Logical order
John Bjarne Grover
The thesis
The theory is that logical order can be described as a function of chinese radicals in mirror structure encoding names of participants in events. Chinese radicals are probably just 'the principle of logical ordering' in the human reality.
The radicals have a poetic description in my poetic work 'Der Dornenstrauch' of 440 poems - the Kangxi radical series 1-214 up followed by 214-1 down in the mirror half. In the present study, an event is described in one poem (= one radical) with name of event participant in the mirror poem. By mystic inquiry, which means a different level of understanding the poem, the order of the 2 or more names of the person can be altered and its 'paradigmatic change' can hope to find empirical support in the surrounding 'syntagm' of adjacent radical-poems.
The theory is that logical order is this function of names and of mystic inquiry.
The following study suggests that the syntagmatic influence on the understanding of the paradigm - that is, the interpretational influence from the surrounding poems or radicals - probably is very little overtly but possibly quite substantial mystically. If there is little or no observable interaction between paradigm and syntagm in this formation, there could be much happening on a 'mystic level'. An interesting theory then arises that this is what makes spoken chinese language unambiguous in spite of its large amount of homophones.
Some will perhaps say that mystic inquiry is shaped by this need for altering the logical order of names. However, true mysticism is not rooted in the syntagm but understands and adjusts the conception of history through mystic inquiry. The author personally does not believe anything about this but observes the basis for the theory.
The structure of 'Der Dornenstrauch'
My poetry work 'Der Dornenstrauch' was written in the years 2009-2015, generally from beginning to end. It consists of 440 poems in four parts:
Part I = 294 poems in four parts: Hunde, Grenze, Baum, ROP
Part II = 66 poems - Vorwort + 64 poems of 14 lines + Nachwort
Part III = 64 poems of 16 lines
Part IV = 16 poems of 20 lines
Part 1 has two enumerations: The RELATIVE enumeration from 1 to 187 contains many illogical 'subtrees' - such as 107, 107a, 107b ... 107g, 107ga, 107h ... 107p, and some numbers are even lacking (110 does not exist). The ABSOLUTE enumeration assigns just a new number to each poem successively from 1 to 294. I associate the relation between these two enumeration systems with chomskyan phrase structure - the subtrees have a meaning and function which are telling of the human psyche and are not just any concentration of elements in subgroups.
The 440 poems of Parts I-IV have been shown to correlate with the 214 chinese Kangxi radicals - primarily in the absolute enumeration 1-214 but secondarily also in the mirror set 215-428 - mirroring down again from #214 to #1. The remaining 12 poems are not used (but see mention below).
Is there a similar principle for the currently common 188 system? I have worked a little with the idea that the modern 188 system is interpreted in the relative enumeration - and it is an interesting theory which I have not considered much, though. Could be there is something there - that the old 214 is lifted over into a 188 in the time of the chomskyan phrase structures. There exist many radical systems - 214 and 188 are probably the most prominent - and there exists also an old 360 system which in theory could correlate with parts I+II in absolute enumeration - I have not had access to this but hope to find it one day.
I have found many interesting correlations with the 214 system, though - and that is the theme of this paper: The theory that the two halves of the mirror structure serve to correlate event structure in one half with name structure in the mirror half. That is a bold theory - that this is the nature of the chinese Kangxi radicals - which the present study finds reasons to support.
Another important aspect of 'Der Dornenstrauch' must be mentioned - that it seems to encode a certain 'liturgical cyclicity' of the sanskrit Rigveda and 'liturgical linearity' of the hebrew Genesis. An even bolder hypothesis will arise therefrom - that the grammatical oddities or 'thorns' of DDS can open the door for a renewed estimate of the assumed original vedic-language form of the vedas. Little or nothing is known of this assumed 'vedic language' today but one can perhaps nourish hopes that future technologies for computerized scanning of archeological sites (that is, the deep lumps of earth and clay that still contain shades of redundancies from ancient structures) can reconstruct lost wellpacked although massaged-out libraries which can shed new light on this assumed language.
Even Moses's thornbush could have contained such tongues of talking flames.
Case study 1: Angelina Jolie in lower Mariahilferstrasse, Wien
It happened some years ago that I waited for bus 48a outside Lugner City in Gabelenzgasse in Vienna. While standing there on the curb, suddenly a somewhat small man ran out from behind me, on the righthand side into the street and crossed diagonally over to the other side of the street, onto the left side and disappeared into the crossroad there. For some reason or other I believed that it could have been Brad Pitt - but for once he was probably too small and did not fill the grey coat well and the sleeves nearly covered his hands, secondly I wondered why he should have run out there if it were him - would it have been for telling me something? I concluded that the theory that it was Pitt was unlikely but perhaps not impossible. I took the bus downtown and when I came down the lower part of Mariahilferstrasse, it seemed to be Angelina Jolie (this was after the couple had split) who crossed the street from Museumsquartier to Königsklostergasse, under the shady canopies there. I dont think there were any zebras there. She was accompanied by a man who could have been a bodyguard - he seemed to keep a little distance. The puzzling thing was that her head seemed too small for normal dimensions - for which reason I had to conclude that it could have been about a fatamorgana of Jolie. She seemed to communicate that she had to follow the bodyguard (latin from etruscan 'satelen', a 'satellite', cp. last poem in DDS) who continued on towards Königsklostergasse.
Now I find this story in DDS I:107b which is radical 141 (M-2160) which means 'tiger'. These animals are striped - resembling perhaps zebras in some aspects of it. Why? I dont know why. Maybe the tigers were there first.
| DDS I:107b | DDS I:184 | |
|
Das ist Weißbrot. | Das Morgenlicht verwandelt sich | |
| Das ist die eigene Wille, | in Gegenlicht auf mich. | An |
| die Hoffnung auf andere Schwelle, | Zwei Pferde ziehn zusammen dicht | |
| auf größere Welten | wie man es hölzern bricht | ge |
| zusammen. | ||
| dasselbe und das schwarze Joch | ||
| Fliegst du weiter? | als traben sie vorbei. | li |
| Gerade im grüne Laubwerk | Ich bin mich selbst und ich bin froh | |
| kommen wir andere vorbei, | wie liebn einander zwei. | na |
| verstehen wir anderes | ||
| Brotwerk. | Die Pferde sind eines Geschlechts | |
| und gehn zusammen gegen | Jo | |
| der Seele Leuchte; Was ist echt | ||
| und was nur scheinbar wegen. | lie | |
The discovery is that the mirror poem, radical 141 in DDS I:184, tells her name. For the 'hölzern bricht', see this photo for the idea of the tree pulling out of the chimney.
Now this story of a brief meeting (with possibly a fatamorgana) in lower Marihilferstrasse is interpreted in the article More on the distance 1823.
There is also a basis for the altered order of the names - if one lets Jo-lie apply to the first stanza and An-ge-li-na to the two next. I searched for some available etymology of 'Jolie' and found greek ιουλις = the fish called 'rainbow-wrasse', probably the same word as ιουλιζω = (growing) 'the first beard or down in young age'. It is seen that this constitutes a deeper sense of the beginning lines of the first stanza - how the first downs of beard on a young chin is a form of 'Gegenlicht' and how these forms of light could be like two horses under one yoke. The name 'angel-' in greek contains the idea of 'messenger (bringing) news, tidings' and can be seen in the rest of the poem. 'Iu-' is a morph which in indoeuropean associates with 'iug-' = 'yoke', 'Joch'. 'Li-' would probably relate to 'col-li-sion' of two bodies, 'e-li-sion' etc.
The fish 'coris iulis' = 'the rainbow wrasse' has in english its name from cornish 'gwragh', cp. also the man in 'frock' when I waited for the bus. It seems that even the word 'Falke' or 'falc-on' is derived therefrom - being relevant also by 'flax' = '-lina'. In my 'The Endmorgan Quartet' book 1 poem #28 (from 1997) the first lines are these:
"Creditcard"
relative to
"Falke Rails"? - no.
SPECRARE / SPECTARE etc.
One notices the backwards of 'creditcard' = close to 'gwragh-tidings'. 'Spectare' = to observe etc. 'Specrare' does not exist but 'speclarius' is a variant of 'specularius' and hence 'specrare' should have a variant in 'specurare' - which doesnt exist either but 'speculator' in latin or greek is 'one of the bodyguard employed as carrying message, seeking out those who are sentenced to death'. It is, tells Liddell & Scott, the same as 'doru-phoros' = 'wood-carrier/leader' - cp. this photo again. Clearly this could be telling of the meeting with the apparent fatamorgana of Jolie walking uphill after the apparent bodyguard in lower Mariahilferstrasse - via TEQ #28. The 'wrasse' fish is pronounced [ræs], and I notice the 'Maria-hill-first-rasse'.
The conclusion is that both orders of the names apply but with different forms of understanding. It can perhaps be argued that the form 'Jolie' can be detected in #182 ('christmas theme') and perhaps (although less clear) 'Angelina' in #183 - in which case there could be a syntagmatic motivation for the second reading.
Case study 2: Dagfinn Føllesdal in Goldschlagstrasse, Wien
Some time ago I was walking in a street and had just come to a road intersection when I was stopped by a man who came bicycling after me - he stopped and said 'Zinckgasse', as if for inquiring about its location. I pointed in the other direction and said it is some crossroads down there. I continued walking and tried to figure out who it could have been since I believed that I had seen him before, and I concluded that it probably was a german conductor. After yet some crossroads I suddenly remembered who it was: Ah, it could have been Dagfinn Føllesdal, the philosopher whom I remembered from the university in Oslo. (I dont know if it really were him or only a bicycling fatamorgana of some sort). This story seems to tell DDS I:107e = radical 144 = 行 = 'road intersection' for the event and the mirror poem is DDS I:181 = his name.
| DDS I:107e | DDS I:181 |
|
Die alte Zivilisationen | Einge Pferde scheinen so groß, |
| verschwinden unter unsere Füße. | andre viel zu klein. |
| Stark schwindet die Meinungen | Überall die Erde goss |
| als ich durch eine italienische Kleinstadt | Gott sein lieber Wein. |
| durchbummelt, | |
| Wasser war es, wurd zu Traub | |
| auf meinem Nacht-Zug wartend, | in den Lüften hängend. |
| die Hitze und die blauliche hochgelbige Sonne | Über all der Erde Staub |
| auf die innere Piazza | waren Gottes Engeln. |
| durchlebend. | |
| In der Menschen Massenmarkt | |
| Viele Farben | wird sie heuer teuer. |
| mischen sich | Pferde sind der Straßenmarkt |
| in die Schwundstufe. | Wasser, Erd, Luft, Feuer. |
The clue to the idea that it could have been a german conductor is apparently in the bicycle 'pedal' - which can be seen as related to 'german' also by territorial rights ascribed to ancestors buried in the ground - of the Fatima revelation second secret (the angel of Portugal for the idea of 'german') and the 'Zinckgasse' for the conductor using available vocabularies for speeding up the lax and laidback musicians: 'Ikke sinke!' = 'don't slow down!' would have been the theme of the conductor.
Excerpt from the third secret of Fatima: "we saw an Angel with a flaming sword in his left hand; flashing, it gave out flames that looked as though they would set the world on fire; but they died out in contact with the splendor that Our Lady radiated towards him from her right hand: pointing to the earth with his right hand, the Angel cried out in a loud voice: 'Penance, Penance, Penance!'".
107e has a 'following' in 107f: The 'durch-durch' present turns into 'zu-zu' missing, and the bummel-bommel into nicht-nach.
DDS I:181 tells his name. It is a little advanced: Følles = 'the foal's' is easily spotted in the first line while while the 'dahl' = 'valley' can be seen in the lines. 'Føl[g]e' = 'to follow' and hence there is the event in the maieutic philosopher's name.
Wasser war es, wurd zu Traub
in den Lüften hängend.
The chinese sign 谷 = GU means 'valley, ravine, a hollow, difficult' to which is added 'corn' and 'millet': See the study of the apparent millet in the fridge when I returned from Italy in march 2021: A good lump of brown amorphous substance lay on the bottom glass plate in the refridgerator and it seemed that seeds of a plant had been shot out all over the inner ceiling and walls of the fridge, the 'Eisgrotto', quite a lot it was. I speculated if a pomegranate apple had 'exploded' - but the seeds were too small and it looked like millet. I concluded that it was a mystic phenomenon - the main fuse just over the fridge had also gone defect and could not be repaired - I had to wait for an electrician to come and repair it. On the other side of the wall is the kitchenbench with a double electric outlet over it - and when some days later the Fagradalfjall (Geldingadalur) volcano erupted with a 'double outlet' on Iceland, I believed that the eruption came from the fridge under the main fuse and had gone through the electric cord in the wall - it would have been the 'explosion' that sent the millet seeds around inside the fridge onto ceiling and walls and left the brown substance on the bottom ('Über all der Erde Staub / waren Gottes Engeln'). This millet - chinese word 'gu' which also means 'valley', 'ravine' was thereby the symbol of 'Wasser war es, wurd zu Traub / in den Lüften hängend' - the seeds of the grapes in the stage between the water and the grapes - hanging in the air. (Cp. the wood-cycle of the fire above). This is in chinese the same symbol as 'valley'. Hence 'Følles' is the first stanza, 'dal' the second, and 'Dagfinn' the third.
If one finds that the reading of the name goes more easily relative to DDS I:181 in the plain order 'Dagfinn Føllesdal', then it can be observed that it is not impossible that the logical order of the personal and family name can be altered when altering 'depth' of mystic interpretation. The understanding of logical order (logical syntax) can therefore vary and relate to names (such as in these chinese radical cases) when climbing the mystic ladder up and down.
It was the combination of these two poems relative to this second case study which put me on the tracks of the theory: I wondered why I associated the event with 'german conductor' and from there I was led (having found the similar phenomenon for Jolie) to the philosophical theory via the form of DDS.
Case study 3: Yuja Wang in Wien
I had guessed that Yuja Wang would be on holiday in Vienna and would come to stand on a certain location near Wiener Stadthalle (there is now a coronavirus test station there) opposite Möringgasse. Why I believed so, I dont know but it could be due to some peculiarities of the chinese script and various newspieces, perhaps. But I had also concluded that this idea probably was false - that if I should happen to meet her there it would have to be a copy of her and therefore it would not be smart to try and enter into a conversation. I had gone an unusual route to the post office and came through the park on the upper side and was about to leave it for the post office when I suddenly became aware of the fact that I had forgotten my rucksack at home and therefore considered taking down right, down along the Wiener Stadthalle and across Roland Reiners Platz and down Zinckgasse and home to get it - but decided to look in the PO Box first before I went home. As I came along the Wiener Stadthalle on the way home, I had the feeling that Yuja Wang was standing there but did not turn to see if it were her on holiday in Vienna since it probably would have to be a copy - so I continued without turning the head.
This rather eventless story should, if it be about a radical in the DDS, contain the situation in one poem and her name in the mirror poem. But it is likely that, since there was no real meeting except for the fantasy occurrence, it could concern a logical difference between latin (pinyin) and chinese script.
The poems corresponding to radical 124 = 羽 = YU = 'feather, wing, banner of feathers' in DDS is rel DDS I:91 = abs 124 ("Die Menschen schreiben die natürlichen Gedichte") plus mirror poem rel DDS II:10 = abs 305 ("Die Lichter blinzeln auf dem Schuh'").
| DDS I:91 | DDS II:10 |
|
Die Menschen schreiben die natürlichen Gedichte | Die Lichter blinzeln auf dem Schuh' |
| in einem Sonnen-Aufenthalt | so gelb, so diamantisch, |
| zwischen menschlichen Aktions-Geschichten | als in der Abendstimmung Ruh' |
| und philosophischen Föhren und Fichten | es senkt sich so levantisch. |
| in einen menschlichen Gestalt. | |
| Die Städte Häuser stehn so hoch. | |
| In diesem plötzlichen Leere der Straße | Die Menschen gehen holde. |
| gehen sie umher | Über der Häuser hohem Joch |
| wie schwarzen Raben in den Schüler Klassen | Mond-Sichel steht im Golde. |
| von weißen Möwen und die weißen Maßen | |
| in einem Ewigkeiten-Meer. | In dieser späten Nacht aus Blei |
| die Farben werden bunter. | |
| Hinter den letzten marmorweißen Säulen | Jahrtausende gehn schnell vorbei. |
| sitzen der Zeiten | Mond-Sichel tauchet unter. |
| auf einer zeitungweißen Keulen | |
| und ihren kohlenschwarzen Fäulen | Es ist die Dunkelheit der Kamera |
| und schreiben Breiten. | mit der Geschichte Licht-Drama. |
It is #91 = abs #124 which contains the situation, the event itself, including the grammatical problems at the end of the third stanza which correspond to the dubious passing without turning the head. Duden grammar tells that I should have turned the head to look who it was. DDS I:91 = abs #124 contains the lines:
zwischen menschlichen Aktions-Geschichten
und philosophischen Föhren und Fichten
- also on background of Jolie (actress) in case study 1 and Føllesdal (philosopher) in case study 2.
The question is then whether Wang's name is contained in DDS II:10.
Her name is spelt WANG-YU-JiA in chinese:
王 = WANG = king, prince, ruler, to go to
羽 = YU = feather, wing, banner of feathers
佳 = JiA = beautiful good excellent
The logical difference is likely to be found in the alternative YU-JiA-WANG. It is of course possible to conduct a simple comparison of the english associations to this name with the poem, but it seems more relevant to consider the chinese. The logical difference could be simply the name in altered order, but in this case it seems interesting to consider the possibility of graphical similarity with other signs of same sound since in fact these seem more to the point relative to the poem. I consider the following:
玉 = YU = gem, precious stone
佳 = JiA = beautiful, good, excellent
往 = WANG = to go towards, to depart
Here I have retained the mid sign, the JiA, but it is possible to find a better alternative, such as for example
岬 = JiA = cape, foothill, passage between two mountain slopes
There is the possibility of trying
瘕 = JiA = asthma, disease of the bowels
but this sign could in theory be the target of possibly quite extended abuse in politics. Is even the coronavirus of this type, causing the need for test stations to find out what people suffer from? (See also this file). It has a certain leftside graphical affinity with the 羽 = YU = 'feather', 'wing', 'banner of feathers', the radical 124.
Another interesting alternative could be
廈 = JiA = big house, mansion, a room, the island ans city formerly called Amoy, now Xiamen on south China mainland - the island is a little out in the sea in direction Taiwan
Another two JIAs could be 假 and 葭
The conclusion to the comparison is that the 'western' order of the names ('Yuja Wang') seems more to the point for the poem than the chinese ('Wang Yuja'). 'Gem' = 'diamantisch', 'precious stone' (a la 'lapis philosophorum' = 'levantisch'?) for stanza 1, some JIA (such as 廈) for stanza 2, 'beautiful, good' + 'to go to-wards, to depart' for stanza 3.
The chinese order of the two names (interpreted relative to the poem) is acceptable but not very significant, it can be argued. But that is counterbalanced by the strong relevance of the chinese order for the 'syntagm' of the preceding two poems II:8 (starting with 'Da steht der Markt so offen / in seiner Majestät') for 'WANG' = 'king' and II:9 (including the lines "Und Räume öffnen sich wieder und wieder, / sie schlafen mit einander in tiefer Natur, / vergessen was müssten die Schwäne, die Glieder. / Heute ist es Freitag mit Stundenuhr") for 'Yuja' = 'feather/wing - good'. With this strong support from the syntagm, the paradigmatic reading of the name in chinese order can certainly also be accepted.
The ambiguity is contained in the two WANGs: 王 = prince, king, ruler, royal, to go to, while 往 = to go towards, to depart. This is the ambiguity of the event - the possibility of either turning the head (for going to) or not (for departing). The chinese script solves this in the difference of the small slanting stroke on 玉 - if 王 is written in handwriting there comes naturally a small stroke under the mid stroke but it goes wrong way compared to 玉 - like the idea in the park above Möringgasse of taking the short route down at the side of Wiener Stadthalle instead of going via the post office in the Lugner City building at the end of Möringgasse. This is the difference which makes the esthetic solution which provides for the 'platonic' solution - which makes in a platonic reality the chance to turn the head with the question to her: 'Jiuling Frau'? I had recorded this probably ex nihilo comment in Venice (standing in a niche in the narrow street, recording sounds of the city, including sounds from passers-by and probably ex nihilo music in the air, timid and very brief occurrences of trumpet, piano, oboe, which was the reason why I recorded it) months before this passing of Wiener Stadthalle happened in Vienna. This is where esthetics can solve the problem which political power cannot but imitate.
Es ist die Dunkelheit der Kamera
mit der Geschichte Licht-Drama.
Why is the esthetic philosophy (or, rather, the mystic inquiry?) so important? It makes it possible to record on tape the virtual comment weeks or months in advance of its factual event-ual framework occurrence in historic time.
Case study 4: Noam Chomsky
After Jolie, Føllesdal, Wang I can turn to the fourth example in Noam Chomsky. It was in the summer when I was writing SNEEFT COEIL and sometimes went to a cafe or bakers shop to write - I went a few times to a cafe at Mariahilferstrasse and drank some tea and wrote a poem and came to notice a man sitting in a corner with a beer and a newspaper. This happened a few times and I started wondering who it could have been - and I concluded that it probably was a french semiotician, for some reason or other. It was only later in the autumn that I started pondering if it could have been Noam Chomsky - I had seen the classic archive photos of him from the 1960's and thereabout but could not recognize him from those. The reason for this emerges from a similar logic in DDS I:113f = abs #187 = his name and the mirror poem DDS I:147 = the french semiotician - french in the first 5 lines, semiotician in the 6 last, each of these parts being mirror-symmetric.
| DDS I:113f | DDS I:147 |
|
Über schwarze Meere fahren wir, | Man spricht von Schönheit |
| endlos wiegende Wellen | und man tut es selbst. |
| hin und her der schwarze Stier | |
| unter hohen Sternenstellen. | Wie anderswo und vor her selbst |
| der Schönheit übt sich und ausbricht | |
| Als stünden wir noch bei den Stühlen | in unsre Seele und Angesicht. |
| und wartete auf unser Brot: | |
| Der Herr war ein langsamer Schüler. | Mitte im Sommer |
| Er lernte von Leben und Not. | schneit es fast. |
|
So vertreiben wir der Tage | Dann bleibt es Regenwasser |
| schwarz-rot dunkelblauer Kreis | in der Luft, |
| unter angesammelten Tier-Fragen, | zersprang der Abstand |
| unter Sternen haute weiß. | zwichen Tier und Duft. |
Ich sah Gedanken in den Wörtern | |
| wie grün der rote Regenbogen. | |
Clearly the optimal order in I:113f is 'Noam' for the first stanza, 'Avram' (= 'inherited-him'?) in the second, and I would guess that the third could be associated with 'Chomsky'. What is the surrounding syntagm? In fact DDS I:113b is a very special poem in the sense of being only four lines - nearly identically the mid stanza of 113f = 'Avram'. Which tells of a strong reshuffle of the names. The following three poems (113c, 113d, 113e) can be seen to be the 'transcendent' understanding of the name - typically the people mourning a deceased person. 113c could perhaps be about a 'Chomsky' in this sense of it. 113d starts
Ein Dörflein -
Rauch über den Dächern,
weißer Winter
wie eben die Bäume
ihre Namen annehmen
die Welt zu verstehen,
which could be telling of Noah letting out a dove to find out if the water had sunk. The context would be the idea of the cycle of the fire: "From wood have you come and to wood will you return", as in this photo. Noah in his boat was of course utterly dependent on the wood. Cp. also the 'doru-phoros' above.
The third poem 113e could suggest the posthumous opening of the deceased's will - 'arvam' = 'inherited-him' - it is only two lines:
..wie er durch seine Leben,
die nahestahender Leben...
(The 'nahestahender' should probably have been 'Nahestehender' according to Duden).
It is seen that this suggests a 'transcendent' or 'mystic' understanding of the poems - and that suggests an altered order of the names in the syntagm.
My later study from Venice is from a semiotic complex around DDS IV:8 (the 8th poem in the fourth part "Die Schönheit der Welt") - first a xylophonist playing at San Leonardo (not far from Guglie) and the magnificent sound of a xylophone in the air at the linguistics institute near San Trovaso - the wisteria climbing the wall and apparently playing the xylophone wonderfully for some 10-15 minutes - probably ex nihilo music in the air.
It seems like this xylophone complex is rooted in the border function of the chapters of DDS part I: Hunde = the mallet (bone) digging into the wood, like the dog in the 'dogs paradox' digging the hole in the ground at the end of the ROPe coming from the BAUM on the other side of the fence = GRENZE. These are also the elements of a xylophone - the mallet striking on the bars = 'Hunde', the tools needed for sawing off the wood in proper intervals = 'Grenze', the wooden material itself = 'Baum' and the rope needed to fasten the woodbars to the framework = 'ROP'. This means that the socalled dogs paradox, perhaps a typical 'french' archetype, can be associated with the 'xylo', while the 'phone' will be the semiotician.
The poem I:113f is the last poem of 'Grenze', and it is also ABS #187 while 'relative' #187 is the last poem in ROP. This principle forms the basis for the cyclicity of the Rigveda verses I have associated with DDS (see discussion in this file). I have also associated the relation between relative and absolute enumeration with Chomsky's concept of phrase structure.
For the three first case studies the event is in the first half of the radicals and the name in the mirror half, but for this fourth it is the other way round. It is possible that the trailing radicals at this mirror point can encode 'virtual radicals' #215-220 for the total of 440 poems in DDS, that means including the 12 leftovers at the end for a different absolute enumeration. An interesting theory is that this can encode other mystic-religious aspects of knowledge. For case study 4 it seems meaningful: To the event poem DDS I:147 = ABS #242 (mirror ABS #187) can be added another 12 poems (which would means the proper mirror point to the name in I:113f if there are 220 radicals and not 214) for poem DDS I:158 which is ABS #254 (mirror ABS #175):
Vergangen sind die meisten Werte.
In hohen Alter wird es grau.
Man sieht der runde Tisch am Ecke.
The table (nominative) is the round pupil etc: This could have been the reason why I believed it was a french semiotician.
The two cycles
There seem to be two 'cycles': The 'doru-phoros' that goes from the wood to the fire and back again, corresponding to the fatamorgana with 'satelen bodyguard' of Jolie, and the 'Eisgrotto' of the Licht-Drama when I opened the fridge on probably 3 march to the brown substance and the 'exploded' millet - and a volcano broke out on Iceland on 19 march. (The Nono alignment starts on poem #17 in my 'Stillhetens åndedrag', and I observed a certain parallelism to my white book in the following days). The el-cord ('eisgrot') that went from the fusebox to the double outlet could be that fissure in the crust of the earth, ending in the 'double outlet' of the volcano erupting at Geldingadalur 33 km southwest of Reykjavik. I take the Eisgrotto mystery to be contained in the couplet
Es ist die Dunkelheit der Kamera
mit der Geschichte Licht-Drama.
which means that the cycle could be from the 'Dunkelheit' of the fridge to 'der Geschichte Licht-Drama' of the fusebox. The fridge had been unplugged since I left in july 2020 and did not function on my return, so it has remained unplugged. The main fuse was defect.
The probably ex nihilo sounds of Venice - the xylophone, the 'Jiuling Frau' comment with trumpet-piano-oboe - could be that historic discontinuity in time of the xylophone and the comment being pronounced months before the volcano and the event at Wiener Stadthalle. The double outlet of the volcano is also a proof that the xylophone was authentically ex nihilo and not a trick with 'audio-synthesis' by sound projections driven by surveillance of the electromagnetic state of my brain - since the xylophone behind the linguistics institute played intervals of two and two tones in succession, two mallets striking simultaneously. The xylophone could of course have been 'fabricated' as a 'double outlet' but the volcano could not, and the volcano was second, not first.
The wood is burnt in the oven, the smoke goes up the chimney, and the 'doru-phoros' suggests that the smoke is guided back to wood again - which is by the photo-synthesis in the foliages. This is one of the most critical problems of the day. Such 'photo-synthesis' is also what goes on in a camera - or an eye.
If the 'doru-phoros' corresponds to Jolie, the 'Eisgrotto' could be the role of Pitt in this story.
What is a chinese radical?
A radical is of course trivially a principle of ordering the chinese signs for easy lookup: Frequently recurring aspects of the signs are used for sorting them in an easily recognizable way.
But the present study tells that it must be more than that. DDS part I is called 'Kinderhilfe' which here probably means 'Aufziehung': 1,2,3... (My poems in 'Kinderhilfe' are written in chronological order). See this article (under this page) on the theme of numerality in human poetic cognition. Chinese radicals are probably about the principle of ordering in human poetic cognition - including linguistic syntax and logical order - as they count from 1 up to 214. It is this principle which is at work in the mechanism described here, in such a way that the logical order of two names or nomina can be altered in cognition, and mystic inquiry provides the needed basis for it.
The fundamental theorem of linguistics tells:
Two and only two items can be the same across different realities.
Therefore logical order is the same as semantic assignment
Assume the condition:
X ← logical order → Y
Z1 ← semantic assignment → Z2
X = the order A-B of the names in one metaphysical reality
Y = the order B-A of the names in another metaphysical reality
Z1 = the material being, the subject's body or the thing, the referent
Z2 = the semantic meaning assigned to it, its name
The study has shown that A-B (in, say, a historic reality) and B-A (in, say, a mystic reality) can be conceived by the logical subject as one and the same thing (the poem, that is, corresponding to a chinese radical) - and therefore the material existence of the referent (or, say, a xylophone sound) comes into being along with the corresponding semantic assignment, the naming function.
This explains what a chinese radical is.
13/4-2023: It is seen that the four cases I have discussed seem to conform to four poems in part IV of 'Der Dornenstrauch' - particularly the fourth stanza in each of the following poems:
Jolie #16, Føllesdal #12, Wang #8 and Chomsky #4.
3/4-23: Of course the purpose with the mention of the persons-in-events is to describe my cognitive state - it is inessential whether the referred-to people really were there and of course it is not appropriate to inquire whether they really were there - people should not ask about that. For a related study, see also this article.
The rainbow
The zifferblatt
The river (see the poem at the end of the file)
Sources:
http://www.vatican.va/roman_curia/congregations/cfaith/documents/rc_con_cfaith_doc_20000626_message-fatima_en.html = the third secret of Fatima
Mathews, R.H.: Chinese-English Dictionary. (A Chinese-English Dictionary Compiled for the China Inland Mission by R.H.Mathews, Shanghai: China Inland Mission and Presbyterian Mission Press, 1931). Revised american edition 1943. Harvard University Press, Cambridge, Massachusetts.
© John Bjarne Grover
On the web 25 august 2021
Last updated 13 april 2023
