Revelation in science: The 'keys to heaven'

John Bjarne Grover

This article contains a further example of 'poetic science' - it is a study of the socalled 'keys to heaven' which can be derived from an analysis of the narrative structure in Acts chapter 10, which is about divine revelation. I have - by my poetic way of analysis - found traces of the Fast Fourier Transform from time to frequency and vice versa, but here in the form of permutation algorithms. (In my 1999 'Time and the sonnet', I studied one of these permutational algorithms as the principled underlying form of the sonnet). The analysis also leads to a highly generalized definition of the relation between such (divine or poetic) revelation and the traditional grammatical categories. I wrote most of the analysis under poor conditions in 2002-2003 and gave the article its below form in 2004. There are improvements that could be done to the sketchy analyses but I nevertheless leave it in its original form here. (I sent the analysis to US copyright registration in Washington in early February 2004 but the letter was registered as received there 69 days after I sent it - I don't know what happened to it in the mean time).

The pieces I found in the streets were on places where Paul Celan walked in the late sixties - which probably is a part of the story.

Could be it is one of the wellprotected secrets of freemasonry. I discovered it in Paris in 2002. For the particular interpretation of Acts 10 which I was into at that time, it was all about the role of the the fifth columnist, cp. the role of Quisling and the proof of Cantor. The word was, according to historic sources, used for the first time in 1936 when four rebel 'columns' marched toward Madrid and those inside the city who collaborated with them were called 'fifth columnists'. The word attains a special status in this study - in a way which probably explains the appearance of it in 1936 and the extreme importance of the fifth columnist in the creation of the wartime mythology. I found the principle of the fifth columns through the poetic interpretation of some trifling objects I found in the streets of Paris that attracted my attention and to which I assigned poetic importance as I wandered with my 'hobo' trolley through the city. There were 8 pieces in the puzzle I came to put together in this way. The following discussion of the pieces was written in the autumn 2002.

The first piece in the puzzle: In the summer 2002, on 10 July, I sent a letter to the Nobel institute in Stockholm, with the following heading:

        Date: Wed, 10 Jul 2002 03:30:05 -0700 = 10:30:05 GMT = 12:30:05 local time
        From: "John Grover"
        Subject: The last piece in the puzzle - where is it?

In this letter, I outlined the concerns I had about the historic reason why the terror-and-monkeybusiness project had such a particularly strong rooting in Norway. There must be some reason why reality in that country is so strange and the illusions are as hard as stone. What could it be? I outlined some possible reasons in the origin in 1947, including the Norwegian UN leadership around the formation of NATO and later also Dag Hammarskjöld, and I included this poem from my poetry book 'A deep ratch':

Exodus 19.17: Then Moses led the people out of the camp to meet with God,
and they stood at the foot of the mountain

He had made motoreazed and arid consumers
of a Neptune family triad.
The best search is the Echo family,

histories narrow with pitch and frequency.
The Brits are running a somewhat quicker but still fullfledged version.
It's cracker or a law article.                            ('cracker on...'?)

                         Dag Hammarsvold

My question to them was this: "Where is the missing piece in the puzzle?" Some time after I had sent the mail, I walked through Rue de Faubourg Saint Martin (upper part) and found a little piece from a jigsaw puzzle left on the sidewalk, not far from the telephone box outside no.197. I picked it up and saw that it had three colours: A narrow strip of red (fox-red), then one narrower strip of white, and most of it, the rest, was in a half-lilac blue, light blue and then some light red-blue. "But this is neither the French nor the Norwegian flag - it is the Færøe flag", I said to myself. "Is that really where the last piece in the puzzle is?" I started the search and, indeed, it turned out to lead me to the story about Churchill and Gröver/'Mengele' and Shetlands-Larsen, the highest decorated allied marine officer in the second world war. I notice that the piece from the jigsaw puzzle was found in Rue du Faubourg Saint Martin, which rewrites excellently to 'highest decorated marine officer': 'Rue du Fau-' reads 'offidur' backwards, and swaps over to the end. Then only 'ain' must be repeated in order to make the needed sense. I had predicted that 'ain even before I found the piece. Cp. also the concept of a 'monarchy without a monarch'.

The second piece in the puzzle: On 7 Sept 2002, I went into Rue Rollin in Paris and outside the gray house no.16 (next to no.14 where Descartes stayed while in Paris a few times in the 1640s), there was a mason worker dressed in all gray standing in the doorway (a 'freemason', that probably was) and I spotted a little jigsaw puzzle piece on the ground outside the house, right in front of the door. I picked it up and found that it was all gray on both sides - whether due to 'heavy water' from above or naturally from the producer. My first thought was that this was about Elisha Gray, the inventor of the telephone, who saw his invention pirated allegedly by two hours by Alexander Graham Bell in 1876, two years after the birth of Winston Churchill. I suppose it was about 'a lisa gray', where 'lisa' is the Russian 'fox', commenting on the fox-red colour of the first piece I found, leading to my hypotheses on Shetlands-Larsen. 'Grei' in Norwegian means 'agreeable', 'nice', 'easy to come to terms with'. See also the gray thing in my bathtub in 2006. Evidence of this reference to #1 appeared as I waited for a bus earlier in the day. A negro in a long lilac coat ('kaftan', sort of) came up and lined up next to me. As I observed his lilac, he turned a little embarassed and asked what bus numbers passes here. I pointed to the numbers listed on the bus stop shed, and he - ah, of course, that wasn't the reason why he asked. Obviously not only the colour but also the numbers are of interest - here 16 and 14 on the houses in Rue Rollin.Another woman passed and hid in the shed. She had a tan around her eyes, with freckles from sunbathing on her nosebridge and around the eyes, but the rest of her face was pale like a fishbelly. "She wears sunglasses", I thought with myself. The gray person in the doorway is the mason, a word with several meanings in the macaronic space of universals: English 'mason', French 'maison' = 'house', Norw. 'meisen' = the back metal frame of a rucksack (it also means a small bird, the 'meis', a word which also is used about young girl scouts), while 'murer' = 'mason' and 'munnen' = 'the mouth'. In short, the gray piece no.2 represents the three significational spaces of reference: 'Oral', 'body', 'house'. It is also about the mouth as the doorway to the body and the house - with a mason in the doorway. It was 7 September 2002.

The third piece in the puzzle: The third piece in the puzzle was found a few days later, also this time in Rue de Faubourg San Martin, but now in the lower part of it, on the other side of Gare de l'Est, roughly outside no.33. It happened while I was on my way down the street and suddenly spotted this gray little thing on the sidewalk asphalt. It was 11:25 (am) Paris time, which I recognize as the other side of my alleged time point of birth at 25 minutes before midnight on 29 June 1957. I bent down and picked it up, and noticed in the same moment that I was just next to an elderly couple walking in the same direction. The piece was not from a jigsaw puzzle proper, but rather a sort of idealized puzzle piece - a gray plastic piece consisting of two parallel bars in a cross, two bars crossing two bars, leaving an empty square in the middle. The elderly couple obviously was the PARENTS, and hence it is about genetics. This is also about standardizing culture and it probably refers to the concept of genetics.The piece is a historic culture-puzzle rather than a jigsaw puzzle. Neither is there any picture on it. It is gray like piece no.2, but more formalized or idealized - a sort of 'eternity' puzzle. The mid point exactly is the hole or window between four intersecting rails. Thepiece was probably found under the plaque in memory of Roger Eizenstein who fell in wartime combat on that place at the age of 22.

The fourth piece in the puzzle: It was found the day after I had found the third, as I was on my way out from the metro station Place Monge, which I had never used before, if I remember right. On the stairs, I found an earring consisting of two rings, the one inside the other, and with three 'swords' hanging from the outer ring. Each of the rings consisted in two narrow rings with some ornamental stuff between them, conjoining them to appear as one. The principle is the same as for piece no.3, which has two parallel bars crossing two parallel bars - while here there are two parallel circles inside two parallel circles. I concluded that this was the real end of Dante's Divina Commedia, if the third ring was the very construction itself, as the one of two earrings: "The love that moves the sun and all the stars". I had to leave it there in case the owner came back to search for it.

The fifth piece in the puzzle: On 7 October 2002 I found a new piece of interesting shape and roughly jigsaw puzzle size in the street. It was a rose or flower-petal shape made out of six 'curvations' in a circle around the open-holed centre, each of them consisting of many smaller 'curvations', as in a nesting structure. It would be an ice-rose or ice crystal in idealized form. It is lilac (cp. piece 1) and made of some artificial 'textile' and had probably been part of an artificial flower decoration of some sort. I found it in Boulevard de la Villette.

The sixth piece in the puzzle: The first piece in the puzzle was found after my letter of 10 July to the Swedish Nobel academy. The literature prize was to be announced on 10 October, three months exactly after my first letter. At noon exactly Paris time on 10 October 2002, I found the sixth piece in the magic puzzle. I am not really sure if I dare believe it, so hair-raising is the story - as I wrote after having found it. It happened while I was on my way through the fifth arrondissement and passed through the intersection of Rue d'Ulm and Rue de l'Estrapade when I suddenly spotted in the gutter a twisted metal wire, bent into the shape of something resembling birth-tongs. It was bigger than the other piece I have found so far but I could put it into my jacket pocket. It was with trembling hands that I opened a dictionary in a bookshop to see what the street names meant. Rue d'Ulm - with the 'pedalled hang-glider' style air transportation invention - went well, but when I leafed over to Rue de l'Estrapade, the hair rose on my head. The point is to interpret it the right away. My interpretation is that Rue d'Ulm = aspect and Rue de l'Estrapade = Aktionsart. The piece was found in the intersection between aspect and Aktionsart. It is a representation of both these categorial concepts in the street names. Aspect and Aktionsart are - as the textbooks know to repeat over and over again - often mixed up in grammatical analysis, but the difference should be clear enough: It cannot be made clearer than here in this sixth piece of the magic puzzle, in the intersection of the two telling streets. It was much later that I understood that the piece could represent the death of the first son of the Celans. Paul Celan probably used to go through this street intersection rather often. Later I also understood that the two streetnames perhaps could apply to elements of my own early childhood in Hammerfest and maybe Oslo.

The seventh piece in the puzzle: I don't know if this is a real piece or if it is just a parody on these pieces. In the evening the same day (the prize went, by the way, to Kertesz) and I had found the sixth piece, I went through Gare de Nord at 21:00 Paris time on Thursday 10 October and passed a man carrying a big and heavy bag while he dragged his feet after himself on the floor along with the bag which he likewise pulled after him. The head of a bass guitar was peeping out of the bag. As I had just passed him, another man came crossing diagonally over from my righthand side. He turned his head towards me or perhaps the bass guitarist, lifted his hand and adjusted his sunglasses. While he fumbled with them and continued looking and walking, his foot happened to hit a little black object lying on the floor, without his attention being at it. It skidded over to me, while spinning around over the floor, and stopped right in front of my foot while still spinning. He obviously had nothing to do with it except that his foot accidentally hit it while he was doing something else. The little black object right before my feet, spinning around on the floor, looked like a parody on 'here is the seventh piece in your magic puzzle!'. I did not feel much tempted to take it up and continued walking, but found that I should not let myself be distracted by the over-obvious mood of it. I had passed it but turned around and picked it up from the floor - it was a black cap for a marker pen of the sort typically used by students for highlighting text in student textbooks. The piece probably represents (by 'Gare de Nord') 'når det går' = 'when it goes'.

The eighth piece in the magic puzzle: What may complete a cycle of pieces was found the next day outside the entrance to Eglise Saint Laurent at about 12:32 Paris time. It was a metal wire paper clip bent out of its form, possibly twisted between somebody's fingers during a more or less difficult conversation at a nearby cafe and lost or thrown away on the way back from lunch. At first I was a little tired of spending fantasy on all these picees, but then I saw that it resembled a typical outline of a human brain: The curving main hemispheres and the characteristic temporal lobe. The temporal lobe was the inner curve of the clip, the main lobes the outer. I first concluded that it must have been found around 12:34.56,78, or something like that (my wristwatch may perhaps be little slow): It represented DIVINE REVELATION in natural numbers. The finding means that these divine natural numbers are in-wired - and that is where the divine apparitions make their way to the human imagination. They are probably slipping out through the architecture of neural fissures, such as was represented in this twisted clip, with the main Sylvan fissure well represented. Cp. the 'Rolandic fissure' in the 2nd piece in the puzzle. I must add that I found two white feathers close to it - probably from two nice gulls. At least one of them seems to have been autokhtonic.

The point is probably that the Sylvan fissure is alphabetic while the Rolandic is the computer.

A summary of the pieces:

1. Fox-red in Rue de Faubourg Saint Martin, upper part
2. Gray, in Rue Rollin, outside no.16
3. Plastic white/gray cross in Rue de Faubourg Saint Martin, lower part
4. Earrings in stairs to metro Place Monge
5. Ice roses (crystal) in Boulevard de la Villette
6. 'Birth-tongs' in Rue d'Ulm / Rue de l'Esplanade
7. Marker pen cap kicked by subconscious foot in Gare du Nord
8. Wire in brain form outside entrance to Eglise Saint Laurent

I notice that there is much of the Eisenhower doctrine backwards in this series - with Göring in the ear-rings of no.5 and Birthe Marie Løveid (no.3 undertext in Eisenhower) in the 'birth tong'. Now in 2007 I have started to understand that the series of pieces also could be about my own condition from childhood as a part of this Eisenhower doctrine - at least this is a hypothesis which has recurred to me repeatedly.

The series of pieces obviously followed the selection process in the Nobel academy in Stockholm - from my letter on 10 July to the last piece on 11 October, 3 months and 1 day later. The explanation to the eighth piece or even the series of pieces was found in the evening that Friday 11 October when I had gone to a launderette to wash my wrinkled jacket - the only jacket in my poor luggage at that time. As I waited for the tumbler to run out one of my last euros to lift off the wringable humidity (I could not afford to dry all of it but I would anyhow leave it overnight to dry over the heater in the 18 euro hotel room I had afforded that night), I leafed through 'Pariscope', the Paris culture program for that week, and saw that Midori was in town and should give a concert at eight of clock, in Mogador. It was ten to eight. My goodness. If I run... - but I had only one jacket and that was wet! So I stuffed down the jacket and went to the hotel and put on my pyjama-style overjacket - if the hall were dark, perhaps people would not notice the torn and wrinkled textiles. I came there at ten to nine - and was stopped by the guards. Ticketbox closed and so forth, and I had to leave again.

Midori had a somewhat special role while I wrote my Endmorgan Quartet in 1997: Her concert in the Barbican in London in 1997 coincidended with the onset of arbitrarity on sentence level in my book. Hence a new concert in Paris could be telling of something important for my authorship. The next morning, I looked up the map and studied the route from Eglise Saint-Laurent to Mogador. It turned out to be the following, with correlates in the eight pieces I had found:

1. Eglise Saint-Laurent
2. Rue de la Fidelite
3. Rue de Paradis
4. Rue Bleue
5. Rue La Fayette
6. Rue de Chateaudun
7. Rue Saint-Lazare
8. Rue de Mogador

The eighth piece is the key to the whole series, since it maps onto piece 1 in a Moebius-strip style. That means that the eight pieces run horizontally and vertically and constitute an 8 x 8 matrix = 64 pieces, for the 64 words in my sonnet algorithm. It is on the featural level due to this eighth piece in the magic puzzle.

Now these eight pieces are something that I started collecting from the 'reply' to my email to the Nobel academy in Stockholm. By the first piece, I had no idea of making it systematic or continueing the game, nor had I any idea of Midori coming to Paris - not even when I found the last one. It was only after the third that I started thinking that it could be made into a coherent poetic study, but with no idea of what for or in what time frame. I collected the pieces for no other reason than the sudden spontaneous view to something poetically interesting. It is about poetic observations for which one can not give a principled explanation but which nevertheless calls for inclusion due to the values of copyright integrity there may attach to them - which are qualities that are not immediately spotted by way of a principled method. It was only after I had started analyzing the material that I found a highly interesting inner structure in the eight pieces such as they map onto the streetnames in the eighth, and it was then that I discovered how these pieces jointly are represented in a text from my ‘A deep ratch’ (2000), page 112, cp. the poem included in the email:

Exodus 19.19: Then Moses spoke and the voice of God answered him

…and drove them into the Steinwer,
so to come into the waters, you have steal some fool
blue cathedral
watching the days and the blueprint
Done Akebakke, a place where they runs forwards,
does playback and Julia Aphrodite.


This maps onto the eight pieces and streetnames as follows, when poetic associations are applied (cp. the gray of Stein, Steinway for 'Steinwer' etc):

pieces/names nos.
…and drove them 1,3,5,7
into the Steinwer, 2,4,6,8
so to come into the waters, 2,3,6,7
you have steal some fool 8,5
blue cathedral 4,1
watching the days 8,4
and the blueprint 6,2
Done Akebakke, 7
a place where they runs forwards, 3
does Playback 5
and Julia Aphrodite. 1

Reading this according to the text in the book, with the interpretational freedom which is needed to recognize the hidden pattern (and that is not much in this particular example), it yields three transforms (modes) of the ordered series 1-8 in the text:

1, 3, 5, 7, 8, 6, 4, 2 - mode 1 = unzipping = arbitrarity
2, 3, 6, 7, 8, 5, 4, 1 - mode 2 = sonnet (here backwards)
8, 4, 6, 2, 7, 3, 5, 1 - mode 3 = bit-reversal (here backwards)

These 'modes' have highly interesting general cognitive properties.

Mode 1: The first mode is an unzipping of odds and evens in a time series, creating four transforms (permutations) in a four-line structure before one returns to the original line as the fifth, who here represents the fifth columnists:

1 2 4 8 16
2 4 8 16 1
3 6 12 9 15
4 8 16 1 2
5 10 13 7 14
6 12 9 15 3
7 14 5 10 13
8 16 1 2 4
9 15 3 6 12
10 13 7 14 5
11 11 11 11 11
12 9 15 3 6
13 7 14 5 10
14 5 10 13 7
15 3 6 12 9
16 1 2 4 8

One further column generated by the same principle will return to the time series in the first column. Hence this permutation principle creates 5 columns out of 16 lines, and 4 columns of 8 lines. Notice the characteristic 'turn' in line 11, just like in the sonnet algorithm.

Mode 2: This is the sonnet algorithm, here read backwards. In my "Time and the sonnet", and briefly in the introduction to "Winter Princess", I have outlined the sonnet algorithm and the rationale for it, an algorithm which permutes a time series in the lefthand column according to this mode 2 and thereby returns to the same time series in column 5 - which means that there are four columns in the sonnet. This completely explains the traditional sonnet structure on the following form:

1 1 1 1- 1
2 4 8 16- 2
3 5 9 15- 3
4 8 16 2- 4
5 9 15 3- 5
612 10 14- 6
713 7 13- 7
816 2 4- 8
915 3 5- 9
1014 6 12- 10
1111 11 11- 11
1210 14 6- 12
13 7 13 7- 13
14 6 12 10- 14
15 3 5 9- 15
16 2 4 8- 16

In a traditional sonnet, the two last lines are mute and the 'turn' is after the 11th line. As I have outlined in my "Time and the sonnet"; the 'terza rima' of 'Divina Commedia' is based on a closely related permutation algorithm, whether that be known to Dante or not (I suppose it was not). The '147' derives from that.

Now this sonnet structure imitates an FFT flowgraph (the weighting factors not considered), the only difference being that the FFT takes a bitreversal permutation in the fifth column where the sonnet returns to the first column. The bit-reversal is the following, which also is the one represented in the text from 'A deep ratch':

Mode 3:

Sonnet col.5FFT col.5
1 1
2 9
3 5
4 13
5 3
6 11
7 7
8 15
9 2
10 10
11 6
12 14
13 4
14 12
15 8
16 16

Mode 3 is the bit-reversal from my paradise model. The permutation is obtained by rewriting the number into binary notation and then reading it backwards. For example, 1 = 0000 and remains 1, while 2 = 0001 and turns into 1000 = 9. Furthermore, 3 = 0010 and turns into 0100 = 5. And so forth. The characteristic 'turn' in line 11 can be recognized in fact by turning the bitreversed column upside-down, if that be interesting.

I had to adopt a slightly relaxed decision procedure when recognizing the pieces in the text, but it is certainly acceptable. General considerations do in any case call for this bit-reversal algorithm when the unzipping arbitrarity and the sonnet algorithm have been applied.

The interesting relation between these three modes of permutation is found in the fifth column. Mode 1 leaves an unzipped column as the fifth. Mode 2 creates four unique columns before it returns to column 1 in the fifth. This is, as I have shown in my "Time and the sonnet", the basic underlying narrative structure in the sonnet developed in the Middle Ages. Mode 3 is the bit-reversal obtained by the Fast Fourier Transform for turning a time-series of waveform samples into a frequency spectrum. The flowgraph of this algorithm is identical to the sonnet algorithm except for the fifth column - where the sonnet returns to the initial time-series and the FFT performs a bit-reversal on it, outputting the present Mode 3.

The analysis shows three ways of generating the fifth columns. The relevance of these fifth columns appears from the narrative stucture of Acts chapter 10. It consists of 48 verses, which is 3 x 16. A close reading of them suggests that these are the three modes for generating the fifth columns listed the one after the other: First the 16 verses as the fifth column in the sonnet = the first column = verses 1-16. Next, the 16 elements in the bit-reversal fifth column, for verses 17-32. Finally, verses 33-48 map onto the fifth column in the unzipping mode. That gives the following grouping (verses listed in three columns) of the verses in Acts chapter 10 into subsets of threes which belong together and create a subtext in a way which probably can be recognized as universals in narrative structure (source is 'King James version'):

1. There was a certain man in Caesarea called Cornelius, a centurion of the band called the Italian band,
17. Now while Peter doubted in himself what this vision which he had seen should mean, behold, the men which were sent from Cornelius had made enquiry for Simon's house, and stood before the gate,
48. And he commanded them to be baptized in the name of the Lord. Then prayed they him to tarry certain days.
= entrance to community

2. A devout man, and one that feared God with all his house, which gave much alms to the people, and prayed to God alway.
25. And as Peter was coming in, Cornelius met him, and fell down at his feet, and worshipped him.
33. Immediately therefore I sent to thee; and thou hast well done that thou art come. Now therefore are we all here present before God, to hear all things that are commanded thee of God.
= goodness

3. He saw in a vision evidently about the ninth hour of the day an angel of God coming in to him, and saying unto him, Cornelius.
21. Then Peter went down to the men which were sent unto him from Cornelius; and said, Behold, I am he whom ye seek: what is the cause wherefore ye are come?
47. Can any man forbid water, that these should not be baptized, which have received the Holy Ghost as well as we?
= divine apparition

4. And when he looked on him, he was afraid, and said, What is it, Lord? And he said unto him, Thy prayers and thine alms are come up for a memorial before God.
29. Therefore came I unto you without gainsaying, as soon as I was sent for: I ask therefore for what intent ye have sent for me?
34. Then Peter opened his mouth, and said, Of a truth I perceive that God is no respecter of persons:
= donation

5. And now send men to Joppa, and call for one Simon, whose surname is Peter:
19. While Peter thought on the vision, the Spirit said unto him, Behold, three men seek thee.
46. For they heard them speak with tongues, and magnify God. Then answered Peter,
= commutation in global community

6. He lodgeth with one Simon a tanner, whose house is by the sea side: he shall tell thee what thou oughtest to do.
27. And as he talked with him, he went in, and found many that were come together.
35. But in every nation he that feareth him, and worketh righteousness, is accepted with him.
= arbitrarity (in/out aspect)

7. And when the angel which spake unto Cornelius was departed, he called two of his household servants, and a devout soldier of them that waited on him continually;
23. Then called he them in, and lodged them. And on the morrow Peter went away with them, and certain brethren from Joppa accompanied him.
45. And they of the circumcision which believed were astonished, as many as came with Peter, because that on the Gentiles also was poured out the gift of the Holy Ghost.
= bit-reversal

8. And when he had declared all these things unto them, he sent them to Joppa.
31. And said, Cornelius, thy prayer is heard, and thine alms are had in remembrance in the sight of God.
36. The word which God sent unto the children of Israel, preaching peace by Jesus Christ: (he is Lord of all:)
= free will as prerequisite for nature poetry

9. On the morrow, as they went on their journey, and drew nigh unto the city, Peter went up upon the housetop to pray about the sixth hour:
18. And called, and asked whether Simon, which was surnamed Peter, were lodged there.
44. While Peter yet spake these words, the Holy Ghost fell on all them which heard the word.
= nesting = nominal type = +N-V

10. And he became very hungry, and would have eaten: but while they made ready, he fell into a trance,
26. But Peter took him up, saying, Stand up; I myself also am a man.
37. That word, I say, ye know, which was published throughout all Judaea, and began from Galilee, after the baptism which John preached;
= context = verbal type = -N+V

11. And saw heaven opened, and a certain vessel descending upon him, as it had been a great sheet knit at the four corners, and let down to the earth:
22. And they said, Cornelius the centurion, a just man, and one that feareth God, and of good report among all the nation of the Jews, was warned from God by an holy angel to send for thee into his house, and to hear words of thee.
43. To him give all the prophets witness, that through his name whosoever believeth in him shall receive remission of sins.
= self-embedding, witness report, messenger = adjectival type = +N+V

12. Wherein were all manner of fourfooted beasts of the earth, and wild beasts, and creeping things, and fowls of the air.
30. And Cornelius said, Four days ago I was fasting until this hour; and at the ninth hour I prayed in my house, and, behold, a man stood before me in bright clothing,
38. How God anointed Jesus of Nazareth with the Holy Ghost and with power: who went about doing good, and healing all that were oppressed of the devil; for God was with him.
= prepositional type = -N-V

13. And there came a voice to him, Rise, Peter; kill, and eat.
20. Arise therefore, and get thee down, and go with them, doubting nothing: for I have sent them.
42. And he commanded us to preach unto the people, and to testify that it is he which was ordained of God to be the Judge of quick and dead.
= negation, paradox, binary values

14. But Peter said, Not so, Lord; for I have never eaten any thing that is common or unclean.
28. And he said unto them, Ye know how that it is an unlawful thing for a man that is a Jew to keep company, or come unto one of another nation; but God hath shewed me that I should not call any man common or unclean.
39. And we are witnesses of all things which he did both in the land of the Jews, and in Jerusalem; whom they slew and hanged on a tree:
= gender

15. And the voice spake unto him again the second time, What God hath cleansed, that call not thou common.
24. And the morrow after they entered into Caesarea. And Cornelius waited for them, and he had called together his kinsmen and near friends.
41. Not to all the people, but unto witnesses chosen before God, even to us, who did eat and drink with him after he rose from the dead.
= relegation of authority/control

16. This was done thrice: and the vessel was received up again into heaven.
32. Send therefore to Joppa, and call hither Simon, whose surname is Peter; he is lodged in the house of one Simon a tanner by the sea side: who, when he cometh, shall speak unto thee.
40. Him God raised up the third day, and shewed him openly;
= three triadic semiotic spaces

Summarily, interpretated in the framework of the paradise machine, also such as this relates to the cognitive categories in standard grammatical theory, and to the four Stoic categories I have used in my "Time and the sonnet", here of relevance to the contemporary text from Acts:

Information transfer = LOGOS
1 17 48 entrance to community = the DOOR
2 25 33 goodness = parameter 1
3 21 47 apparition (divine) = fourth parameter for BODY
4 29 34 donation = HOUSE (= oikonomia)

The parametres in the paradise machine = PHONE
5 19 46 commutation/information transfer in global/universal space
6 27 35 arbitrarity (IN/OUT as aspect) = parameter 3
7 23 45 bit-reversal = parameter 2
8 31 36 free will for nature poetry; information = real value = parameter 4

The four grammar/language types = LEXIS
9 18 44 nesting = nominal type = +N-V
10 26 37 context = verbal type = -N+V
11 22 43 witness report = adjectival type = +N+V
12 30 38 prepositional type = -N-V

Triadic butterfly sign, the working of the machine = LEKTON
13 20 42 negation, paradox, binary values = lekton = HOUSE
14 28 39 gender = BODY, city = body
15 24 41 relegation of authority/control to universal muse = 4th par. = ORAL
16 32 40 three triadic semiotic spaces = three basic parameters giving the fourth = COGNITIVE

The last three verses, in group 16 (verses 16, 32 and 40), are evidently the rings at the end of Dante's Divina Commedia: The love that moves the sun and all the stars:

- triadic linguistic sign = ORAL
- three spaces: Oral, body, house = BODY
- three parameters in the paradise model of oikonomia = HOUSE

The 4 x 4 subgroups of the 16-line ordering of the verses in Acts chapter 10 can also be recognized as the basics in the mechanics of my own Endmorgan Quartet, in general, the basic architecture of the temporal or verbal subtype. One can compare the 16 lines in the 4 x 4 structure with the 16-liner at the end of the fourth book, see the study of this in comparable works. I would not have discovered this rather advanced permutation algorithm had I not first written my poetry book and searched for its parallel text: It is by that way that this poetic narrative is found. It took me years of work to discover it - and it had to go through a level of poetic analysis.

Also, I should add the story from 'Jardin de Luxembourg' on 12 August 2002. I had been without housing for some months and the working facilities had not allowed for a continuation of the work as I would have wanted. However, some 2-3-4 days after I had been to the chapel of Rue du Bac where the Madonna revealed herself in an armchair for Catherine Laboure in 1830, on 12 August 2002 I sat down under the Flaubert memorial in Jardin de Luxembourg and pulled up the manuscript to 'Lead lushions in a bowl' for the first time since April, not the least since I wanted to find out of the parallel text issue. I had read a few lines when suddenly a woman dressed in black and white appeared and sat down next to me. We talked for a while and went for a walk. She gave me a poem and a little bottle with some fluid in it and invited me for dinner, but I was a little anxious about involvement with possible agents so I could not join her for the dinner. However, it was after this meeting that I found out of these pieces and this structure of Acts 10 - which was precisely the parallel text to the book manuscript I had just taken up when she appeared.

I had worked with a 'paradise model' of economy before I went to Paris in 2002, with four basic parametres: Goodness, bit-reversal, arbitrarity and the opening of the informational subsets of humanity. As the analysis shows, 2 and 5 are systematically related via the classification of the experiential matter into these fundamental categories:

        1 - x
        2 - parameter 1
        3 - x
        4 - x

        5 - x
        6 - parameter 3
        7 - parameter 2
        8 - parameter 4

which means that if 2 and 5 swap, then a perfect categorization obtains. One can guess that this is the reason for the shape of these two numerals figures. A detailed study of the verses 2 and 5 in the Greek original shows the reason for the tragic misunderstanding which takes it that Dr.Mengele = Mr.Goodness.

A simplified transcription of verses 2 and 5:

Verse 2Verse 5
1eusebes kai phoboumenoskai nun
2ton theon sun panti toi oikoi autoupempson andras
3poioneis Ioppen
4eleemosunas pollaskai metapempsai
5toi laoi kaiSimona
6deomenostina hos
7tou theou diaepikaleitai

1. 'NUN' ('now') = 'eusebes/phoboumenos', which means PLACE not TIME: It defines the timeless NOW as a matter of devotion and fear/respect of God. The KAI is the copula of AND, ANNE. Hence PLACE. Cp. piece #1 and 3 in 'Rue de Faubourg Saint Martin'.

2. 'ton theon sun panti toi oikoi autou' is the free mason in the door opening of piece #2. The story of Elisha Gray is perhaps about 'pempson andras'.

3. "Poion eis Ioppen" suggests Worker, Jobbin, Grover. 'Poion eis i-oppen' = 'like the one above', perhaps even 'like #1 above'.

4. Piece #4 was found in the stairs to the metro of 'Place Monge' = 'eleemosunas pollas' if some elements are swapped = 'kai metapempsai'

5. Piece #5 was in 'Boulevard de la Villette': Norwegian for 'pule ('copulation') var da villet' or 'var da veldig lett' suggests 'Simona' plus the people involved = 'toi laoi kai'

6. Piece #6 seems to have represented the Celans' first son - and if I am the son of Celan and was conceived and put in a freezer before their second son, this could perhaps have been part of the story with the birth-tongs. There could have been other embryos in the freezer along with me. 'Tina hos' is Norwegian for 'thwawed at'- which could suggest that 'deomenos' tells of the surrogate mother where I could have been put after the years in the freezer.

7.This form could perhaps represent piece #7 at Gare du Nord.

8. Piece #8, the brain form outside the church, similarly map well onto 'pantos petros'.

5 and 8 differ by Simon vs. Peter. It is about the church and the name-change. 'Pempson Andras' in no.2 could also be taken to mean 'send somebody else' for replacing the original, explaining the name-change of Simon into Peter. I made this summary after having studied more personal associations to the forms:

1 - - +
2 - - -
3 - + -
4 - + +
5 + - +
6+ - -
7+ + -
8+ + +

If the eight verses are considered a function of the three parametres plus a fourth ('opening informational subsets of humanity'), the order of the parametres in terms of 1,3,2,4 can be understood, since that reordering gives rise to the perfect categorization in terms of a binary-branching matrix reminiscent of the flow-chart of the FFT algorithm which also is in the keys to heaven:


The exegesis is perfect if the categorization rests on the assumption that Mengele = Grover, otherwise not.

This 'exegetic proof' for the divine status of Mengele may perhaps appear appealing to some theologists, but is not recommended. The reason for the idea of a 'divine Mengele' may be found in these verses.

When the goodness-related verses confirm so well to the predicted pattern, it is tempting to continue with the bit-reverse- and arbitarity-related verses - and indeed they confirm well the hypothesis.

A simplified transcription of these verses:

Verse 25Verse 19
1hos de egenetotou de Petrou
2tou eiseltheindienthumoumenou
3ton Petronperi tou
4sunantesas autoihoramatos eipen [autoi]
5ho Korneliosto pneuma
7epi tous podasandres treis
8prosekunesenzetountes se

The first observation one must make is that these 8 lines indeed seem to constitute the 8 streetnames from the church where I found the 8th piece to Midori's concert place in Rue de Mogador. Hence PLACE like the above. Furthermore: 1. genetics = Simon Peter = 2 names
2. to enter = to start considering, entrance to community
3. phonology = PERI-T-OU = PE-T-RIOU = 2 places leftwards
     ton petron = accusative, Petriou = sort of genitive = Simon
4. sun- = 2, horamatos eipen = 2 = SYN-tax
5. co-Horn-elios = 2/3, two pneuma = 2/3. Kornelios = Peter cliff, pneuma = Simon
6, falling, see = RONK (masturbation) = 2
7. on the feet = POT, RÖVER = 3, dropping of the R's = 3
     a Petros of POT = Peter, Treason Trace = Simon
8. pro sec seeking you = neural RÖVER = Rolandic fissure/feature

1,3,5,7 = Peter/Simon namechange = onanism (variations on the name)
2,4,6,8 = falling down = ejaculation

3,4 = syntax of phonemes, words = linguistic bit-reversal
7,8 = on the 2 feet, on the 2 knees = corporeal bit-reversal
1,2 = enter into house = inside/outside bit-reversal (cp. 'hoste' = 'cough')
5,6 = in the corner, Persian princess = the Throne = aspect inside/outside bit-reversal

1-4 = human
5-8 = divine

The sum seems to be about the parametres "Ronk Röver Divine" ('ronk' is Norwegian for 'masturbation', while 'röver' is about the behind and the mirror), which here simply means the three fissures or interfaces for the new technology:

- the Sylvan fissure, for the alphabetic technology
- the Rolandic fissure, possibly for the cuneiform knowledge
- the interface between individual and global/universal consciousness


This again could be a possible origin of 'divine John Gröver' (with 'John Grover' having its origin probably in British 1840's administration, also for John G-radius and Hitler's gladius-conversion) as a counterpoint to the idea of 'divine Mengele', for the identity of these two figures.

The analysis also means that the three derivations in the FFT algorithm flowchart correspond to three neural fissures or cognitive interfaces representing paradoxical boundaries, according to my 'Epistemes, language and information technology' and 'Time and the sonnet'.

The arbitrarity module is contained in the two verses 33 and 46.

A simplified transcription of these verses goes as follows:

Verse 33Verse 46
1exautes oun epempsa pros seekousan gar auton
2su te kalos epoiesaslalounton
4nun oun pantas hemeiskai
5enopion tou theoumegalunonton ton theon
6paresmen akousaitote
7panta ta prostetagmena soiapekrithe
8hupo tou kuriouPetros

1. suddenly fell on, hearing the car = car accident = accidental, coincidence
2. beautiful singing, lalala
3. arrive, entrance, glacis, classes
4. copula, copulation = link established between two people in global consciousness
5. giving praise before God
6. the muse with ostention = indexation
7. order, answer
8. cliff under god = ten commandments to Moses on Sinai

1,2,3,4 = accidental, coincidental, unpredictable
5,6,7,8 = articulated

1,2,5,6 = music, the poetic Muse 'talking through a thousand years'
3,4,7,8 = returning an answer

1,3,5,7 = onset, moment, NOW (for 7 notice the NT style of "Jesus answered and said")
2,4,6,8 = duration, finger, pen

The 8 classes describe the moment of articulation, from the first coincidental arbitrarity which is completely unpredictable and unexpected, through the 'establishment of contact' to the moment of fixation in laws which here means articulated form. The arbitrarity module summed up (where 'articulation' is the other side of 'arbitrarity'):

ArticulationMuseInformation technology

which means articulated musetalk that can be handled by the new information technology based on revelational poetic logic.

Summary of the 'keys to heaven' in this analysis, including an account of the historic role of Mengele:

Arbitrarity: ArticulationMuseInformation technology

It should be observed that these are very general concepts of universal value - except for that single wolf in sheep's clothing called "Mengele", which in this scheme appears as the essence of Goodness on earth. This misunderstanding (cp. also my fear of a possible secret agent hidden in the goodness-act of inviting me for a dinner) can perhaps be traced to the categorial swap of 2 and 5 and to the phenomenon discussed in the dialogue with Saint Peter. And of course to such adjectival flaws as Cantor's diagonal 'Mengenlehre' proof - which really should have told about this 'Mengele' erroneously in the row of 'goodness' rather than making a logical theory out of it.

As to the question whether these three permutation algorithms can amount to a Fast Fourier Transform, see section on 'complex numbers' where there are some hints as to the possibility.

The analysis presented in this article tells of what can be obtained with the scientific methodology of revelational poetic logic.

© John Bjarne Grover
On the web 4 May 2004
Last updated 5 December 2007