dentist Haakon Mehren
Solveig Marie Klaveness Bjerke
Einar Friis Jarøy
The 'ostarrichi' document
John Bjarne Grover
The overview has suggested that possibly british swindle on historic documents in various countries and cultures could have been very decisive for the development of cultural identity etc. The example was Chanson de Roland (cp. 'Johnson Door-o-Land') as well as D.Cameron for 'Decameron', Theresa May for the 17th of May constitution in Norway on basis of 'Heimskringla' etc.
The question is: What would the false document be if there exists one such also for Austria - giving rise to e.g. Hitler?
I searched on internet for 'history of Austria' and looked up a wikipedia page, searching in this for 'document', there it was: The oldest known document containing reference to Austria is one from 996, using the word 'ostarrichi'. Looking closer at this, the word 'ostarrichi' is up right and on the corresponding place up left there is a miscoloured part which makes the impression of a nose monkey: Those characteristic noses are a possible background of the 'nazis', for example. It makes 'ostarrichi' look like 'o stappe i pike' = 'o stuff into the girl', that penis-looking nose. Ostappichi, Gestapichi, the genitals that must be stuffed into the female. PTRSIM PIK etc. Down right (diagonally) there is a hole which could bring allusions to a 'holy land' on the saddle, Hochreit was the name of Wittgenstein's childhood home, the father was in the Stahl industry with lots of money. Riding the high horse could be the austrian 'obligation' if they wanted to defend this document as the true origin of their modern times. Down left there is what looks more like 'sauerkraut' or 'gesundheit usr intelligente' etc. A lot of mock could have been piled up on this document - and Adolf Hitler could have been the 'hochreiter'. The red nose up left could be the background of the name of 'Raino Malnes' as apparent reference (a 'Reynold Milnes' letter) in advance for the flooding of Rekustad - cp. also the 'Roland Reiner Platz'. 'Ostarrichi' looks somewhat like 'Chapplin' - hence Magna NOSE could tell of Magna Charta (1215) in such a way that the terror on Charlie Hebdo in Paris could have been about this. Heb-do would be the red nose after all the behebde glasses. The righthand hole could tell of the 'holy land' on the saddle for 'h-Osterrichi' = 'host of reichi' (Hitler's 'dritte reich'?) = Austria as the 'holy' host to go down the drain in China, Beijing - say, as a transform of the Channel with Chanson and Mafia. (Bottenviken in to St.Petersburg could be the oral space and sthe channel between England and France the glottal opening for the 'poetic articulations' of the chinese poultry with korean beak and vietnamese legs). A british plan could be to try and take China with this intrigue - based on 'down the drain' where the lapis rests on the edge. X-iu? Oh young etc. In short, there are some such external reasons why this document could have been used for mock stategies on Austria.
Would 996 be the real year of writing of this document? I decided to give it a quick test with my POLAKK English Bloggi (PEB, the blue metre). The document is quite short - only 228 latin words while the number of poems in PEB to distribute these over is 366 - so there is not even one word per poem. I should try phonemic-alphabetic level instead, I thought. There are 1578 latin letters in the text, that gives 4,3115 letters per PEB poem. It means 'submorphemic' in a naive sense of it.
I decided to give it a quick test on the following form: The last word in the document is 'feliciter' which means 'happy'. I searched my PEB for the word 'happy' and found the first occurrence in the 6th line of poem #85, which in general seemed to make sense of this end of the document. Likewise, the beginning of the document made well sense for #86-87... so it was worth a try. That means the following three offsets for assumed year 'x' of writing on basis of offset 86 meaning - depending on rounding up or down - when 2009 is considered the year of writing of my PEB - the formula (2009-x) * 0,366 = 86:
1774 = PEB #86,0
1775 = PEB #85,6
1776 = PEB #85,3
1777 = PEB #84,9
1778 = PEB #84,5
1779 = PEB #84,1
The offset 86,0 would mean that the offset is at the end of poem #86 - or beginning of #87. The word 'happy' occurs in line 6 of poem #85 - here are lines 5-8 out of a total of 14:
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I could mention this first: A child is happy smile on mother's lap, a thriving thirst for knowledge - it's a gifted child. |
= 'feliciter' = end of document = 'in [nomine sanctae]' = beginning of document |
It means that the division line between end and beginning could be around 84,4 - that is, a tentative conjecture - year of writing around 1778.
Testing a little around in the document against the PEB, I concluded that it could be a good guess - although the very limited time and simplified procedure I spent on it could of course not prevent that a better match could be found by more detailed studies. A few examples - the first of them from the PEB poems in this file - in their order of occurrence - on the assumption that the alignment starts on the beginning of #86:
PEB #49 = "...[e]Uuill[i]..." towards the end of the document
PEB #242-243 = "...dem hobas" in the mid of the document (before 'pertinentibus')
PEB #134 = "...[nost]ri Ba[ioarium]...": 'ripa' is latin for 'banks of a river'
PEB #27 = "[fi]rmav[imus]" at end of main paragraph - just before the 'Signum...'.
PEB #218 = "...mobil[ibus]..." about at end of first third, after 'zidalweidun'
PEB #205 = "... [d]ecurs[ibus]..." just before the same 'zidalweidun'
plus another 4 examples in this file:
PEB #132 = "[e]potis [nostri Baio...]" (not far from the beginning)
PEB #100 = "[c]lemen[tia]" (not far from the beginning)
PEB #200 = "[di]fici[is...]" at about a third through
PEB #300 = "[tradidim]us no[stra imperiali]" (a little after the half)
I think this PEB should be published.
Added 31 may 2021:
A notice should be added about a puzzling point which could have lent to this document an extraordinary strong value as far as the blue metre is concerned: There are 1578 alphabetic letters in the text and these are to be distributed on the 366 poems in my PEB, which means 4,3115 letters per PEB poem. The offset I computed on basis of the last word 'happy' lands on the border between poem 85 and 86. In fact this means alphabetic letter #366 in the latin document. That is something! Should this mean that the text is written in 1578? I compute which offset that would give: (2009-1578) * 0,366 = 157,746 = poem 157,8! And what does poem #157,8 tell? Ah, it seems to tell the beginning of the document!
Through this glass door
there come three girls
with their course for
this hostel world.
No doubt the document looks as if it were written in 1578 - 200 years before it was written (if the year was 1778). But that is the PTRSIM PIK intrigue since Norway was established in 1814! Conversely, if you put the offset wrong way in the alignment, as for a quasi 'phonological logic' on the rainbow, the PEB #1 starts on letter #367 and ends with poem #366 on #366 - indeed that could have been felt as 'right' - as if the alignment is perfect for 'morphemic' and 'submorphemic' units! The organizers may have been cheated by the completely long nose that follows from this jungle of mirages in the air - see the Treblinka cat of Vilnius.
And where does this magic letter #366-367 land for the alignment that assigns the year 1778 to the document? That would be at the beginning lines of poem #171:
The space between the spaces
of people sortedly
the face between the faces -
it snaps completely.
This happened on my walking way
to get the daily post,
the normal nothingness that may
follow the canal coast.
But this seems to be just this Roland Rainer Platz at Wiener Stadthalle at the end of Zinckgasse. The 'complete snap' from #366 to #1 when the alignment goes wrong way (for a quasi and mixed-up 'phonological logic' as a mirror form on the rainbow) could have been tentatively replaced with another 'complete snap' - because that feels like bringing the alignment the other way - and indeed it could 'feel right' because it puts the year of writing to 1778. But then it is better to publish my book than to organize 'complete snaps'. A collapse on Wall Street would not be the right solution.
If the document really had been written in 996, what would have been its offset? It would have been on (1009-996) * 0,366 = #4,758, which means it starts at poem #5 on 'father's role' and ends on the 'rocking on':
Then pushes an angel the shoulder,
a scapula-push from the cupboard
as jumps for the story upward
from out of the rock a boulder.
There sits the infant athwart
in solitude and in shade
rocking on father's role.
Could be this is the vaccination program in the global shoulders - as if a desperate attempt to lend credibility and authenticity - out of the fog of illusion! - to this document which - although possibly a piece of swindle - seemed to have formed the world through two world wars. The story or theory of the 'infant' in the 'puberty' ('submorphemic' = 'morphemic'!) being 'rocked' by 'father's role' would get its rationale in this poem and the offset which grants quasi authenticity to the apparently old swindle. The whole turbulent story gets its explanation in '1223' when the offset goes wrong way - then alphabetic letter #1223 lands on these lines at the end of poem #199:
How close can you get to the skin
of reality and to the maze
of senses we're living in?
No doubt, tells this foggy story, this is the new truth. If, however, the alignment is the one described above (the proper way for the document written in 1778), the '1223' would land on these lines in poem #3 ('Gedimino' is the main street of Vilnius):
I walk the street to the end -
Gedimino where music bends
the inner and outer lore.
Which suggests that the year 1778 is right. Clearly to try and rescue the authenticity of the probably false document (that claims to be from 996) by way of a 'new religion' with a trans madonna raping an infant or puberty Jesus etc would be a complete disaster. It is high time to understand that this is a misunderstanding that has arisen from the tragic tumults of the world wars in extension from possible swindle on documents.
One final observation must be made: The effect of the 'mirages' arises from the idea that the length of the document (in letters) corresponds to (or swaps with) the length of the time (in years). If one assumes 1778 as the year of writing, so that the alignment starts with PEB #86 on the first word, then the 'wraparound' from poem #366 to poem #1 is at letter #1212-1213. The corresponding place in the latin document is the word 'sanc[tae dei aecclesiae]' towards the end of the main part. This word SANCt would be the same as the word in the beginning - when Jesus reached puberty (turned 13) and discussed with the number of scholars in the temple/synagogue and Magna Carta was authored in England in 1215 by barons under King John - cp. puberty Jesus. The relevant form 'Sanctae dei aecclesiae' resembles 'Sanger av Eidsvig Bjarne' - the collection of 'hymns' written by people with possible origins in or maybe at least faith in Austria. In the worst case, this story tells the origins of the idea of text dependency in protestantism - the idea that 'Jesus lives' in the beginning of the document. It is then possibly because this swaps around to 366 = 366 that one gets such faith in indexes and administrative logic etc. 1578 + 200 = 1778: The letter #200 is the second in the 'potis' under #132 above (cp. the story of the 'red gold' and Hitler and Himmler with 'Hütteldorfer AraBe'). Catholicism tells that the revelation of Jesus goes through history in the church, protestantism that it goes through the text.
In short, it is possible that the whole story from such a false document could have been a terrible mock of austrian culture and faith - with a corresponding answer in the world wars. Very much progress could therefore be obtained by establishing the year of authorship of the document.
Conclusion: It is possible that the offset (for year of writing 1778) I have suggested here is right - in view of the explanatory value it has for understanding the history. If this phenomenon is due to old british swindle, and if the nations of Europe have let themselves be burdened down under the problem of not being able to find out of it, if the old 'fabrications' are british, then the recent 'brexit' is what the other countries of Europe should have done themselves (distance to England - if those made the swindle - untill the problem is solved) - which means only that the role of problemsolver has gone to England this time as well. But my blue metre can perhaps tidy up in all this mess and bring history upright again. That is why it should be published. If you study the present correlation between PEB and the old latin document with a pirate copy you have got from the 'intelligence services', then the whole story is likely to end in a new tumult of misunderstandings again.
Why should I live in Zinckgasse? Could be because they want me to be such a PTRSIM PIK at the end of 200 years, walking past Wiener Stadthalle for making things turn around etc. If I want to move away for rescueing the world from new nazism, why cant I get help for finding a new place? There seems to be the idea that there exists in the innermost mysteries of judaism a knob or switch which will not switch right if I get help but which will go the right way for the people of Israel if I move away by own incentive, efforts, money. Where does this idea come from? I would guess that it comes from this document - some strange coincidence that swaps time and length or something like that - and King John (1215) could be the theme. I think I established the authenticity of the first book of Moses by PEB #91 - and if 1778 is the year of writing, that means that Jesus age 26 is Moses. But that would be british (anglican?) interests (including Adolf Hitler?) and not really jewish. PTRSIM PIK would be a construction imitating this Jesus = Moses, but it is really only a sectarian and freemason version of the fundamental theorem of linguistics and nothing that judaism can find interesting in any sense of it.
Added on 1 june 2021:
When I wrote the last line in the preceding part - "...a construction imitating this Jesus = Moses, but it is really only a sectarian and freemason version of the fundamental theorem of linguistics and nothing that judaism can find interesting in any sense of it", I first used the expression "a corrupt version" but felt that it was too sharp and searched for smoother alternatives. 'Sectarian' is precise but does not capture well enough the unserious nature of the conversion of the metaphysical principle into PTRSIM PIK - and it is perhaps precisely this 'metaphysical principle' which could be behind the event I could report from Hütteldorfer Station of a younger man slapping me on the mouth-mask in such a contextual circumstance that it could be associated with a 'posthumous' = 'metaphysical' prince Philip (the event took place some days after his death). For adding the element of 'unserious character' of the conversion of the principle, I therefore added the concept of 'freemason' - but soon discovered that this concept could have been under preparation politically for years in terms of the norwegian patent to the rucksack metal rack construction called 'meis' held by the rucksack producer 'Bergan': This light-metal rack rests the weight on the hip and shoulder bones and gives the spine freedom to balance well, while a 'meis'-less rucksack will be only a lump of material clinging to the back down the spine. Of course for a normal rucksack the 'meis' is an enormous advantage which makes it easy to balance much weight on the back, and it is surprising to discover how difficult it is to get hold of a 'Bergans' rucksack in a normal sports equipment shop: They are all 'meis'-less and dump the whole substance over the surface of the back instead of the freedom of movement which a 'meis' provides - 'fri-meisen' this could be called. 'Bergans' are probably precise in fulfilling their obligations for a world patent, enough for them to uphold this right. Some years ago the factory burnt to the ground and the 'fabrikk' had to be rebuilt - that took some time and the rules for holding a world patent probably specify how long time reduced production ('fabrication') can be permitted under such circumstances. In short, it is a precious commodity which should be something worth, while all over the world people are sweating under the burden of not being able to get hold of a 'fri-meisen' construction. It is possible that it be about this problem of a "sectarian and freemason version of the conversion principle" (of the fundamental theorem of linguistics). Why is that so important? Could be it is for avoiding the 'too sharp' edges of the word 'corrupt[ed] version'. What is it? Could be this is a cornerstone in the story of the establishment of the state of Israel in 1948, for which England seems to have played a major role, just like they could have done in 1814 for the 're'-establishment of the state of Norway with a 'comparable' glorious or at least important historic past. In that 1814 story there could have been the essential role of 'Heimskringla' which seems to be a 'fabrication' and could be that is of english origins. There exists this theory that the document is composed from homophones in hebrew and norwegian which encircle bodily fluids and excretions of smelly kind, including perhaps sweat on the back, and therefore the 1814 state had to be antisemitic to avoid the sensation of bad smells. The british involvement in the establishment of Israel after WWII, such as by the Balfour declaration, could be compared with their involvement in the establishment of the norwegian state - and the question is simply if there is a clause attached to the state of Israel that they have to accept me (in the role of PTRSIM PIK) as 'corrupt' if they will avoid the label on jews generally or if they want to feel the state as safe. That is, the british interests could be to lend to me the designation 'corrupt' for the 'metaphysical principle' in the conversion into the PTRSIM PIK. (If not the other way round).
More precisely, this concerns the role of the poet's inspiration, the 'poetic articulation' as 'prophetic language': My vol.4 concerns also this issue whether the poet has the right to consider himself as 'pre-heralded' or 'included' in e.g. the Fatima revelations without thereby falling prey of ridicule or suspicions on 'unserious sectarianism': Those who want to ridicule or harass the poet for such attitudes do it for getting the 'prophetic language' under political control or to hijack the knowledge therein. The principle is precisely the same as my claims that the cover to my TEQ is well described in the poem Shijing #145 which could be 3000 years old: Does this mean that the writing and publication of my book had been 'seen' in a prophetic crystal bowl in China already 3000 years ago and the coming of the fantastic event repeated more recently in Fatima in 1917? Haha, says political power, we want that piece of 'public relations' for ourselves - it is ideal for our propaganda department. That is perhaps what 'anglicanism' tells as well - and more specifically perhaps in the british state construction and its aspirations for a global monarchy. Of course it is easy to get the poetic megalomania down by postulating a principle of 'poetic complex', a principle of universalism in poetry which explains how the cover to my book could have been contained so well in the 3000 years old chinese poem. But it is not certain that this is fair to the poetic logic in the phenomenon - and it is certainly not right of political power to try and hijack this knowledge source.
Shijing #145 can be taken as evidence that Fatima can be considered a permitted 'prophesy' on my book The Endmorgan Quartet - without calling for megalomaniac designations on me. This is not the least because of the back page illustration, the photo of the 'Treblinka' mystery I photographed in Vilnius (cp. also Botticelli's 'Birth of Venus'). This mystery is mentioned also by Paavo Haavikko in his 'Winter Palace' poem #8 which starts: "Wie bringe ich diesen Baum zu Fall, / der inmitten der Ebene steht / da er zu besingen ist und ich keine Stimme habe?" I recently looked up the norwegian poet Stein Mehren on the internet and saw that he had died in 2017 - and now his parental origins was suddenly prominent in the articles telling his bio: He was, claims the web, son of a doctor-dentist called Haakon Mehren (sounds like 'chin-on more-than'), the mother Solveig Marie Klaveness Bjerke ('sunway mary collar-/yoke-nes/nose birch') and later got a father-by-adoption called Einar Friis Jarøy ('a fool free char[m]eye') - which indeed seems to be the main components in just this Vilnius photo of mine, described in chinese poetry thousands of years ago:
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Does this mean that Stein Mehren's biography has been updated with these new data after I took my photo in 2001 - or even after his death so that he could not protest against these new details? He had, after all, written about Brecht, Clausewitz, Adorno, Sartre... But then I look up the beginning of Haavikko's "Winter Palace" poem #1:
Silber in das ich Bilder treibe nebeneinandergesetzt daß sie reden:
ein zinkiges Dach reißt Vögel und Winde,
nach Norden gehen der Schnee, das Gras und die Vögel,
vereizelt Industrie,
eine Antenne, luftiger Schnörkel oder
Ohr in den Wind gespannt,
Grüße und alles Gute,
Baum Baum Baum und Baum,
hier der Gesang:
etc
So I dont know, maybe these were his parents.
The 'bankado' could have the purpose of proving that I am 'corrupt': 1) That I should take advantage in the apparent corpse lying on the zebras outside XXXLutz ('Lutz Graf Schwerin von Krosingk'?) after having typed in a code I got in the post from the bank that I 'accepted' the new 'Allgemeine Geschäftsbedingungen' that I had got in the post. I got this in 2019 but did not respond since it was not necessary - if I did not the cards would continue on the old 'Bedingungen'. But when I got them anew in 2021 (the new 'Geschäftsbedingungen' were included on paper in the letter I got in the post) it was told that if I did not type in the personal code which was printed in the letter, the cards or accounts could be terminated, for which reason I typed in the code for at least one of them on the website to the bank. This included the printout of a form to be filled in on paper and returned with signature to the bank. I think the body occurred in the Hütteldorfer Strasse (on my way to the post) on 12 april, before I returned the signed paper to the bank on 14 april. But the idea could have been that 'he had agreed to potentially corrupt information' - since the text could have been changed (corrupted) on the internet and I could have signed a different contract compared with the one in the bank. Hence the body in the street could have been linked to my signature, would have been the philosophy - also since the post is not certain. The story concerns the 'body' as the personal presence - one has to be present in bodily form when getting the contract on paper from the bank, otherwise one knows not what one signs on. The deeper concerns of this would have been that this lends to the paper document a priority which resembles the 'deed' to a property like the latin one of 996. I gave notice of termination of the two bank accounts on 30 april.
2) When I thereafter went to my normal bank to try and get a new card which I could use for paying [on] the internet and other smaller amounts, there were some problems attached: For once the person who made the account claimed that the bank had sent a letter to my PO Box and I had not replied and therefore the savings account had been terminated, and I could not check this information since my PO Box had been closed in the period 1.1-18.3 in 2021 even if I had sent money from Venice (this looked like an 'intelligence project since I could not manage to get in contact with the austrian post by phone or email since the internet was empty of such details on contact points that responded). But this bank normally uses my home address, or at least they have my home address since it is written in the paper I got when the first account was opened and there was no letter there - and of course they would or should not have terminated a contract without contacting the address in the contract for it. This made the basis for the new account shaky, and when in addition they first asked for two electronic signatures in the bank and thereafter, after I had left, sent the Geschäftsbedingungen electronically be email, the account looked very unserious and I asked that it be terminated and not opened at all. (There came nevertheless a bank card and it seems that they had opened the new account nevertheless - while closing my old savings account without I having asked for it).
It is the story of 'personal presence'. Norwegian for 'deed' to a property is 'skjøte' while 'skjørte-jeger' ('skirt-hunter' in the sense of 'chasing females' for getting them to bed) is a 'skirt-hunter' (see this file for 'Boris Johson' and 'Theresa May' in the context of Shijing 'skirts') - like the 'rights to hunting' in the 'skjøte' = 'deed' of 996.
The israeli-palestinian conflict flared up again in the days of request for confirmation of new 'Allgemeine Geschäftsbedingungen'.
If the 'bankado' problems get too serious, it could come to lead to a rewrite of the classic characteristic of philosophical nominalism in terms of 'flatus vocis' into 'Vaduz flockis/floggis' - going to Vaduz for finding a bank. Cp. the idea of 'fri-meisen' of Bergans with the issue of sweat on the back.
'Edward Snowdon' spoons likewise to 'Sned var dåden', 'sned var dåden': 'Sned' is swedish (a special word it is, I dont know where it comes from) for 'aslant', 'oblique' and Hans-Ove Granath once used the word. Onset-truncated his names go into 'ans ver-ra natt' = '[h]ans svera/svåra natt' = '[h]is heavy/difficult night'. Would 'gran-sove hand-at' count as a 'skjørte-jeger'? (There seems to be this idea around - such as, if I remember right, in Chang / Halliday's biography on Mao - that the last thing Mao did on his deathbed was to tap three times with his hand against the bedside plank - cp. Caravaggio's Burial of Christ). 'Dåd' is swedish often used about a 'crime of action', but in norwegian it means a 'deed' in the sense of 'achievement' - but 'deed' can also mean 'skjøte' in norwegian - like that 996 latin document telling the rights to a territory - the territorial rights (the lack of which some states suffer under if they have taken the land of other people).
Briefly, it seems that England could be thirsting for getting me in the chemicals for the idea of a 'suffering PTRSIM PIK Christ' for the anglican mix of faith and power. I am not interested. It would have had to be about the 'corrupt version' in the above account - which they themselves must provide the material for. I am not an offspring from Buckingham or british or other royals.
More generally, a clause on Israel could be for transposing the principle of 'corruptedness' onto people generally, such as possibly the people of Israel, for starting persecution programs a la a Black Sea Loop.
Of course the idea of PTRSIM PIK is likely to be about trying to find a scapegoat for bad morals. Then the question of 'corrupt' comes up. The construction of PTRSIM PIK is of the same type as the permutations for proving a special 'indexical' flavour of religious feel to the 996 document. It is this which could be called 'corrupt' - all this computable divinity in terms of the lapis philosophorum as 'the body of Christ' in the holy communion, the 'breadslice' etc - what often is subsumed under the label of 'freemasonry'.
Jewish philosophy is sometimes associated with alchemy - which could be an association for identifying the 'red gold' connection to the two males at the female body in Hütteldorfer Strasse - gestures that could be seen as the background for the names of Heinrich Himmler and Adolf Hitler. It would, though, be a cheap (corrupt?) trick to claim that Hitler and Himmler were 'jewish' for that reason, or that judaism thereby is 'corrupt'.
Is anglicanism sorted under the category of religious sects?
England has no right to trigger persecution programs because I live in Zinckgasse, which seems to be associated with the idea of 'sjansen', 'the chance'. 'Bor i sjansen' = 'resides in the chance'. I have already for years expressed the need for getting help to move to another country - but Europe is so constructed that it seems that only Austria and Germany have permanent housing options for my conditions and economy, and if I move to a place where I am an easy target of intrigue, it could make the situation only much worse. In general, if I be dependent on other people, there normally comes an intrigue inbetween (since there can be much money and power to harvest therefrom) - which means that a renewal of a timelimited rental contract is not probable, and then the problem is to find a removal firm which stands boldly up against any bribes and telephones, or even against the 'governmental authority', as they said in the phone, and so I cannot have more than a few cardboard boxes of belongings on such a place, to be transported in a bus. (Isnt my work more worth than that?) If it matters at all whether I live here or there, why hasnt anybody been able to help me find a new place? I have fancied that such a 'clause' exists in e.g. the conception of the people of Israel or the re-establishment of its state after the war that if I should move out of Zinckgasse, it would have to be on own incentive, efforts, economy etc. Would I have to drive the van myself? But my driving license is made in 1986 with a special sort of pigment in the photo so it has paled off and cannot be used, say the police - the photo has turned too indistinct. It may be speculated that I should live here in Zinckgasse for the purpose of passing that body in the street on 12 april 2021 - or something like that - could be for making pretexts for dubious political programs.
Conclusion is that the 996 latin document is a 'deed' which contains a 'clause-witz' which perhaps also is a part of more or less tacit conditions on Israel. Could be I am considered the clause-witz, so to speak. (I once met Grøver/'Mengele' or a similar one with a twisted [2/6-21: swedish 'sned'?] face on top of the stairs: Could it have meant 'Clausewitz top secret'? [2/6-21: Cp. also 'Claus-e-witz' relative to the name of my 1973 friend 'OlavS-kundberg']) Could be these things are really poetic, though, and can be solved thereby. Here from my TEQ poem #685, from book 10 ('A deep ratch') - lines written on 10-11 may 2000, more than a year before the tree fell:
But she had another one which was much more interesting: Spyder!
by big sensation from the real t[h]reaty,
because he had so much tare and timetables.
Added on 2 june 2021:
Adding to the above puzzling story of the names of the parents of Stein Mehren - some traces of these via my photo fragments can be observed in the three last article titles to Modern Language Review january 1959 - or, rather, these three titles could be seen as being concerned with the other side of the three elements I referred to above:
5. An Interpretation of the Second Merseburg Charm. By Kenneth Northcott
= relative to 'Einar Friis Jarøy' = the eye that cannot be seen on the low 'cork'
6. Friedrich von Spee's Belief in Witchcraft: Some Deductions from the "Cautio Criminalis". By Pamela Reilly
= the story from the jewish community when I gave them my TEQ book and the tip of a broom fell down under the book - with the snapping sound in the air as of a whip, or maybe as when a broomriding witch turns in the air - when one of them looked at the back page photo
7. "Die Judenbuche" by Annette von Droste-Hülshoff. By L. H. C. Thomas
= the 'other side' of the dentist theme - if one takes it that the 'Drosje to Hüls-off' is the classic comedy with anal coitus leading to a cramp in the ring muscle that has to be relaxed by doctors in hospital and the couple reads a magazine while waiting for the taxi - as in Caravaggio's 'Salome' work(s)
This suggests also that my Vilnius photo - which is not 'the other side' - could be the original Treblinka theme, at least in some version of a universalism of some sort. Is this the 'Judenbuche'? That is interesting indeed. It can be added that if I were subjected to an injection of horror chemicals in january 1959 (the mid of Eisenhower's period), such as a theory of mine (on basis of rather insubstantial evidence, though) suggests, then MLR january 1959 could have been about this. Mehren published his first book "Gjennom stillheten en natt" ('Through the silence one night') in 1960.
The idea of 'on the other side' can be seen from MLR jan 1959 titles 1-4: #1 seems to concern the bathroom story: 'Elvira' from the bathroom graffiti, #2 could tell how the 'wrench' head, her breasts and the 'packing' scene below could be in correspondence with the black parts of the Madonna of Guadalupe icon: Her hair, the two black textiles hanging from her wrists (like the two humid black textiles I found with one week's interval on a tram in Vienna - the same tramline both times, probably) and the horns at her feet - that suggests that the non-discreet 'graffiti' could seen as some 'black Madonna' or 'the other side' of the Madonna in some sense of it. (This is also what is something in the theory of grammar - discrete or non-discrete - the two words 'discreet' and 'discrete' mean not the same but seem to be derived from the same latin 'discretus' both of them). Title #3 could be seen to refer to the corresponding scene of Tintoretto's 'Last supper' in the Scuola Grande with the 'horns' at the bottom. At Kringsjå student town in 1987 I shared corridor with some danish students and I think it was Troels who quoted a classic language teacher of his talking of homeric language as typically on the form 'det tungt fremvraltende hornkveg' = 'the heavy-forth-waddling horned cattle', which could be that one in the bottom of the Tintoretto work - could be called 'Tintoretto's dog'? The combination of the Guadalupe Madonna and the artwork by Tintoretto is thereby found in this bathroom wall graffiti - cp also the apparent 'graffiti' in the structure of the Kennedy names relative to Wittgenstein's 'Wörterbuch'. This 'graffiti' could perhaps also be the origins of the 'cartoons' of Auschwitz / USA-witz in The New Yorker. The idea with this reference could then be that the graffiti is not really a 'black Madonna' but rather a 'not Madonna' - for the theme of 'the other side' - if about me it could then be fancied as the intended result of such a chemical injection. Title #4 could then be seen as related to the nipples of 'Elvira' and the text in the letter which 'Carl' is reading - but interestingly enough it could also be seen as related to the story of the fridge and the brown 'puree' with 'millet seeds' on my return from Venice in early march 2021 - after having left for Venice in july 2020 while the bathroom graffiti was still under development. On my return it was still there on the wall, and one could guess that it had stopped developing around the time when I left or maybe a little later.
The story of the 996 latin 'deed' document (granting 'territorial rights') with the mention of the 'ostarrichi' could perhaps be seen as a historic background of a possible problem of unilaterality (corresponding to possible norwegian 'Heimskringle' and french 'Chanson' problems) in austrian mentality (them vs you/me - cp. also the 'Wu-han' origin of the coronavirus epidemic - or elements in advertisments apparently lifted from my work, could be even rather fresh and unpublished things - according to my impression and understanding), typically interpreted politically in the Burgenland border, cp. also this study of the linguistic connotations therein. Hungarian 's[h]ör' = 'beer', 'tej' = 'milk', 'ég' = 'heaven/fire', hence the 'skjørte-jeger' ('skirt-hunter' in the sense of 'chasing females' for getting them to bed) referred to above could also entail such an aspect of unilateralism.
Summing up all this, the MLR january 1959 could perhaps (or even seen relative to me) be seen to encircle the theme of the chinese radical sign KUA (or 'GUA') in modern pinyin relative to the bathroom graffiti - including the communist sickle qua wrench head of Elvira and the hammer at the foot of the GUA sign.
Does the 'treblinka' photo or the bathroom graffiti or the lapis philosophorum - the latter of these developed apparently from my work with 'Der Dornenstrauch' - mean that I am on the same tracks as Hitler and his political movement? I would say it rather means the opposite: If my DDS serves to stimulate the reader's intuition for a mystic orientation, which suggests a detachment from history, then history could come to answer with making itself interesting and attractive - and it could be that the universals of the human psyche are the reason why these responses tend to look the same every time. But that only means the opposite of Hitler's program: To study these things is of course nice and polite but to pursue the invitations from history along the interesting and attractive aspects of these responses would be to go in the trap - and it is likely that Hitler's program was something like that. I dont know if that is relevant to Mehren's authorship - it can perhaps be noticed that 'ta in ehren' = 'to harvest/cash in the honour' while some perhaps would say that 'akob öhme' could be seen as a theme in some of his poetry - and maybe the Treblinka 'waterknee' could be seen as such an 'ak-ob öh-me'. (Here is a translation of a poem - could be long/short vocalism is a theme). Would that even suggest 'ostarrichi'? I dont know. If the 'intelligence services' have the function of spying on the divines for giving clever advice to the government, the problem is that they dont know what goes on deeper into the metaphysics - but they can turn roles with 'human sinners' they construct by way of e.g. triangles and study their behaviour. Is this 'ridiculous'? Could be Norway was made for taking that role. And so forth.
In school 1971-73 I had a gym teacher called Rikheim. I think he had a 'cauliflower' ear.
Sources:
Chang, Jung & Halliday, Jon: 'Mao - the unknown story', Alfred A.Knopf, New York, 2005
Haavikko, Paavo: Poesie. Finnisch/deutsch. Übertragung und Nachwort von Manfred Peter Hein. Suhrkamp Verlag, Frankfurt am Main 1965.
Simon, R.: Shijing. Das altchinesische Buch der Lieder. Chinesisch/Deutsch. Übersetzt und herausgegeben von Rainald Simon. Reclam Bibliothek 2015.
© John Bjarne Grover
On the web 30 may 2021
Last updated 2 june 2021
