the illustration is from this source
the illustration is from this source
The round window of the Middle East
John Bjarne Grover
The article discusses a general theory of redundancies in the geography of the planets nearest to the earth having a defining role for the form of the human semiotic constitution. It is concluded that this phenomenon even is the essence of the current Middle East crisis in Gaza.
The word 'metope' is used twice in my white-metre poetry books - once in 'Stillhetens åndedrag' - in #13 - and once in 'Rosens triangel' - in #46. I here outline how this exemplifies the relation between 'architecture of houses' and the human organism via cosmic redundancies.
'Metope' example 1
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Stillhetens åndedrag #13 Villgjess
Jeg har sett villgjess flyve
Da hørte jeg en av dem rope:
Langsomt fløy de sin bue
Og tallet er litt for mye.
Det listes mange foreninger. |
Breathing of silence #13 Wild geese
I have seen wild geese fly
Then I heard one of them shout:
Slowly they flew their bow/curve
And the number is a little too much.
There are many congregations listed. |
A metope is a concept from ancient greek architecture - a rectangular area between two triglyphs in the doric order of architecture (source).
It is easy to see how the doric order constitutes a parallel to the human ear:
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The two structures share the 'tympanum' - the eardrum of the human ear ('tympanic membrane'). The 'triglyphs' are then the three aural bones (hammer, anvil, stapes) that lead into the 'oval window' which is where you can see the motive of the 'metope' - in the doric order of architecture this metope used to be decorated with sculptures or reliefs. From this one enters the 'vestibule' of the ear which is the 'architrave' of the architecture - and the 'cochlea' of the ear is then the architectural 'columns'. The outer ear is in the outer roof surface of the house - the 'cornice' etc.
Interesting is then also the metope in the sense of 'what the human eye can see in the oval window of the human ear' - as if this metope were the secret of human semiotics. (See also below for the additional 'round window' component with its 'cochlear' extension adding to this in the triadic sign with its phonological, observational and 'social' (or metaphysical) components - expanded with a 'lekton' component to a butterfly sign.
But why did the ancient architecture invent the triglyphs - if it were not for reasons of the three aural bones? Of course it would have been because it felt intuitively right. More interesting today is the question whether reasons for the architectural triglyphs could be found in the 'transcendent' (then unknown) geography of Mars with its 'trinity of volcanoes' (up to the right in this photo):
(the photo is copied from this source
- also for the annotated versions below)
Then the metope would be the forms 'inbetween' the human eye-face shape down left and the trinity up right - that is, the 'bird wings' inbetween.
Stillheten #13:
Gjessene flyr sin metope / høyt over menneskers ord. // Langsomt fløy de sin bue / til V-formens vinkel var rett
The geese fly their metope / high over humans' words. // Slowly they flew their bow/curve / untill the V-form's angle was right.
How come the geese 'flew their metope'? The idea would be that for humans it looks as if wild geese fly in a V-formation - while for the geese themselves this formation would look like a 'metope' - a rectangular area between the triglyphs. The poem would then concern the relation between human and bird (or angelic winged) reality.
The explanation can perhaps be found on Mars compared with my thresholded photo #7 (from this file). On Mars, in the area of the wings between the human face and the trinity, there are the outlines of a human face shape - without notable forehead and eyes - but with an apparent lightbeam going slantingly down into the diffuse eyes area:
(An alternative interpretation could see in this a hand reaching down from top right to scratch or tickle a snub-nosed woman in her ear - as a 'raking cornice'? - see TEQ #651 for this 'snub-nosed scriptologist' - TEQ is probably much about such 'other realities' interfacing with the human reality). However, the lightbeam interpretation has a counterpart in my black-and-white photo #7 where a similar form is seen down left - with a lightbeam going aslant into the eye observing two birds or maybe angels. What is interesting is how these two lightbeams - the one on the snubnosed woman (here in red) and the one on the ornithologist - combine to a V-form:
The black-and-white eye sees the two humanoid birds like two overlapping rooftiles on a house - she even has such a superego tile on her head (and my TEQ #651 could see a scratching-engraving counterpoint in this to the plate of the printing press - see also the holy-communion 'mathouse' of Kangxi radical 184). It is the light that goes through the human eye that makes the flying wild geese look like a V-form. For the geese themselves it probably looks like a rectangular metope of or in an oval window. This becomes apparent in the second Danube island photo - albeit not on the black-and-white thresholded version but in the original colour photo - where one sees the rectangle as a parallelogram (as if seen from the left) inside an oval form:
This phenomenon is referred to in the yellow metre 'Der Dornenstrauch' in poem #46 (cp. 'Rosens triangel' #46) in both the second and third parts:
DDS II:46
Spiegeln biegen Lichter ab,
Notizbücher sich öffnen.
DDS III:46
Die Schatten spiegeln sich
in den Verbesserungen
wie Lichterstrahlen biegen sich
in den Vermessungen.
(I originally intended 'Vermesserungen' for the last word - that is perhaps also better - but after having tried in vain to have the form verified I gave it up).
This quote and interpretation of DDS III:46 lends also meaning to the two last lines of DDS III:5:
Der Bilder Abstand ist genau
der Menschen Meinung.
- as if the 'Abstand' = 'distance' has been measured in the gap between the two 'geese-lines' of Schatten-Spiegeln and Lichterstrahlen-Biegen. (See also the 'Spanne' of Rilke's sonnet in comparison with Shakespeare's and my poems). This could even be contained in the motto to the fourth part of The Endmorgan Quartet - the quote from Talmud Erubin folio 14a:
עקומה רואין אותה כאילו היא פשוטה׃ פשיטא
- If it is crooked, then it is considered as straight.
- Right!
What does it mean when the 'Breathing of silence' #13 tells "I counted them up to twenty / such as only wild geese can"? It is the chapter #7 in my 'SNEEFT COEIL' - on the synchronic aspects of human language - which contains my ideas of poetic numerality in language - this chapter has 20 poems for the numbers up to 20. Should poem #13 in this chapter tell of these considerations? It does - here is the 13th poem from chapter 7 of SNEEFT COEIL. Should this mean that humans think as they do 'because' the geography of Mars is as it happens to be? Rather the opposite - that humans have a restricted reality conception and limited ability to understand the full reality - but these limitations have a form which can be used for finding out of the larger reality. Notably, if one assumes that the geography of Mars and the human understanding are generated from the same universal function, phenomena such as the one outlined here can be used for postulating forms in remote universe and in the subatomic world. The reason why this could make sense is that it also could make sense for principles of human semiotics - such as the 16 poetic-semiotic functions I have postulated in the 16 books of my The Endmorgan Quartet. These could, of course, make sense for human life even if they do not find immediate reflexes in the cosmic form.
What makes not sense, though, is to take the ancient latin and greek mythology as a justification for terror 'because' Mars was a god of war. That is not to transgress the human limitations.
'Metope' example 2
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Rosens triangel #46
En katt er en hvit symbiose
Når biler fraktes med toget
ser du i deres metope |
The rose's triangle #46
A cat is a white symbiosis
When cars are transported with the train
then you see in their metope |
The cat on the blanket (stretching out rightways) is visible in the geography of Venus:
(source)
On a new years eve I made a statistic graphic study of the car numbers in my novel 'The Dreamer' and found the same cat. See also Tizian's 'Ariadne & Bacchus' (and the issue of 'Spanne' in this study - search for 'Ariadne & Bacchus') which in a turned and mirrored form exhibits similar traits - and then the cat's head is found as a deer or antelope head - while Tizian recognizes the concept also in the two leopards:
The parallelism is quite convincing, such as the the deer or antelope head (annotated) relative to the cat-head (annotated) - or the wagon wheel #5, the woman with exposed breast #8 with cymbals #7 and #9 in her hands. It seems that most major elements have a reasonably good correlate. Tizian must have seen this for his inner view, his artistic imagination - while of course the geography of Venus was entirely out of reach for the human eye in those days.
Since 'metope' in Stillheten #13 received an interpretation via Rosen #46 in DDS II/III:46, would the 'metope' in Rosen #46 find an explanation in DDS II/III:13? One finds in DDS II:13 the running around the corner for a telephone box - which here must be Tizian's 'family' with lifted thigh etc - but where is the telephone box? Could be that simply is the isomorphy with Venus. But see below for the round window of Mercury and its cochlear spiral variant.
Is there a correlate among the black-and-white photos? Clearly photo #15 has a high relevance to the mirrored-and-turned Tizian (the wagon wheel etc) - and photo #9 to the unturned and unmirrored version.
For DDS III:13 there is an obvious parallel in the last stanza to the 'uncle' with the serpents. For stanza 2 there could be the quasi 'rails' of globe 'a' - and if one only turns the planet around ('in schönem Ringturms Gang') one can seen a sad face - had the Grof of stanza 1 come too late? This view of Venus is called 'b' in these four rotations b,c,d,e + north pole a. The north pole exhibits another very interesting aspect - a detail which looks like the back of a man with bottle-shaped shoulders in front of a woman who looks like a bottle - with some sort of strap around her upper body. Next these, what looks like a beerbox opening mechanism - it looks as if just opened. The symbolism is likely to be the man who has just been born from the woman and who 'opens' the bottle when he starts drinking from her:
This scene occurred also on the ex nihilo piece which I reported on this page as ex nihilo piece #10 - curiously, the piece seemed to encode the formula E = MC2:
It is seen that the apparent 'strap' around the woman's upper body (on Venus) has a counterpoint in Tizian's strap from the boy (with goat-legs) back to the deer head on the ground.
The following theory arises from these data: Assume a fourth or fifth dimension - going from cosmic galactic structures to subatomic forms through the tellurian origo - in e.g. an isomorphic format. Then the ex nihilo piece could have found its motivation in the geography of Venus in the same way as Tizian for his artwork - comparable to e.g. 'puttis' in art of his time. See e.g. Tiepolo's 'Education of the virgin' - the three putti heads are there in order to make all dimensions run harmoniously together for a meaningful understanding of the script. Therefore the ex nihilo pebble would have contained isomorphic forms compared with the north pole of Venus.
The quasi 'beerbox' opening on the north pole of Venus could even be the secret of the opening of a young infant for making political power on earth. Since the man has just been ejected from the woman when he 'opens the bottle', it follows that he has to be quite newborn.
Evidence of the relevance of this 'bottle': See TEQ #651 mentioned above on the 'snubnosed scriptologist' of Mars. The mirror poem to #651 is (1720-651) = TEQ #1069 containing the line "to the public scythe". This instrument for mowing is found just beyond the 'bottle' couple of Venus - see version 'b' for the detail of the scythe.
'When cars are transported with the train' - that could be the 'train' of relatives for Tizian's 'picnic'. The cat is on Venus - although the two leopards of Tizian could recognize it even there. The 'metope' should be in the combination of these two.
The semiotic window
I suggested an isomorphic relation between the ancient greek architecture of the doric order and the form of the human ear - as a potential semiotic principle. The oval window leads from the outside into the inner ear, while the round window leads the other way - and could be of importance for understanding human ideas of a transcendent reality. See these observations on the oval 'Filoso' and the round 'Götterfrucht' (probably) ex nihilo stickers. My TEQ is written by inner poetic articulations - they come from what I believe is a transcendent source and are articulated in my inner mind and remain there for a very brief time - in the beginning (1997-98) the memory traces of these were so short that unless I grasped for pen and paper within a second or two they would be irretrievably lost. This brief time span grew a little larger in the following years but it is still of the kind which cannot be retrieved unless it is written down rather quickly.
The phenomenon is well described in Pär Lagerkvist's 'Who walked past the window of my childhood' (from the swedish original in his last poetry book 'Aftonlandet' = 'Evening land'). One can take it that the first line describes the oval window - and the 'Filosofo' sticker - while the second line is the round window - and the 'Götterfrucht' sticker. 'I only saw the world such as it is' could then simply be the echo from the oral window looking back out through the round window.
Now for the conclusion: The 'ROYAL LAND' sticker is basically a rectangular form which is expanded with an oval - and it could thereby be the intermediate 'architectural' formalism of the metope that contains and unites the oval and the round window - the 'Filosofo' and 'Götterfrucht' labels. If these also correspond to the first and the second occurrence of the word 'metope' in the white metre, it means that the 'metope' or ROYAL LAND label is the hidden link between time and frequency, harmony and counterpoint, syntagm and paradigm.
These three labels find their aural interpretation on Mercury - the metope (ROYAL LAND) and oval window (Filosofo) on the one side, and the round window (Götterfrucht) 180 degrees around on the other - attached to the cochlea:
(Source)
For understanding the functionality of the semiotic window, the double occurrence of the 'Götterfrucht' label tells that this corresponds to the fundamental theorem of linguistics - how the 2 items for the human mind appear like one and the same: This should tell that the fundamental theorem of logic applies to the oval window and the square (metope). However, since the front side of the 'Götterfrucht' was partly outside the textile while the back side showed traces of the woolly surface all over, one could guess that the non-euclidean basis for it applies also to this linguistic aspect. In actual fact the 'Götterfrucht' occurred three times - as for a trinitarian interpretation which also could conform to its meaning. That could be precisely the cochlear form - when the circle is less than its circumference. Hence the non-euclidean basis would explain also the frequency scale including its musical corollaries as a 'divine' mystery.
Below right of the oval window and metope on Mercury there is a form which looks like the helicopter rotors on photo #1 from the Danube island and on the back of some doves:
On the other side of the planet, down right under the 'round window', there should be the mirror to photo #1 - that is the last photo - photo #23 - with the text on the landscape - explaining the texted stickers/labels - or, as it here tells, the text of the above bottle-shouldered couple when the planet is mirrored along the vertical axis:
This suggests that the form of an ex nihilo piece of matter is motivated approximately in the same way as a 'putti' head on an artwork of an italian renaissance painter - such as the three boy heads in the air of Tiepolo's 'Education of the virgin' (source) needed for getting the crisscrossing dimensions in meaningful shape - it gets its form from the redundancies in the fifth dimension. This would also explain why some 'ex nihilo' forms are apparently always the same - such as the assumed 'archetypal image' photo (see this file) or the classic 'Schimmelbild' (see this file).
As another example of this peculiarity I refer to the opening lines of Ezra Pound's 'Pisan Cantos' (1948) - which likewise seem to recognize the bottle-shouldered couple (Ben and la Clara?) (and the sad face in Venus?) in a context of the word 'Milano' which can be spotted (say, when the poet stared into his cosmic crystal ball) in the same region of the mirrored image of Mercury - and notice how the 'E' seems to be a mirrored form of the '3' which could constitute the basis for the PI-san Canto:
Twice crucified here could mean that it is the conjunction of such phenomena on several planets - or in cosmic harmonies. 'Possum' is probably T.S.Eliot with his famous 'bang & whimper' line at the end of 'The hollow men' from 1925: "We are the hollow men / We are the stuffed men". Hence 'Manes' (as the script at the bottom of the mirrored Mercury image) is stuffed and comes out as 'Milanes/Milano'. There are also traces of a 'Digonos' or 'Dioce':
These phenomena are found under the 'cochlea' - which could suggest that they are a natural focus of interest for poets concerned with the 'inner poetic articulation'. Pound was probably not of that kind but of related interests - and he had certainly not seen any astronomic photos from Mercury when he wrote his poem. I notice, as a peculiarity, that his name on the form 'ESP of Round' could perhaps have some explanatory value.
The giant planet Jupiter has more than 90 moons, the four biggest being well known. Ganymede is the largest and it is even larger than the planet Mercury. I looked briefly at its surface and came across this photo which in its upper left part contains the following detail:
(original)
(enhanced)
(see also better resolution under this photo by NASA/JPL/DLR in this journal)
The detail looks like a police (to the right) holding a grip around the neck of a man (to the left) - is it Adolf Hitler? The police has a bifurcation in front and the man seems to lift his two arms. See the details of the name of Ganymede - the sense of what is called 'bottom (passive homosexual partner)', greek mythology, moon, ganos, ganoO etc = brightness, shine, polish, medeianon = chamber on the first floor - med- = generally guardian, protect, rule, mEdomai etc - mEd- = generally restrict, plan, intend, plot, take care of etc. It happened once to me when I was going late to check the post at the institute of linguistics in Bergen that a security guard stopped me outside the building and started playing a 'domination' game - he had a security guard uniform which I had to respect and it took some time before I got off his formal 'grip'. (This was after the Oslo Accords). When I now saw this scene in the detail from the Jupiter moon, it caused a vivid inner scenario which found its explanation in the graphic details from Ganymede with greek etymologies. Clearly it suggests that the celestial bodies in their fine details constitute an important part of our mythological (= 'political'?) reality.
Philosophical conclusion
The simple philosophical conclusion is that the human mind has a round window near the conchlea in the inner ear 'because' there is a round formation on Mercury - or vice versa. The 'metope' of ancient greek architecture would - by a similar reasoning - arise from the fact that the cochlea and the circular roundness on Mercury are one and the same - that correlates with the phenomenon in the inner ear that the round window is close to the cochlear form - like the rectangular 'metope' is close to the oval window on the other side of the planet. This means that the human reality is limited and redundant. It also means that 'divine causalities' (mythologies) are imposed on the self-understanding of this human reality to the extent that the Mercury formation is as yet unknown - the correlation is interpreted in the human reality as a mythological 'causality' telling that the human ear has the shape it has 'because' Mercury is as it is. With the discovery of the details of the geography of Mercury, this mythological reality dissolves and is replaced with a correlation which can be interpreted either way - that the one is the 'cause' of the other or vice versa - and ends up in the formation of a new and fifth dimension of philosophical isomorphy. This will span from cosmic infinities to subatomic worlds with a tellurian origo - like those butterfly 'rotors' under the metope rectangle on Mercury - as a new (and certainly old) way of conceptualizing the puzzling correlations. Could be it can be taken into a new technology for generating matter ex nihilo in the gap between such correlations - or more generally for going in and out of ontological existence. This turn - with the rise of a new dimension and the technological solution to the problem - is probably the character of the historic millenial cycle of levels of information technologies.
It is of course possible to see the two angles: If bird reality is in the 'metope' and human reality is in the oval window, that means that Mercury has the form it has - and hence Pound could have 'seen' the details before technology could photograph the details - 'because' human reality sees it that way, including the details on the surface of the planet. Contrariwise: It is possible to say that the human ear has (developed) the form it has 'because' Mercury is as it is and therefore the round window and the cochlea. This view would not have to presuppose bigger realities (such as bird reality) outside the human reality. Which way is right - did the causality go this way or that? Of course both - the two are in a balance which is beyond causality - like physics and metaphysics - whereby metaphysics even can be compared with the genetic predisposition. Then some could be quick with the theory that metaphysics is nothing but that fifth dimension - that the assumed genetic predisposition is equivalent to the (so far inexplorable) 'geography' of the cosmos. Again, that is of course likely to be in a balance beyond causality and understandable as such.
The philosophical conclusion is anyhow likely to be that a fifth dimension must be established in philosophy and other sciences - physics, linguistics, psychology, economics etc.
Political conclusion
It is seen how the round window in the ear seems to have a defining function of religious matters. It can then be observed how the Red Sea resembles the eustachian tube up to the round window on the border between Egypt and Israel. It is fully possible that the war which Israel has been waging against the socalled Hamas organization since october 2023 is about the control with this 'round window'. It can be shown that the attack on Israel of 7 october 2023 could be seen to be in response to an email I sent to norwegian police on 21 december 2022.
The email of 21 december 2022 concerned this issue: My official custody father was, according to my opinion, replaced with a not so similar copy in the summer 1969 when I was 12 years of age and I never got a chance to know if it were a dirty plot with his wife or not. The replacement on the ferry station Vikebukt (near Måndalen) was encoded with precision in the names of Jimmy Carter and Walter Mondale. Being forced to live with a double consciousness about this identity, on my 16th birthday 29 june 1973 I probably had the right to get the new father's identity but got it not - but the israeli ambassador to Maryland was shot (instead?) and the day after the palestinian intelligence chief was shot as well. Some weeks later the Yom Kippur war broke out (on 6 october 1973) and with norwegian 'kippur' invoking associations to the idea of 'slippers' and the war ended on 26 october, the day before the first father's birthday, it seemed to tell that Yom Kippur = John Grøver = Idle Feetler = Adolf Hitler - and hence the war could have served to tell this identity of the new father. This was the question - whether the new custody father was Adolf Hitler behind an edited surface. It is possible that acts of terror (including 11 september 2001) could have served the role of reinforcing the respect for the identity of the new father - posing the question 'why dont you tell it to the police?' To make the story short, it was not before 21 december 2022 that I could tell the norwegian police about this in an email. The attack from Hamas on 7 october 2023 was exactly 50 years after the onset of the Yom Kippur war - plus one day - a day which could be telling of that 30 june 1973 when the palestinian intelligence chief was shot. The question is therefore whether the attack was on behalf of Adolf Hitler's interests. If that should be the case, it is doubtful whether it would be in the interest of the palestinian people.
On this background, the attack from Hamas could be seen to be in defence of Adolf Hitler's control with this socalled 'round ear' of the Middle East, the area of the holy land as it is often called. If one assumes that the human semiotic constitution - that which makes us conceive of e.g. birds in a way which can be radically different from how birds look at themselves and us - is defined by astronomic redundancies which also control the way we conceive the global geography and our own organism, then it can be assumed that the eustachian tube of the Red Sea leads up to a round window of Gaza in such a way that it is of essential importance for the human understanding of religious matters. In particular, frequent ideas of 'religious matters' going into a blunted and unimportant and antiquated status by the advances of new scientific and technological knowledge must be counted as naive - it is rather the opposite that religious studies and knowledge (or what is outside the human reality) will gain an extremely reinforced importance for human life with the computer revolution since it concerns the possibilities of understanding and communicating with 'other realities' - and then it is clear that the 'round window' of the Gaza region may come to gain very large importance for the chances of the human species to understand these matters right. Therefore the Middle East crisis has such extraordinary importance - and the current situation (after the attack from Hamas on Israel of 7 october 2023) is really about the matter whether terror should be allowed to have any defining role to play in that region at all. Clearly there could be still shady parts of modern history which could be related to precisely these matters - in particular the role of WWII and Adolf Hitler for the issue of control with these regions. Put differently - if Hamas represent the interests of Hitler in the sense of a strategy of gaining access to the mysteries of the universe by way of 'star wars', something which would be in conflict with jewish-philosophical interests based on the 'shabbat' in the sense of 'cosmic harmony' rather than 'cosmic conflict', it is clearly a matter whether one should allow for such 'hitlerish' interests to control the 'round window' of Gaza.
It is probable that conflict-oriented attitudes to such a 'round window' region would find their rationale in a human attitude to allow for 'other realities' only to the extent that they are suitable for the human species - including fears of 'ex nihilo' surprises - a problem which peaceful philosophies solve by way of the faculty of faith 'controlling' such problems in a more flexible way: The faculty of faith provides you with the 'other reality' which you believe in - say, if you believe in a good God that is what you get and if you believe that everybody are only only out for cheating you, then you are likely to conclude at the end of your life that indeed you were right. It is a belligerent attitude which creates the star wars - while a peaceful and vegetarian life is more likely to lead to a cosmic paradise. Adolf Hitler's world is therefore not the thing for those who hope for and believe in a paradise. This may be the real issue in the current Middle East crisis - whether militant organizations in the area could be in an extension from Hitler's role in WWII and whether that should be allowed to define the lives of the palestinians living there.
In particular, it would be a mistake to believe that the 'round window' could be the anus that you can put down in a sofa - or ideas associated with 'homo' philosophies related to 'round wind, oh dear' and things like that. There exist few books in the traditional catalogue of British Library under the name of 'John Grover' - there were originally only John Grover 1823, 1843 and 1845 - plus a 1936 issue by a 'J.Grover' called 'Nature's melody'. China's oldest poetry is 'The book of odes'. Does 'secret intelligence' dream of going through walls and locked doors - in the sense of belligerent stategies (in e.g. the Gaza strip) justified by matrimonial concerns of 'silent release' of flatulences? It is likely that these problems could stem from a misunderstood isomorphy of the Gaza region with the femur bone and its round hip joint (near the anus) rather than the eustachian tube with its round window near the cochlea.
It is likely that the issue of a 'round window' is supposed to concern my person if I am assigned the role of socalled 'PTRSIM PIK' in messianic terms of a function from the old to the new testament - which concerns the age-old mystery of what exactly goes on in the point of intersection between paradigm and syntagm, time and frequency, harmony and counterpoint, synchrony and diachrony - that could really be about how the human cochlea relates to the round window - which could be a matter controlled by cosmic redundancies such as the example from the planet Mercury. Clearly this mystery intersection could be a focus of interest for the new information technology - and then the question of peaceful or belligerent orientation for the administration of the region could be of significance for the entire global community.
Evening around 22:15-23:10 Vienna time: I published the above on the internet today 26 may 2024 around 13:00 Vienna time (after having worked with this material for about 10 days). The time annotation on my web editor tells 12:21 for most of the files, though, and this seems to be Vienna time - so the first appearance of the article may have been around that time point - but some errors had to be corrected and I also replaced some photos that were too byte-consuming with smaller ones. Later today there were the apparently breaking news that Hamas for the first time since several months (since 7 october 2023?) had fired rockets against Israel - Tel Aviv etc - several news channels report this in the evening but it is difficult to find anybody who comes out with a time point - but Times of Israel reports that the rockets were fired around 02:00 pm, which, if it is israeli time, means 13:00 Vienna time. Would those rockets be supposed to mean that I published my article in the form of hitlerish rockets against Israel? Is this the essence of the story - to turn these roles around?
France24 does not come out with a time point but reports that
"Norway hands over diplomatic papers to Palestinian Authority PM in step towards recognition of state" - annotated with the time point '8 hours ago' when Vienna time is about 22:00, and "Sirens sound across central Israel, including Tel Aviv, as Hamas claims to have fired rockets from Gaza" is annotated with '9 hours ago'.
To tell the truth, I do not expect to find traces of this article of mine in the news in other forms than these. What should one call that? Are all news channels and administrations united in a mixmax of Adolf Hitler with me? A day or two ago there were the news 'on the inner radio' telling that some palestinians in Gaza had tried to reach the International Court (or what was the name) by telephone (from a telephone box?) for reporting that the palestinian people were overhappy with the help from Israel - but maybe they could not come through in any other forms than such 'news on the inner radio'. Or were the rocket attack on Tel Aviv pre-installed with such 'radio news' from the Telaphone Box? Some secret intelligence organization had spied on my work and coordinated the 'radio news' (quasi me) with the rocket attack? Is it possible to ask the palestinian people now what they mean?
Sources:
Bull, O.: Metope. Referred to by Tulla Elieson in the late 1970's.
Kennedy, I.G.: Tizian. Taschen, Köln 2018.
Lagerkvist, P.: 'Evening Land' - translated from the swedish original 'Aftonland' by W. H. Auden and Leif Sjöberg. With an introduction by Leif Sjöberg. Wayne State University Press Detroit, 1975.
Pound, E.: The Cantos. Faber and Faber, London 1994.
https://www.chinadaily.com.cn/a/202404/26/WS662b5221a31082fc043c43c5.html
https://photojournal.jpl.nasa.gov/catalog/PIA02577 https://en.wikipedia.org/wiki/Eardrum
https://en.wikipedia.org/wiki/Ganymede_(moon)
https://en.wikipedia.org/wiki/Geology_of_Venus
https://en.wikipedia.org/wiki/Mercury_(planet)
https://en.wikipedia.org/wiki/Metope
https://en.wikipedia.org/wiki/Metopes_of_the_Parthenon
https://en.wikipedia.org/wiki/Sima_(architecture)
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On the web 26 may 2024
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