DDS part I: The phenomenon of inversion
John Bjarne Grover
A report from my work in progress: It is likely that there is something called inversion in the Yijing data relative to my DDS I and that this probably can explain some of the biggest semiotic mysteries - such as the Treblinka or Sobibor phenomena. The political role of Donbass is mentioned as evidence of the probable relevance of this theory.
I wrote Der Dornenstrauch in the years 2009-2015. It consists of 440 poems in four parts. I have earlier studied the structure of parts II and III in detail from the viewpoint of the lapis philosophorum and the works of Caravaggio and Horace. This report tells of ongoing work with part I = 294 poems relative to the 652 signs of Yijing line 6. A theoretic background is described also in this brief account.
The theory in the present report assumes an immediate relevance of Yijing line 6 - which is a total of 652 signs when the introductory 2 standard signs are subtracted from each such line - with the poems from 1 to 294 of my DDS part I. It means that there will be 652 / 294 = 2,217687 chinese signs per poem. The 294 poems of part I are enumerated in absolute enumeration 1-294 and in relative enumeration 1-187 (with many subgroups such as 111, 111a, 111b...111i).
The 652 relevant signs of Yijing line 6 are enumerated 1-652 in this list.
Hence if you take poem of absolute enumeration #100 in my DDS I the Yijing signs for this will be from 99 * 2,217687 = sign #219,5 to 100 * 2,217687 = sign #221,7687: That means signs 220-221/222. It will generally be the case that these signs apply with relevance.
Now the theory of the phenomenon of inversion is that if one does not multiply but divide, another sort of relevance will emerge: 100 / 2,217687 = sign #45,09 = #46.
It is when all these three are studied in unison - #46, #100 and appr. #221 - for both signs and poems - that one finds the big semiotic mysteries. It is that factor which I round off to 2,22.
Example 1: Sob-i-Bor
The sign #190 = 命 = 'the will of God'
The meanings of the sign is listed under 命.
Dividing 190 with the factor appr 2,22 takes it to poem 85,67 = 2/3 into the 9-line poem #86 - that is appr. from line 3 to line 6:
Die Taube baut sein Haus.
Die Menschen haben so viel Zeit
als ob das Leben länger wäre
als es in Wirklichkeiten ist.
This is well represented in the graphics of the sign - the houseroof and the two comparable squares, the righthand of which is longer downwards than the other on the one side.
Now dividing with the factor once again for getting down on the inversion, one comes to #38,63 which means sign #39 in the list which is the sign 漣 with the meanings listed under 漣 wherein the meanings are quite relevant to the idea of Sob-i-Bor and indeed the form of the sign is most strongly so:
1. (of water) ripple
2. appearance of continuous weeping
It is because Sob-i-Bor is such a distinct form with a remarkable explanatory function that this is an interesting observation. The drill (bor) which I observed went repeatedly up and down and could be seen for days, while the loud sobs were going in intervals (half an hour, an hour, then silence for several hours). The 'ripple' could tell of deviations from equifrequency in the signal as an interpretation of the fundamental theorem of logic - hence Sob-i-Bor is a mystery which tells of the border between history and eternity. 命 tells this with the regularity horizontally and the irregularity vertically - under the dove-house of God's will.
Another occurrence of the same sign 命 is on sign #111.
1) Taking this sign to be the upper part, it applies to poem 111 / 2,217687 = 50,052 = poem abs #51 which is rel #40 which seems to be about the merger of two occurrences into one as a historic reflex of the merger of two metaphysical states into one in 'eternity'.
2) The lower sign will be on the other side of this #51 by 50,052/2,217687 = 22,57 = sign #23 = 野 which is a sign dense with meanings about the circumstances of 'Sob-i-Bor'. What does this sign 野 tell about Sob-i-Bor? It could be telling of myself living in this somewhat non-central hotel in Szolnok where I heard the sobs and saw the drill - and outside I later stopped and looked at a small weatherstation on the other side of the street (relative to the tall drill) and speculated if this had engineered the whole thing. Clearly the chinese sign 野 could be suggestive of me standing there speculating about just this. See also the main sign 命.
Example 2: DDS I:128 = abs.#217
takes the signs (216-217) * appr 2,22 = #480-481-482 for the proper upper assignment to this poem is in signs
#480 = 之 = the Filósofo sticker
#481 = 貞 = the ROYAL LAND sticker
#482 = 弗 = the curlup of the Filósofo sticker
while the inverse of poem absolute #217 / appr 2,22 = #97,8 = absolute
#98 = 乃 = the INRI sign for the Christ
(with 'IN' = 'Iesus Nazarenus' for the 'Filosofo' and 'RI' = 'Rex Iudaeorum' for the 'ROYAL LAND') completing the holy trinity in conjunction with the Father and Holy Ghost in #99 = 從. See the historical forms of the sign #98 = 乃 - in particular the form in the Shizhoupian script is telling of this trinity function (as in ㄋ or even better the form 𠄕).
The poem abs #217 can be seen to be about the four seasons, an archetypal theme of poetry, as it has been said - and hence the trinity, so to speak.
This means that the logical division of 'falldown' from the higher trinity level to the plain opposition of logical form vs NEGATED logical form - which is when the logical operator NEGATION is introduced onto the 'trinity' level of the fundamental theorem of logic - goes via this inversion - adding to the idea that it is the deepest semiotic mysteries that are contained in this inversion phenomenon.
The absolute enumeration of DDS part I follows the Kangxi radicals up from #1 to the last #214 and then it turns and goes them mirror-symmetrically down again frm #214 and downwards. This rel poem #128 = abs #217 will then be the mirror to radical #212 = 龍.
The DDS I poem abs #212 = rel #123:
Wo stieg ich ein,
wo war mein' linke
Hand hier auf das Drein
der Tür und deren Klinke?
Der schlug sich auf.
Ein Mann am Tafel sitzt
und wendete sein Haupt
nach mir: Sein Lächeln blitzt.
Ein dritter Mann
bei seiner Seite steht,
sein Schatten halb in Wahn,
sein Körper umgedreht.
The poem seems to describe the scene of Caravaggio's 'Emmaus' of 1606 seen from the viewpoint of Christ - after he mysteriously has re-entered historic time for a brief visit - his left hand resting on the table like a mirror to the wanderer who had invited him in. Now the poem then seems to describe precisely the central oval area which can be seen as represented in the probably ex nihilo pink marble stone which I found on 31 july 2022 on a circular metal grating under a tree - here it is shown in its original form to the left and then in mirrored form corresponding to the area on Caravaggio's artwork [2/9-22: Technical error seems so far to have prevented the update of the intended Caravaggio annotated]:
Example 3: Lapis philosophorum
It was in 2014 that I wrote DDS part III which led to the formation of what I believe is a lapis philosophorum in october 2014 - after I had discovered that the appr 77,3 poems I had written up to that point - when it suddenly came to a complete halt in the work and I could not continue, for various reasons - had to be collapsed into 64. It was later that I discovered that this poem #77,3 when it came to the halt in the writing can be traced to DDS part I - see the poem rel #78 = abs #111 'Leben fährt fort' in this file - the alignment of the persons that could be read from the image on the tilma of the Guadalupe Madonna starts on probably the word 'plötzlich versteinert' - which is 4,5/17 = 0,26 through the poem #111 - hence it is poem #110,26. Dividing this with the factor appr 2,22 gives abs #49,7 = RADICAL #50. However, looking up sign #50 in the list of Yijing line 6 tells that it is 不 = the negation NOT. Another negation NOT is found on RADICAL #71.
My DDS part I was (nearly) completed in manuscript form in january 2012 - then 291 poems had been written, the last 3 were added in 2013 - and in february 2012 there were the news that the singer Whitney Houston had died apparently tragically and one guessed that she had been murdered. It can be shown that the factor 2,22 could impossibly have been known in 2012 but the murder, if that were it, could, as goes the theory, have been an attempt from 'intelligence' mafia to hijack this aspect of my book manuscript (which then could have been illegally tapped if there were a direct connection) on an intuitive basis. The logic would then have been that Houston = USE[-ton] = radical #101 when she was NEGATED as by RADICAL 71. The radical 50 = 巾 - selected by 110,26 / appr 2,22 = 49,7 - means a square cloth, perhaps like the probably ex nihilo black textiles which I found twice under very similar circumstances of stepping into tram #1 and finding it folded on a tramseat. This happened with exactly one week's interval - and it is noteworthy that RADICAL 101 = 用 = 'use' multiplies with 0,7 for 70,7 = RADICAL 71 = 无 not, NEGATION, which again multiplies with 0,7 for 49,49 = RADICAL 50 = 巾 = the textile I found twice with 7 days interval.
Now sign #50 in the list of Yijing line 6 = NEGATION is reached by 'lapis philosophorum' 'plötzlich' enumeration 110,26 divided with the factor appr 2,22 - while multiplying instead of dividing (i.e. the inversion) takes it to 244,5 = sign #245 = RADICAL 101 = 用 = 'use'.
Hence even if ideas such as 'Elfenbeinsküsten' could have been an 'intelligence' pretext for a murder of Houston, the real reason is likely to have been in an intuition of the 'white stone' via this role of the factor appr 2,22 which apparently contains the key to large semiotic mysteries (with God etc) - and via future intrigues a criminal mafia could then have hoped to arrive at the conclusion that they were right after all - e.g. in such a murder of the singer - and hence could hope to escape doom by 'being right'. Which could be about an illusion based on the intuition that 'the factor 2,22 is right' - and this factor allows for 'inversion' as a key to deep semiotic mysteries. But it must be understood that this inversion cannot really turn 'bad' into 'good' - as for good vs bad reading.
RADICAL 101 = 用 means primarily 'to USE', secondarily in means 'to eat and drink'. There is another radical which primarily means 'to eat and drink' - and that is RADICAL 184 = 食. DDS 1-294 follows the Kangxi radicals up from 1 to 214 and then turns and goes down again in a mirror structure - so that in the mirror half this RADICAL 184 will be on poem of absolute enumeration 245 - which in the sign list is sign #245 which is just RADICAL 101 = 用 = 'use'. It seems that this ascension of the radical list to 214 and then down again, like a curved stick, finds its essential interpretation in the form of the bass flute. The proof that the factor 2,22 could have been essential to this story - which even could have led to covid-19 and war in Ukraine - is in the following poem from The Endmorgan Quartet (my work of 1719 poems):
TEQ #364
Exodus 14:13 ויאמר משה אל-העם
On page 176: We have a word.
It's not the bed. Conquer
their bass flutes...
If one looks up page 176 in the 2013 edition (of 1881 pages - this was made long after the poems were written) there is poem TEQ #122 with parallel text in the fragment from Luke 24:49 υμεις δε καθισατε which applies to the hebrew of TEQ #364 upside-down:
The hebrew could even look somewhat like 'Dalai Lama'. This upside-down is what makes it a purely graphic phenomenon - like the self-adhesive stickers - and not 'sound pressed into the wood' - be that 'wood sallow' (salweide) or whatever. 'Hymens of sitting' would be the covid underpants - not necessarily only a nazi joke of pandemic scope - I notice the black possibly 'scapular' textile I found twice on a tramseat - a sort of 'under-pant'? My poem TEQ #414 'Metatron' contains this complex in its early lines:
Now that we're watching,
the movie's going to be
nil when I'm going to church,
will be seen the underbukse
in Yessitown,
were treated and detected together.
which then must be read 'the Moses going to be...' = 'and Moses said to the people'. The watching is then the graphics, not the sound. Metatron is among the biggest angels and could well have been involved in this pandemic. (There was also a military putsch in Burma in 2021).
Now TEQ #1611 contains an upwards-slanting red arrow with the wording 'OF A BAS!' resembling the ex nihilos I found on 31 december 2015. The three brown 'bass flutes' could perhaps be associated with names of modern politics?
It is likely that these are the bass flutes and the poem TEQ #364 finds strong support in TEQ #1225 (written in 2002, long before I had come across the present data) - the line "For example, news from Statoil were published at 2:22" which is that factor. 'Statoil' is then likely to apply to the phenomenon of the two similar foot 'stigma' - stigma 1 and stigma 2 - which by the fundamental theorem of linguistics could be seen to symbolize the metaphysical merge of two different realities into one physical item (say, metal pipes that can carry petrol - combustibles - or simply the air of respiration) with concomitant formation of linguistic WORD. I notice that the greek form of Luke 24:49 υμεις δε καθισατε could invoke associations to norwegian 'i pusterøret satt de[t]' = 'it was [stuck] in the respiration pipe/channel'. Would the BREXIT of the spring 2020 have invoked a function of the Ivory Coast?
Hence, as goes the conclusion, the reason for the possibly unfortunate end of the life of the singer Whitney Houston could have been considered an unpronounceable mystery and could have found its rationale only in the deep intuition of planners of developments of history - before it here was shown to be found in the factor 652/294 = 2,217... = appr 2:22. It could have been similar phenomena that could have applied to the outbreak of the armed conflict in Ukraine in 2022. The proof of this is that the official and formal reason can be framed within the concept of Donbass - which is that ultimate BASS flute of this story. Likewise, why should it be difficult to help me find another residence? It probably should not.
Jan Dismas Zelenka was a bass player. His music also seems to have been 'negated' possibly by deliberate organization for some decades before and after Kennedy's government in USA.
Conclusion
It is my literary work that has value, more than these analytical studies which I do while waiting for a chance to continue my poetic work (which means the chance to find another country of residence) and the years are passing by. In 2018 I applied for social housing in Venice but did not fill the formal requirements in the competition. If we shall follow the rules, there are an enormous lot of plagiarisms in culture and illegal copying from my work also in administration - and if we shall follow the rules these must pay me the economic compensation which the rules describe. Pack down all the PTRSIM PIK humbug!!! I am not a Jesus with a curved shepherd's stick (or 'covid vaccination stikk'!) whom the flock will follow whatever. Pay me the economic compensation which the rules describe - there is no basis for copying or plagiarizing from me as if it were the only Jesus in the world to whom one needs not pay but follow and copy faithfully. If the world pays me the money which the rules describe, then I will get the chance to move to another country for continueing my work. As the present report tells, it is my poetic work which leads to the understanding which also could be needed for politics to transcend the imaginary mystery obstacles of power. Why is it so impossible to help me find another residence - while the years are passing by? It should be possible to transcend these imaginary obstacles of power.
If you find this material so important that you must have a copy of my 'Der Dornenstrauch', then try and suggest it for a publisher who then can contact me with inquiries about the rights for printing and selling some copies. It can be a matter of many or few copies - but even if it should be a matter of only a few, the copies would be legal publications and the world could progress thereby. If you try and find illegal copies - provided by e.g. the intelligence services or the black market, on paper or electronically - the result is likely to be more unfortunate than it should have been. My guess is that covid-19 was precisely this problem.
6/9-22: It seems that the problem has been repaired on the web but not on my computer: What on the web (on another computer) looks like this (lowered oval) appears on my computer as this (lifted oval), and it so did even after I had changed filename - which could mean either that there is somebody else controlling my computer or that there is a virus there and/or that I cannot know from my computer what I have published on the web. It can be added to the above observations that the pink marble stone seems to conform to the 5th poem 'Vogelstein' in the second chapter 'Die Steine' in my poetry book "SNEEFT COEIL".
Sources:
König, E.: "Michelangelo Merisi da Caravaggio 1571-1610". h.f.ullmann 2007
© John Bjarne Grover
On the web 31 august 2022
Last updated 6 september 2022
