More on Euler and the natural basis for the unit of the centimetre

John Bjarne Grover

In the article Conclusion on the story as of 15 february 2018: The role of names I argued that the phenomenon of names in modern politics stems from the formation of the international unit standard of the centimetre - that it be defined in such a way that the diagonal of the white stone be exactly the length 2,7181828... cm - this number is called Euler's constant 'e', the base of the natural logarithms. It is assumed that the white stone always is the same form and size - that it is an ex nihilo materialization of the form of the human psyche. It is the association of Euler's constant with this that creates the impression that there is a necessary connection between the name of Euler and the unit of the centimetre - since there is a form on the white stone which seems to be the reason for the owl with the phonological value 'M' in egyptian hieroglyphs. It seems that the reason why my work is so far not published is that I am assigned the role of being the 'secret connection' between the name of Euler and the unit of the centimetre.

But isnt there any sort of natural reason for the unit of the centimetre?

Jakob Böhme (1575-1624) is a classic authority on the phenomenon of the white stone. In his book 'Aurora', chapter XXVI #120-121 (which is nearly at the end of the book), he writes:

120. Wenn aber diese Morgenröte wird vom Aufgang zum Niedergang scheinen, so ist vorbass mehr keine Zeit, sondern die Sonne des Herzens Gottes gehet auf und wird RA.RA.RP in der Kelter außer der Stadt gestoßen und mit ihm AM.R.P.

121. Dies sind verborgene Worte und werden allein in der Sprache der Natur verstanden.

I dont know if these secret and mystic codes have been cracked, but my view is that they could mean simply what is today called Euler's constant - but that was probably long before this constant was discovered in mathematics.

If this be about a crow's KRA KRA KRP - it counts not to 3 but to 2,7 - and the rest of the decimals are added by AM.R.P. The value of the M = 1000.

The finding of the white stone seems to be followed by the finding of a black textile - at least I found it twice under very similar circumstances and then a third time under less similar circumstances. It would resemble the crow's KRAs.

The Kelter (wine press) mentioned by Böhme is the squeeze of the grapes to make the wine separate from the white stone left in the press - the wine goes into the Kelcher if not in the Keller.

The Kelter seems to relate etymologically (Kluge) to 'calx' = 'Ferse' = 'heel' from the then habit of pressing wine grapes with the foot and heel. But 'calx' can also mean limestone or a small stone as counter in as game. Or the goal in a race-course.

My own 'Stillhetens åndedrag' could be telling of that natural number 'e'. I guess that it is inherent in the fundamental theorem of linguistics.

I compute poem 2,7181828... that is the line 0,7181828... * 21 lines = line 15,08 = 0.08 into line 16 of that poem 3 - here are lines 16-17:

de gulrøde bær i den dvelende plogens
og morkne ved i trafikk
the yellow-red berries in the tarrying plough's
and decayed wood in traffic

which means that 2,7181828... starts at 'gulrøde bær' ('yellow-red berries') in poem 3. Indeed this was an aspect of nature of high salience when I wrote the poem - it had precisely that exceptional quality of being carrier of a poetic impetus which was hard to explain and had a mystic quality - in nature. The next is poem 2 * 2,7181828 = 5,436 = line 9,16 in poem 6 - here are lines 9-10 in that poem:

Der lå det et tjern og en bondegård
og solen sto lavt mellom trærne
There was a pond and a farm
and the sun stood low between the trees

which likewise had a very special enigmatic and enlightening quality for the poet in the process of writing the book - indeed unique and comparable to the first case.

Nelly Sachs tells of these two mysteries in her poem 'Als der Blitz' in the book 'Und Niemand weiss weiter':

Als der Blitz
das Gebäude des Glaubens entzündete
wanderten Füße über dem Wasser
und Arme strichen wie Fittiche in der Luft.

Nur die Schwermut
der Wein gekeltert
für die Kirchhofsengel
die einmal ausschlafen sollen
floß zurück in die Erde.

This poem seems simply to be these two examples of mine from my white metre book: The first example (with the plough etc) is in the second half of her poem and the second example (with the pond and the farmhouse) is in the first half.

There could be traces of the same phenomenon in further multipla of the 'e' in my book - although these two first seem primary and of particular interest.

Now it seems that the 'Oslo Report' on its first page could be telling of a similar awareness of such an independent logical 'natural' basis for the base of the natural logarithms 'e' - in its section 3 on the 'Ferngesteuerte Gleiter': The point should be at 2,7181828... in the report, that is 0,7181828...into section 3 - in reality it seems that the idea is invoked with the section itself talking of appr 3 metres width and length and the apparently famous source code Bell Syst.Tech. J. Jan. 39 p.222. My idea is that this could have been used for interpreting the Kennedy assassination - on basis of the movement of the initial B as an 8 into the mid of 39 for 389 as the cycle of the Regula Benedicti written in the year AD 529. This would suggest that the 39 tells that the '8 of gone' is the octogon. 1963 + 59 = 2022, for a 'Mark Twain' gone in the 529 - or the life work of 'Geirr Tveitt' burnt to nothing. Then the 0 disappears likewise and leaves the 222 of the 'mystic code'. All this of course is childish 'secret boyclub code' - but could be telling of some ideas of such conceptions relating the white stone to a rudimentary blue metre - although my own new blue metre of 2010 probably is more detailed and complex.

(Cp. also the idea of 'ku bak grisen' = 'cow behind the pig' for 'Kubakrisen' = 'the Cuba crisis' of Kennedy. For example, 'Bra-Go' - the Bravo oil rig uncontrolled blowout on 22 april 1977 - is like 'jur-rigg a farin' = 'udder-rig from your father' = 'ku bak grisen').

It may be this part 3 of the Oslo Report which could have been invoked for the Kennedy assassination for a quasi proof that Kennedy had made the assassination himself when he drove in a car (hungarian 'kochi') up a street in DALLAS (the dollars money breaking the embankments of the Wall Street crash in 1929 like bursting through a hungarian 'hymen' - cp. also chinese signs SAO and LO for such 'embankment') on 22/11 in 1963. (In 1963 the anglophonic evidence on the hungarian 'hymen' from my own blue metre was probably not known - which could have been the crux of the story). That 22/11 is then in the third element of the Oslo Report - with a shooter whose name means PLACENAMES (Lee Harvey Oswald = Molde, Oslo, Hammerfest), then it could thereby be 'proven' that it was the top power in the white house who had organized it himself - which means that organizers of the assassination could have tried to coup the intentionality of this top power in the white house, so to speak, as could have been the purpose with it.

The reply from US administration could have been in the form of the 'Warren Committee' ('våren kom midt i' = 'the spring came in the middle of it' - the spring sprang sprung) - a name which could be telling the same in return - in that code of the Oslo Report. The committee concluded that it was a loner (Lee Harvey Oswald) who had done it. A wellknown element in the story of 1963 was that the norwegian prime minister Einar Gerhardsen seems to have appointed Jens A.Boyesen to his government on the very same day, only a few hours before the shot in Dallas. The name arguable resembles 'John F.Kennedy' - but more importantly here it could be to observe that it could resemble Böhme's secret code RA.RA.RP. and AM.R.P. 'Jens' can be seen as 'the female archetype', the crow saying CRA CRA CRP, while Am.R.P would be more like A.Boyesen.

Therefore it was possible to construct the theory that Kennedy had constructed a theatre assassination only and that he continued afterwards under a new identity - for example one resembling the phenomenon of that white stone which you can hold in your hand - as a symbol of the entire life of a human being.

The relation of Euler's constant in Böhme's work with the white stone is attested also via the poem of Sachs in the same book ('Und Niemand weiss weiter') called 'Ein schwarzer Jochanaan' - that is a poem which can be taken to be about that fine and humid black textile that occurs twice and then nearly thrice after one has found the white stone (at least I did - the two first occurrences were surprisingly similar and in the hand, the third more out of touch). The textile feels very mystic and quite wet. It is attested in Arnold Böcklin's painting "Spring" which has a very close parallel in Caravaggio's 'Entombment of Christ'. In Böcklin it is the black cloth held by the mid of the three women - cp. my poem #49 'Lazarus' with its 'spring sprang sprung' as for the three women conjugated. I refer also to the poem entitled 04.02.01 in my TEQ book 15 'Gentlemen' - that is TEQ #1509, Gentlemen #55 - and there is also my TEQ #925 in book 12 written on the date 04.02.01. See Schnacks' Rilke-Chronik for 4 february 1901 wherein Rilke has written a poem about just this artwork of Böcklin.

These disparate but mystically connected data pieces hang together as in a black web. It is likely that the black textile which presumably occurs after the white stone is something like that web of data associated in the mind.

I add that I have little data on the black textiles beyond my own experience but notice the evidence of Böcklin / Caravaggio.

The relevance of these 2,7181828... pieces of black textile appears also from my 'Stillhetens åndedrag': While Sachs' poem 'Als der Blitz' is paralleled in my poems once and twice multiplied with the constant 2,7181828... from the beginning of my book, her poem 'Ein schwarzer Jochanaan' is paralleled in my poems similarly once and twice times this constant from the end of my book. Sachs' two poems are quite close in her book, there are only three poems between and these relate also to my 'Stillhetens åndedrag' in a not all too bad fashion:

Ein schwarzer Jochanaan
Aus der Maske des Schlafes            
Eine Windschleppe
Ein Licht über dem See
Als der Blitz
-            ; 1 and 2 * e from end of book
-            ; 1 and 2 * e from mid of book, towards beginning
-            ; the two mid poems #32-33
-            ; 1 and 2 * e from mid of book, towards end
-            ; 1 and 2 * e from beginning of book

1 * e from end of book will be lines 5-6 in poem 62 - for 'Ein schwarzer Jochanaan':

som ligger inntil
den tanken du tenker -
that lie nearby
the thought you think -

2 * e from end of book will be lines 11-12 in poem 59 - for 'Ein schwarzer Jochanaan':

Ingenting holder seg virkelig skjult.
På grunn av din finger på tvers
Nothing remains really hidden.
Because of your finger athwart

1 * e from mid of book towards beginning will be lines 5-6 in poem 30 - for 'Aus der Maske des Schlafes':

jo i den samme tro.
Så blir jo natten lange
in the same faith.
Then turns the night 'longe'

2 * e from mid of book towards beginning will be lines 11-12 in poem 27 - for 'Aus der Maske des Schlafes':

Og nå - der ser ut som om
jeg har skjerpet
And now - it looks as if
I have sharpened

1 * e from mid of book, towards end will be lines 16-17 into poem 35 - for 'Ein Licht über dem See':

forteller om det du nettopp har skjønt
at når vi kom frem var vi yngre.
tells of what you have just understood
that when we arrived we were younger.

2 * e from mid of book, towards end will be lines 10-11 into poem 38 - for 'Ein Licht über dem See':

Du vet det: Alt som teller
har byssa ned før ni.
You know it: Everything that counts
has byssa down before nine.

Poem #32 is entitled 'Tittel' ('Title') and poem #33 is 'Mors dag' ('Mother's day')

Could be also some will find the natural backwards order more to the point - so that 'Aus der Maske des Schlafes' = 1 and 2 * e from mid of book, towards end - and 'Ein Licht über dem See' = 1 and 2 * e from mid of book, towards beginning

Hence it can be concluded that this makes reasonable sense and can be seen to attest the phenomenon - and it tells that there is a poetic reason for the connection between the number 2,7181828... and the length of the white stone measured in the unit of the centimetre. This is probably also the reason why one has used it for defining the centimetre - but this fact has probably been kept hidden in the mysteries of the secret service archives and installed into the world in the form of the Kennedy assassination. Leonie Sachs' poem following 'Als der Blitz' (in 'Und Niemand weiss weiter') is called 'Kain!' - these 5-6 poems were all written in the winter 1951, according to the commented edition of Fioretos/Huml/Weichelt. (I have searched in vain for the poem 'So steigt der Berg' in that edition - was this poem written around the time of the Kennedy assassination?). If the mystery of names in politics is assigned to the role of Leonard Euler's definition of the constant, then one has to observe also the idea of a Leonie's Eich - where the owls could fly in and out.

The dirty trick of secret service control of politics is then to make the link between Euler and the centimetre.

If Jens A.Boyesen was the name which meant Jakob Böhme in 1963, then it was perhaps already guessed that there would be black oilers along the coast of Norway.

The Kennedy assassination could have been constructed on basis of these 5 poems of Sachs followed by the poem 'Kain!'- a sort of 'Kainedy' assassination - and hence the modern pitiful obsession with ass-ass coituses in terms of 'Kanin!' - like owls flying in and out of the old hollow oak? Her poem starts as follows ('Kainumdi kveldes...'):

Kain! Um dich wälzen wir uns im Marterbett:
Warum hast du am Ende der Liebe
deinem Bruder die Rose aufgerissen?

Warum den unschuldigen Kindlein
verfrühte Flügel angeheftet?
Schnee der Flügel
darauf deine dunklen Fingerabdrücke

Could be this Kindlein was me - with Lee Harvey Oswald on my behalf by names of places where I had lived and could have been associated with the names of the three Kennedy brothers John, Robert, Ted.

Is this role of the 'Kain!' poem after the 5 poems on the poetic-natural constant 'e' known to the services - or did they remain unaware of wherefrom they could have got the idea? It must be remembered that the presence of the constant 'e' in Sachs' poem emerges - at least in this discussion - only in comparison with my book.

See also her poem 'In einer Landschaft aus Musik' right before 'Ein schwarzer Jochanaan' - it ends with the line 'angeschossen hat' which thereby along with the 'Kainumdi kveldes...' frames the 5 poems which seem to point to a natural mystic knowledge of the constant e = 2,7181828... Since it perhaps is doubtful that the 5 intermediate poems could have been recognized as dealing with Euler's mathematical constant, it is not impossible that these two framing lines could have provided a subconscious cue behind the Kennedy assassination.

What was the background of the Cuban missile crisis?

Sachs' book with these poems ('Und Niemand weiss weiter') was published in 1957. From 1960 Sachs was put under forced psychiatric custody and medication (seemingly with many electroshocks) for several years - and in 1963 the world of what could have been international secret intelligence service could have put their new ideas into action with the Kennedy assassination. It is a pity if this were for couping her ideas and mystic-poetic understanding of the natural relation between the centimetre and the white stone - that is, that the purpose with the Kennedy assassination was to preserve the role of names in politics and protect this political program from the 'threat' from the poetry of Sachs.

In 1996 I wrote a humble lecture in the theory of science for the doctorate degree - and I had started publishing the TEQ books in their order of writing - and was put under psychiatric custody on Kennedy assassination day in 1999. Is it a comparable phenomenon?

Sachs started developing psychiatric problems after her return from Paris in 1960 where she had visited Celan and probably, could be on the airport when leaving, got a letter from him with classified details of the story (perhaps including details on me). It may be that she had read it on the airplane and a spy could have been sitting behind her, reading the classified data over her shoulder. Then in 1965 the new norwegian PM was Per Borten who eventually resigned in 1971 (after the lives of Celan and Sachs aborted in 1970) because he had leaked classified information to a journalist in an airplane. He repeatedly called it a GLIPP. He resigned on the day which put my 11th birthday in the exact mid of his prime ministry.

One sees the possible reason for this story: It could be for pretending that the idea of a natural reason for the association of the centimetre with the white stone came from the classified information in the letter from Celan - that is, from the archives of the secret intelligence services. Therefore, as the logic could tell, the two poets died in 1970 - because they had not credited the source properly. While the truth could be that it was the services who had got their ideas from Sachs - the other way round, that means - but without being willing to credit the source. Could be the politics did not understand what the poetry of Sachs really meant and therefore detained her just in case.

Could it be that the 'gens' had been given 'a poiesen' that disturbed her mind? But hopefully not that politics felt that the 'gens' was 'a poiesen'? Or was it me who was the young 'boyesen', so to speak, of politics in those days? Rethinking the story from this viewpoint, it could even have been Kennedy who had wanted Boyesen to enter Gerhardsen's government (I suppose the John Lyng government a few weeks earlier could have 'meant' John Gröver, the official father, just as much as me), and it could even have been the reason why he was in Dallas on that same day - but the unconstitutional name-game power could not take it. This at least seems to be a possible version - but it may be that Kennedy made an error if he believed that the Oslo Report could be used as example of acoustic-poetic logic - even if the report could mean an alternative explanation to the relation between the unit of the centimetre and the white stone. This difference between meaning and being could be the story of the difference between protestantism and catholicism and could be the gap where it collapsed. Kennedy was catholic - but he was also president dependent on the intelligence services. If the crash on Wall Street 1929 was associated with the birth of Ragna Gröver, the official mother, then Kennedy's presence in Dallas on just that day would have meant that it did not crash. But, alas, it did - and hence the assassination could have 'meant' just 'Ragna Gröver' (and the intelligence services?) from that point of view - rather than Sachs as the genetic mother of the young 'boyesen'.

This explains what it really seems to be: Sachs' work (and mine) tells that there is a mystic poetic connection between the unit of the centimetre and the white stone - while the international secret services could want to retain the political power in their own artificially constructed connection between these via the name of Euler. Then they could have felt that Sachs' work drained the political power out of the role of names.

The mysteries which Sachs describe in her book (and which seem to have correlates in mine) are poetic-acoustic and not political. It is not right to wage war against such things. It could be a PEB line 14 phenomenon - which political interesters perhaps try to dump down into PEB line 1 for making it possible to repeat Hitler's error and all that.

What is important is to let poetry develop without having to fear attacks and interference from such political interests.

I add that I do not believe that the story of Böhme's mystic code is completely told with these considerations.

PS     A few days ago I found on a sidewalk the front page and spine of the book Georg Lalyko: "Braune Ebbe. Rote Flut", selbstverlag 2000. I thought that maybe somebody had torn it off a paperback book and lost it there. It was well overstepped with shoesoleprints and the slight overdeterminedness in the finding made me wonder if it were a strange case of ex nihilo. I checked it in a bookshop and they said that it existed as print-on-demand in the electronic databases. Yesterday I discovered that the strongest overdeterminedness in it is the high relevance of Nelly Sachs' poem "Nur im Schlaf haben Sterne Herzen" - which is poem #15 from the end of her book while "Als der Blitz" is #15 from the beginning.

Added on 19 february 2018: There are in fact signs that the mystic code of Böhme could have been invoked or involved in the Kennedy assassination - the AM.R.ican P.resident. I have earlier on this web page mentioned how in probably the second half of the 1960's the official father John Gröver told the story of somebody who drove in a car into a tractor hay-fork - a grotesque idea of forking which could be put in relation to the idea of a 'RAR hARPe' = 'strange harp'. The norwegian correlate to Astrid Lindgren is called Anne-Cath Vestly and she wrote a series of books for children about a girl called 'Aurora' - who lived in 'Blokk Z' (published in 1966): 'Blokkbokstaver' means 'majuscles' and 'Z' could mean the end of something - like these majuscles at the end of Böhme's 'Aurora'. If so, there could have been two such extra-Eulerish motivations for the link between the centimetre and the white stone - 1) the Oslo report, which could have been part of Kennedy's reason for being in Dallas that day, and 2) Böhme's 'Aurora' - which, by the way, brims over with the now somewhat unmodern words 'quillen' and 'quallen' as well as the still more modern 'quellen'.

The story continues here

© John Bjarne Grover
On the web 18 february 2018
Last updated 19 february 2018