime: If just any little bit of it should be permitted, then the whole computer technology is already out of order - and then you never know what is in a document you have written or sent. After having proofread the manuscript for the last time there could still be errors and 'pranks' put into it from those who have such access.

Added 8 september 2024:

Having noticed the potential role of the XP version of Windows for plagiarisms on my novel 'The Dreamer', I thought: I will see if I find this 'XP' in Bertolucci's 'The Dreamers' from 2004 (when the novel still was called 'The dream'). I released it for public attention by self-publication in 2008 and had not allowed for anybody to read it before that. I now counted words in my novel and came to appr 250.000 words. The 'XP' passage is at the beginning of the entry of 25/9-94 - and it is about 50.000 words from the beginning. That is exactly one fifth. The film seems to be about 1:45 long = 105 minutes - at least in the copy of the film which I have the story ends there and some credits (not to me, though) come in addition. One fifth of 105 minutes is 21 minutes. And there is the apparent 'XP' - easy to find. The end of 24/9-94 are these lines:

"On my way back, a man came out of a house in Østhornveien. The signal lights on his car flashed in the darkness when he opened the car with his central lock. The number of the car was BC 74666.
        I decided to go up and call L again. fter the call, I went back and saw a car with number RE-AU 47. Point: It is one below 48, and RE-AU can be reorganized to RE-UA, which then minimally opposes RE-MA. Or, we can have a third member in the now paradign TEAR, MEAR and UEAR".

The scene at 21:00 is exactly "lights flashed in the darkness" - the female had put the lights out and lit a candle in that second. At 21:09 'papa was impressed' = RE-UA while her brother says (probably) that he is 'full of shit' = TEAR, MEAR, UEAR. The story continues at the bottom of page 127:

"Something strange happened here. As I wrote the previous paragraph, while in the course of the word 'explanation' in the first line, my fingers slipped on the keyboard and hit a function key of some sort, or maybe a macro. The cursor jumped up one page on the small screen and intruded into the car registration number BC 74666. On the bottom line, there was an 'e-' left, and, as I wrote the word out without looking at the screen, I now saw that the number had been expanded to 'BC 7466lanation 6'. The '-xp-' combination was lost: These keys must have attained the role of function keys somehow, or I have hit some other keys instead of these".

At 21:26 her brother strokes her cheek which could be the 'fingers slipped on the keyboard' and the following comparison of noses - 'this nose is double the length of this nose' would then be the 'BC 7466lanation 6'. 'The '-xp-' combination was lost' is then the moment at 21:50 when her hair catches fire - like those car lights flashing in the darkness some lines above.

See also this excerpt from the dinner party which leads up to the 'XP scene' - it seems (from about 15:40 in the film, which is about 0:28 in this excerpt) to give a philosophy of potential plagiarism in the cigarette lighter that fits the pattern on the tablecloth.

It means that this is the XP link to the potential plagiarism of this novel in this film - that the hair catches fire like the car lights flashing in the darkness. Would that even be the essence of the story told in the film - about the three young people? Then one could speculate that the film could be considered 'XP driven'.

Bertolucci's film starts with an Eiffel tower scene - just like Dan Brown's 2009 "The lost symbol" (on 'Doubleday') with its "I can't breathe" - like the last words from George Perry Floyd. It is interesting to compare the first lines of Brown's novel with the first lines of mine.

It looks like a plagiarism - in which case Bertolucci could have picked out the most interesting parts and spaced them evenly by book length and interspersed with details that attach reasonably well - like those TEAR, MEAR, UEAR and things like that.

The novel was only on my computer (and floppies), and a paper printout which I made in probably 1998 if not 1999 was in my bookshelf:

Between 1998 and 2008 there could of course have been many plagiarisms made, for all I know.

Who are to blame? Who would have 'sold' it and allowed for the burglary of the manuscript (if that is what happened)? I have never been informed about this with a single word and have of course never agreed to anything like this.

It arguably looks like organized crime. If so, when are the authorities going to start tidying up in this? It is not impossible that this phenomenon could be an important factor behind current war in Ukraine.

(On 6 september 2024 I published the article 'Palma il Vecchio and a theory of grammar ' in Budapest. I tried around noon or so to find an internet point to publish it from and asked in a tourist info where I could find it, and the woman explained that there was a copyshop next door where I could try. I went back and forth there but could not find any copyshop there. I later found a solution via another tourist info. The day after I noticed this puzzling coincidence).

Added 10 september 2024:

10/9-24: Having seen this potentially strong implementation of the 'XP' factor at 1/5 from the beginning of my novel 'The Dreamer', I thought I should look up what is 1/5 from the end. The diary entry starting at 3.3.95 is just 50.074 words from the end (in fact even 222.000 keystrokes from the end, blanks not counted). If 21 minutes is 1/5 of 105 minutes as the length of the film before the rolling credits start, I subtract it from the end and come to roughly 01:24:00. Since the 'Venus' sculpture in the doorway (starting at 01:23:40) makes sense for the beginning of 3.3.95, I tried the scenes before and after and it was easy to recognize the relevance.

3.3.95: I was out copying Werner & Kaplan (1963): Symbol formation. As I stood by the xerox machine, I discovered that 'energy', as it is imprecisely called, was 'sucked' out of me. It was a strange feeling reminiscent of the masturbator feeling, when somebody 'does it on your clock'. I thought first that it was some of the young male students who did it (the machine was at the university, just besides the toilets, under the flight of stairs). I even went into the toilet, saw that a couple of cabinets were occupied although nobody had gone in there for some minutes. I grew a little angry, flushed some water in the sink, slammed the door as I left. I don't know if anybody had me in mind as they was there.
            Anyhow, as I stood there copying, it may be that some 'boys' were having fun with me, but I also realized that it could well be the case that the machine itself required something for the copying process.

This looks like the Venus sculpture in the door opening (image quote from this source). 'Werner & Kaplan' = 'hvem er han/ho Kaplan?' ('Who is that [male/female] Kaplan'?) could perhaps be a relevant question for some aspects of the roles in the film on the historic background: In 1982 I had a girlfriend (traits of whom I could perhaps recognize in some aspects of Green's role) when 'Kaplan' came around and I understood that I had no choice. Hence the sculpture and the 'symbol formation' - could be also a 'soul below' (cp. the hypothesis on 'Saul Bellow') in the following seconds after the appearance of the 'Venus sculpture'. A few lines further down in my book:

This was the strange feeling as I stood copying the book: It felt as if something was pumped from me into the machine as I stood there, as in an emptying of a circular substance surrounding me. This sounds immensely crazy, but I suddenly realized its basis: There was a conversion going on at this deep level, where the physical reality was transformed by means of social 'fuel'.

(See also example 18 from my recent study of Palma il Vecchio - the '5-0' gesture etc - suggesting that the painting need not be a fake but could be a genuine Palma).

Now this theme is exactly the theme of the last paragraph in the end of the book - which supports this 1/5 from the end. Yet a few lines on there is the following paragraph:

It also struck me afterwards that this is quite parallel to the after-impression which sometimes follows a letter or a telephone conversation. I have experienced some times that, after a short and routine-like telephone conversation, the conversation continues after the receiver is put on. It can go on for several minutes. Today I had such a 'talk': I called MN, who is editor for a publisher's series now reviewing my book, and I wanted to remind him that an answer would be needed soon, since time was running. It is now almost one year since I submitted it to LEA the first time. However, MN was not available, so I just exchanged a few words with his secretary. After the talk, MN came 'on the line'. He asked me how things were, I answered him, he made some jokes, I made some other, and so forth. It was a little absurd, but I continued it because I felt that it would reach him as a message in any case. If indeed this is an information transmission reminiscent of the xerox machine or a computer, it would land somewhere.

'MN' was in fact Michael Noonan who reviewed my book ('Submorphemic signification', book 1 in 'A waist of time'). He died from a sudden cerebral haemorrhage on 23 february 2009, on the day 7 years after I had been struck by a sudden cerebral haemorrhage on my younger sister's birthday 23 february 2002. It was probably around appr. 23 february 1984 that I rented a cottage from a Kristiansen in the forests of Oslo (see this file for '1-4-4-1'). The norwegian-born linguist Per Kristian Halvorsen worked at Xerox in USA - he died some time ago after his son had died a year earlier or so, I think it was. (Search also the 'ABC' for the name 'Noonan' concerning the Oklahoma bombing).

In short, it is possible that since these data are in the mirror 4/5 to the 'XP' story ('Xerox Pangel'?) from 1/5, it is possible that they are a part of a deplorable 'political' or maybe rather 'business' project for exploitation of my novel. That of course could have fuelled the phenomenon of plagiarisms substantially.

There are some good reasons to see the beginning of 3.3.95 as coinciding with 4/5 in the film (at appr. 01:23:45). The scenes preceding this could be the entry 2.3.95 - sleeping on white sand is in the two teddies on the white silken pillows, under the lamplight etc. The 'BEAR-d, LAMP-POST, (non) SHAVE' etc is in the mechanic arm, and so forth.

What is the mid point in the novel? With 250.267 words that should be word #125.133,5 which is given here:

Later: Out for an errand. CE 46663 in Bislettgata, by Bislet, and then DF 66111 at Sofie's square. I went up Dalsbergstien to the post office, and in the moment when I came to the intersection to Glükstads gate, there was a strong smell of the stuff which some young people sniff to get high, and then immediately afterwards

mid point is here

an inner voice said: PAKISTANER, that is, a Pakistanian. I take this to signal some sort of semantics in the syllable PA-, possibly PAK-. This is the place where I yesterday noticed the two successive numbers DF 77710 and BN 66617.

The above-mentioned Microsoft 'Cloud' system could be a possible reference here by TEQ #1584:

TEQ #1584
Book 16 poem #64         וסיפא רבנן

Cloud With that value, science with no microphone, no news, no whatsoever.

= 'sniff to get high' = 'voice said: PAKI' = 'semantics in the syllable PA-, possibly PAK-' = 'Xerox Pangel (Noonan)'?

The hebrew tells 'and in the end / and in the last clause - the Rabbis / teachers'.

I notice:

no microphone → to Pakistan (= 'Ukraine'?)
no news → to Jews (7 october 2023?)
no whatsoever → to signal some sort of - to Vadsø or to Batman?

Hence (quasi 'science'):
Michael Noonan → Pangel Noonan
John Bjarne Grover → Not m/hjarte[t], Grover (not with the heart, Grover)
Dan Brown → Nad-Verden = holy communion in church

Is my prostate only dysfunctional? I hope it still is there.

If this is what it looks like, clearly it is not responsible administration which allows this to continue. The war in Ukraine could have been provoked even on such a background. If western interests pumps in weapons in Ukraine in return for a chance to 'friendly-fire' missiles that can hit suitable targets when needed (I have only the example with the 'Okhmatdyt' children's hospital and do not know how reliable those data are), it could be for speeding up the whirlpool of plagiarisms that ends in tumults that only a strong-man Hitler can stop. Of course a private shop cannot be in charge of an entire new information technology if it comes out like this. There have been some alarms concerning socalled computer 'glitsches' - such as the one some time ago which stopped airports and banks for hours and seemingly was connected with a problem with just the socalled 'Cloud' (if not 'Crowd'?) system - flexing its muscles of potential control with the security of banks and airports? It is likely that such problems would be much less if there were no business interests tied up to the functionality of the computers and the internet. Why should business need terror? For winning the competition, of course. But why do they need terror for winning the competition? Because they are not goodenough, of course - and that means that terror secures that only the not-goodenough products and programs reach the market - and hence occasional crises with glitsches in banks and airports? This is another reason why administration should tidy up in these problems.

Of course computer platforms and other means needed for the computer age should be developed not by a private 'competitive' firm but by an international committee with representatives from all countries and with financing from the relevant governments, and every little program piece they arrive at should be completely public and open to all who wants to comment on it and suggest improvements. Various versions can be developed for special needs and be available totally free. Is this not possible because Microsoft has already the world patent on the optimal format? Well, if they abuse their position for such things as this 'Cloud' could be, it should be easy to invalidate the world patent. Banks and airports are probably sweating under the discovery that a local engineer can log himself into the system and make changes to data and programs without being discovered. An international committee would probably never have allowed for that. Private 'competitive' firms are also probably easily going into collaboration with 'nazi madonna' and things like that - which is another strong reason why an international committee should be in charge of the development.

It could also be because my poetry seems to be abused for such purposes that it can seem difficult for me to write poetry in Austria.

Pilate, Herod and Barabbas

Above I outlined how one could see Hitler's deepest secret as being contained in the name of Pontius Pilate. The role of this man is told in the greek New Testament (in e.g. Luke 3:1) where the name form is Πόντιος Πιλᾶτος and where the logic (from the view point of this story) could have been

Πόντιος = of/by the sea
Πι = pi, 3,14
λᾶτος = the Nile perch = Perca (Lates) niloticus, a freshwater fish that can be up to 2 metres long, living in the Nile. It seems to eat its own species and engage in 'schooling', as it is called.

Hence Pontios Pi-Latos = of the salty sea and π and of the salt-less freshwater - which could suggest a sinewave theory of resurrection by way of equiprobability? Christ is often called the 'ikhtus' = the 'fish'.

In addition to this λᾶτος = 'latos', there are the following interesting morphs associating with the same form:

λας = stone. The genitive of this is λαος which also means 'people'. This λας enters into the form

λα[ς]-τομος = λατομος = quarryman = photo of Mandelstam in a quarry
λατρεια = hired worker = Mandelstam as 'foreign worker' in Armenia

Hence this complex could exhibit some motivation by its isomorphy with the frontier gate bricks leapout in Vilnius.

Ἡρῴδης = "son of a hero", "sprung from a hero"
= Herod Antipas? Herod Agrippa?

Βαραββᾶς = Barabbas is another name of some interest in the story of Jesus. He seems to have been involved in some rebellion and maybe was classified as an ordinary criminal or simply a terrorist. He should expectedly be an important name in the ideas surrounding Hitler's ideologies. Whatever the story, it is possible to continue the analysis of the possible hitlerish reasonings with a comparison with chinese as far as graphic similarity is concerned. I try the following:

阝 = radical 170 = 阜 when on the lefthand side of the sign, otherwise radical radical 163 = 邑 when on the righthand side

阝 = 阜 = mound, abundant; rich; fertile, a surname
阝 = 邑 = state; country; nation; capital; capital city; city; town; district;
尻 = end of spine; tailbone (coccyx) or sacrum; buttocks; rump; anus; (dialectal Mandarin) to fuck
方 = side; square; region
匚 = a kind of container, box, basket

Hence tentatively:

Β  α ρα β β   ᾶ  ς
阝方尻阝阝方匚

阝方尻阝=
fertile (side, region) tailbone area/district/nation
= nazi penis
(lack of Molde-byen = molybden --> excrements go out through penis = turns it around)

阝方匚 =
fertile suspended box/basket
= nazi vagina

Hence Βαραββᾶς = nazi madonna as a hilarious farce on judaism under Moses - prompts the need for a new Führer for the jews - such as also could have been the function of Barabbas in those days

Chinese for 'cloud' is 云 - pronounced 'yún'. It consists of radical 28 = 厶 plus two horizontal strokes over it = the number '2'

See also this article on the radical 28 relative to the two fundamental theorems.

The chinese sign for 'cloud' can therefore be seen as the principles for how language relates to logic under the parallels of time and frequency (or metaphysics and ontology-semantics) in the semiotic format of the 'stringhook' paradox.

To sum up: The assumption was that Hitler staged a hilarious farce of how the world would look without a logical NEGATION in order to prevent that a minimalistic 'stringhook' definition could remove the last justification for a battlefield. The 'Cloud' system could also contribute to the same via the chinese radical 28 plus '2' for the sign 'cloud'. If, therefore, a 'nazi madonna' governs the mythological geography of the west, a similar logic via the graphics of chinese signs could suggest that it is equivalent to a 'Barabbas' - a terrorist, a rebel. It could therefore serve to create the misunderstanding that the 'stringhook' is equivalent with terror, that is, a logic of NEGATION. If, in addition, I am recognized as Hitler's 'zweite Reich' for his 1-2-3 Reich, it could mean that since I am the author of the plagiarized novel, the purpose could be to dump Hitler's problems onto me for creating the illusion that Hitler as the Führer of the jews is the alternative to the logic of NEGATION. This could spread enough fog on the landscape to allow for the misunderstanding to be taken quite far before it is discovered. I dont know if this also could include attempts to contest the authenticity of my authorship.

Dont blame the chinese, though.

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.

Talmud Bavli. Vol.7: Tractate Erubin. Artscroll series, Mesorah Publications 2005.

Talmud Erubin, the classic Vilna edition, El Hamekoroth, Jerusalem 1947/48

© John Bjarne Grover
On the web 7 september 2024
Last updated 10 september 2024