John Bjarne Grover
My fundamental theorem of linguistics tells: "Two and only two items can be the same across different realities". This tells of metaphysical realities that originally were different but came to be attached to each other via the human spirit when the human reality takes shape. The two different metaphysical realities existed independently but in the Creation they came to be attached in that way (for the semiotic humans) and that creates the ontological existence of humans in history. The 2 different things in the 2 different realities are recognized as one and the same thing and this thing receives its ontology thereby and the original metaphysical difference is converted into a linguistic labelling that attaches to it. This means that one thing in one of the two metaphysical realities will relate to another thing in the other reality (although one and the same thing in the human reality) in a dependent manner - and the two realities will generally relate dependently - and that means that causality arises thereby and can be described in science by four physical forces in the human reality - gravity being one of them. And it is even possible that logic is a result of this conjuction of realities - if it is not just what is prior to them.
Lexicality will arise as a naming function on referents in a way which can be traced to 2 different metaphysical states or realities: In principle, the observation of 2 different points in 2 different states which are recognized as 1.
In 1990-92 I worked with my MA thesis in linguistics in a process which included the idea of probabilistic attraction between points of occurrences - originally thought to be based on the arcustangens function - and, as I observe now, the probabilistic attraction which gives rise to (measurable) syntactic structure thereby will resemble gravity. It suggests that syntax can be described by way of the dependency between the two realities. The arcustangens dependency function will describe the relation between 2 points of observation and reduce them to 1 in the dependency description.
If 1) the lexical function is defined by the deviation from summation from zero up to 1.0 in the entropy function, which means that it is the original metaphysical differences which make for the linguistic labelling, and 2) syntax is defined by way of an arcustangens function and 3) the Catalan constant is defined by an integral from 0 to 1 over arcustangens x divided with x, it follows that if my '20 Gedichte' on poetic-mystic numerality are correlating significantly (by some push-and-pull in the correlation) with the Catalan constant, there is the basis for a description of gravity thereby - and hence the cosmos as a supercomputer for moving ZUM from one place to the CULTURE of another.
If the integral from 0 to 1 in the Catalan constant is 'the same' as the entropy summation from 0 up to probability 1.0 of lexicality and the arcustangens is the basis for the definition of syntax, it means that the Catalan constant is the prism through which lexicality meets syntax and therefore a potentially unique property of the human linguistic faculty.
If there is an empirical correlation of my numerality poems ('20 Gedichte') with the Catalan constant and this constant also can be justified principly by its definition, then there is something new to tell.
It would mean that a definition of e.g. gravity can be postulated in such a way that it receives a unified account with the linguistic redundancies - which is what can allow for the cosmic supercomputer.
Mysticism strives towards a detachment and liberation from history and hence towards a re-establishment of the integrity of the original metaphysical states, and therefore, if my '20 Gedichte' are considered as constituted by poetic-mystic numerality, it can be argued that 'mystic numbers' is a possible basis for a new logic for the construction of this cosmic supercomputer.
As I have shown in my study of TEQ function 14, it is likely that a poetic logic exists which is not the same as the semantic logic in extension from Aristotle. It is likely that this poetic logic could be of relevance for these 'mystic numbers'.
What will be special about these 'mystic numbers' is that they will allow for a 'subsymbolic' study of the numbers, such that e.g. the number 'e' will correspond to a certain poetic-semiotic-mystic value which can be analyzed in its details and these details or features can be compared against the values of other numbers for a recognition of 'semiotic' connections between such numbers.
An example can be telling: The two computer glitsches I have described from my 2016 work with 'Stillhetens åndedrag' include the double count of the word 'contain' where it should have been only one. One can guess that it has to do with grammatical number compared with the following 'contains'. The line associated with the doubleword CONTAIN is (in 'Stillhetens åndedrag') 'visshet du får' = 'certainty you get' in poem #47, just before the end of movement 1, that is, the end at time point 18:23. See separate study in vol.4 p.1253-1258 on 'village land' etc.
The other error was the leap of ZUM to CULTURE. The lines corresponding to these doublewords are for ZUM in poem #37 = 'som åpner seg mot et hulrom i den' = 'which opens against a hollow space in it' and for CULTURE in poem #23 = 'den ene veien, den andre óg' = 'the one way, the other as well' - these two lines arguably share some semantic qualities or features. The spreadsheet listing of the words of book 14 are at entry numbers
= end of the book
The number 1823 has turned out to have a strongly defining role - therefore I looked up the word for it which occurred only once in book 14 - it is in the last poem #207 in book 14:
Book 14 poem #207 משום דלא דמי פסולא דרישא לפסולא דסיפא
The two cousins leaving each other on the deed:
Who do you represent?
Imperialism in a geographic sense of it could be in the distance 1823, and the explanation to ZUM moved over onto CULTURE could be in 'who do you re-pre-send'? 'Deed' is a doubleword that occurs in the listing of all words at #1941-1942. The two co-ZUMs leave each other when one of them leaps forwards to a re-pre-sent position of CULTURE.
'20 Gedichte' consists of 20 poems of 16 lines each and defines the numbers 0-20 (on a continuous scale) poetic-mystically, in principle any number. I wrote the poems first and discovered this apparent property of them later - such as obviously for poem 11 telling of aspects of what reaches the number 11. Poem 1 describes the numbers from 0 to 1, poem 2 from 1 to 2 etc. Here are some wellknown constants for which the 'poetic-mystic' value is easily recognized:
1) The Catalan constant G = 0,91597... will be towards the end of the first poem: 0,91597... * 16 lines = the point roughly 0,66 into line 15. This line 15 is "Der Mensch wenn er ist selbst einsam". Could be the Catalan constant tells of "Der Mensch wenn er ist", could be also right-parenthesized with 'selbst einsam'.
2) e = 2,718281... The basis for the natural logarithm is apparently thought of as being of value for understanding the ex nihilo 'fallout' or 'falldown' of the lapis philosophorum when it takes shape - resembling a derivative. Here it will be 0,718281... * 16 lines into poem 3 which means approximately half way into line 12. Lines 10-11-12 are these: "Dann fiel ich auf den Bodenstein / und rief es wie ihr alle fielt / dass jeder Gott war ewig mein".
3) π = 3,14159... = 0,14159 into poem 4 = line 2,27 which means 0,27 into line 3 which is "Geht es schnell über den Ort" - that is, π = 'geht es schnell', right-parenthesized with 'über den Ort'.
4) The golden ratio = 0,61803... and its inverse = 1,61803... which means 0,888 into line 10 in poem 1 and poem 2. Poem 1 lines 9-10 = "Das Essen ist das schnelle Licht. / Das Trinken ist der Wein" and in poem 2 lines 9-10 are "Deshalb ist sie Linde genannt / weil ihr stille Gehör in meinem Ohr"
5) The first Feigenbaum constant = 4,6692... which is 0,669 into poem 5, that is its line 10,704 = 0,704 into line 11 = "zu erzählen es alleine". The second Feigenbaum constant is 2,5029... which is just a little into line 9 in poem 3: Here are lines 7-8-9: "und zweimal griff ein Wundersweh / gegen die Arme von dem Gott / der sich in steifem Marmor hielt".
1823 divided with the first Feigenbaum constant = 390,43. Subtracting in 'Stillhetens åndedrag' this from the line number for CULTURE which is line #480 takes it to line 89,57 which is line 5 in poem 5 (that is the first line in the second stanza, not in the third mid stanza which seems to have defined the second 'white stone') which is "vi ville sagt hvis vi ville" = "we would have said if we could/wanted". But that is VI-VI-VI-VI-VI including twice VILL - which is just that VISShet / VILLage.
Are there even 4,669 occurrences of VI in this line? 'Stillheten' includes even a final poem #106 which was on 'overtime' since I had gotten out of count and this poem is not used in the text itself. It seems to contain this story with the ZUM moved by the VILL in 5 VI's:
Der ankeret falt
var det ferdig fordi
det er fort fortalt.
Det tar litt lenger tid.
Det er selvsagt slik
at det ikke er selvsagt.
Der din tanke er oblik
er din visshet selvvalgt
og tom som en tønne, sa vi.
På tide å gå hjem.
Hva kan stillheten si?
En, to, tre, fire og fem.
Where the anchor fell
it is already finished because
it is quickly told.
It takes a bit more time.
It is self-evidently such
that it is not self-evident.
Where your thought is oblique
is your certainty self-chosen
and as empty as a barrel, said we/VI.
It is time to go home.
What can the silence tell/say?
One, two, three, four and five.
'Det tar litt lenger tid': 'Visshet du får' in #47 (cp. line 8 in this poem) is at 18:15,9 and it is probable that the initial 'VI' is completed at 18:16,2 - which means the time point 18:23 four lines later. Line 9 in #106 tells the story of the formal VI - 'empty like a barrel, said WE/VI'.
Could be there are enough 'mystic values' in the featural substrate of the occurrences to allow for that surprise hopping of the ZUM.
'VILL' could also be about 'electromagnetism'. Strangely enough, dividing 1823 with the second Feigenbaum constant takes it to 728,355 which, when subtracted from the line 966 of the doubleword 'contain' takes it back to line 237,645: That is line 8 in poem 12, which has doubleword 'modern', while the same line 8-9 in poem 11 has doublewords 'live' and 'lives'. See TEQ #1497 which is poem 43 (written on 13 april 2005) in book 15 which starts: "I looked in my math notebook, where new graphic secret math was spelt out / live and lives".
There is also a complex of 'mystic features' in terms of parts of the numbers involved. By TEQ book 14 the last poem #207, the word seems to be 'cousins' which map onto the other computer glitsch by the inclusion of the word 'contain': The poem #207 tells that there are two cousins, and indeed the computer seems to have counted two 'contain' even if there was only one. 'Stillhetens åndedrag' includes the extra poem #106 and it has a mystery on the cover - the ex nihilo image of James James reading with roller skates - who after a year had turned (via the mid mirrored form) into the 'indian':
The changes that led to the indian are described in #60 (which is #5 counted from the end) the mid stanza:
Du kan reise din bajonett på hodet
som var du en gitterflekks år.
Da lyser det i visjonenes kode
med guitar og en børste av hår.
You can raise your bayonet on your head
as were you a gridstain's year/[wound].
Then shines it in the code of visions
with guitar and a brush of hair.
The time value of the line for the hand of the indian is 7:27 into movement 2. Adding this to the famous 18:23 takes it to 25:50 - and it seems that the relation of graphic features between the digits of '2550' (cp. 2,502?) and '1823' could be of value for understanding how 'cousins' can change into or select the word 'contain':
corresponds to 2-5 = 11-5
movement turns 115 into 18
inversion of u-n turns 0 into 3
mirroring of 5 into 2
straightening of s to 1
adding strokes to lz → ta
This could suggest how 2550 could turn into 1823 in the same way as 'cousins' could turn into 'contain'.
In the alphabetized listing of TEQ doublewords in 'Stillhetens åndedrag', there are 359 doublewords for TEQ book 14 and the last of these ('ZUM') had been re-pre-sent to 'CULTURE' which means 293 positions forwards. Taking the same ratio for the 207 poems of book 14 takes it to poem #39 which indeed seems to be about just these 'mystic features' of the numeral symbols: The title to this poem #1286 is the exotic 'SXeBU' and it is signed with the line "signed: 2XV" wherein the initial 'S' could be seen to have changed into '2' by mirroring and the 'U' had been moved two places left to the 'V' for the 'e'. The poem starts "It's a bedroom! / - Moral!" Just like the length of Nono movement 1 is 18:23 for the word 'cousin' on #1823 in the alphabetic listing of the words of book 14, the length of Nono movement 2 is 19:34 - and the word 1934 is just 'deathbed' - here for the moralistic bedroom. The word precedes the doubleword 'deed' which is #1941-1942 and it follows immediately after 'death' which is another doubleword at #1932-33 in the alphabetic listing of all the words in book 14. As to the 'BU', there is a chinese sign 'BU' which can mean 'arrange' as well as 'spread' like e.g. an epidemic.
This analysis suggests that there could be a 'subsymbolic' correlation between lexicality and performance temporality - the latter being a potentially 'prosodic' aspect which could be contained in the push-and-pull of the attempts to correlate significantly e.g. the appr 7465 first decimals of the Catalan constant with the same number of alphabetic letters in '20 Gedichte'. An interesting guess could be that this 'subsymbolic' correlation could be a cue to the secret of the chinese script.
The 'mystic constant'
What is the 'mystic constant'? That is zero. The mystic steers towards zero in everything - zero attachment to history, zero involvement. 0,000... Why do the mystic franciscans help the society's poorest people and wash their feet? That could be for approaching zero (say, distance between the feet and the ground, e.g. for preventing that ideas slip inbetween). Monasteries even offer zero volition by the spiritual guide - and many mystics in monasterial orders probably struggle with the paradox of letting their spiritual development be guided by a person who doesnt understand them well. That is for overcoming the stubbornness of historically bound volition. Correspondingly it could be said that the closer the mystic approaches zero, the less will the error of mystic computation be.
Chinese has a large variation in the script but very small variation in the speech - and still the speakers understand each other even if the acoustic code seems not to contain measurable cues to the differences in meaning. That could mean that chinese incorporates a 'mystic numerality'.
Of course 'mystic number' will be a paradox just like e.g. 'transfinite number' (wherein you count from 1 up to infinity and then add an extra number on top of that). It is because the human reality, including the human's spiritual reality, changes in the course of the mystic quest - just like the probabilities could change in the course of the count of the occurrences in historic time. The mystic quest dissolves by humility the stubborn fixation of two metaphysical items when the historical ontology and its linguistic designation dissolve and therefore the mystic understanding changes in the course of the quest as well.
Mystic poetry as well: In TEQ book 1 'Hammerfest' the language meets its meaning in a mystic way.
The mystic quest towards the dissolution of the two original metaphysical states into 2 independent realities involves the aspect of the mystic's understanding being changed in the course of the quest - like it is often said that the formation of the 'lapis philosophorum' is really the mystic's self that undergoes a mystic transformation - and the defining 'poem' (as in '20 Gedichte') will perhaps be different: That means also that the 'mystic features' associated with a certain numeral string will change and that is what makes these mystic numbers differ from normal numerality. In the course of such a change, the featural substrate of a number will associate with new and potentially unexpected featural substrates of other numbers. It means that the scientist and the conception of the science changes in the course of the experiment.
Any poem or series of poems will constitute a 'generalized number' - and what is so special about just that Catalan constant which my '20 Gedichte' seem to approximate? It is that it is the prism where lexicality meets syntax in the human linguistic constitution and therefore this constant gives a chance to construct the ladder of Wittgenstein for getting above the historic reality and into a deeper and less historically conditioned metaphysical space of a higher generality. Therefore the Catalan constant could be specific for the human psyche and reality. But if the reality changes in the course of the experiment, so could the constant do as well - when the mystic quest moves into the 'unspeakable', could be also in what is called 'the invisible world' (in another CULTURE).
It follows that what is called 'serious mysticism' will have little to do with these 'mystic computations'. But it may be that pioneer scholarship in this field can find a little piece of wisdom now and then, for a rather slow progress into a new field of knowledge. If a ZUM can be moved over to a CULTURE in another part of the universe, say, by a unified account of lexical-syntactic-based numerality with gravity and other physical forces (three or even more), that could be substantial progress in knowledge.
In my '20 Gedichte', one could speculate that the 'mystic constant' is the code before the beginning of the first poem and hence that the following contains the 'subsymbolic' functions of e.g. chinese:
915 965 594
dichte in Sep
015 054 603 5
und Oct boe r
A study of the relation between these two strings could entail certain principled subsymbolic graphic 1-step functions - against the '5-step' radicals of chinese in DDS part I. To believe that this short string (or 'rails') is the innermost secret of, say, the chinese script is perhaps to be too quick, but it could have a heuristic value. CO2 (the problem of the day) comes here from 20GE = 'tu-u-se[n]' = 'tausend': I notice the end of DDS III:64, the last stanza in the third part, the last line ('Wir stehn auf der trockenen Diele') as a rewrite of the 25 first decimals ('ber sept-em octoberund dichtein'):
Wir werden einst nach dem Hause ziehn.
Wir leben für fernere Ziele
auf großer Nachrichten Tausend-Schienen.
Wir stehn auf der trockenen Diele.
© John Bjarne Grover
On the web 3 november 2021