Jessenin as the crux of the story

Jessenin as the crux of the story

John Bjarne Grover

This article discusses the role of Sergej Jessenin in the modern mythology. The discussion is centered on a poem of his - and evidence is taken from my 23 photos from the summer 2012. The following photos are of interest for the discussion:

It seems that the root of the modern story is in the russian poet Sergej Alexandrovitch Jessenin (1895-1925). He had five women in the sense of 3 wives and two additional ones who gave him children:

Anna Isrjadnowa - child-birth
Sinaida Reich - wife
Isadora Duncan - wife
Sofja Tolstaja - wife
Nadeshda Wolpin - child-birth

It is possible that this series can be recognized in the hypothesized permutational scheme of 4 genetic daughter generations of the same father plus one original mother whereby the last, whose genetics would be similar to the father's, swaps with the original mother whose genetics probably is very different, which is the administrative coup.

Jessenin died on 27 or 28 december 1925. I have not been able to find out of the circumstances of his death and there seem to be several versions on the market. The one which attracts mythological interest tells that he wrote his last poem (cp. Gill's last) in blood ('Goodbye, my friend, goodbye') and sent it to his friend Wolf Ehrlich, after which he (accorcing to his version) scratched himself lightly on the lefthand wrist and deeply in the righthand overarm and hung himself in the radiator tubes in the ceiling. This corresponds to the title 3 of The Modern Language Review october 1925 - which could suggest that he was murdered and the murderers arranged these wounds according to the title in MLR. However, this plan of MLR would have been in conformity with his poem 'Kabyli, karabli' = 'The mares, the ships' which had been printed in april 1920. The poem is in five parts and is of very much importance for understanding the story. The relevance of the story can be spotted in e.g. 'Stuten' = german for 'mare', norwegian 'merra', while norwegian 'stuten' means 'the ox', cp. the story of 'The golden asse' and the issue of transubstantiation. 'Schiffe' is recognized in norwegian 'skiföre' = 'skiing surface', wet, dry snow etc. (See also the line "and if it didn't help to read it, there is this skrullete and skiför grense" from the first poem in my TEQ - I did not know this background when I wrote it). Jessenin also published on the 'Skify' Verlag in Berlin in 1920. This is what makes it permitted to notice 'Kabyli Merran' in relation to 'David Cameron'. Cp. also Laurent Kabila, Camilla etc.

Now the evidence of what happened in Jessenin's death are confusing. There is a photo of him early next morning on the sofa in the hotel room ('Angleterre') - which seems to suggest that there had been no blood running from his arms. There is also a strange electric cord or something around his waist. He looks undamaged in his face. In some late poem he refers to himself (the poet) as a 'Don Juan' - cp. his last letter to 'Wohl Fährlig', so to speak. There exist also other photos from him after the 'autopsy', as it is called, which show him with stitches in the throat and marks from a strong depression of some metal gear in the 'third eye' over his brows, making him look a little different, and speculations would certainly suggest that it was not him. The sofa photo looks normal - he could be sleeping. For the mark in his forehead, one theory could tell that he had run his face into some door, hence 'Isadora Duncan' had made a strong impression on him etc. Now the 'semiotic theory' tells that the marks on his head are signs that the 'autopsy' had replaced the head with a new one and sewn around the throat. This would mean that the bones of the skull were reduced ('shrunk') to the inner bones of the ear and thereby correspond to the wounds on his arms, while the cord around his neck/throat in the hanging was replaced similarly with the electric cord around his waist. There are traces of this symbolism in the poem 'Kabyli, karabli'.

The poem was published in april 1920 shortly after Sinaida Reich had given birth to their son Konstantin, which again was shortly after Jessenin along with Schereschenewitsch and Marienhof had been discussing Staatsverlag with Lunatscharski, tells the timeline data in the collected works. This historic background is likely to be contained in the letter which Martin Buber wrote to Schereschewski ('jump jarnegg röver') around the time when Celan was or could have been in Odda in 1960, and before he met Celan some days later in Paris. The beginning of the poem is in Celan's translation "Sterne, angeheult vom Wolf" which likewise can be recognized in Buber's apparent reference to me. The 'Staatsverlag' in question could in theory even be relevant for the austrian (or even norwegian?) 'Staatsvertrag'. Jessenin was born in Konstantinowo, not in Konstantinopel. Part 3 of the poem could be seen to be full of such letter alterations.

There are other such stories of Jessenin, such as the brawl in a Kneipe in Moscow with the poets Ganin, Klytschkow and Oreschin, for which they were arrested - this again could tell of reduction of the skull to inner ear bones and things like that.

The phenomenon of the russian poet Jessenin being murdered after pre-announcement in MLR appears not unique. The death of Alexander Blok on 7 august 1921 could perhaps be spotted in MLR july 1921 - if e.g. some Cephalus traces of some poison were the reason. Taking the interval between the deaths of these poets and adding it to Jessenin's, one comes approximately to the death of Mayakovsky on late 14 april 1930. I have seen a photo of the dead poet sitting in the head end of the bed with a hole in his heart, while the rifle which had been attached to the wooden fence in the other end of the same bed had been triggered with a rope. This could be the title in the MLR april 1930 ('Ancren Riwle', late fourteenth etc). There was also an 'Ancren Riwle' in the MLR for Blok, hence with Stopes and Hopes, and it is easy to see some such correlations. However, the mirror symmetry is not perfect: It would have been perfect if Mayakovsky died on norwegian national day 17 may 1930 - plus one day, the usual one - which perhaps could be telling of an involvement of the norwegians Quisling and Laura Devold in the death of Lenin. This could be the real issue. Norway's 'Staatsvertrag' was signed on 17 may 1814. Permute the numbers in these data for the mirror symmetry and you could get the mechanisms for the numerality of 23 in the calendarial telescope of Tone Gröver in the 10 years interval of the Gulf Wars. Which would make a 'cognitive' or 'cerebral' swapover 180 degrees out of the Gulf Wars - compared with the 180 degrees around the globe relative to Norway for the Vietnam war.

The question is whether the death of Jessenin can be seen to have been pre-announced in e.g. MLR october 1925 - or, as emerges from the following, if one can assume that he chose the exit himself on a 'poetic' basis. He married the american dancer Isadora Duncan (the story goes that he met her at a friend, she was 18 years his senior and he spoke only russian and she only a dozen russian words) on 2 may 1922. On the internet there is mention that the house of his agricultural parents in the village Konstantinowo burnt down in august 1922. Had it been in october, one could have pointed to the title 'Tragedy at the Comedie-Francaise' by Andrew Tilley in MLR october 1922 and made the hypothesis that the fire could have been due to some combustibles in a container at the door ('she put his heart on fire'), but august makes this less interesting. However, if it were in august and there is a connection to the article in october, it could have 'signalled interest'. The marriage with Duncan lasted not so long. Could be Jessenin was persecuted by 'international secret service' - who also had made this John Jensen in Klipra - but could not understand it. If e.g. Duncan were an american 'state interester', or there were many agents on him, he could of course have been in a state of despair for such reasons in 1925, when he had married his third wife who is said to have been a grand-daughter of Tolstoy.

The role of Jessenin seems to apply to me as 'dirty beast' as explained by Ragna Gröver once - that the difference between monkeys and humans is in the opposite position of the thumb of humans. This means that human males can 'roll' their foreskin back and forth over the penis forehead with its collar around, something which monkeys cannot do in the same way - and that could be the difference. My narrow foreskin since about 1963 made this impossible - and the theoretical replacement of the penis head during the circumcision in 1981 or 1982 would correspond to the theoretical replacement of Jessenin's head. It is about the stitches around the land - the 'grow hardlimb brundtland', so to speak, when an erection caused pain inside the head thereafter. 'It must be the stitches', was my idea then - but not necessarily today.

This relation between the head of the body and the head of the penis could have been the background of the apparent administrative plans of making me suck my own erection for a first puberty ejaculation. They can even have timed the plans with relevant historic events. Evidence of a pre-planning of this is found in 'Elvis' - could be most of his titles circle around this phenomenon. This seems to have been the trick - and my school teacher in 1970-71 was called Jan Roger Ulfeng = gave him roger on the (r/w)oll-feng. A 'feng'-hette is used for detonating dynamite. 'Rull-ving' would mean 'roll-wing'. (I recall him telling a story from african environments, about a disease with a worm that can grow several decimetres in the body and somebody pulled one such out through a hole in the throat). Ulfeng was off duty on that day when Zimmermann took the class to see film - and I was thrown out with his thumb and fingers around my neck, led with head in his hip height down the corridor and out the lower school door. In the autumn 1971 I performed a 'space walk' without clothes out the ground floor window in the late evening dark - just up the garden lane and back again. If they had a surveillance video camera directed on my window, which they probably could have had with direct link to Washington, they could have studied the details in my buttocks and anus when I had to writhe my lonely body in through the high window sill again - which could have been a way of telling what I meant about the project. It was not a good idea - but clearly if they had invested much in it, they would not let me escape the gymnastics. In my childhood I got the book 'The lonely rider' for birthday and/or christmas (I think it was a series of books telling of various events for the cowboy). It is well possible, of course, that this was in the continuation of 'Elvis' propaganda trying to instruct the 'lonely writher' how to do it. It was later (in 1972), that Nixon threw himself on the airplane to China for a first east-west breakthrough. Could be Mao let him in with a tacit comment 'poor chap, such a clown'. I mean, if the story was the success of having made a young person agree to such gymnastics - and what were the means they had used for reaching this goal?

I mention also a story from the end of the 60's. My then friend and I were out on 'detective work' and were investigating mysteries in the garden to Sandveien 4 where I was born. I think nobody lived in the house at that time. We came across some (I think 3 or 4) persons who had hid under the low wooden veranda (as far as I remember) and they disappeared out through a hole in the hedge when they saw us. We found a mystery beerbottle and a shoeprint under the veranda, could be remnants of a wooden box. (I cannot remember any batteries). My friend tried to track the identities via his father and could report that the name was something close to 'Henri Guilbeaux'. When the family moved down to Fredrikstad in 1970, I came across the same name and immediately wrote to my friend in Molde - but he did not answer, or the answer did not reach me. I should suppose this is not the only background of the Rwanda genocide, but the low wooden structure, the beerbottle and the location could perhaps allow for some speculations that the incident could have been arranged. (I once in Vienna heard an expression 'erhol dich wohl' which perhaps could resemble the expression 'sei gesund').

The name of Jessenin backwards goes about 'onanener seg til skiva, er den sjela jegre[n]s' = 'masturbates oneself to the breadslice, is that soul the hunter's'.

It is well possible that the 'lonely beast' on the floor is the theme of the 'rock-and-roll' which was started with Elvis in the form of the underearth rockpedos detonating bombs for triggering earthquakes around the globe. It is likely that the 'rockpedo' was invented when Elvis started his career - and hence that the plans of the 'dirty beast' in this role could have been planned and correlated since then. It is likely that if they would have managed to get fertile material out of me in 1960, for the construction of an 'Adolf Eichmann' as the continued branchings of the family tree, the announcement of his arrest for Knesset was followed immediately by the world's biggest earthquake in Concepcion in Chile - and my younger official sister Tone Helene Gröver was born exactly 9 months and one day (there is that day again) later. It probably means that she is not my daughter but maybe somebody else could be. When the world's second biggest earthquake was at Prince William Sound in the autumn when I started school, it probably meant John F.Kennely - for a 'L-on-D-on' link from the Kennedys to the british government. Which could be the whole story of the american administration as running boys for this british project with global aspirations.

These global aspirations could mean that Kennedy got USA involved in the Vietnam war 180 degrees around the globe relative to Norway before he officially died in 1963. The purpose with my role would have been to be the 'paradox' of Adolf Hitler really being a briton called Paul Marshall, and by being the son of Paul P.Antschel, this Partial/Marshall corresponds to the relation between Hitler and Himmler (and a reason for the name of Celan as P.Antschel). Which could have been the reason for the name of Himmler in addition to Hitler. The theory goes that, as soon as the freezer was invented around 1920, the first thing they did was probably to test human tissue to see if it could be frozen and reattached, which it could, and then Himmler could have been constructed with small jaw and big head as a counterpoint to his theoretically british origins in a big jaw and small head (the larger bowl on Himmler then assumed to be held attached with screws during the war), to be replaced after the war for unrecognizability. In this way, the idea that I should have been the son of Himmler could have been engineered with some growth-hampering chemicals in the jaw and temples of mine, and the semi-official version in political administration would have been that I was the genetic son of Himmler and the world's people were invited to reject this 'nazi' - on the pretext that 'we dont want nazis'. When, in the last round, it turns out that I am the genetic son of Paul P.Antschel, the conclusion would follow by itself that 'jewish genetics is nazi' and hence that 'we dont want nazis' would mean 'we dont want jews'. This would then have been after much water had run into the sea and it was too late to repair the logical flaw in the apparent 'paradox'. Hence the world would give the britons right in their holocaust - would have been the plan - if they eventually would have to confess. It is not so easy to confess, of course, if the factual chief of Germany 1939-45 was Winston Churchill who could promise the britons nothing but blood, sweat and tears. What daring statesmanship! 'But Germany was flat and beaten after the war', would have been his self defence. Could be not all britons would have supported him there - it was perhaps not a goodenough reason.

The second function of this 'paradox' would have been the same as the role of Jessenin - to install the whole story and strategy as if it were about an angloamerican strategy against Russia - then 'the communists', before they dismantled the Soviet Union - while in actual fact the plan would have been to tilt it around Hammerfest and Norway and the Klipra connection in the last moment - when it turns out that the 'logical flaw' and the 'paradox' are solved when the whole postwar strategy - which had harvested much public support in the 'free world' - against Russia suddenly would turn around against Italy and the Vatican - for the plans of a centuries-long british dream of being allowed to bomb the Vatican. They have probably dreamt about this since Henry VIII was excommunicated and had to make his own church.

Therefore all the 'rockpedos' for a 'rock-and-roll' on the 'Jessenin beast' (see below part 4 stanza 3). Even the socalled 'revolutions' in the mediterranean district 2011-2013 could have as served to reinforce this 'Jessenin beast'. It is a very frequent phenomenon that my writing or other activities correlate with earthquakes - and that could in principle be for the idea of the lotophagous 'Dirty Beast' on the floor.

See also russian poet Olga Sedakova (follower of Akhmatova etc) who was born on 26 december 1949. This is the same '26 december' as applies to the earthquakes of Banda Aceh, Bam, the registration of my authorship - plus Sendai - around Literaturhaus in Vienna.

Clearly if Jessenin was not constructed for the role, which he probably was not, the role of John Jensen could have been made on the basis of Jessenin, who was 21 when Jensen was born. He was then probably a well-documented poetic talent. If Mengele took over the role of Jensen after the war, I do not know what happened with Jensen - what Gröver/'Mengele' could have done in order to make people believe that they saw Jensen in his eyes. Even worse, it is not impossible that british 'intelligence', as they call themselves, could have been murdering the 'intelligentia' in various countries in the hope that they eventually would shine out from the eyes of the british 'intelligence' - which, it must be noticed, is under the control of the british government. It is well possible that the once strategy on Italy, with assumed british murders or Rafael and Leonardo in order to make Henry VIII's government goodlooking, could have been deliberately imitated in the russian poets, with Jessenin as Rafael. A theory would tell that the italian mafia arose as a result of systematic persecution of italian intellectuals and artists - for protecting their vulnerable bodies, quite simply.

Shining eyes

My official mother Ragna Gröver says she tested my intelligence at age 6, which I do not remember well, and then it was IQ 160, and a school psychologist in Molde tested it when I was 11, and then it was 150 - but then I had been waiting for quite a while after having completed the questionnaire for the psychologist behind the open door to reappear from another room. When he finally came back with a 'oh, are you finished already', the IQ could have sunk somewhat in the mean time, due to the delay in time. Could be the name of 'Dorothea Zimmermann' thereby could be spotted in the story of the down-going intelligence. (I do not know to what extent these IQ data are reliable).

Clearly if I am considered the 'dirty beast' and the intelligence was 'going down', it could have been going into the fertility of the 'beast'. If 'John F.Kennely' meant that this beast had started going to kennel (school) and that intellectuals in other countries (Jessenin, Rafael etc etc) are murdered by british 'intelligence' and thereby would 'shine out through their eyes', as would have been the purpose with the many murders of intellectuals, it could be that this 'Kennely factor' is not so unimportant. Could be it would have included a forced abuse of a young daughter, like I could be seen to be abused if I had to do the lotophagous gymnastics a few times for the microphones of the White House etc. (I do not know if any young female would have been forced into this, and neither do I know who it could have been, but the idea is possible - in which case the trick could have been extended use of terror - cp. the bombing of the american installations in Beirut in the early 80's - and other means for imposing the idea on her). It means that the britons could hope to make this intelligence shine out through the eyes of their government via the John F.Kennedy role in getting USA involved in the Vietnam war - followed by the gulf wars 1980-1990 and possibly later Italy-Vatican - in order to let the whole history of persecution of intellectuals 'shine out through the eyes of the british administration'. Clearly there would not have been much choice for the girl and she would not, e.g. under the pressure of NATO, have had much chances to escape it, in which case it would have been a deep humiliation for her person.

Intellectuals shining out through the eyes... - what a poor pretext for terror.

Like the story with my own gymnastics of 'going down' (not only in terms of intelligence): It is well possible that every rockpedo bomb which causes an earthquake is about the 'rock-and-roll' of Elvis and similar factors in controlling my volition on this point - for a final link back to Jessenin's poem. I recall an american hitpop song 'Tie a yellow ribbon round the old oak tree' from about the same times - which could have been an advice to me from american culture on how to do it. 'Elvis Presley' could have been the reason why Adorno died in Visp, and the hitpops of Elvis could be seen to be about the youngster with the narrow foreskin = 'blue suede shoes' trying to get it into the mouth. Deep voice, long jaw. 'Kink' (cp. 'King Creole') means a sudden pain in the spine. My name on the form 'jump-jarnegg-röver' and hence 'James Bond 007' can also be seen to be about this advanced art, and the family moved along a route in the sixties up to 1970 which described - in addition to the formula of morphine for Gröver/'Mengele's jobs - this name: Hammerfest, Odda, Molde, Volda, Molde before Fredrikstad 1970 means just this form 'jump/ronk' - jarnegg - röver. It is likely that the strategy was to tell me that I had no other choice. Why was it so important? It could have been for the aspirations of angloamericanism to get the whole intellectual world and particular catholic spiritualism under their control - via artificial rockpedo bomb earthquakes and persecution of intellectuals in many countries.

It is therefore important to read Jessenin's poem in much detail: It is possible to detect traces of the two cases of possible child abuse in the poem, but it must be admitted that these readings are not very interesting. (In particular the last stanza is probably not about any relation to a cow - see my own reading of it). In addition, there seems to be a very serious flaw in the normal interpretation of it as far as 'body parts' are concerned - for example, if US administration admitted an islamic revolution in Iran for the one and only purpose of having islamic law with 'chopped-off arms' there, thinking that this is found in part 1 third stanza - this clearly is a very serious misunderstanding of Jessenin. (When Jensen-Gröver/'Mengele' died on 27 november 1990, it was in the mirror image to the birth of the youngest daughter of the shah who died in the exact mid point - and the date was also 160 years after the madonna in Paris). I bring here my own attempted translation (I have not worked it over in much detail - the reader can do that) and discuss the points where I think that a new interpretation can be imposed on it. My source is the original text printed in Celan's 'Gesammelte Werke' vol.5.

Kobyli, korabli = Mares, ships

If wolf fell out from the star,
you know, the sky would blot them out with clouds:
Mare with abdomen open,
black sails of black-horse.

Do not push (with) azur claws (?)
the blizzard of cough-stench;
spread around the storm of rye
the craniums' golden-conifer garden.

Can you hear it? Do you hear the knock of bell?
This rake of dawn is (wood-)thresholded.
With oars of thresholded hands
you are combing the land of future time.

Swim, swim to the top!
Fly down the rainbow's clamourous black!
Soon the white trees will shed
my head's yellow leaf.

Margin, margin, who do you call?
Or do you dream me a beautiful dream -
dark blue equestrians roll down the rye,
passing forests and villages.

No, not Rye! On the rolldown comes frost -
windows are out, doors wide open.
Even the sun is freezing like a puddle
whereupon the water is metric.

Who's this? My Russia, who are you? Who?
Whose scoop with your snow is enveiled/foamed?
On the ways of the hungry mouths
sucks the margin of daybreak dog.

You need not fly down to 'there' -
here, where humans with warmth get along.
God gave human children to the she-wolf,
man gave the she-wolf's baby as food.

Oh, about who, about who can I sing
in this crazy glow of the corpse?
Look: at the woman the third
is gazing with the eye of a navel.

That's it! Climb out and gaze with the moon.
Don't you see the bone with the meat on?
Look, with laughter over the same appearance
sang I songs on the wonderful envoy.

Where are you? Where are the already eleven
that enlighten the plait of the nipples?
If you want, poet, you can marry,
like you marry a ewe in the byre.

The eucharist with straw and wool, (?)
warm song of songs, the literal wax.
Evil october pulls/showers down the fingers
of brown-handed birch.

Animals, animals, come up to me
in the scoop of my hands the malice cries out!
Isnt it time to stop the moon
lapping in the windows of the sky?

Sister-bitch and brother-mare,
I, like you, at the people in the pen (in the round-up).
I do not need the mare-ships [here]
or the horse-black sails.

If hunger of the destruction's wall
were clinging to my hair, -
half my leg would I consume,
half would be sucked back to you.

Do not blend with others in,
those who call it 'croaking',
rather with love lift up the earth
with a madly intimate stone.

I will sing, I will sing, I will sing!
Do not offend the she-goat or hare.
If you want to lament on them,
you know, you can give them a smile.

We all carry apples of gladness
and the robber[y] to us closely sings.
Threshold the wise gardener's autumn:
My head is a yellow leaf.

In the garden of dawn is the one only path,
the grove's gnawing october wind.
Everything comes to light, nothing is finite,
attached to this poet's mind/world.

He attaches a kiss to a cow,
hears the heart and its crunchy oatmeal.
Deeper, deeper the sickle of verse,
a rash of bird cherry, sun-bush!

Comments, in particular relative to the first 5 of the 23 photos from the Danube island, see

Photo #1
Photo #2
Photo #3
Photo #4
Photo #5
could be also
Photo #13

Part 1, line 1 = the 'Agnes Krogh' (the toothache wolf in the belly of the dancer) of photo 2, while line 3-4 = same photo the dancer to the right with the belly. The phenomenon of thresholding of black-and-white = the rake of dawn in line 10-12 and could be in lines 5-6. The cough-stench applies also to the 'happy' (hungarian 'Boldog') client of the dentist in photo 2. Lines 7-8-9 could be exceptional references to photo 13? For line 14, see my poem 28 line 8 in the 'sonnet' version of TEQ book 5 - in 'Poetic semiosis' in the 3-vol. version on page 1011.

Part 2: Line 10-16 see photo 3 in 90 and 180 degrees turning. There is a grasshopper there which sucks the things out of the earth.

Part 3 seems to be mainly about the phenomenon of parallel stories with replacement of letters, such as in line 14 when VOSK (wax) can be read VOLK (wolf) etc - seemingly through most of this part. But line 6 tells clearly of photo 5 - the bones seen inside the bush. There seems to be a rich flora of 'intelligence' phenomena around line 12 - and I think I found that a 'foreskin' of line 12 could even conceptually be about 'sewing around the edge', as for a 'grow hardlimb brundtland', but I cannot find it again.

Part 4 again seems to be about the grasshopper of photo 3, and in 180 degrees turning - the shooter who aims his sexuality at the female body, inspired by the great nipple - it concerns the mammal status of the human species. See also part 3 line 10.

Part 5 is once again mainly photo 2, in particular the leaping lamb in the mid part, the socalled 'Lamb of the tetragrammaton' in line 8 - which is the same as part 1 last line. The essential lines 13-16 in part 5 read in my interpretation (see overview of my work):

He attaches a kiss to a cow = The Dreamer TD attached to TEQ, 'homeric epics'
hears the heart and its crunchy oatmeal = the red & blue metre, Anna & PEB
Deeper, deeper the sickle of verse = 'A waist of time'
a rash of bird cherry, sun-bush! = 'Poetic semiosis'

After the blue-metre PEB was completed in the summer 2010, I was attacked by a terrible cough and a sound as of thin cigarette paper rustling in the deep bronchies remained - it is still there now and then. It is only now that I understand that this an essential part of the blue metre - Jessenin called it 'crunchy outmeal'.

The hammer of the inner ear bone (and the acoustic reality) and this sickle of verse as the sickle of photographic thresholding on the grove's gnawing october wind is the Hammer & Sickle of Jessenin's communist revolution.

The last line of the poem seems to carry a particular weight, also politically:

syp' tsche - RE - muxoi = rash of bird cherry
solntse- - kust = sun bush

One quickly spots the graphic and phonological similarities between these, except for the RE, and when the two parts correspond to the beginning (the swap of 1 and 2 are seen also in Valery) and end of the 5 first photos, one quickly leaps to the conclusion that it could be the basis for the 5 'revolutions' after 2010, running in a loop with a RE bottleneck inbetween. Many wellknown names from politics can be spotted in the forms. 'Muxoi' = 'flies' - and one can speculate on 'The lord of the flies'. I notice that polish for 'violin' is 'skrzypce', and the rash or its reflex in the alleged end of Jessenin's life can be seen to be relevant to a violinist. The 'bird cherry' could be seen to point back to the sunglasses in the belly of the dancer in photo 2: One of the glasses is really a cherry, as I see it. Interestingly, the word 'cherry' ('cseri') is hungarian for 'franciscan brother'. My Labyrinth 101 poem 18 could be seen to be about this phenomenon. Could be it should have been a cherry and not a grape. 'Bird cherry' alternates with 'crocodile grape'? Here are the photo details of 'bird cherry, sun bush', in photo 2 and 5:

The conclusion to this is that the rowers of part 1 lines 11-12 are not rowing with chopped-off hands: On the contrary, they are rowing in and out of the historic reality in the sense of passing back and forth over the threshold value in the border between black and white. In Aristotle's words (Metaphysics IX, iii, 10): "Some non-existing things are 'in/with dynamis', for they are not because they are not 'in/with entelechy'" των γαρ μη οντων ηνια δυναμει εστιν: ουκ εστι δε, οτι ουκ εντελεχεια εστιν (source Loeb edition). (British translations on the topic can be hard to follow because they seem to turn the concepts around - the same Loeb translates: 'for some non-existent things exist potentially; yet they do not exist, because they do not exist in complete reality' - it is a matter of interpretation).

To bring another example of this correlation of the two elements of the last line, one could point to my TEQ #1182

TEQ #1182
Book 13 #148 AMR LIH FUQ hZI MAI YMA DBR

Taiwan

In my one,
oh trust the pink lang.

A seldom world, perhaps,
grasping for colour.

I don't want to be a maximally stark president
with a maximally weak portefeuille.

Here the stark president with a weak portefeuille is 'Boldog' of England on the map in photo 2 - the stark being in Brussels and the weak in Portugal. The hebrew starts 'AMR LIH' which in translation goes 'Abaye [= Boldog] said to him' but which also reads 'Lamb of the Tetragrammaton' ('Lamm mit dem redenden Blatt'), which is the leaping lamb on photo 2 and the helicopter face of photo 1. Now the two mid lines tell the same as Jessenin's last line: 'Grasping for collar' is the cherry man of photo 2, grasping with the finger of 'Agnes Krogh', while 'a seldom world' can be compared with the sun-bush of photo 5. This can be recognized also in TEQ #18 "As soon as a car". The Abraham angel of vol.1 and 3 is a little impressive.

The story sums up to this - that the angloamericans could have abused this poem of Jessenin in an apparently astronomic scale in an attempt to get not only communism but also poetic thought generally under control. However, it seems that the intrigue has been based on some serious flaws in the interpretation.

An example of the interpretation gone astray could be found in the terror against the school in Beslan in Russia: This is likely to relate to the word 'vesla' in part 1 line 11 where it can refer to an oar or scull or paddle of a rower. The first title word 'kobyli' normally means the mares, the female horses, and a biased norwegian translation could perhaps call (via 'hoppe-karavellen') the title 'Hoppedyrskolen' (a word used by my younger official sister at age 3-4 in Volda). But the form 'kobyl' means 'feathergrass' which was used for tightening ships, probably in their underwater walls (see also the 'wall of destruction' which thereby can be mended). One spots reflexes of wellknown names. (Cp. also the film 'Australia'). In line 4 there is the morph 'voron-' which can derive from 'voroná' which has two meanings: 1) the opening for the rudder in the back of a ship, which means the steering man who is not at the oars, which means that there are already three references to boats - the rudder, the oars, the mending of holes in the wall, and 2) a region or funnel in norwegian the word 'trakt' which is found also in Gill's last poem with 'konvolvelens hvite trakt'. The form 'voróna' means a crow, with variants for 'raven', 'vulture' etc. The terror in Beslan would then typically have meant that if this poem were to guide the people into the future, the rowers would be with chopped-off hands, tells one reading of it. Difficult to move into the future (for the school children) with such rowing means. One should not blame islamic law (since late 70's in Iran) for this misunderstanding of the poem - and neither should it be used for scaring or 'inviting' young people into certain compromising situations. The school terror of Beslan could have been an extended installation of such measures for angloamerican interests. The terror would thereby typically represent socalled 'british empiricism' - with the denial of the possibility for reality to pendule in and out between the historic and the poetic reality, the denial of this being veiled in a pretext of sensorial screens of the 'cognitive map'. Norw. 'trakk på gaten' = 'was prostitute'. 'Poganets' = swine, scoundrel, shitbag; to pollute, to defile. Terror is always wrong way.

Aristotle's 'entelechies'

Jessenin's poem concerns this 'screen' which is black-and-white thresholded in my photos from the grove of the Danube island. When a leaf or twig moves in the october wind, as Jessenin calls it (see also Dylan Thomas' 'Especially when the october wind'), the figures on the photos will change their roles. The mystery is that the characters on the photos meet the archetypes of poetic logic so well. But how could the pixels know this in advance? Had the pixels read the poems and preappointed to conspire on a certain pattern? This is the theme of Aristotle's socalled 'entelechies' - that there is an intentional directionality in the development that takes place in the historic reality, and this intentional directionality is beyond normal causality.

England would be the crisis with the spirituality of pederasty, cannibalism and genocide: The crisis is the conception of genocide as 'the same' as male ejaculation - wherein thousands and thousands of potential human beings with a hypothetical future are lost. This critical malconception of british empiricism moves the pixel logic of the Danube grove into the sensorial cognitive screen and at the same time imposes document and authorship swindle onto the world's databases as a way of understanding this plasticism and intentionality of the historic-reality pixels and how they 'organize themselves' - as if guided by a collective historic consciousness - on the photos. How strange! 'Heimskringla' is such an example of an apparently british attempt to 'mould' the reality in such a way - but, alas, not via mystic entelechies and poetic archetypes but unfortunately by way of apparent swindle.

The problem is that the british solution seems to rests on 1) swindle and 2) genocide. A normal poet will ejaculate in normal ways, while a 'british-empirical' poet will ejaculate in the odd ways of genocide. Could be this is the reason why the angloamericans have tried to construct the 'self-sucker' and other variants for telling that they are not the only odd ejaculators.

I think the britons should understand this and not just give up immediately when human reasoning cannot grasp the poetic mechanics in the 23 photos. This is precisely what Jessenin's poem is about - and that is probably the reason for the apparent political war against it since the poet's possibly premature death in 1925. They try to read self-sucker, eweish marriage, 'islamic' arm-chopped rowing and other puzzling variants out of it.

With modern technology it is fully possible that the notes in your notebook could look nearly exactly as before, only the paper itself under the script is different. This is precisely what one could fear that they could be planning - and I hope that it is not going on - because that would give the britons the feel of 'moulding' the world like the photos of the Danube island. By swindle, that is. Heimskringla, Edda (for couping the indian V-eda?), Beowulf etc etc - there could be a forest of false historic documents made by 'british empiricism'. Which is the same as their feel of need for some genocide now and then.

Could be the story is very simple - if they are craving for power rather than truth and have a bad conscience which the power aspirations cannot admit. That could be due to class society - and it is very important that a new global class division be not constructed again. It must be realized that the philosophical-theological stance of genocide is easily definable and should be subjected to conscious criticism. The problem should be solvable.

The problem of falsified documents in archives and libraries - in an attempt to imitate and create 'false entelechies' - could be immense. Replacement of originals with mock versions - it could be about the same 'spiritual' feel of a need for new falsifications like they could feel the need for new genocide now and then. Could be they hope to get world history under their control - as if that were the aspirations of the poet photographer in the grove. But the poet photographer in the grove is not out for power - it is the poet's aspirations for truth which is the story. The metric of poetic logic is poetic integrity. It is not that the poet has such witchcraft power that his mind can move twigs and leafs around. But how then? This is what 'british empiricism' cannot understand.

Put differently, when in Jessenin's poem parts 1 and 5 there is the line 'My head is a yellow leaf' and this has a reflex in the 'helicopter' of photo 1 and the leaping lamb of photo 2, what Rilke calls 'das Lamm mit dem redenden Blatt' and which hebrew could read as 'Lamb of the Tetragrammaton', how come the pixels on the photo can conspire to make this form which correlates with the poem? For british empiricism (could be also in general international secret 'intelligence' service) there can be only one answer: 'It must be swindle'. It is not swindle - it is a poetic mystery. British empiricism would be lost in hopelessness - could be because of bad conscience.

The mystery as contained in Aristotle's concept of 'entelechies' - and this can possibly be the secret of the Kennedys (with their Kennelys) - possibly also the reason for the location of the 'project' in Fredrikstad which, as far as I know, is the only place in Norway which has a word 'ENTE' - meaning 'not', same as swedish 'inte'. The wild duck... John Gabriel Borkmann, Eyolf Little... It seems that the role of John F.Kennedy could have been to get USA involved in the Vietnam war 180 degrees around the globe relative to Norway, next the gulf wars constitute a similar 180 degrees swapover on the 'cortical map', combining cortex with the globe as empiricism seems to prefer, and then the third step can be predicted to be the foldover of Norway down on Italy and the Vatican around the european swastika with centre in Paris. But all this would mean that USA are running boys for british spiritualism and empiricism. It could be called angloamericanism. Could be the fact that the Kennedys are catholics (like Henry VIII once was) is the background of the idea of a 'Judask Whistling Britis' (the very 'self-sucker'?) in the story. L-on-D-on: 'En teddy-kis' and things like that cannot be enough philosophy to change the history.

Concepcion, Prince William Sound, Tangshan, Banda Aceh, Bam, Sendai. Port-au-Prince etc etc. If these are artificial rockpedo quakes there is not much 'entelechies' in the horrendous disasters (which could have been made for engineering the impression of a lotophagious Dirty Beast) - but if people cannot guess that underearth rockpedos are possible, then it looks like 'entelechies' for the lower class of people - the second-classers - who are not informed about the secrets held in London and which are available to 'first-classers', including perhaps the class of agents with 'access'. "Gee, is this God's punishment or what is it?" says the normal underclasser when the announcement in Knesset immediately 'led to' such a giant quake responding to the news of the 'adolf eichmann'. It must have been a sort of strange causality at play, dont you think so? Divine punishment? It is not divine - it is probably 'british empiricism'. I think it is high time to find somebody who can write the rational technical book "Are artificial earthquakes possible?" That can drain the mystery out of the propaganda quakes. Somebody should also make a seismological website which tells which quakes are bombs and which are natural. It is well possible, as one could guess, that everything beyond Richter 7-8 could be bombs, and perhaps half of the smaller ones? But clearly if such a website reports on this, then a quake of Sendai, if articifial, can come to be a quite hot potato ball. It would mean that the 'artificial entelechies' would no longer function.

The normal conception seems to be that the US democrats are those who support this british empiricism and get their 'global' power - even inside USA - therefrom, and that the US republicans do not support it and that is the difference. However, I think it is wise to understand that we would probably have known much more about artificial earthquakes and these mechanisms generally if it were not a general american project. The standard american propaganda is that terror is due to islamistic jihad and things like that and the USA stand up against it. Was the syrian gas attack an attempt from the syrian government to scare the rebels away from Damascus, or did the americans do it and put the blame on 'Syr'-ia for reasons of making mystery 'entelechies' on austrian cheese, a sort of 'Gouda' (Ingeborg Bachmann was austrian)? Cp. also 'v-Edda-mer'. Supposed to look like a coincidence - seems to be the normal reason for terror. If the US democrats support such terror, if the US republicans allow them to make their power therefrom, it is the same as accepting it.

When 'british empiricism' thereby tries to claim that my photos have to be swindle because they show the lamb that can be found in many poets' work, the principle of terrorism says: 'That is swindle and a part of the underworld - hence the photographer is an agent for british 'intelligence''. And the same authorities could thereby hope to be able to claim that the reason why many poets describe these things and the reason why the Lamb can be found in such photos is that it is under the authority of the terrorists and the political programs on Jessenin since 1925.

Which is wrong. These themes are old and nothing new, and I am not an agent for anybody. Many realities crisscross in and out of the historic reality and angels walk from the one to the other. In 1879 the visionaries of Knock in Ireland saw the Lamb on an altar on the outer wall of a church.

The problem of surveillance is that it sees only the surface screen. It does not see the depths of many realities. It does not understand that the child talks to an angel who is not visible on the surveillance screen or in the microphone, nor does it understand these aspects of human language, and therefore surveillance drains and destroys the spiritual consciousness of humans. It is 'british empiricism' who could be out for getting such things under control - but clearly that is not a healthy condition of life for normal humans.

Power struggles with getting the multiple-reality world under control, truth with liberating it. It could be some friendly angel who puts the 'pixels' right. That isn't swindle.

Communism sprang out from the coup of 'british empiricism' against the attempts to create a poetic logic in the 1840's, and british 'binary-valued' symbolic logic is based on black spots on white paper and is a joke on the thresholded reality. Communism is an attempt - in contrast to british empiricism - to construct a world based on truth instead of power, but has constantly faced the crisis of having to struggle for power and thereby been falling into the ditch over and over again. This is the constant confusion of left and right: Communism struggling for power and 'british empiricism' sailing under the flag of thresholded poetic logic. Alas, it is a british pirate flag (see also photo 5) - and communism or rather the poetic reality is not really about power.

This seems possibly to be the story also of the orange stains on the curtains around the time when I at the end of 2012 and the beginning of 2013 completed the 3-volume work and it was announced in january of february that Midori would give a concert in Vienna. The parquet at the garden glass door in my rented flat buckled up as if due to water leaks and orange stains appeared low on the silken curtain - as if a Dirty Beast had been standing in the window masturbating on passersby. The titles of MLR january 2013 - apparently an organ of 'british empiricism' - could suggest just this complex. Hopefully they do not have plans of trying to coup my authorship, such as the socalled fourth archetype and things like that. If the buckling parquet and stains on the curtains were due to intrigue, it would mean that the response from 'society' to my 20 years of work contained in the 3-volume edition was a divide-and-conquer strategy apparently controlled by administration (cp. MLR). The reason is very easy to understand: It is british empiricism responding with their typical means of expression. 'Ronka på en kannibal' ('masturbated on a cannibal') could be the attempted general explanation of british empiricism to the entelechies of my 23 photos. Could be it is the normal empirical explanation to such phenomena of the inexplainable. Pope John 23rd was born Angelo Giuseppe Roncalli - could have meant just that. If 'på en' = 'on one' means 'pederasty', there is the full british matrix contained in the formula. Cp. also 'L-on-D-on'.

My photos seem to have been abused to quite an extent. Is e.g. the film 'Population Boom' (I have not seen the film, though, only the poster to it) based on my photo 15? Not for a 'population bum'? Or for 'the fourth archetype'? There was a poster to a film called 'Like someone in love' - it looked like photo 1. There seem to be quite a lot of these. The film 'Lone Ranger' has a poster which vaguely resembles photo 17. I hope I will not be driven out of my home because of my work. I think it is valuable for society.

Maybe I should repeat it, in order to prevent the misunderstanding that the program of MLR could be in my interest: British empiricism in the sense of british politics, intelligence, government etc - which largely seems to mean the background of german nazism 1933-45 - cannot be considered my friends, and if they invite to collaboration on my behalf, that could be a piece of swindle.

Laser?

It happened on my younger sister Tone Helene Gröver's birthday 23 february 2002 that I read the news on internet of the abduction of Ingrid Betancourt - and almost immediately thereafter started a paralysis to spread from the lefthand index finger untill it covered nearly the whole lefthand side of the body. It was a strange numbness which put my left side much out of feeling, although the motorics of most of it functioned usably, the left hand curled up and was out of order for a longer time. In 2012 I had a magnet resonance scan made and they could confirm that there had been a cerebral stroke in the left hand region.

See the article with 'the heart of the story'. (There exists also a book by 'Lazer Ran' on the Paneriu and other things of Vilnius).

I now look up MLR for jan 2002 and find what in theory could have been the story there - without making claims of anything more than hypotheses on basis of the available data: 'Betancourt Ingrid' can be seen in the first title, along with the 'Sister' of 23 february. It is title 2 which seems to tell the story - as if it were about 'John Gay and the lasery' - suggesting that a laser tool had been used from an area in the vicinity. It looked like 'entelechies' - 'Fingrid Betancourt' = 'finger he bit short' and 'inngrep i tanker' = 'in-grip in thoughts' - but british empiricism had perhaps tricked fate once again, could be the conclusion.

This invokes the story of the second time the same could have happened: Some time after I had moved into the flat in Vienna in late december 2009, I found that there was short circuitry in an outlet. The electrician from the houseletter came and fixed it in may 2010. As he was about to leave, he turned on the doorstep and said: "Ich mache auch den Amerikaner". Could have been a joke which I still do not understand, of course. Some minutes later, could be it was an hour or so (I do not suspect the electrician), I found that I started having difficulties with concentrating and it grew worse and worse: I could read a line in a book, but no sooner had I started on the next line, the first was already totally gone from memory and I could not keep two lines together in attention. It lasted at least out the day. Some time after this again, in the summer, a strange basement smell started to emerge from some new 'british'-looking textiles I had bought for furniture cover, and the smell grew so totally crazy and filled my attention totally on entering the flat that I thought that I could never take anybody in there. It was the 'british' textiles which smelt so insanely. I even took them to a cleaner and asked what could be done - she said there was not much to do with it and such basement smells hardly ever go out again. However, it gradually slipped away and now they are as new again - not a single trace of smell in the textiles which I had bought new some weeks before it happened. My concentration is also somewhat restored - could be not what it used to be, but absolutely not as totally closed down as that afternoon in 2010.

There is the theory (which I so far have not got verified) that lotophagi tend to develop 'bollekinn' (def. pl. form 'bollekinna') = protruding, rounded cheeks. Which could invoke the idea of the great 'Wall of China'. Even the twin towers of Manhattan 2001? But this theory is perhaps not much more than the double mention of 'polovina' in Jessenin's poem part 4 tanza 3, that is lines 11-12. Evidence of this could be in e.g. the school siege of Beslan which could be seen to be about 'Gislan' = the hostages.

The explanation to the smells could perhaps be sought in the titles of MLR. The question is: Were these sensory impression made by an intrigue of political character? Could it even have included use of laser beaming on the brain - for example for 'going down in intelligence' ? It must be admitted that there are traces of some alarming meaningfulness of the titles of MLR jan 2010 - in particular as far as reading is concerned, although of course this need not be connected with my circumstances. See also the title 'Art and sociality' for the comment from the electrician.

In title 4 there is a potential reference to the BP oil rig disaster in the mexican gulf some time later, or around the same time. Oil RIG veda, the V-eda-mer cheese, Gouda and 'Syr'-ia.

In title 5 there is another example - in terms of the alleged 'revelation' on a pillar hat in a temple in India. It was concluded that the shadings were due to a certain 'plaster of Paris'. See the article 'revelation in history'.

In short, it is likely that laser tools could have been used several times. The elctrician's comment on the doorstep I could eventually reduce to the joke that Tony Blair could have been born 9 months and 1 day after a giant earthquake - that is of course fully possible. I recalled a swedish line which emerged once (in the 70's or 80's) from a neighbouring room, and at another time I heard a gentle motor sound in the moment when I put my (left?) hand onto the handle of the bathroom door for pressing it down. This bathroom door (which would have been also for the time of the lotophagious gym) was not leading out to a Vranda, rather the other way round. The explanation to the sudden almost total loss of concentration could then have been that my deep subconsciousness had to search desperately for the strange correlation which suggested - haha - that Tony Blair was rebuilt from my younger sister Tone Gröver. It took some time to get this jigsaw in place - and I suppose that I cannot really take it seriously, even if the line could be traced to the periodical. However, if laser beam was the reason for the total and acute loss of concentration, rather than such enigmatic puzzles, then it was not so very mystic.

It is therefore theoretically possible - and one could even spot some possible traces of it in MLR - that they could have used laser for getting my IQ down, and then by administration and laser created the conditions for an imagined sense of strange basement smell. Which could be for imitating a 'Dirty Beast in the revelation'. Not so very mystic. Could be british empiricism plans to make the 'angelic' reality of e.g. jewish genetics smell bad? Could be not so surprising.

The smell was insanely overwhelming of dusty basement, and I fancied that it could mean that I could have been drugged once upon a time and woken up for a brief moment on a dusty sofa in a basement. Or it could have been a childhood memory, such as from Hammerfest. The sofa textiles were in fact not totally unsimilar to some patterns on the sofa whereupon Jessenin was resting in the last photo of him - when he has an apparent electric cord around his waist - which could be the origins of the 'Elvis' theme. Here is the textile I had bought, which could be compared with the photo of Jessenin:

Are the sofa textiles which I bought in 2010 what could be called 'moiré'? Or even so - only the opposite? If so, it could be assigned the russian term OBjAR' - which seems related to the OVTsA of part 3 line 12. Cp. the idea of 'depending on british administration' in the photo of Jessenin. 'Coining a term'.

The sofa textiles of Jessenin could also invoke associations to the name of Ilse Blumenthal-Weiss, a friend of Nelly Sachs. She lived at Jacksons Heights in New York, probably not far from Lazer Ran (cp. 'I-ran') who wrote the book about Lithuania. Yasser Arafat was apparently poisoned by polonium, tells the news.

It could probably be supposed to look like 'entelechies' - the delight which 'british empiricism' can take in swindle in an attempt to make it look 'divine'. It is not swindle? It is not swindle if it is laser beams in action? It is made to look like a 'coincidence' - and people are invited to believe that the young people have a free choice which tells of the innermost character of their nature.

There is a possible link between a laser beam as a 'Kennedy Spüle' and the 'lotophagi' in Odyssey 9:82-104. It corresponds to the turn between PEB 180-181. I wrote the four sonnets 177-180 on the bus down to Venice on the day when the giant earthquake of Port-au-Prince destroyed the city later in the day. The last two lines of PEB 180: "from that Mestre coastline where / the hugely port occurred". I am officially born on 29 june, which is day 180 in the year, allegedly 25 minutes before midnight. In principle, it is perhaps not impossible that there could have been surveillance on the bus which allowed for the quick conclusion that I had reached sonnet #180 ending with this line (I cannot remember if I numbered the sonnets while I wrote them), but surveyors could not possibly at that time guess with any certainty that I had planned to write up to 366. In theory, there could of course have been an underearth bomb waiting stand-by under Port-au-Prince which could be triggered by remote control. It happened on a night train from Venice to Vienna, which could have been the train of my return in the same evening or the day after, that a man who resembled then british PM Gordon Brown very much (I did in fact believe that it was him) tried to get into the train compartment where I was sleeping. (I packed my things and left the compartment). He carried an oldfashioned doctor bag which I recognized as very similar to one I lost probably on a train in Sweden in the late 70's. Was it 'british empiricism' who had pressed the button - for making it look like a coincidence or an entelechy? There was a magnitude 8.8 earthquake outside 'Maule' in Chile on 27 february 2010. Poem 242 was written the day before this quake - and the place called 'Maleia' is mentioned in the Odyssey 9:80. 'Maula' was mentioned in the end of my drafts to the PEB already in january 2010 - and it ended up on poem 363 (although the enumeration was not clear at that time) - and 'Maleia' once again is mentioned in Odyssey 19:187 (it is mentioned a total of 4 times in the homeric epic). These Maule, Haiti, Mestre - and the blue metre - have a correlate in the 'Menturihaut' of the earth of sonnet 70. This also means that they could not have had access to the dating of the Odyssey which I did well after the PEB was completed in may 2010 - and it is this dating which puts the 'lotophagi' on sonnets 180-181 - but Ed Miliband (!) was elected new leader of british Labour after Brown in late september 2010. The conclusion is that the politicians seem to have gone astray in a jungle of coincidences and believe that they are on the right tracks - while the reality is something else. It probably looks right, though - and indeed it could be tragic if they believe that e.g. military 'bands' are the right thing. It really is about the blue millenial metre - what Jessenin called 'crunchy oatmeal'.

If the story of a laser beam should happen to be the reason for my stroke in Vilnius and loss of concentration in Vienna in the may 2010, then it must have been from a source at quite a distance and hence very sophisticated high-technology computing the right region in the brain and sending a beam fizzing the brain precisely there in a local spot. I dont know if that were possible in 2002.

This is too crazy, of course, and it must be tidied up and stopped. It is a very serious loss of quality to people's lives if they cannot relax behind a wall but has to fear a laser beam hitting in the brain in a certain 'telling' locus if they say something that irritates the Emperor.

There seems to have been a systematic war against true intellectuals in many contries. It probably means that a war against intellectuals is the same as 'going down' in intelligence on a national level, and then an ejaculation in the form of a genocide will shine out through the eyes of british administration. Don't they hear it themselves - that this way of reasoning is not good? It is conceptual categories (intelligence, down etc) which can be combined in reasoning, so it should be right? It is likely that the whole story is not much more than bad conscience in England. The war against the intellectuals in many countries has probably been a way for England to harvest the effects of the holocaust of 'Hitler' (or 'Marshall'). It is a little incredible that the world after 1945 has not seen a dismantling of diplomatic ties with England.

Somebody should make a description and list of intellectuals who were murdered. An intellectual is one who often has invested many years of study in a field for being able to contribute with something valuable to society. Primitive conceptual reasoning should not be allowed to blunt this wish to contribute to society.

The world seems to have been waiting for England to confess and regret, but new technology has opened up new landscapes of swindle which make them choose the other way instead. It is likely that they have lost all constraints and self criticism and go for the pure darkness. Then it is time for others to tell the true story and not wait any longer. It remains a mystery why other countries have kept up diplomatic relations with England.

Conclusion

The story is all about the nervous behaviour of the black-and-white pixel spots on the paper, and the confusion in politics goes back to the formation of british binary-valued symbolic logic of about 1848. It seems that this Deep Confusion could have been what gave rise to the revolutions of Europe - spontaneous protests which did not want the democratic nazism which would come to develop from the symbolic logic - wherein people would come to vote for the opposite of what they wanted. The black-and-white pixel spots of my photos get their nervousness from the parametres of not seeing the motive while I was photographing, the 300 mm lens, the autofocus, the nature of the grove, could be even the down-to-earth position of the camera (such as mentioned in the last lines of 'Caruso'), the black-and-white thresholding of the after-editing - which means that a slight tremble of a leaf on a twig in the grove could totally change the resulting thresholded photo. This nervousness can be recognized in the nervous behaviour of the patterns of 'waist of time' in my PhD dissertation - a slight change in the value of some acoustic parametre of speech can totally change the resulting pattern of analysis. One can venture the hypothesis that it is precisely this non-rule-bound nervousness which gives rise to a semantic function in language - in the sense that the photos will find an interpretation in the poem and vice versa. The phenomenon of 'arbitrary signification' thereby applies to speech as it does to these photos from the grove - and that could be precisely the reason for the amazing precision in the correlation of photos with poetic language. This is what the 'entelechies' are about - a consciousness (angelic or human) on a higher level of being. It is this consciousness which should not be blunted when e.g. children (or other people who want to uphold a certain level of spiritual understanding of the depth of reality or realities) are subjected to surveillance which necessarily pastes a british-empirical screen-based interpretation on the data. Why does the person move that hand or say that word? Because of the parametres available in the data analysis, says surveillance - which ideally should have been totally banned.