Palma il Vecchio and a theory of grammar
John Bjarne Grover
See the article on Giusto relative to my TEQ - it can be postulated from the evidence therein that my TEQ is phrase structure language. This would be very sensational news - it is doubtful whether the existence of phrase structure language so far can be considered attested or evidenced. The assumption of this status for my TEQ would make the material in the following discussion of potentially very essential character. If the following discussion leads to conclusions as to how to handle logical paradoxes and grammatical categories, it follows that this also can be used for setting a phrase structure selection active in a computation over empirical data.
The article is in three parts:
1) Part 1: An introduction outlining my own semiotic-grammatical theory in extension from my 1997 PhD dissertation
2) Part 2: A discussion of the art of Jacopo Nigreti Palma il Vecchio relative to my own 'The Endmorgan Quartet': Examples 1-2, 3-4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23.
3) Part 3: Discussion of aspects of Palma relative to the semiotic-grammatical theory:
A summary of the examples
The two 23-line poems
The 23 photos
4) Part 4: Some further observations:
Palma and Fatima
The two petrification points and the Madonna of Guadalupe
Shijing
Political corollaries
Three sisters (example 24)
See this exposition of the general theoretic background of my 'The Endmorgan Quartet' (henceforth 'TEQ'). It is the same as for the introduction to the article on Giusto de' Menabuoi, wherein it was shown that mysterious isomorphies occurred between the art of Giusto, 35 poems from my own 'The Endmorgan Quartet' and the 23 thresholded black-and-white photos from the Danube Island. The present article studies a comparable relation between the art of Jacobo Palma il Vecchio and 22 poems from TEQ relative to the theoretic apparatus in my 1997 PhD dissertation 'A waist of time', in particular the concluding 5th part. In addition, since these correlations are easily analyzed into 23 elements or examples, their relevance for the 23 black-and-white photos are considered as well.
A phrase structure grammar differs from a finite state grammar (in the chomskyan hierarchy) by its infinite creativity. All computers to date are probably finite state grammars equipped with memory, which means equivalent to a 'pushdown automaton'.
Isomorphies (see article on the fifth dimension) are here tentatively identified as equivalent to a phrase structure format (it is difficult to sort isomorphies over continuous variation) - equivalent perhaps to thought.
The crux for understanding the mystery is found in the fact that thresholding for black-and-white of a colour photo from a grove leads to two levels of cognitive identification:
1) The colour photo is continuous - it means that if you move the camera some centimetres to the right the elements on the photo will also move a little relative to each other - a cluster of twigs will glide over a tree trunk in the background and a source of light behind that again will emerge as more prominent - but there will be no quantitative leaps in the interpretation.
2) The thresholded photos, on the other hand, will be subject to associative human interpretations which can leap with qualitative and arbitrarily large changes: If you change the threshold level, what is isomorphic with Giusto's Augustine can suddenly turn into something very different - say, an elephant on a beach or whatever. The same will obtain for the change by moving the camera a few centimetres to the right, for example.
The difference between these would have to contain the mystery how the thresholded photos can approximate both my poetry and Giusto's art - and the two can be seen to contain an element of arbitrarity.
The same phenomenon is found in the present article - on the relation between my TEQ and the art of Jacopo Nigreti Palma il Vecchio.
Where is this arbitrarity located in the model of cognition?
I have outlined two fundamental theorems - for linguistics and logic - and how these are interconnected in what I call the 'stringhook' paradox:
The fundamental theorem of linguistics shows the 'semantic nucleus' by the two metaphysical items that are recognized as one and the same and thereby they collapse into a physical referent with a semantic value attached - this semantic value serves to maintain contact with the original metaphysical reality before the fall out of paradise - that is, before the collapse by the identification as one and the same.
The fundamental theorem of logic shows under I. the basic principle of dependent probabilities - the elements in the upper row relate dependently to the elements in the lower row. The 'stringhook' paradox obtains when one of these dependencies is hooked down to relate also to an adjacent element in the lower row
- then the result of this stringhook is an isomorphic identity with the semantic nucleus - and the idea is that this isomorphy is how logic relates to language in terms of these two fundamental theorems.
Now a third element can be introduced for completing this model: In my PhD dissertation 'A waist of time', the concluding part 5 contains the following scheme on phonological features, based on Hyman (1975:46):
| JAKOBSON ET AL. | CHOMSKY AND HALLE | ||
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[+diff] labials dentals high V's |
[-diff] palatals velars nonhigh V's |
[-high] labials dentals nonhigh V's |
[+high] palatals velars high V's |
Jakobson et al would be acoustically oriented and hence what I here associate with the inner poetic articulation while Chomsky/Halle would be articulatorily based and hence associated with the outer poetic articulation. These coincide except for that little paradoxical point of high/low vocalism - when the acoustically oriented features of Jakobson et al. relate to the feature 'Diffuse/Compact' in the same way as the articulatorily oriented features of Chomsky/Halle relate to the feature 'High/Non-high'. The following discussion of Palma's work relative to my 'The Endmorgan Quartet' shows how human semiotics tries to make these into a logically coherent whole.
In this last part 5 of 'A waist of time' I suggest 4 basic phonological categories based on this paradox:
TIME-based:
C-onsonantal = concentration of energy in a single point on the time axis
V-ocalic = same average energy in two halves of a window of time
FREQUENCY- based:
D-iffuse/compact = concentration of energy in a single point of the frequency scale
G-rave = same average energy in two halves (parts) of the frequency spectrum
Now the solution is found in identifying C and V as the two metaphysical items in the semiotic nucleus which collapse into the single D (the definition really means the 'compact') with semantic G in the frequency spectrum. These four categories C-V-D-G then constitute the four elements in the two fundamental theorems.
It is also concluded in the last part 5 of 'A waist of time' that there are two basic principles which rule the analysis: That is SYMMETRY and INDETERMINACY.
Assume nucleus by m1, m2 = C, V - with vertical SYMMETRY for the nucleus:
The hourglass now appears in the form of the constriction between upper and lower C-V through the D - constituted by the vertical SYMMETRY for relating inner and outer articulation - while the sand is running through the narrow 'glottis' of this constriction with the opening held up by the INDETERMINACY.
Assume the following basic form of linguistic-logical isomorphy:
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Assume that the constriction on the lefthand side is a righthand parenthesis and the one of the righthand side is a lefthand. Then the tag 'D' inbetween them will be found as a grammatical tag between two phrases or lexical units, while the G will be the lexical contents.
Assume - since this constitutes a basic nucleus in itself - that the righthand parenthesis wants to be on the righthand side and the lefthand on the lefthand side, as is natural for both of them. Then two stages are possible:
| Stage 2) |
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The 'G' is now a 'D' seen from the viewpoint of the righthand parenthesis and the grammatical tag can in principle replace the lexical unit - such as the parallel V = C suggests.
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This is the natural stage when the righthand parenthesis wants to be on the righthand side. The G can now be either a lexical unit or a grammatical category - and this will be the basis for the rewrite function of the phrase structure grammar.
I here reproduce this elementary overview (presented in volume 3 for the sake of understanding the parametres 'nesting' and 'context') of the four basic grammar types in the Chomsky hierarchy from my 'A waist of time' book 2:
The socalled type 0 grammar is an unrestricted grammar which works on strings by replacing any string with any other string. When it has done this for a while, the string has been changed, and it is this derivational change which is the contents of the computation (the resulting string and the derivational history). The strings consist both of terminals (house, eat,...) and non-terminals (NOUN, VERB,...). The unrestricted grammar is equivalent to a Turing-machine.
The type 1 grammar is a context-sensitive grammar. This grammar replaces any single non-terminal category A in the context of the strings b and c in the form b-A-c with any string a, resulting in the form b-a-c. The difference from the unrestricted grammar is that the CSG replaces single categories with strings, while the former replaces anything with anything. Chomsky defined the CSG in its socalled non-contracting form, which requires that the string does not 'shrink' in the course of the derivation.
The type 2 grammar is the context-free grammar. This replaces any single non-terminal category A with any string. The replacement is not hampered by considerations of context, which means, as it goes, that there is a smaller range of specifically restricted infinite languages which can be outputted from it than can be done with the context-sensitive grammar.
The type 3 grammar is the regular grammar, which replaces any non-terminal category with any string, provided that the string contains at most one non-terminal, and that this is at the very end of the string.
The basis for this is therefore the original position wherein the righthand parenthesis is to the left of the lefthand. It is because of this paradoxical position that memory is not needed for a phrase structure grammar - such as it is for a pushdown automaton. This means that the phrase structure grammar does not need a memory for the same reason as the reason why it is a rewrite function, and that makes sense.
The condition seems to be that V = C, which it necessarily is now and then as the valuation window glides from left to right.
What drives the whole phrase structure machinery will then be the original 'stringhook' - which creates the isomorphy between language and logic:
The logical information (truth value) runs from eternity into history through the narrow constriction arising from this stringhook.
In 'A waist of time' part 5 vol.3 page 597f. I outline the idea of how the four feature valuations can be detected in speech data for a tentative segmentation into phrases. Basically the idea is that the four features are recorded along the time axis with a record when the definition obtains - say, along the gliding window of analysis it is found that the energy in one half is the same as in the other half a V is recorded on the mid. The four features are recorded in tiers along the following scheme - and the assumption goes that a phrase is found when an hourglass form appears in the horizontal direction:
The first would mean that there should be a natural affinity between V and G and between C and D, such as the fundamental theorem of logic suggests. The second tells of a natural relation between C and G and between V and D: The V-D relation (the constriction which results from the phonological feature paradox of Hyman above) results from the stringhook effect which leaves a memory trace (dotted line) from V to G which is found again in stage 2 when it comes to apply between C and G. It is this memory trace which constitutes the righthand phrasal border parenthesis in stage 3.
The result of this is that the horizontal hourglass along the four tiers is recognized as the same as the vertical hourglass in stage 1. Furthermore, since the horizontal hourglass comprises time+frequency (in four tiers), while the vertical hourglass comprises both time+frequency+time, it follows that there are two vertical hourglasses per each half horizontal hourglass - and hence the Fast Fourier Transform arises. The FFT computes the relation between time and frequency. (The chapter 5 - pages 1147-1214 of vol.4 - tells of how this relates to the literary forms developed in the high middle ages).
Through the hourglass runs the information from eternity to history. Clearly this model of vertical and horizontal hourglasses is to study the internal form of the intersection point between syntagm and paradigm, time and frequency, diachrony and synchrony.
In the below discussion of the 23 examples, this hourglass form is constitutive for examples 5-11 - which means that the mid example 8 which is recognized as a 'man on wagon' could be seen as constitutive (as it slams into the 'curb' of the hourglass constriction) for this 'stringhook' transformation of the dependent probabilities (in chomskyan performance) into the isomorphy with the fundamental linguistic nucleus (in chomskyan competence). Hence it can be postulated that it contains the essential link between a probabilistic and a generative conception of language.
The term 'diffuse' really means 'compact' by the definition - the term is only a convention - but one sees how it can be called 'diffuse': The sand above and below the constriction is Diffuse while it is Compact in the opening of the 'glottis'.
This suggests that the whole story is found in the re-interpretation of the V (where it straddles inner and outer articulations). How can that re-interpretation come about?
The reinterpretation described above for the thresholded photos can be compared with a change in 'intentionality' - for the present complex it can be compared with the effect of energies in the spectrum above 20.000 Hz and below 50 Hz - in particular since Grave is concerned with comparing the two halves of the spectrum - but where do you put that half? Energies above and below audible frequencies will not be perceivable but it can impose changes in the interpretation of average energy in the two halves of the time dimension (two halves of the 'window') and thereby lead to arbitrary changes in the interpretation of the 'narrative value' of the photos.
Hence there will be two criteria for the rewrite to apply: G=D which will vary with inclusion or not of the energy above and below perceptible frequencies, and V=C which will vary with the size of the valuation window.
The rewrite is consequently the same as identity between inner and outer articulation - that is, between thought and sensation. It is likely that this is what rewrite (in phrase structure) really is about - the isomorphy between the inner and the outer world.
A hypothesis could be that a criterion for rewrite in phrase structure could be when the relative size of the window and the size of the frequency are the same.
These ideas are likely to be consonant with the aim of Chomsky's minimalist program - to find the immediate relation between phonetic and logical form.
My 'waist of time' model tells that there is a 'record' when two acoustic features are 'the same' - such as when they have the same energy value - which means that it is when the two curves are intersecting. But clearly if the curves go up and down and intersect some 10000 times per second (with high sampling), the map of records would be very dense. Of course this means that the curves can be thresholded and then the number of intersections will be smaller. It would be the difference between colour and black-and-white above. The thresholding is then the phenomenon which could run in parallel with the hierarchical nature of language - and each level will be separated from those under and over with the paradoxical nature (of grammatical categories) of how the continuous narrative relates to the thresholded (in the above discussion). A quote from 'A waist of time' in Vol.3 page 270:
It is here that we see the interesting point of contact between logical paradoxes and grammatical theories. In fact, since the hierarchical structure provided the solution to the logical paradoxes in Russell's theory of types, it follows that the knowledge-potential embodied in the paradoxes is represented in the branching nodes of a tree structure. That is, in short: Grammatical categories (conceived of in this sense) represent logical antinomies.
It would in effect be the same paradoxical principle which sets a phrase structure grammar off from a finite state grammar. Chomsky proposed that natural language is phrase structure by its (theoretically infinite) creativity but could not provide more empirical evidence for this than ideas such as 'poverty of the stimulus' - that is, that the child's creative use of language is richer than its empirical input could suggest - but clearly this is difficult to measure. No computer is, as far as I know, constructed which is anything more than a finite state machine (equipped with memory), and as far as I know the existence of phrase structure against finite state has not yet been empirically proven - of course all known language can be printed out with computer. However, it is likely that my study of Giusto's art relative to my TEQ and the 23 photos is such a proof that phrase structure exists - when the righthand parenthesis occurs before the lefthand - which could mean that my TEQ is phrase structure language. That could be very sensational news and a giant leap forwards for grammatical and computation theory.
It would be the principle of isomorphy (here between the artwork of Palma - see below - and the cognitive-semiotic principles of my semiotic nucleus) that display the phrase structure architecture of this knowledge - and it would be the same phenomenon that applies to the relation between Giusto's art, my TEQ and the 23 photos.
My interpretation tells that it is the 'Chomsky hook' - that shifts the dependency relation of my fundamental theorem of logic down to the adjacent pair and thereby makes it isomorphic with my fundamental theorem of linguistics - which is the essential difference between phrase structure and finite state. In Palma's painting (example 1), the relevant dependency relation is contained in Jesus' look down at Santa Lucia and the 'hook' is maintained in 1) San Giorgio's righthand arm, 2) the Madonna's hand 'hooking' around Jesus' foot for reaching down towards the 'D' - the opening between the two eyes of the visual faculty - the opening being constituted by the indeterminacy factor. San Giorgio is looking the same way as this 'hook' movement goes - his look is a parallel dependency hook and that is what could take the 'finite state' dragon and rescue the princess in the myth. The angel looks up left towards San Giorgio - it should have been the guitar or lute which should look that way (it has an angled neck, though) and the angel should have looked up towards Santa Lucia - but the 'Chomsky hook' turns his look the other way and thereby his finger plucks on the lute string - for that 'stringhook' paradox. (See the 'stringhook' patent in my 'And hang under the Justcan keys').
The postulate in accordance with my 'waist of time' model in the PhD dissertation would be that a certain isomorphy of a similar kind should appear from an analysis of the acoustic data according to these principles. The semiotic principles would then constitute the formal skeleton in the referents displayed in e.g. Palma's art.
The 8 chapters of my 2018 german poetry book 'SNEEFT COEIL' (on the synchrony of language) I have tentatively recognized in the following 8 grammatical 'components':
1. Perception or 'Wahrnehmung' = truth assessment (by logical theorem)
2. Substance / ontology
3. Thresholding / symbolic function
4. Nesting
5. Context
6. Typology (synchronic correlate to language family relations)
7. Numerality (numbers 1-20 in poetic interpretation)
8. Phrases = parentheses (levels)
These seem to subdivide into groups:
1-3 is the converse of 4-6 such as 7 is the converse of 8. That conflates with 1/4 = nasal or G-rave.
1-4 is the converse of 5-8 in another sense of it - probably the first half is lexical and the second is grammatical. That is 1/2 = V-ocalic.
The overlap of these produces the 1/3 which is D-iffuse/compact.
The C-onsonantal would likely be 1/8 = the singular categories.
Part 2: Jacopo Nigreti Palma il Vecchio as TEQ function 9 part 4
For the idea of artists' work often being subsumable under one of my 16 'poetic functions', see these articles as well as this.
Jacopo Nigreti Palma il Vecchio was a venetian painter who lived 1480-1528. It seems that most or a good part of Palma's artworks can be recognized in the 22 poems #584-605 in my TEQ function 9 part 4 'SOLAWBAR...'. It is generally analyzed to be about the role of phonology and its features. I here go through artworks of Palma il Vecchio which correlate with the 22 poems of this function (book) 9 part 4. The first poem is divided over two 'examples' (but one artwork), making a total of 23 'examples', otherwise there is one poem per example. The examples 3-4 are one artwork (Adam & Eve), but two poems.
Example 1-2 - TEQ #584 = Madonna in trono fra San Giorgio e Santa Lucia
This painting of Palma il Vecchio seems to show the same principles in terms of an isomorphy with these cognitive principles:
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The V is here the Jesus child with a near identity with the Madonna - the confusion seems to have been obtained by understanding Jesus as pulled out of the apparent cave to the right - for which reason the two collapse into the two eyes of the visible world of Santa Lucia as the G (to the right) holding the two eyes (D) on a glass plate in her hand. The sand is running between these - it is the nose, so to speak.
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The vertical mirror symmetry - manifested by the chimney - is shown in the guitar or lute player underneath as the mirror correlate to the C of the Madonna with the guitar as the Jesus child = V underneath. The child could have come out of the cave to the right - which would correspond to the fireplace opening under the angel which is the same as the limited and redundant material world that arises from the conflation of Jesus and the Madonna when Jesus is 'born into the world' from the apparent cavity up right.
San Giorgio is dressed in black and holds a coiling flag next to a (white?) marble column - it is 'thresholded' mid way or so - a SNEEFT COEIL it could be - as for a thresholding factor. Santa Lucia on the other hand is dressed in red and green colours - could be for her visual condition. It means that there is a thresholding also in the frequency domain.
SNEEFT COEIL to the left - as for the synchrony of language - could have as counterpoint the virtual Jesus exiting from the (burial?) cave to the right - that could be for my 'Der Dornenstauch' (= 'DDS') for the diachrony of language to the right. This would mean that the 'cave' really is a bush - and vegetation it is.
Palma's artwork receives an interpretation in my TEQ #584 (also on this page): The two first lines are the Madonna who holds around Jesus' foot, the following three sections are the triptychon of San Giorgio, Jesus and Santa Lucia: The section of San Giorgio tells the windup key behind his knee contained in 'thought to brought to thought to brought...', the 'flytevest' = 'life jacket' is likely to be the armour, the '5' is the combined column and coiling banner etc. The next section is the look of Jesus at Santa Lucia contained in the two eyes on the glass element, the 'kvass' is the angel escaping with 'orange' lute from the fireplace underneath - remaining for weeks as a weak memory of a once correspondence. Finally Santa Lucia was educated in 'så' = 'saw', preterite of 'to see'. 'Intrak and Formco' are probably the two shepherds in her background, contained also in San Giorgio's column and coiling banner, which could have been elements of sexual experience (understanding) as a background of her fate - here it seems that they have been couped in the artwork - Intrak and Formco seem to be the real storyteller(s) but 'Wan Ata(n)' has couped the art and put his signature under - as is unfortunately not unnormal by such plagiarisms, 'Wan Ata(n)' has also pasted the unfortunate label 'asiast nil of dolfer' on 'Intrak and Formco'. The world is plagiarized in the visual faculty (cp. the two eyes), this could mean, like an artist when he imitates it on a canvas - but Palma is out for transgressing this by understanding it in the art. 'Intrak and Formco' sounds like the windup key, like opening a box of brislings behind San Giorgio's knee. It is clear - also from my TEQ #584 - that Palma's artwork is not a trivial one-dimensional philosophical statement but it tries to include its own semiotics in the computation on the art. Trivially, when Jesus looks down at Santa Lucia, it is 'what a man sees' that 'escapes description' in the visual faculty contained in the two eyes
See also this study of the art of the San Lazzaro church in Venice which in total seem to adhere to the element in my TEQ #584 - and one observes notably also the two photos:
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It is clear that when 'Lenin' is contained inside the brick wall, he looks into the bricks he is behind - but when 'what a man sees escapes description' it means that the bricks leap out from the wall in the moment when I passed. That would be something resembling the phenomenon of otoacoustic emissions from the ear? (Trygve Madsen told me that Goethe's colour theory includes the idea that the human eye also issues light). This is contained also in the photo of Mandelstam from the quarry in Armenia - and hence the isomorphies (= 'phrase structure thought') in the relation between these two photos. It is likely that the leaping bricks in Vilnius are telling of such 'phrase structure' mysticism.
See also Caravaggio's Martyrdom of Saint Matthew which likewise finds an interpretation in this TEQ #584 of mine. According to the scheme in this study, this work of Caravaggio is aligned with my DDS III:10: It contains most of the essential elements in this event, including the parked car and 'faltets mit Wasserstrahl' in the wall. It is probably the dependency of the old drinker when he sees (with his visual faculty) the 'Vinoteque' that interprets the fundamental theorem of logic.
See also element 34 in this study - and notice how the chinese signs could be telling of the circumstances for how the leap-out of bricks took place in Vilnius in the moment when I in a hurry (it was already getting late) passed the corner of the gate.
Example 3-4 - TEQ #585-586 = Adam and Eve
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The artwork compares probably essentially with the one with San Giorgio and Santa Lucia - whereby Lucia's posture compares with Eve's and Giorgio's with Adam's. Adam's arm then constitutes a lefthand parenthesis (in unrestricted grammar) when Eve offers him a 'replacement function'.
What Lucia offers is two eyes in a glass container - that could be called 'rob ales signs', or 'robbed eyes sight' and things like that. Reading the line "That is the ink - may have sent exactly one fourth" (cp. the bricks sent 'forth' in the photo from Vilnius) backwards gives something like 'throw now its casket to its windup/væhyemk knee - et sitat / a citation'. 'Throw now the casque/casket to the windup knee - a citation' which is a quote from the example 1-2 artwork where one finds a clear line from Santa Lucia's 'casket' with the precious eyes down to San Giorgio's knee with the windup key behind it. (The line is clear between the Madonna's two knees). The 'cask' or 'casque' can clearly be his armour - but where is his helmet? Is that the same as the fish or dragon slayed at his feet - and there is a corresponding isomorphy between the Madonna's knee-cloth and the fish/dragon at the feet of San Giorgio. It is this line which seems to be contained in the backwards-reading 'Throw now the casque/casket to the windup knee - a citation'. Transposing this onto Adam and Eve, the line is a clear erection symbolism, ending in the 'eyes of Santa Lucia' at the apple held in Eve's hand. This is where the line 'Silver bow death' makes sense - since Santa Lucia's eyes were removed just before she was executed. As far as the line 'could not to a science scientific position' is concerned, it could of course be that Laura is a scientific laureate, but the features can also be turned in which case the line could look something like 'upon tap came a single apple out safe and high' - as an explanation to the apparent erection phenomenon.
Turning the features in the second part of 'Rob Ales Signs, / drothing the nor(th)' takes it to something like '[r]appelsin / orange, I'm in love[r]'.
Example 5 -
TEQ #587 = 'Bathing nymphs'
The hourglass is more clearly visible in another of Palma il Vecchio's paintings - the 'Bathing nymphs' - apparently a study in phonological features:
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The symmetric constriction is seen between the two women stepping into the water in the background, with the D-iffuse/compact sitting between them. The painting could be about the nature of the two background women (behind the 'D') as C and V as symmetric to the C and V in the foreground. It is seen that the leftmost woman resembles San Giorgio not only in the 'coil' over her head but also by the quasi '8' propellar form behind her right knee (left for spectators). The posture is imitated by the V in the background - in which case the symmetry looks not really mirror-like but more rotational. Likewise, the one lying in the foreground covers her thigh with some textile while the diagonal in the background is standing, covered by textile except for the same part of her thigh. The one who is sitting and drying her hair could be a 'stringhook' in the lower quadrant - see example 4 under the section on the 23 photos - a counterpoint to the pointing hand/arm behind her. What are the two women to the right? They look like Symmetry with her back to the spectator and Indeterminacy with an uncertain look.
For Palma's 'Bathing nymphs' relative to my TEQ #587, see this section below. It is, though, possible to spot relevances for the painting in the poem - say, if the pond is of appr 15 metres circumference, the creek running into it could be 15 km long etc.
Example 6 -
TEQ #588 = Lazarus resurrection
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Some correlations seem relevant. It is likely that the phonological categories are ambiguous since Lazarus wakes up from the deep phonetics. For establishing the roles one must analyze the functions in the image. First of all, the canvas shows the big face of Lazarus as he looks into the face of Jesus (2) - who then is the spectator. But not necessarily - it is likely that the spectator is the man (3) behind Jesus, standing in the same posture, with an exposed thigh which he shares with the man (5) who pulls Lazarus up from the tomb. Cp. the thighs of example 5. This man looks over the shoulder of Jesus and hence the scene corresponds with DDS IV:3 stanza 2 - and then Jesus constitutes a sort of archetypal intermediate layer of mythological-religious knowledge - could be associated with where the 'blind spot' of the eye is. The turn from the big face looking at you to Lazarus looking at Jesus or the man behind him has a second derivative in the further turning of the view to the man (4) next to the man (3). These 5 men have correlates in the 5 females to the left. (See the below discussion of the examples whereby this example 6 finds its correlate in example 18 wherein the 5 relate to a circle). 'The clocks open for documentation on Swiss' by the man (6) who holds his hand into the cogwheel of time - with a counterpart in the lower arm (6) - which has its direction turned around by the females and hence the clock can start going. There are a lot of roles, tells the poem. It is probably possible to decipher the relation between artwork and poem.
Example 7 - TEQ #589 = Madonna in trono fra S.Barbaro e S.Giustina e due committenti
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The woman to the left holds the 'wine press' in her hand - she is lines 1 and 2. The psychic driver is the man in black kneeling in front of her. The square rabbit is the marble footing on which the Madonna is standing as she shows a complementary form with her hand: It is not holding the wine press but is covering a tree behind. Dont they look clear? Jesus is on this construct form - the combination of these two women as he is held in the Madonna's hand. 'Eggs-actly' is the man kneeling to the right and the last line is the woman to the right.
The similarity with example 10 is obvious: The extended arm of the Madonna interprets also the Grave feature in its relation to the Vocalic - interpreting the phonological paradox.
The symmetry discussion at the beginning of part 3 suggests an alignment with example 17 - which means that the 'fire'-symbolism in example 23 here is seen in the form of the 'velour' (or what it is) curtain at the feet of the man to the right. The circular form is seen at the woman with the hand = 5 fingers to the right.
Example 8 - TEQ #590 = Ritratto d'uomo
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The portrait exhibits two important aspects: 1) It is man-on-wagon as seen from the sidewalk whereonto his wagon slams and lifts up. He has the normal beard but the spectacles are here probably in the form of the 5-6 necklace windings which probably tell of the main phonological features - these necklace windings here probably serve as 'spectacles', curving the light. There is an extensional-phonological irregularity in the glove - the boy who pulls the wagon is out of the scene when this happens and the pulling mechanism is 'irregular' and irrational. The irrational elevation mechanism (imagined to be) under the board could include this glove. It is irregular phonology - hence 'neasure' rather than e.g. 'nature' (or, say, 'measure'). The church texts probably include the rosary that he holds in his hand. 2) The man is probably seeing himself through the eyes of his female lover - who thereby sees a man she is with - and hence it appears to himself when he sees through her eyes that he is with a man (himself). But that does not mean that he is 'gay'. But it could mean that he sees the scene from the other side - as in photo 12 from the Danube Island. 3) The 'magical' London appears from the isomorphy of the artwork with the map of England - and then the elevation mechanism is around London.
Example 9 - TEQ #591 = Sacra conversazione
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The lines apply to the persons from right to left, with the Lamb as the first line, and the association (as by Giusto) of light and water (here of the baptist) is recognized in the mention of the daguerrotypes. The man with the scrutinizing look and variant of crucifix symbol is the second last line and the woman who looks at you may think of a 'douche'. See the discussion under 'Shijing' below of this artwork relative to the two 'ex nihilo' formations: In the present case the 'douche' of the woman to the left tells of the 'naked' aspects of the chin of the man (considered a 'philosopher' - see 'Palma and Fatima').
Example 10 - TEQ #592 = Sacra conversazione con un committente
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The lines apply linewise to the persons from right to left. The man in black is exactly the opposite of Jesus, while Jesus tells "for his birde o'nine". The woman to the far left is 'My Name and Title'. Interestingly, the Madonna seems to educate Jesus with telling of the kneeling man "It's exactly for the milk, drink and masquerade" - which could echo TEQ #406 (book 7) with the line "in the drink, fool and masquerade" - which I in this article recognized as the function 7 assignment to Delacroix's Liberty leading the people from the french revolution. This artwork of Palma seems to be a paraphrase on the concept of 'hourglass' whereby the two women and men are the upper and lower C and V while the constriction inbetween is filled with the D and G: The horizontal extension of the G in my semiotic model is here even emphasized with the horizontally extended arm of the Madonna, which suggests that Jesus is the Diffuse-Compact feature.
Example 11 - TEQ #593 = Adorazione dei pastori con una committente
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One reads from left to right, and the basket form seems to be called 'Sedocia':
The turf is in the interest of the cow and has its counterpoint in the vegetation hanging over the bird in the window above - this bird clearly is a counterpoint to the woman to the left - in the 'hvem is the hvem' = 'who is the who'. 'Das Hetwerk der Behierbare' is then the landscape under and behind the bird - in fact it looks on the better resolution - from which this screenshot detail is extracted - like the roof of a building next to a heaven-pointing formation - which is the cow next to the woman. The following two lines tell of the wall underneath and the hole in it (missing brick). If 'Sedocia' is the basket form under Jesus, it has a formal representation in the brick wall behind them. The relief on the wall shows a kneeling person (like the shepherd to the right - cp. the group of angels above him) surrounded by a group of people (dealing with laws?). This relief corresponds to the Jesus child. Josef knows while the plastic spend is the opening just to the right of his head, ek-spend-ing with leaves out in the air over the 'afternet' foliage underneath. The relation between the inside and outside this opening could suggest a 'turning of the features' which finally could be recognized in the circular form on the shepherd's hip. It may be that the text so to speak tells the opposite of what is in the artwork. It is the wall structure behind which is the reference in the poem - and it is possible that the turning of the phonological features will turn the wall structure into a reference to the people in the foreground. The people constitute a formal right pyramide angle with top in Josef (nearly stage 2?) - could be as one half of the hourglass form, in which case the other half could be in the wall behind - in which case the formal relief on the wall would be in the articulating constriction.
Example 12 - TEQ #594 -
The poem seems to refer to 1) Martyrdom of San Pietro in the first half and 2) Rachel and Jacob in the second
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Notice the extension from the previous example - the apparent cow head in the air above, under the divine revelation above it - and see the obvious parallel in the volcanic eruption in Iceland with its deep historic echos.
This artwork seems not to be about phonological features but about neural fissures - and, as goes the hypothesis here, it is assumed to be the turning point from phonological features in the first half of the series 1-23 into neural fissures - or, say, 'ontological compartments' - in the second half: This could lend to the second half of the series of examples 1-23 the role of the ontology in the semiotic-linguistic nucleus and the first half the semantic-phonological role. It shows the martyrdom of San Pietro by a knife into his 'Rolandic fissure' = 'central sulcus' that divides the frontal and parietal lobes approximately mid brain. Just in front of this is the motoric centre of the frontal lobe with artwork 1) and just behind it is the sensory centre of the parietal lobe with artwork 2). The regions of the cortical map are the following - motoric to the left and sensory to the right:
The root of my observations of a parallelism to my poem is in the line "foot for holding the collective consciousness" which I recognize in the knee-protection of the assassin to the left - it looks like a big hand gripping around his knee. From there I map the above cortical regions onto the lines of my poem by the logic that the two assassins are out for pirating the motoric capacities of the lefthand monk while the sensory flees to the right - as an interpretation of the split of the neural matters by the knife along his Rolandic fissure. To what extent the following mapping really is relevant could be a matter of dispute but it looks like a sensible rough sketch for an interpretation:
The second half is the one under example 16 - and indeed it must be observed that the poem TEQ #598 applies equally well to the present 'Martyrdom of San Pietro' as it does to 'Rachel and Jacob'. This means that one can organize each of these artworks to apply to the present TEQ #594 and then the other applies to TEQ #598.
This looks like a sensible attempt for understanding Palma's artwork. The two dominican monks ('penguins') are split with the knife of the assassins - who are out for pirating his personal motoric identity - here to the left while the sensory identity flees to the right - while the sensation of his hands seem to be felt by the burdened conscience of the hand of the assassin to the left. The heavens open above for the saint with a re-integration of the split into the circular crown held by the angels. This interpretation of the poem relative to the artworks may illustrate the concept of cortical fissures instead of phonological features.
Example 13 - TEQ #595 = Adoration of the magi in the presence of St.Helen
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The first half of the poem applies to the upper half of the artwork (including quote from 'Birds to Saladin') and the second half to the lower. In the second half the lines apply from right to left: The negro gives it up for the night to get in immediate contact with the Jesus child, the radiation of the inner light. The second man needs to have the obstacle removed for getting closer to the child - the 'title' could be the formal object he holds himself. The third man is close to the 'sun'. St.Helen is holding the cross which it is all about - and which the composition of the whole artwork is about. The Jesus child touches the man's beard which can be seen as 'scanned' in the form of the white textile on his shoulders and back. The Madonna holds the child in a way which perhaps is represented in the following line, while Josef with the last line 'ska vi li te tranpete' seems to be an instantiation of the turning of the phonological features:
ska vi li te tra npete
aiz uf av ak aun aupag
a/I show of a cow no[w] page
His hand shows and nearly touches the cow which now is the 'page', the boy who reaches his hand towards the beard of the man. For this role of the 'holy cow', see also DDS III:39: It is the space over the cow which is the real theme of the poem relative to the artwork. This space could perhaps be called 'Shong-Gong' - or 'pole over pole' as DDS III:39 could take it. 'Space over space' it could be called.
See also below under 'Shijing' - the role of the ex nihilo piece of matter which I call 'the philosopher' (also with a certain 'Ganesh' taint?): In the comparison with Gaspare Diziani's artwork in the Apostoli church in Venice - with its apparent relevance for the third secret of Fatima - it is seen that the Jesus child corresponds to a cross in the chin of the 'philosopher', while the Möbius strip or '8' form is recognized in the turning head and shoulders of the saint. The same seems to appear in the present artwork but 'lateralized' - the cross is easily seen and the rearing horse tells of the '8' or Möbius form. It is seen from the side and the one eye is the circular window form in the upper part.
Is there a corresponding 'lapis philosophorum' in the mirror to example 13 - that is, in example 11? It is certainly possible to see the outlines of this in the foregrounding group - towards which the kneeling shepherd is inclining.
Example 14 - TEQ #596 = Christ and the adulteress
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Notice the similarities of roles with example 6 - not the least with the 5-0 gesture as in example 18 - then one can twice read lines against persons from left to right.
The first lines could also be telling of how she conceives of it - and point to the phenomenon of 3/7 which in the artwork is the nature of the black half of the upper body of Christ - whereby the 3/7 comes at the topmost point of this black surface - which is just under the ear of Christ - and 4/7 which is at the point where his garment could be touching hers:
The exact top point of the black surface is not very exact - it could be subject to 'Then they remove and [re]arrange till they've got that point / to establish'.
In my handwritten manuscript it is indicated that 'Political Resource Machine' maybe should be understood as 'PRM' - which could be an aspect of this artwork in terms of the idea of what adultery is for - it serves as a 'Political Resource Machine' = 'PRM' for the society:
The slanting line of the 'R' goes from the point 3/7 to the point 4/7 = 3/7 from the other side.
The black of Christ's jacket and the white of the woman's chest - that could make for the arbitrary factor in the thresholding of colour to black-and-white. There are traces of it in the poem: No I hadn't. Yes I have.
There are also traces in the artwork of the theme of Salome and the baptist's head, such as in Caravaggio's works, but then with the gender roles turned. Caravaggio has two versions of the theme: This work and this work. See this file for correlates in my 'Der Dornenstrauch' - such as DDS III:22 which could suggest that San Giorgio in example 18 could feel the female saint as a 'Beschwerde' on his back.
Example 15 - TEQ #597 = Sacra conversazione
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The Jesus child shows two fingers towards the baptist, whose scroll (film) exhibits the characteristic curl of a (sanskrit) devanagari sign for '2'. That is the dialogue with the child. The scroll is a film with written symbols - like with that feather (love-projector) the woman is holding in her hand. This feather (love-projector) seems to be 'gathing the morning, toshing the map/man' when it writes on the shoulder of the Jesus child. (See the obvious similarities in this with thesholded photo #3 turned upside down, although mirrored horizontally). On her own shoulder there are also 2 'films', separated by a curl, see also the films and curls above her head, and the structure of these other two elements, tells the poem, is the reason. Hence the signature to the poem is Lisbeth Lie who aliases 'Ammenburg' who could be seen as the custody mother. It is 'holy text' which is the theme of this artwork - here it could mean the text written on the 'map' of the 'man' Jesus, on his body, which is the church.
Devanagari '1' = १
Devanagari '2' = २
Does the scroll resemble '1' or '2'? Could be both - and hence the fundamental theorem of linguistics applies for its basic nucleus.
If this should apply to Palma's artwork, it could mean that the two women (with 'alias') are the two metaphysical units while the man with the scroll is the ontology - the paper artifact itself - and Jesus is the semantics to it - the holy text, which here perhaps can be conceived as a text without humbug semantics, that is, with sheer equi-probability which can be seen as artistically present by the 2 = equal fingers of the 'semantic' child pointing towards the 'labelled' referent. Assuming that the arbitrary value 'z' applies to the lefthand woman, it is represented by the 'structure of the other two elements' above her head - and hence it resembles the arbitrarity of the ontology: The curling 'scroll' above her head has the same colour as the feather and the cloud resembles the scroll. Hence the medium for the information storage could resemble a 'hard drive' of type 'HDEE BLAFF'? It is seen that the leg of Jesus - that which the Madonna holds around - resembles the curling scroll - that which makes it resemble both '1' and '2' numerals.
The details in this semiotic format can be seen as outlined in the chapter 'The submorphemic sign reconsidered' (volume 3 pages 82-85), notably the essential observation on page 84:
When, however, the interdependency between social and perceptual features is dissolved (or attenuated) as the space falls apart, the result is that
1) social features are relegated to dialogue, while
2) sensorially perceptual features are relegated to reference
This surfaces in the simultaneous appearance of an enhanced capacity for dialogue and for referential labelling, as these become independent.
It is likely that it is this 'dialogue' which my poem TEQ #597 refers to. Considering the mirror structure of the examples discussed towards the end of this study, by the discussion under 'Shijing' below there is in example 9 the apparent reference to two apparently ex nihilo pieces of matter - the 'philosopher' and the 'lapis philosophorum'. Taking example 15 to be about non-humbug semantics, it can be speculated that such ex nihilo matter is a case of non-humbug reference from the 'holy text', the Jesus child. It could be a potentially 'protestant' (or would it be 'anglican?) idea that such ex nihilo matter of this kind could be seen as springing out from the 'holy text' as a sort of 'holy matter' (cp. the point of touch between the clothings of the adulterress and Jesus in example 14). This seems not to be a matter of symmetry across the time axis but rather an indeterminacy across the frequency axis - there where one finds the above phonological paradox of the high/non-high Vocalism. It is seen that even example 15 presents forms needed to observe the outlines of the two ex nihilo pieces - like the example 9. The 'indeterminacy' has a reflex in 'the 'irregularities' discussed over the pages 67-85 - phonological irregularity in example 13, extensional irregularity in example 14 and social irregularity in the present example 15. Would 'attachment' be equivalent to the 'stringhook' paradox - here by the pointing child?
Example 16 - TEQ #598 = Jacob and Rachel
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The poem reads from the mid leftwards, ending in the Schwarzwald beyond the sitting man. A mirror movement from the mid rightwards can possibly be seen.
The poem could also apply to the same artwork as was discussed under example 12 above.
Example 17 - TEQ #599 = Madonna, child, St.Jerome, St.Peter, donor
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This poem reads the artwork from right to left. The chicken turn and chicken umbrella would be the two bookmarks extending up from the book. The 'flame' is then apparently the person sitting at the foot of the tree to the left.
In an initial assignment to this poem I considered example 23 by the role of the apparent 'flame' (textile) at the foot of the man to the left. A 'Rolandic' schism in the neural brain is seen in the corona of the background tree.
Example 18 - TEQ #600 = San Giorgio and female saint
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The artwork seems to tell of San Giorgio touching with his 5 fingers the round medal or object on his black armour shoulder - it is 'a five-oh thing'. The female saint behind him (it isnt her thigh that protrudes in red - as if she is riding him?) shows her fingers somewhat like Christ to the adulteress, who again covers her chest with a symbol resembling the round medal of San Giorgio. It seems to be the black armour which has a correlate in Christ's half jacket.
Hence the two images constitute a sort of symmetric format. I add that 'landet' can be norwegian for 'the countryside' - seen in the background of San Giorgio - and also for 'the country' wherein the political resources are allotted.
This artwork constitutes the other half to example 14 with the black field on the canvas: The order of male and female are the same but the symbolism of 5 fingers onto the circular symbol is swapped, which means that the paradox of high/non-high Vocalism (Hyman) discussed above seems to be 'solved' by the re-unification of the motoric with the sensory system in example 23.
It is seen that it is the paradoxical format of the phonological feature valuations that creates this split and reunification in what can be seen as a black-and-white formalism (cp. the dominican 'penguins' of example 12). It is the black-and-white formalism that is seen in the lower righthand part of example 23 - the white stairs and the black hole under it - as the counterpart to the 'Flame' of example 17.
Example 19 - TEQ #601 = Portrait of Paula Priuli
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The 'stamp' is the patterns on her dress, with the 'beard' being the line across her chest and the 'birds' the corresponding ones over her shoulders.
I initially considered example 6 (Lazarus) due to the 'stamp' of the cranium at the bottom line and the corresponding big form on top.
Example 20 - TEQ #602 = Holy family with female saint and St.Francis of Assisi
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The poem reads the artwork from right to left, starting with the apparent clot of spit ('phew!') in the upper righthand corner. Are the (stolen) taxis related to the gear on top of Jesus's head? The twice unfolding letter is recognized in the opened book, and the right-left reading ends in the blue colours to the left. Notice the leftwards shift of onsets - with the first onset moved to the end, such as 'Of who and mappen Baysi [t]ame, page was sent to Lerry/Harry'. It seems that the whole poem can be read this way, and the story thereby told seems to have gone through in the context of the solution of the problems in this article. (See also this story).
Whatever the reason, one could see the series of people in Palma's artwork as shifting leftwards - untill the leftmost could leap rightwards to the end.
The poem contains 23 lines, like TEQ #587 for the bathing nymphs.
Example 21 - TEQ #603 = Madonna with child, Saint Catherine and John the baptist
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The 'final egg' is likely to be the 'lapis philosophorum' which I myself developed in 2014. It is here shown as it meets the artwork of Palma:
Notice that the righthand curve follows the landscape in the background and thereby attains mirror symmetry about the slanting black line - the lapis itself goes down along the head of the baptist. The leftside curve runs across the head of the Madonna - which thereby is 'not included'. This is the second line - she is only playing it, tells the Jesus child in the role of the naked dancing ('playing') woman on the lapis, at the cheek of the sleeping eagle/lamb: One sees the naked woman but her head is not apparent. Saint Catherine seems to be the third line as she looks down along the fixed poetics - across the fluttering film of the baptist to the apparent Bible she holds in her hand. The fourth line is apparently the baptist and the text is what follows. There are two lines of mirror symmetry - the righthand one is about the baptist's text while the lefthand one will be the Jesus child as the text itself.
The following lines seem to apply to what is about this lapis format: The crux of the baptist is a record in the 'waist of time' format, which means probably the valuations in the split of the 'phonological features' as discussed in example 15 above - on the phonological irregularity. The comparable 'struggle' between the Madonna and the Jesus child will then pertain to 'social irregularity' - which means that St.Catherine in the middle tells of extensional irregularity - which in the present context could mean the Bible as exceptional in the sense of being a holy text of non-humbug semantic character.
The clouds tell of what is wanted - see also photo #8 from the Danube Island - the obvious relevance - but with the cross on the lefthand side. The last lines of my poem seem to be about that sculpture above their heads, apparently a part of photo #8. It is noticed that photo #8 exhibits certain similarities also with the beard of the 'philosopher' - the ex nihilo formation. Leiria was the location of the deposit of the third secret of Fatima.
Example 22 - TEQ #604 = Madonna with child, Mary Magdalene and John the baptist
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Turquoise is the colour of the sky, the mountains and Magdalene's dress, while the Madonna's skirt could be called 'dark turquoise', like the signature. Hence it could be about the colour perception. The area between Magdalene's hands where the hands of Jesus are could meet the description of the frequency-based Diffuse/Compact = 'concentration of energy in a single point of the frequency scale'. In comparison, the time-based feature Constonantal is found in the searching look of the baptist in example 21, while the two mirror structures on the lapis are telling of the Vocalic feature therein. The Grave/Acute opposition would now be found in the difference between the dark and the light turquoise colour. See the difference discussed in the introduction between colour and black-and-white photography.
The first 4-5 lines are probably about the 'other realities' when the motoric-logical splits off from the sensory - and coming back again one finds the sensory peanuts. The following line ("I would prefer that you prefer to keep the way stright away") is logical-motoric, while the next is a quasi quote from Hans-Henrik Holm ('Hard-røynd frå havland og dalsógur') which here seems to apply to the turquoise landscape in the background - cp. the text in the hand of the baptist. 'Hands Hand-rich Holding' is of course also a precise description of the hands of Jesus and Magdalene.
It is seen that examples 21-22 are symmetric and meet in the next.
Example 23 - TEQ #605 = Visitazione
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The riverrun is in the winding road of the upper left, the return from Mars is in the surroundings of the two women - the return means the re-unification after the motoric-logical split off from the sensory. What is somewhat impressive is the flames that rise from the feet of the man to the left and under the leftmost woman - it burns up, or even more. The revelation is found in the thresholding of the stairway and the black underchannel to the right - by the man whose light area between the feet resembles the white beard as a counterpoint to the 'flames' between the feet of the two leftmost people. Hence the green between the feet of the righthand woman corresponds to her green 'beard'. It is noticed that none of the eyes meet - they are looking at some other reality (Mars?) - hence 'no true news'.
In the background is seen a tree the corona of which is divided like the brain of San Pietro with the Rolandic fissure.
These were the last words I wrote in the 2nd millenium. It marks the end of the chapter SOLAWBAR...
Part 3: The theory relative to the art
A summary of the examples
Enumeration 13-23 co-indexes mirror examples 1-11 for the hypothetical phonology-ontology opposition and formal grammar structures:
Example 1 - The linguistic nucleus - metaphysics of Madonna and Jesus collapses to diachronic-observable historic world in the eyes, and the semantics in Santa Lucia
Example 2 - In the same artwork, San Giorgio as the synchrony
Example 3 - Adam
Example 4 - Eve: Adam & Eve = 3-4 are the same as 1-2 but Madonna + Child = snake
Example 5 - Hourglass structure over features
Example 6 - Hourglass structure over features
Example 7 - Hourglass structure over features
Example 8 - Man on wagon
Example 9 - Hourglass structure over features
Example 10 - Hourglass structure over features
Example 11 - Hourglass structure over features - turning of features
Example 12 - The neural fissure divides the motoric-logical from the sensory
Example 13 cp. 11 - Lateralized adoration image - turning features (the cow)
Example 14 cp. 10 - Christ and adulteress, black field PRM
Example 15 cp. 9 - Baptist to the left vs ex.9 = to the right Cp. ex. 1 = beginning
Example 16 cp. 8 - Cp. ex 12
Example 17 cp. 7 - Example23 = reunification cognitive
Example 18 cp. 6 - A 5-0 structure - cp. black of ex.14 and Lazarus = ex.6 with 5-0 structure
Example 19 cp. 5 - Lazarus = ex.6
Example 20 cp. 4 - the 23 lines = ex.5 = bathing nymphs = generative phrase structure grammar?
Example 21 cp. 3 - Reunification after neural fissure - but here Adam = Baptist is to the right
Example 22 cp. 2 - Motoric-logical vs sensory
Example 23 cp. 1 - Reunification of motoric-logical and sensory
These can be summed up somewhat like this:
The high/non-high Vocalism is a paradox which creates logical antinomies contained in the grammatical categories. The structure above shows how this is solved cognitively - when the paradox is lifted from phonological features of the first half into (as goes the theory here) neural fissures ('ontological compartmentations') in the second half and the features are turned around on one side and reunified - preserving logical consistency.
(For the idea that the artworks 13-19 really are about distinctions in neural or 'ontological' matter, I point to example 21 which seems to suggest that the baptist to the right has come in contact with a(n invisible) metaphysical presence to the left and even could feel the tug of somebody behind the maya wall - but Saint Catherine inbetween seems to be realistic and could suggest that 'it probably is something about the Bible'. It could have something to do with a neural compartment of some sort? It is possible that the second half of the series could be of this kind).
There is an essential turning of some phonological features in example 11 and in example 13: This suggests that the purpose of the scheme is to solve the paradoxical nature of the high/non-high Vocalism (Hyman) - when these are turned the inner and the outer should be commensurable and not paradoxical - by shifting from symbolic phonology (features) to neural matter (fissures) - here by the motoric-logical set off from the sensory. (As a puzzling observation, I refer to this detail in photo 22 turned upside-down - it seems to suggest the 'motoric-logical' in terms of a wrinkled forehead vs. something sensory at a distance).
It is likely that the first half of this summary scheme tells of the vertical hourglass and the second tells of the horizontal - as outlined in part 1 - and these are unified in the last #23 'Visitazione' like they were split in the first #1 between diachrony and synchrony. Hence the whole story told in this series of 23 examples amounts to what goes on inside the point of intersection between time and frequency, diachrony and synchrony etc.
The two hourglasses will look the same but there will be a small difference in the middle of the structure - the one has its information flux vertically and the other horizontally. The small difference could be called 'indeterminacy' while a 'mirror' parametre obtains to the upper and lower part of the hourglass for the vertical one.
It is assumed that vertical and horizontal hourglasses look 'the same' in outline structure but the information flux goes differently through them. Therefore these two hourglasses will behave in parallel from 1 to 23 but the interpretation will shift from the first to the second half.
The relation will obtain between the horizontal hourglass as it converts into two parallel axes which give shape to the probabilistically logical basis which again converts into the vertical hourglass by the stringhook function:
It seems that the series of examples 1-23 can be interpreted as a slow move of the righthand parenthesis across the lefthand over onto the other side - according to the principles outlined in part 1. Furthermore, it seems that this can be done either way - and it is likely that the one way is the vertical hourglass and the other is the horizontal - and that these are prominent in each of the two halves of the series.
I refer to this overview of 'stages' and formal grammars (in the introduction).
It is natural to associate stage 2 with a regular grammar since it has the condition G=D as the rightmost element, and stage 1 associates with a context-free phrase structure grammar with its categorial value D in the mid. Then stage 3 would correspond to an unrestricted grammar.
The arm of San Giorgio in example 1 extends leftwards - like the arm of Adam in example 3-4, albeit a little closer to Eve - and there are reasons to observe the following structure in the series of examples 1-23:
Example 1 = stage 3
Example 12 = stage 2
Example 23 = stage 1
However, as discussed under example 1, there are other reasons to recognize this as a stage 1 form - that is when San Giorgio is set aside as 'synchronic' and stage 1 obtains only across the rest of the scene. The same obtains for example 23 - that it can be taken to be a stage 3. Hence one can conjecture that the two series 1-23 glide from stage 1 in example 1 to stage 3 in example 23 - and that it also glides from stage 3 in example 1 to stage 1 in example 23. In either case will it pass across example 12 as a stage 2 form. That makes also sense when it is the only place when V=C and G=D - that is, when a concentration of energy in one singular point on the time axis of speech (typically plosives and similar consonants) also is Vocalic - that is, has the same amount of energy in two equal halves around this mid point. That amounts to the Rolandic fissure in Palma's artwork. See how the assassins try to imitate the victim - thereby lending weight to this analysis:
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See also example 16 - with the line in TEQ #598 'chiefly defined bananas to staunch themselves'. This stage is also the point where the slanting line C-D (of grammatical memory) coincides with the dotted line V-G which means that the linguistic connection between metaphysical state 1 = C attaches to the ontological referent D in the same way as two probabilistically dependent elements in the fundamental theorem of logic - that is, on the border between performance and competence in Chomsky's conception - where a pushdown automaton is empirically equivalent with a context-free phrase structure grammar.
As the righthand parenthesis in example 1-2 starts gliding leftwards, it shifts into example 3-4 wherein Eve approaches Adam for offering him an apple, while the Madonna+Jesus in example 1-2 are turned into the snake from the tree above in example 3-4. The lefthand parenthesis in example 2 - that is the lefthand part of the artwork - includes a V below and a V above - these seem to be recognized as the dragon or fish at San Giorgio's feet and the thresholded column and banner above his head.
It is the conversion of the phonological features in example 11 and example 13 which explains why example 12 = stage 2 since this is where V=C and, if one likes, G=D. Since examples 11 and 13 are just before and after stage 2, it is interesting to notice in example 11 the small distance between Josef's head and the opening in the wall behind him, corresponding to a small distance between the leftmost woman and the cow.
For the case of example 23 = stage 1, see the discussion below at the 23 photos.
Hence it is likely that the series 1-23 tells how stage 1 shifts or glides back into stage 3 - and hence the series in total outlines also the internal structure in the relation between the four Chomskyan grammar types. It is also possible to view the series as a description of the constitutive details of human memory in formal grammars - that is, how a righthand parenthesis is matched with a lefthand, such as is accomplished by a regular grammar (here assumed to be stage 2) when it is equipped with memory and thereby turns into a pushdown automaton - real-world computationally equivalent to a context-free phrase structure grammar (here assumed to be stage 1) - that is when the 'memory' is the same as having the righthand parenthesis to the left of the lefthand one. It means a study of how history relates to eternity - that is, the details in the truth function of the logic without negation.
(A comment in parentheses: Nazism under its swastika logo may have developed as a reactionary countermovement to this for the purpose of retaining negation in logic by way of terror and warfare).
See also below (the section 'The two petrification points and the Madonna of Guadalupe') on how example 10 relates to example 14 like the left and right eyes of the Madonna. In her eye the sitting man is leftmost while in Palma's artwork (possibly created not long before the same year 1531 - Palma died in 1528 but the artwork is dated to 1525-1535 which probably means that somebody else could have completed it) there is a man to his left - who probably can be seen as having been shifted over by a 'cognitive movement' - cp. also example 20. In example 10 the sitting baptist (with curved back) constitutes a lefthand parenthesis while the Madonna is touching the head of the man in black like in that lefthand part of stage 3 (the 'touch' represented by the dotted line) - while the woman to the right constitutes that righthand parenthesis gliding rightwards.
As an example of how both directions can apply I take example 20 - the one 4 elements from the end form and the one 4 elements from the beginning:
The phrase structure grammar and the unrestricted grammar will distribute symmetrically around the mid point in the above scheme of the summary of the 23 examples.
Some of Palma's paintings seem to exhibit the principles quite remarkably without going easily into the present discussion of 23 examples relative to my poems. One of these is the holy family with Saint Catherine which clearly looks like the 'stringhook paradox' (CFPSG) with the Jesus child as the red arrow:
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Another example is a 'sacra conversazione con donatori' which is quite suggestive of stage 3 - the unrestricted grammar:
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The combination of these two can in fact be observed in example 6 Lazarus - whereby it can be suggested that the mystery of Lazarus' return to life could have been tentatively explained in terms of a conversion of the D into the G as the semantic contents of the big face:
Summary: The scheme is symmetric and spans context-free phrase structure grammar in example 1 through regular grammar in example 12 onto unrestricted grammar in example 23. However, this directionality seems also to go the opposite way, but then it is hypothesized that vertical and horizonal hourglasses are interchanged - which is likely to be consonant with the second patent from the patent bureau of my "And hang under the Justcan keys". If so, the scheme would provide a principled explanation to 1) human grammatical memory of parentheses and 2) what exactly are the details in the intersection point between paradigm and syntagm, synchrony and diachrony, time and frequency. The present hypothesis with the data from Palma leads to the assumption of a possibly non-discrete scale across the grammar types as the secret of what is found inside that single intersection point. That could also be consonant with the minimalist program of finding the relation between phonetic and logical form. Clearly for these considerations to be interesting there will have to be strong constraints put upon the recorded occurrences of the features - such as if one needs to find that C is equal to V in some absolute measure and that this 'sameness' somehow must reduce to the value of the D - possibly even that the factual difference (rather than sameness) between C and V must exhihit a relevance for the value of G. These are empirical matters which are outside the scope of this article - and outside the scope of my practical possibilities.
It is seen that a non-discrete (in contrast to a discrete) scale across grammar types is related somehow to that little point of indeterminacy when the stringhook does not reach the 'D' for the isomorphy with the fundamental theorem of linguistics.
Since the unrestricted grammar is the same as a Turing machine as far as computational capacity is concerned, it follows that there could be prospects for an even higher computational capacity if the axis of formal grammars is not discrete but continuous. The complexity could be even higher if the definition of the numeral semantics is included into the computations. There could even be some reasons to recognize the first half (phonological?) of the series 1-23 as related to numerical cardinality vs the second half ('ontological'?) as ordinality - cp. the (Kangxi) radical system of the chinese script. If, furthermore, the series 1-23 constitutes a counterpoint to the ontological-linguistic axis of the semiotic nucleus, the entire format could - via the (transcendent and immanent) arbitrarity factor - open for a re-construction of the integrity of the original metaphysical states potentially beyond the scope of the human reality. That is when the computer can come to reach computability on what is beyond the human reality.
The transcendent arbitrarity factor is assumed to be out of reach for human reasoning - and hence could count as an 'indeterminacy' factor. A speculation could postulate that this nevertheless will leave traces in terms of an 'indeterminacy' factor in the gap of the 'D' in the difference between vertical and horizonal hourglasses - or the 'stringhook' arrow considered a vector (see TEQ #1611). See the section on the 23 arbitrary photos for ideas on how these could apply for converging on a transcendent arbitrarity factor.
The advantage for grammatical and logical theory which this could imply is that it can be possible to study the details in the stringhook formation relative to these potentially extra-human realities and implement them into e.g. computer programming. They will likely constitute a sort of constellation of stars.
Two of the poems - example 5 = TEQ #587 and example 20 = TEQ #602 - contain both exactly 23 lines and there are some reasons to see each of these as referring to the 23 artworks. For the second of these I take self-referentiality of example 20 itself as point of departure. The self-referentiality (the book shown to the female saint) tells that it unfolds twice - which here means both ways: The 23 lines of the poem applies both ways from this anchorpoint of example 20.
TEQ #602
| 13 | 4 | ...and sun's like a 'phew!', |
| 12 | 5 | the double-E beyond deterring the. |
| 11 | 6 | From Bergen and Albania, a short release |
| 10 | 7 | - normally haspin'. |
| 9 | 8 | We made a singing song over the vocabular, |
| 8 | 9 | of two and happen may be the same as |
| 7 | 10 | Lagua Pentel Zerry. |
| 6 | 11 | The presidents are talking with the (stolen) taxis |
| 5 | 12 | in newspaper: Ball and Evinia. |
| 4 | 13 | Cook has sailed a ship on the sea, |
| 3 | 14 | have so many application, |
| 2 | 15 | Grover, |
| 1 | 16 | and it's Chimsberg just around the corner. |
| 23 | 17 | On a Manhattan Transfer comes to us a leisure problem. |
| 22 | 18 | Trafikkman unshining with UNITAMO |
| 21 | 19 | till we have et surround. |
| 20 | 20 | The letter I unfold fold twice, |
| 19 | 21 | a new one for the weeks of Sunday. |
| 18 | 22 | But rayin' cunni the: |
| 17 | 23 | What is this collection? |
| 16 | 1 | I [...] my article well, and the ensickel in the |
| 15 | 2 | - and in the local society they've got all application |
| 14 | 3 | as in Blue Kenbury Teck Heen. |
The painting shows the theme of moving onsets (heads) leftwards - except for the leftmost which jolts over to the end. Trying this on example 20 it comes out as 'the etter I funfold told lies', which could apply also to example 18. However, it seems that this leftwards shift also applies to a leftwards shift of the parallel to the artworks, such that example 19 applies also to 'Trafikkman unshining with UNITAMO', and then example 18 would be 'on a transhattan camphor homes to us a pressure moblem'. If so, clearly 'Grover' wants to have 'Jacob and Rachel' in example 16 rather than 'the martyrdom of San Pietro', in which case this positioning could lend all to much value to the martyrdom as the turning point of example 12. This could create the illusion of seeing it as favourable that Grover be not allowed to romantic relations in order to prevent a terrorist example 12.
'Save me any haplication' says the Jesus boy to the baptist in example 15 - if photo 3 reads upside-down. Example 14 will tell "suck has shailed a sip on the key" - which could be the woman's problem.
It is seen that the resulting themes are marked by being of a 'low style' which could correspond to a wrong interpretation of example 18 - as if the female saint really were a trans woman raping the drugged St.Giorgio. It is the wrong interpretation, tells this analysis - like shifting indexes on people by partial misrepresentation - also called 'monkey business' which is known to co-occur with terror. Example 19 is properly interpreted as a 'surround', not as a traffic police uniform fetisch. That is also when example 20 tells that the (probably) Bible is a funfolded bunch of lies. Clearly monkey business is not the right thing, tells Palma's artwork. The computer episteme will move forwards by mystic inquiry, with computers being enabled to understand what is beyond the horizon of the human reality - what used to be the field of mystic life. Partial misrepresentation accompanied by terror is the opposite - it is to remain in the logic of negation.
Example 5 - the bathing nymphs - likewise contains 23 lines but the artwork has not this theme of shifting onsets - rather it could look like a circularity or something like that. Example 20 correlates in the theme of monkey business with the terror of example 12 (the martyrdom of St.Giorgio) - which has its alternative in 'Jacob and Rachel' (example 16) which seems to be subject to a division on the mid for reading mid-left and (symmetrically) mid-right.
Taking the title of TEQ #587 as telling of example 8 in the sense of 'man-on-wagon' which goes up (when the wagon lifts up on the curbstone) and example 7 which goes down - for the probably marble stone underneath, one can consider the signature 'Wambleeru' as telling of 'Marbler' - that is, reading from the mid left and then from the mid right - possibly omitting something in the end (the two rightmost nymphs are not in the 'circle' of nymphs). The logic resembles examples 1-2 and 3-4, for which reason one could recognize something like this:
TEQ #587
| 8-7 | Eight [button up]... seven [button down]..... | |
| 6-5 | I have never seen anything more Wasserdicht! | |
| 4 | Partly role to her view: | |
| 3 | Kathy's achie[...] was seriously downed. | |
| 2 | It is sometimes serious when gone early to night. | |
| 1 | At night - he is of[f] with Elis. | |
| 23 | Halljoe continues another night, | = its enough oil for another night |
| 22 | considering | = the snok eri |
| 21 | 15 kilometres depth and 15 metres circumference. | = disputes her theme of liknit fif and 15 metres circumference |
| 20 | Corina considering its own depth | = read enough any rocking its owner / own depth |
| 19 | in accordance with the Blair mystery, | = the Eves need rocking the Blair mystery |
| 18 | considering my own lawn/loan, hap and application. | = no no, I'm afraid its enough hap and application |
| 17 | If the information were running out, | = new shame rough and new key were running out |
| 16 | the could-be complication, | = he betook the complication |
| 15 | the two glass - and the Greek - | = salgo teeth and the greek |
| 14 | hits strangely on the rock | = ill and girts thee honour o' |
| 13 | with Theresa - or | = right in vizor |
| 12 | you have seen from England. | = news way you from angel |
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| 11 | She has fired jellious bit, | = drives he a jellious bit? |
| 10 | illustrates the finy. | = starts early define |
| 9 | No, they haven't really stopped the preparation | = lirtn wisen / stopped the prepare |
| 8 | to the one equality. | = not at equal |
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| 7 | Wambleeru | = Marbler |
Example 21 could be '15' backwards - and indeed it seems that the 'lapis philosophorum' is 2,718... cm long - that is the constant 'e'. Hence the theme of 2,718... Or 'disputes her theme of like a wife'. Example 8 is countering gravity when lifting up on the curb. Example 9 = 'dirty vitsen' - about the lamb? Example 13 is a little impressive. Examples 16 and 12 could swap. Example 23 - they have a little lamp oil left but not so much.
The conclusion is that these two cases - although not all lines are optimal - seem to lend strong support to the idea of a mutual relevance of my 22 poems and the series of artworks of Palma.
Is there a systematic relation between the 23 examples and the 23 black-and-white photos from the Danube Island? There could be several principles of ordering. It was the relevance of photo #9 with Palma's 'Lazarus' = example #6 which made me search for alternatives. I noticed one such correlation starting with example 8 = 'man-on-wagon' which should be photo #12 - there is a certain logic in applying these with intervals of 2, such that example 9 = photo 14, example 10 = photo 16 etc. That would also land Lazarus in example 19 on photo #9.
Example
Photo
1-2
18-19
3-4
21-23
5
2-4
6
6-8
7
10
8
12
9
14
10
16
11
18
12
20
13
22
14
1
15
3
16
5
17-18
7
19
9
20
11
21
13
22
15
23
17
Discussion of some important correlations:
Example 4 (Eve) = photo #23. If photo #23 is turned upside-down it is easy to see how it can represent the essential 'stringhook' paradox - also in relation to Palma's 'Visitazione' which is example 23:
This shows also the genitalia symbolism in Palma's painting - the tunnel underneath, the stairs and the tunnel-corridor with the worker inside over the stairs - hence the sickle and hammer symbolism in photo #21 for Adam (the worker inside the tunnel) in example 3-4.
Example 5 is aligned with photo #2 and photo #4. Photo #2 could be seen as interpreting the 2 nymphs to the right (Symmetry and Indeterminacy?) with a trunk to the left of them - and up and to the left of this trunk there is a male face seen between the branches - that is the face up left in photo #2 and the big face in photo #4. The group of 2 to the right in Palma's painting is not really a part of the semiotic sign with C-V-D-G to the left.
Example 7 is aligned with photo #10. One sees the outlines of the face of the man in black and a face to the right of the black trunk in the middle. This black trunk is clearly the Madonna and the Jesus child.
Example 8 is aligned with photo #12 - an obvious connection via the 'man-on-wagon' phenomenon. The wagon is to the left of photo 12, then there is the boy with the lifted hand/finger - next follows the spectator (from the lefthand side of the street) and an imaginary spectator coming up the street the other way.
Example 9 is aligned with photo #14 - see discussion above (under 'Palma and Fatima') whereby one could recognize the philosopher in the 'smoking foetus' to the left and the 'lapis philosophorum' in the cloud to the right.
Example 10 is aligned with photo #16 - one sees the wooden violin up left, and the dove will be above the head of Jesus in the context of the baptist to the left. The tagged wheel down right is present in both images.
Example 11 is aligned with photo #18 - the grabbing hand in the lower part of photo 18 must be the black field next to the basket - it resembles the black field under the Madonna's arm in example 10. The example is a case of symmetry with the background structure - and then the correlate is the square black field around the head of Josef. In my poem that is called 'had to be so very plastic spend' - which could be that body that twists around the trunk in photo #18 for reaching its arm around and forth.
Example 12 is aligned with photo #20 - the curve down to the head of the lower right head is obvious - the upper righthand head is fleeing.
Example 13 is aligned with photo #22 - it can be noticed that when photo 22 is turned upside down there is the woman with the wrinkled forehead - and indeed it can be said that the building facade in example 13 looks like a very 'wrinkled forehead'.
Example 14 is aligned with photo #1 - one recognizes a number of faces in photo 1, including the cat on the helicopter, which could be the adulteress. There could be a Gestalt-switch (young/older woman) in photo 1 - on the righthand side a little below the mid.
Example 15 is aligned with photo #3. The photo 3 upside-down is seen in example 15 in terms of Jesus pointing towards the woman with a 'feather' over his finger. This part of the image would then have been mirrored.
Example 16 is aligned with photo #5 - it is easy to see the head of the martyr in photo 5.
Example 17-18 is aligned with photo #7 - if the semiotic arrow and the triangle on the righthand side is shifted leftwards, the semiotic arrow would perhaps constitute the lightbeam that goes through the eyes of the man to the left - seen to the left in photo 7. This would turn the gender on the 'birds' in the mid. This turning of the genders can be seen in example 18 - for those two birds in photo 7.
Example 19 is aligned with photo #9 - the Lazarus theme of example 19 contains a circular form in the big 'face' and gender groups meeting in the forest - like the 'orgy' in photo 9.
Example 20 is aligned with photo #11 - photo 11 looks like the basic schoolboy toilet graffiti and could be seen as relevant to the bathing nymphs as such
Example 21 is aligned with photo #13 - it is possible to recognize elements even here.
Example 22 is aligned with photo #15 - the reaching hands of Jesus could resemble the slanting 'chair' in photo 15.
Example 23 is aligned with photo #17 - the slanting line in the righthand third of photo 17 could be the significational arrow in the righthand part of example 23. The man who sits in the sofa with his face half covered by the TV screen (photo 17) finds its correlate in the near conflation of the two faces of the two women in the mid of element 23.
The conclusion is that such a mapping by intervals of 2 can be seen to be relevant. I tried a little with intervals of 4 (starting from example 8 = photo #12) and could make some sense out of intervals of 4, albeit emphasizing different aspects. I would guess that one could make sense of interval 8 as well, emphasizing yet other aspects - thereby imitating e.g. the flowgraph of the Fast Fourier Transform.
Part 4: Some further observations
See this idea of mine - of the relevance of the two artworks in Apostoli church in Venice for the Fatima revelation of 1917. The idea is that the first and second secrets told to the children are contained in the artwork of Tiepolo while the third is found in the one of Diziani. Looking from Diziani towards Tiepolo one sees the lightstand which could have been new electric in 1917 - it resembles the Madonna of Fatima with the crown on her head. This of course does not relativize the Fatima apparitions - as if they should have been caused by a new lightbulb in the church. However, one can observe another relevance in example 9 of Palma which lends it a more universalist aspect.
There are two ex nihilo pieces of matter (the philosopher, the lapis philosophorum) which apply with relevance to the two artworks in the church - that is, the axis from Diziani's artwork to Tiepolo's:
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Notice the cross in the philosopher's beard which is the Jesus child in Diziani - while the twisted saint (pointing, turning head etc) would correspond to the Möbius strip form in the philosopher's beard. For Tiepolo's artwork, see volume 4 pages 1277-1278 and this article:
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It can be postulated that if the axis Diziani-Tiepolo in this church is of relevance, this could be related to this phenomenon of ex nihilo 'philosopher-lapis'. A part of the reason why this could seem interesting is that this seems to be present also in Palma example 9 wherein a similar phenomenon appears in these two excerpts:
To this can be added what could be an element shared between Palma and Diziani:
It could be the same as the vertical axis in example 6 - where one also finds such a big face outline.
What this would mean is that between the philosopher and the lapis in Palma's artwork there is the Madonna and the Jesus child - which then should correspond to the lightstand at the doorpost to the chapel in Apostoli church in Venice. That is not so evident - but the Madonna is there and the lightstand is.
Now the two 'ex nihilo' pieces can be recognized in the 'Visitazione':
The man to the right is the philosopher mirrored for turning leftwards, such as the poem Shijing #125 tells of the sun moving towards the east - in the third stanza which tells of the rotation or turning in the picking (or extraction) of the 'rape-turnip'. The word 'turnip' comes (Onions) from latin 'napus' (turnip) which is borrowed (Walde) from greek 'ναπυ'/'σιναπι' = 'mustard'. Wherefrom this comes into greek is apparently unknown but one has guessed on an egyptian origin, according to Frisk. I notice the egyptian for 'to turn back' which could explain the folded white cloth on a staff, the coloured cloth out a window and the woman under the 'horns' above the door - that which the man is pointing or reaching towards while his hand could indicate that the woman in the door should 'turn back' - here with 'to turn back' from Wallis Budge's dictionary - notice the affinity between 'senep' and 'sehem':
These associations are furthermore supported by the egyptian signs for 'woman':
Notice that the 'bolt' (horizontal stroke with small box or two vertical strokes on the mid) is a sign that was used as alternative to the 'folded cloth' of'sehem'.
Of course many are suspicious to a simple one-to-one association of complex egyptian glyphs with simple speech sounds - but there seems to be some basis for using the alphabetic letters as a transcription method. However, as the present example suggests, there could be some reasons also to recognize the 'sehem' as associated with the word 'senep' - which means that there could be some rationale for associating at least some egyptian hieroglyphs with speech sounds on a more or less phonological basis.
There is a 'pick' something at the beginning of each of the three stanzas of Shijing #125, and all of them has this radical element of a horizontal stroke with two vertical strokes on the mid on top of them. The 'bitterness' of the second sign in the second stanza resembles very much the top of the door opening of Palma, to which the slanting roof over the + is added by the second sign (fungus, tuber) in the first stanza. The third stanza is that 'rape-turnip' already explained.
The man to the left of 'Visitazione' is the lapis turned 180 degrees around to have the diagonal along the slanting stick, and the two women (in the mid of the canvas) are 180 degrees turnings (rotations) of these - the woman to the right is a rotation of the lapis and the one to the left a rotation of the (mirrored) philosopher. This is what creates the natural affinity between these people in the phonological feature valuation with the connection lines from C to D and from V to G - such as outlined in Shijing #123.
Palma has many paintings with baptist with slanting stick and it may be that many or most of these could be associated with the diagonal of the 'lapis'. My guess is that 'lapis' and 'philosopher' tell of the role of the concepts of 'nesting' and 'context' that can be used for distinguishing the grammar types from each other (see 'A waist of time' vol.3 pages 272-274 and the following discussion of historical paradoxes up to page 294).
The conclusion to this would be that the apparitions of Fatima in 1917 can be seen to have gone through the universal semiotic endowment of humans - which is a natural assumption. Then the 'lightbulb' of the Apostoli church is not a problem for believers - rather the opposite.
The two petrification points and the Madonna of Guadalupe
It seems that the two ex nihilo formations of matter in what I call 'lapis philosophorum' - the 'white stone' - and the socalled 'philosopher' could constitute important orientation points which also could be of importance for understanding the grammar. The white stone is about 2,71... cm long while the 'philosopher' is a much smaller formation - a big breadcrumb it could be called - which I photographed under a microscope. The 'lapis' took form at the end of my writing of the third part of 'Der Dornenstrauch', while I was restructuring the nearly 78 poems (appr.77,3 it was) into 64. In the article 'The two petrification points' I discuss the phenomenon of two petrification points in 'Der Dornenstrauch' on basis of a comparison with the work of Horace and I find that they are the 'lapis' at the virtual poem #78 in DDS part III and at the poem of relative enumeration #78 in DDS part I. The latter is #111 in absolute enumeration. The question of interest here is therefore whether this #78 (or #111) in DDS part I is the same as the 'philosopher'.
The matter may be clarified by the material discussed in the article comparing DDS I:78 with the reconstructed images in the eyes of the Madonna of Guadalupe - see this article on the Madonna of Guadalupe in Mexico. This fantastic finding by Jose Tonsman - that the eyes of the Madonna image contains graphic elements that seem to converge on images of several people - could perhaps look unexpected but I have found it verified in several independent circumstances and can provide another one here (which also adds weight to the assumption of a relevant reconstruction of Tonsman). There are reasons to recognize a relevance of these 6 faces with the faces in Palma's example 14:
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Could be #1 and #4 could be swapped, but then they must be mirrored. Palma's artwork is estimated to have been completed some time between 1525 and 1535 (Palma died in 1528), while the apparition of the Madonna of Guadalupe in Mexico took place in 1531 - which means that it could have been rather precisely around the same time. This apparition is extraordinary since it is in the form of an image of the Madonna which he had met and which was left imprinted ('ex nihilo' that means) on the 'tilma' (a sort of coat or poncho) worn by the indian with mexican name 'Juan Diego' after he had met the Madonna in the region of Guadalupe in Mexico City. The original 'tilma', which hence is a sort of art 'canvas', is now on the wall of the Guadalupe Basilica in Mexico. The faces presented by Tonsman's investigations were reconstructed from investigations of the graphic elements in the eyes of the Madonna on this 'tilma' canvas.
See also the discussion in this article wherefrom I particularly extract the following illustrations concerning the role of the chinese Kangxi radical #110 which is 矛 = 'lance,spear' relative to the mirrored forms:
This is the sign PAO = radical 20 = 勹 = 'parcel', 'to wrap', 'to include' or even better JU = 匊 = to grasp/hold with both hands, or to fill both hands with something. Clearly this sack on the shoulder of the sitting man could be seen as related to the black jacket of Christ in Palma's artwork.
I found on the internet a 'Facebook' page https://www.facebook.com/MyHoldingCross/posts/in-1979-a-peruvian-engineer-by-the-name-of-dr-jose-aste-tonsmann-started-to-exam/3849953445045818/ (apparently under a page https://www.facebook.com/MyHoldingCross) which contained some interesting photos. See also the video (on youtube.com) https://www.youtube.com/watch?v=bKZ4rYEdEJ8 with a lecture by Tonsman on the theme. It appears that the images probably are reliable:
1) The original photo of the eyes of the Madonna on the 'tilma' and
2) The enhanced image-processed outlines of the characters therein.
I have extracted the relevant parts of the photos here for convenient comparison - the original magnified eye of the Madonna and enhanced version below:
One sees clearly the sitting man in the left part of the eye and the black pupil on the righthand side of him - that clearly is the black jacket hanging over the shoulder of Christ in Palma'a artwork.
Most interestingly, the point 3/7 from the lefthand side takes it in this close-up photo of the Madonna's eye precisely to the middle of the black pupil. The woman on Palma's painting holds her hand on a dark spot on her chest - that seems to be found on the righthand side of the photo of the Madonna' eye. Is she dark-haired and leaning backwards on her elbow? It is possible to spot a scene of intimacy between this possibly naked woman leaning on her elbow in the righthand part of the eye region, next to a man's head and upper body - reaching his hand towards her hip - in the middle of the eye and the easily visible man sitting with knee up to the left - however, it is possible that this scene could have appeared inappropriate for this important Madonna apparition (unless, of course, the man in the middle should have been identified as the angel Gabriel fertilizing her with the Jesus child) - and Tonsman's work has perhaps served to show that it is not really this scene which is found in her eyes - rather a general (?) photo enhancement technique can show that the real theme is in these 5-6 heads which, as I have shown here, correspond to the artwork of Palma from about the same year. Which should lend weight to this interpretation - or, at least, to the idea that there could exist such a transatlantic relation between the apparition and the art. It is, though, possible that the difference between these two interpretations would correspond to the difference between the colour photos and the thresholded black-and-white photos mentioned in the introduction - which then could suggest a role for the factor of arbitrarity - a natural assumption for the idea of a divine origin of this image.
I notice furthermore as interesting a certain isomorphy in the relation between a detail of the image of the Madonna of Guadalupe and the ex nihilo 'philosopher' - and I add Tonsman's reconstructed image of the visionary Juan Diego rotated 180 degrees:
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Hence one could conclude that a certain interest should be assigned to a potential systematic relation between the Madonna of Guadalupe and the artwork of Palma. Curiously, if so, one can hardly avoid noticing also the relevance of the word 'Fatima' in rewrite form 'Palima' for this 'Palma'. Even more: From 'Fatima' to 'Palima' there is a change in the valuation of an acoustic feature abrupt/continuant, which could correspond to the doorpost in the opening to the chapel with the Tiepolo artwork, while the form 'Palma' differs from 'Palima' in the sense of the high/non-high Vocalic feature paradox: The [i] joins the p, f, m, l, t, in the class [+diffuse] of Jakobson et al., although the [a] makes the form paradoxical for this class, but by deleting the [i] (for 'Palima' → 'Palma') the word becomes non-paradoxical for the class of [-high] of Chomsky/Halle - and that also could serve to turn the 'inner' articulation/revelation into an 'outer'. There could be other features recognized in the story - if one wants - such as acoustic 'strident/non-strident' (for fricatives) contained in the Madonna's mention of the war in Russia (she was telling to Lucia that Rusia had to turn around, otherwise she would spread her errors all over the world - which could be recognized as a featural matter of L/R), the high/non-high is present in the story by the Madonna reportedly standing on a holm-oak, while the one long and two short vowels in 'Fatima' could be seen in the ages of the young visionaries: Giacinta and Francesco died already after a year or two (by the spanish flue) while Lucia became closer to 100 years old. Could be the [i] would be about Francesco who also saw the Madonna and saw her lip movements but heard her not and, as the Madonna told, had to pray the rosary every day for getting into heaven.
A curious story: On my return from Venice to Vienna on 2 march 2021, after several months, I found (in the entrance room) the refridgerator kaputt with a huge lump of a brown amorphous mass on the bottom glass plate and white seeds (rice or millet) spurted around on the walls and ceiling - onto which they had miraculously been sticking - but not a single seed on the bottom. (I had not left the substances there). The brown mass (some decilitres, maybe half a litre or so) was without any smell. The main fuse above the fridge was also kaputt (it was in order when I went to Venice) and an electrician had to come and repair it. Some days later (on 19 march 2021) a volcano erupted in Iceland, in Geldingadalur at Fagradalsfjall on the Reykjanes peninsula - for the first time in 800 years, as they said. This volcano developed two outlets - like the outlet in the wall on the other side of the fuse box. "The 2021 eruption was effusive and continued emitting fresh lava sporadically until 18 September 2021". Exactly half a year later - on 19 september 2021, the day after the icelandic eruption had ended - there was a surprise eruption of another volcano - on La Palma on the Canary Islands. I started writing the present article about Palma on 8 august 2024 - and 11 days later, on 19 august 2024, there was the shipwrecking (apparently due to a sudden and very local waterspout or downburst coming down from heaven) of the 'Bayesian' sailing boat just off Porticello at Palermo (cp. 'Palma'?) on Sicily. It is hard to understand how that ship could have sunk even in the sudden storm unless they had lifted 'the keel' (from 10 to 4 metres depth) which in norwegian is called 'kjølen', same word as is used for 'the fridge'. (The word is also used about the border to Sweden - where Olof Palme once was prime minister). 3 days later there was yet another volcanic eruption in Iceland, on the same Reykjanes peninsula, some kilometres off Geldingadalur. It must be admitted that the role of the name 'Palma' is a little impressive here, and volcanos are, as far as I know, hard to provoke technologically. Would the story tell of my poem #77 in 'Der Dornenstrauch' - of absolute enumeration #110?
What is of particular interest here is the role of the chinese radical sign #110 which is 矛 = 'lance, spear' - a sign which compares well when turned 90 degrees with the material discussed under example 4 'Eve' under the section the 23 photos:
Notice the potential relevance of Matthew 2:5 as parallel to my TEQ #596: οι δε ειπον αυτω· εν βηθλεεμ της ιουδαιας· ουτως γαρ γεγραπται δια του προφητου· = "for they said to him: In Bethlehem of the Jews/Judaios - for so it is written by the prophets". Greek for 'lance' is παλτον while 'spear' is δορυ (by Woodhouse).
Of some graphic relevance is also chinese Kangxi radical #78 = 歹 which is described under this article. The original meaning of this could be 'bone remnants', which perhaps could be relevant to the philosopher.
Considering the mirror image to example 14 of the righthand eye (the Madonna's lefthand eye) - the artwork of example 10 could be conjectured to find a correlate in the Madonna's other eye - as indeed there is some reason for:
It seems that the kneeling man in black cloak stares into the 'pupil' under the arm of the Madonna.
A tentative conclusion could therefore be that the 'philosopher' applies to DDS I:78 as the first petrification point while the 'lapis philosophorum' applies to the virtual DDS III:78 (= the end of DDS III = end of poem #64) as the second petrification point. These 'petrification points' would be associated with the idea of 'formation of ontological substance' which hence would be the referent (the lefthand 'y') to the semantics (the righthand 'y') in the linguistic nucleus - corresponding to the phonological categories D and G. When these are assigned syntactic function, the two petrification points are likely to be associated with left- and righthand parentheses.
Shijing is the 'Book of songs' compiled in ancient China, comprising poetry from the years app. 1100-600 BC and thereabout. It has a chapter with poems from the state of Tang (probably appr. 1046-771 BC) - that is Shijing #114-125 - which contains some poems which look interesting for the present study.
I refer to the elementary overview of the four basic grammar types in the Chomsky hierarchy which I made above. It turns out that these can be recognized in the four poems Shijing #122-123-124-125:
Shijing #122 = Chomsky grammar type 3 (regular grammar)
Shijing #123 = Chomsky grammar type 2 (context-free phrase structure grammar)
Shijing #124 = Chomsky grammar type 1 (context-sensitive phrase structure grammar)
Shijing #125 = Chomsky grammar type 0 (unrestricted grammar)
In the introduction I interpreted the concept of phrase structure grammar in terms of basic phonological features.
| Stage 1: |
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| Stage 2: |
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| Stage 3: |
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It is easy to recognize these in example 23 - Palma's 'Visitazione': The four people in the foreground represent the four basic phonological features: C-V-D-G from left to right. (The V is in fact a little to the left of the D in this basic nucleus). This quartet can be compared with a CFPSG (context-free phrase structure grammar = type 2, here stage 1), which means the story in Shijing #123. Translations are my own for showing the relevance:
Her lonesome travel comes to its end,
proceeds on the left side of her friend:
"That gentleman there is a son of flesh
who bites the permit to reach our mesh
between the hearts of our good embrace
where we can meet ourselves face to face".
Her lonesome travel comes to its end,
where it embraces the arriving friend:
"That gentleman there is a son of flesh
who bites the permit his sheaf can thresh
between the hearts of our good embrace
where we can meet ourselves face to face".
The first stanza is the (probably) arriving visitor woman who looks on the left side of the (probably) host woman towards the man to the left, while second stanza is the horizontal mirroring in terms of the other two people.
Shijing #124 can be seen to describe the vertical mirror structure in the background context:
The winding web conceals the keen
wild vine that creeps towards the wilderness,
grants beauty to what is not seen (what is not there/here).
By whom can I abide?
The winding web conceals jujube,
wild vine creeps to the border,
grants beauty hidden there
Would shelter be in order?
The corner stakes what's for a feast,
thin quilt breaks the corona, (?)
grants beauty to what is not seen,
grants shelter till the morning.
The summer spaces out the day,
the winter steers towards darkness.
A hundred years in the delay (= after it happened)
a wife comes out from the dwelling.
The summer spaces out the day,
the winter steers towards darkness.
A hundred years in the delay (= after it happened)
a wife comes out from the house.
The vine 'creeps' like the bracket (or parenthesis) that moves rightwards. The two first stanzas seem to tell of the two meeting women (in the middle of the canvas) - and the structure moves rightwards towards the two women that exit from the house in the last two stanzas: The text tells that they come out after having been indoors for 100 years after something happened - which could be a 'horror' element telling of the uncertainty of the arriving person. (The 2001 film 'The others' contains such a scene - a row of women exiting through doors on a righthand side - that lasts for a half or a whole second only and could be the essential image in the film). The vertical mirror structure is found in the third stanza - about the tree in the middle and how it is divided in two by an 'indeterminacy' factor.
This suggests that Shijing #123 is about stage 1 and #124 about stage 2 and 3. It is the vertical mirror symmetry that gives the lower C and V forms.
It seems that type 3 (regular grammar) is Shijing #122:
What's this - without clothing - just '7' -
not like a wife in terms of clothing
but silence like a lucky strike?
What's this - without clothing - just '6' -
not like a wife in terms of clothing
but silence like the hot sun itself?
The poem of 2 stanzas has 6 signs in the lines 1 and 4, then 5 signs in lines 2 and 5 and 4 signs lines 3 and 6. This means that the numbers '7' and '6' could be telling of the type 3 grammar which replaces any non-terminal category with any string, provided that the string contains at most one non-terminal (here the abstract number), and that this is at the very end of the string. The reduction from 7 to 6 then suggests an application of this principle from lines to stanzas - which could mean from phonology to syntax - as when the grammar seems to be phonology-driven by the socalled 'stringhook' paradox. #123 tells of two parallel lines of the fundamental theorem of logic - that occurrences are dependent - here like the leftmost man and the righthand woman in parallel with the lefthand woman with the rightmost man - who seems to be hooked onto the righthand woman for this paradox. Which seems not to be the case - but he reaches his hand out towards the upper woman coming out from the house. It is likely that #125 is about the complexity in this stringhook paradox: In line 5 in each stanza there is a double mention of 'house' with 'silken banner hanging from staff, bent over at the top' - which is that white 'folded cloth' seen up at the house-corner. 'Folded cloth' is also one of the fundamental egyptian hieroglyphs, alternating with the 'bolt' sign. It is likely that this is the paradox which the man is reaching out towards when he extends his hand rightwards. The poem is not so easy to interpret but seems to be about this paradoxical reach-out towards the G. Here is my tentative interpretation of
Shijing #125:
Pick fungus/tuber, pick fungus/tuber,
the superior/sun comes forward for going to the peak/summit,
The man is going to make a speech (= phonology?)
carelessly, however, as far as truth is concerned. (= semantic humbug?)
Refrain:
The house (of) silken banner cloth, the house (of) silken banner cloth, (= towards the summit)
the superior/sun goes forwards without a blaze.
The man is going to make a speech
foolishly to acquire (something) at it.
Pick bitterness, pick bitterness (= the two women to the right?)
the superior/sun comes forwards, going to descend/produce (= setting sun? copulation?)
The man is going to make a speech,
carelessly, however, without doubt.
Refrain
Pick rape-turnip, pick rape-turnip -
the superior/sun comes forwards towards the east/house-master
The man is going to make a speech,
carelessly, though, without ploughing from north to south.
Refrain
The east-west movement of his hand turns north-south (on this interpretation) with the last line (before the refrain) and therefore it tells of the red arrow in the illustration.
My guess is that this is an unrestricted grammar (equivalent to a Turing machine) because it describes the stringhook paradox.
Each of the three stanzas of #125 consists of 8 lines with 4 signs in each except for the last which is 3 signs - hence 35 signs per stanza. In line 5 of each of them (the first line in the refrain) the first (and third) sign 'she' for 'house' or 'cottage' can also mean a march of 35 'li' (which some say is 30 'li') - which means a movement towards something - like the sun moves across the sky. See also the last line of #122.
Conclusion is that it seems that Palma's artwork of example 23 shares important motoric-logical features with Shijing #122-125 - here also with the first line of Shijing #123 aligned with the artwork:
This poem seems to emphasize the meeting and re-unification of the 'neural paradox' that was introduced (in the discussion above) to solve the phonological riddle: The two stanzas represent one female each - they are not entirely identical.
See this story told under the section on the Madonna of Guadalupe - after the section on Fatima. It is noteworthy that the four poems Shijing 122-123-124-125 are at the end of the chapter with ancient poems (probably some time between 800 BC and 600 BC)
from the then state of Tang. This chapter contains the poems from #114 to #125. Are there signs of the poems 114-121 in the context? The story from Palermo - with the fridge with rice spurted around could in fact be seen as well described in Shijing #115. I must use my own translation (from november 2023) again - since most translations probably will not exhibit the interesting points. My own translation of Shijing #115 - tentatively following its poetic logic more than its philology - goes as follows:
A mountain is a pivot point,
a marshland is an elm.
A child is dressed in garments
that are untugged at the helm.
A child is horse and chariot:
No horse, no drive-away
can yield that lasting deathbed spot
that humankind contains.
The mountain is a varnish tree,
the marshland obstinate.
An offspring in the palace court
won't scatter, wipe away
but summon like a brazen bell:
No drum, no dialect
can yield what iron nails can tell
and humankind protect.
A mountain darkly signifies,
a marshland chestnuts brings.
An offspring of the sticky rice
can celebrate the strings
of a guitar in visual joy:
Perpetual is the sun
erupting in the still of day
to entertain a nun.
The last word, possibly telling of the miracle of the sun in Fatima 1917, is a little farfetched but probably acceptible - see this article on the last sign 室 = shì: It really means a house or mansion but a nun associated with a monastery could probably by accepted. It is on background of this redundancy that the data from Palermo, Iceland and La Palma are quite interesting. They tell of semiotic redundancies in the human reality that are neither causal nor coincidental.
Clearly this could also constitute major progress for sinology on basis of the evidential value in the parallelism of my TEQ with the work of Palma - for the high explanatory value in this interpretation of Shijing. One has not much chinese literature of this age and it is probably rare that one can find what looks like proof of the semantic interpretation of this kind. It is this sort of progress in knowledge which my 'The Endmorgan Quartet' can provide.
It is seen that there is a tendency for the ex nihilo matter 'philosopher' and 'lapis philosophorum' to run its outlines across the head (about the eye level) of the Madonna. See example 9 under 'Shijing' and example 21. See also the eyes of Santa Lucia in example 1 - and the corresponding phenomenon in this observation on the secrets of Fatima in the Apostoli church in Venice. The evidence of the Madonna of Guadalupe is arguably no less interesting for this potential attention to this aspect of the Madonna. See also TEQ #82 with its affinities with Shijing #122. 'Grenser' = 'borders', and the chinese sign 兮 which comes at the end of lines 1, 3, 4 and 6 in Shijing #122 is an old riddle about which one apparently knows not much but it is assumed to have had the role of 'caesura' in some periods of chinese poetry, typically occurring at the end of poetic lines. However, from the discussion above it clear that it probably is relevant to the idea of a regular grammar in the Chomsky hierarchy. In TEQ #82, the end words of these lines are (norw.) 'grenser' = 'borders', 'twilight', (germ.) 'Gedanken' = 'thoughts' and 'morning'.
It is possible that this is the basis for the phenomenon of early infant skull opening in politics - for 'turning it around' - if the upper part of the Madonna's head - as the complement to the ex nihilo matter - is conceived of as a 'holy text' with non-humbug semantics when the child's head is opened along those outlines (around eye level) which run across the head of the Madonna.
The turnaround effect of early infant head opening is probably this, according to my own computations/speculations: A child is made with a Stammbaum that imitates a function from the old to the new testament and thereby the collective consciousness believes (when the child is born) that a Messiah is born. Some days after the birth a 'politician' (or something like that) arrives by appointment, and the infant's skullcap, the bones of which are not fixed but still only loosely attached for the sake of the passage through the birth channel, is detached and lifted - the 'politician' scissors off a part of the occipital lobe on one side and masturbates a spurt on the other (as for 'compensating' for the loss in the other hemisphere), after which the skullcap is reattached while the child must sit upright for several days with a caretaker holding it in place. The effect of this early child abuse is that the roles of the politician and the child are swapped - the 'politician' involved in this 'dirty business' is recognized as a Messiah and wins the election as such while the child is recognized as a 'dirty beast in the revelation' and generally has a miserable career - wherein every setback for the victim's career will lend new impetus to the 'politician's career. Critical points in the child's career will therefore be natural targets of intrigue from those who have organized the child, and the Stammbaum will naturally contain historic data which can be used for modelling the 'politician's career.
Why this procedure of head opening (as is my assumption) has such a strong role-turning effect is perhaps not known - I fancy that the role-turning effect also can be used to swap roles with political or other opponents typically by acts of terror just before an election, thereby turning the democratic support to a representative or a party around to a support for the quasi 'Stammbaum-Messiah' 'politician' instead, by the people's cry for help from the 'strong man' Josef - but the present study could perhaps suggest that the line of skull detachment - going probably just above the eyes of the child and around - could be related to such an effect of the Madonna's eyes. It is possible that this political strategy is what is called a 'nazi madonna' and it may still have a role to play in politics. Why is it so difficult to solve it - to find a way of preventing that the roles turn around? Of course such a 'dirty beast' politician should have small chances in a democratic system - why do the roles turn around so efficiently that less dirty politicians cannot manage to prevent the role-swap? The present study could hopefully lead to a solution of the problem.
At the same time, it is seen from the discussion of example 15 that the Jesus child is the non-humbug semantics of the holy text and as such can leap out of the text like a piece of ex nihilo matter. Unless, that is, one conceives of such ex nihilo matter as 'the same' as humbug semantics - and, more generally, ontological existence as the same as what causes humbug semantics in the human reality. There are traditions in assigning the value of 'lapis philosophorum' to Christ - the idea being that Christ came 'ex nihilo' from heaven - and there are traditions of the opposite. It is certainly possible that the turnaround effect in politics could be related to these problems as well.
I have fancied that Ludwig Wittgenstein could have been a victim of such abuse and could have been abused by Hitler for his 'cry for the strong man' stategy. See these comments (under this page) on the potential role of the concept of 'ex nihilo' ontology for the logic of Wittgenstein.
I am myself probably a victim of such political abuse - I have this brainscan which shows that a part of the lower occipital lobe has been scissored away while the skull is intact, and this evidence of a role in international poltics. See also this article. Would it tell of the 'miracle of the sun' (Fatima 1917) relative to a 'miracle of the earth' in terms of volcanos?
Olof Palme (cp. 'Palma il Vecchio') was assassinated in 1986 at the time when I had been forced to move out of my rented home (in Oslo) and had problems with finding a new. Göran Persson was soon appointed minister of schools and later prime minister.
The conclusion to this discussion of TEQ function 9 part 4 is that Palma il Vecchio seems to be a function 9 artist - and the artworks I have considered here all subsume under book 9 the part 4 called 'SOLAWBAR...'. It seems that phonology and phonological features is the theme of Palma - of high relevance for my semiotic theory.
But probably not all works of Palma il Vecchio can be recognized as relevant to the 22 poems of the fourth part of book 9. I bring an example of what could in principle be a possible interpretation of one of his central works with a poem from the first part of the same TEQ book 9:
Example 24 - TEQ #491 = Three sisters
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This poem could in principle be about what the three sisters give to the spectator - but more specifically to the theory of what the blind or 'black' spot in the eye could see if it could see: That is why the artist has painted them - because his plagiarism (the artwork) consists of two sisters and not the one you look at: If you look at the mid sister, the other two attain a presence in your mind which has a different status relative to normal views. The artwork thereby 'turns the features' of the spectator and the artwork itself. This is clearly something different compared with the turning of the features in e.g. the role of Josef in the Adoration with Saint Helen. It could perhaps be compared with the idea of seeing a black sun.
I would guess that these aspects of Palma's work could find an echo in my theories of the submorphemic sign in the periods of 'irregular' transitions.
Function 9 could, to speculate on basis of this, in principle be about how the linguistic system interprets the phonological paradox in Hyman's scheme referred to above - how the high vs non-high vocalisms differ in status as far as inner and outer - or acoustically vs articulatorily based - poetic articulations relate across the paradox boundary.
'Bursuk' feature-converted could perhaps be read as 'of AP' - like that 'AP remove' of TEQ #595 above - the magus who wanted to see the 'holy cow' light of the child but could not because of the obstactle to his view by that 'fruit press' he held in his own hand - the black spot in terms of the squeezing of the phonetics into the phonological categories, as an artist could see it.
The three sisters could be that 'submorphemic sign reconsidered'. Is there a 'wheel of knee' - a brisling-box windup key behind the knee of the mid one - like behind the knee of San Giorgio in 'Madonna in trono fra San Giorgio e Santa Lucia' discussed under example 1-2 above? The knee is not visible - but indeed the sister to the right (the 'extensional irregularity' that would be) is winding up the hair behind the 'phonological' ear of the mid sister (the 'phonological irregularity'). This behaviour of the sister to the right could perhaps be called 'irregular'. The lefthand sister (the 'social' one) is 'attached' to the mid one by the hand on her shoulder - while the other hand of the mid sister is 'irregular' inside the crumpled glove.
Of some importance it is to observe that although the parallelism with Palma is rather obvious, it must be emphasized that my poetry (TEQ) is not a matter of images but words - and although the present study pulls the interpretation in the direction of images and there are good reasons for that, the poetry is something else - it is not 'solved' by these correlations. However, clearly, the poetry and the art seem to share important aspects of a presumably universal character which is what the correlations really are telling of.
A corollary to this discussion should be that my 1997 dissertation 'A waist of time' now must be accepted for the PhD degree. It constitutes a potentially very substantial leap forwards for grammatical and computation theory - and it should be considered a scandal that it was rejected. There could be reasons to believe that it was rejected for the purpose of abuse for terror and monkey business purposes. It is seen that it is my poetry which has value - it is 'The Endmorgan Quartet' which has made the present study possible. I hope to be credited for the work that I have done and continue to do.
Sources:
Chomsky, N.: Syntactic structures. Mouton, The Hague 1957.
Fratelli Fabbri Editori: Palma il Vecchio. I maestri del colore #64, by Alessandro Ballarin. Milano 1965.
Frisk, H.: Griechisches Etymologisches Wörterbuch. Heidelberg, 1960.
Grover, J.: A waist of time. PhD dissertation (rejected for the degree in Bergen 1997). In: Collected works volume 3, Wien 2013.
Hyman, L.: Phonology. Theory and analysis. Holt, Rinehart and Winston, New York 1975
Jakobson, R. & Halle, M.: Fundamentals of language. Mouton, The Hague 1956.
Mandelstam, O.: Stikhotvorenia. Proza. Ripol Klassik. Moskva 2001.
Mathews, R.H.: Chinese-English Dictionary. (A Chinese-English Dictionary Compiled for the China Inland Mission by R.H.Mathews, Shanghai: China Inland Mission and Presbyterian Mission Press, 1931). Revised american edition 1943. Harvard University Press, Cambridge, Massachusetts.
Onions, C.T.: The Oxford Dictionary of English Etymology. Oxford 1982.
Simon, R.: Shijing. Das altchinesische Buch der Lieder. Chinesisch/Deutsch. Übersetzt und herausgegeben von Rainald Simon. Reclam Bibliothek 2015.
Walde, A.: Lateinisches etymologisches Wörterbuch. By J.B.Hofmann. Carl Winter Universitätsverlag, Heidelberg 1965.
Wallis Budge, E.A.: Egyptian hieroglyphic dictionary. A hieroglyphic vocabulary to the theban recension of the book of the dead. Kegan, Trench, Trübner, London 1911. Printed by Adolf Holzhausen, 19-21 Kandlgasse, Vienna. Issued by Book Jungle, PO Box 2226, Champaign, IL 61825. Reprinted by Lightning Source UK Ltd, Milton Keynes UK on 02 December 2010.
Woodhouse, S.C.: English-greek dictionary. A vocabulary of the attic language. Routledge & Kegan Paul, London and Henley 1979.
References to own articles and publications on my homepage:
5 may 2024: Apostoli, Fatima
12 november 2020: Can light be dated?
19 march 2024: New volcanic eruption in Iceland
'1223' for ÖVP chairmen and the Kennedy assassination
A day with a mechanic sound
Art relative to my The Endmorgan Quartet
Articles about formal aspects of language
Articles on Wittgenstein
Beachy Head and Valery
Caravaggio and 'Der Dornenstrauch'
Caravaggio and 'Der Dornenstrauch' part 2
Chiesa di San Lazzaro dei Mendicanti
Evidence of a political mythos role of mine
General theoretic background for the article on Palma il Vecchio
Giusto de' Menabuoi
Grover, J.: Collected works volume 1 (selfpublished, Wien 2013)
Grover, J.: Collected works volume 2 (selfpublished, Wien 2013)
Grover, J.: Collected works volume 3 (selfpublished, Wien 2013)
Grover, J.: Collected works volume 4 (selfpublished, Wien 2019)
Grover, J.: The handwritten manuscript to 'The Endmorgan Quartet' book 9
Hans Henrik Holm (under Articles about Hans-Henrik Holm)
Horace and chinese radicals
Lapis philosophorum as the articulatory oral space
New revelation in Vilnius
Some notes on text and image in 'The Endmorgan Quartet'
The fifth dimension
The fundamental theorem of logic briefly stated
The two petrification points
Towards a theory of poetic grammar
Wittgenstein's Tractatus Logico-Philosophicus and the fundamental theorem of linguistics
Links used in this article:
http://www.scuolaecclesiamater.org/2016/04/il-santo-assassino-ovvero-la-redenzione.html
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZz54qusIbFzKzFrT0QhVrWpQNM8p3m3qvIDZ2hOQpjiJxN6hHhwCR1kbf3mCUZymS0OkGZKkWTK3EP_R80I9juounSI5zeYdxJhyphenhyphenALy2M_Cij0oM6ZEMllVtuo9olLpm9Odh0pYVfrkw/s1600/pala.jpg
https://commons.wikimedia.org/wiki/Category:Paintings_by_Palma_il_Vecchio_in_the_Galleria_Borghese_(Rome)#/media/File:Palma_Vecchio_-_Sacra_Conversazione_(Madonna_and_Child_with_Saints_Barbara_and_Justina_and_Two_Devotees),_21-515661.jpg
https://commons.wikimedia.org/wiki/Category:Paintings_by_Palma_il_Vecchio_in_the_Galleria_Borghese_(Rome)#/media/File:Palma1_steconversation-borghese.jpg
https://commons.wikimedia.org/wiki/Category:Paintings_by_Palma_il_Vecchio_in_the_Kunsthistorisches_Museum#/media/File:Jacopo_Negretti,_gen._Palma_il_Vecchio_-_Heimsuchung_Mariae_-_GG_56_-_Kunsthistorisches_Museum.jpg
https://commons.wikimedia.org/wiki/Category:Paintings_by_Palma_il_Vecchio_in_the_Kunsthistorisches_Museum
https://commons.wikimedia.org/wiki/Paintings_by_Palma_il_Vecchio#/media/File:Palma_Il_Vecchio_-_Die_Heilige_Familie_mit_der_heiligen_Katharina,_Um_1512-14,_Gal.-Nr._191.jpg
https://commons.wikimedia.org/wiki/Paintings_by_Palma_il_Vecchio#/media/File:Sacra_Conversazione_con_donatori,_Jacopo_Palma_il_Vecchio_001.JPG
https://commons.wikimedia.org/wiki/Category:Paintings_of_Madonna_and_Child_by_Palma_il_Vecchio#/media/File:Palma_il_Vecchio,_madonna_in_trono_e_santi_03.JPG
https://commons.wikimedia.org/wiki/Category:Paintings_of_Madonna_and_Child_by_Palma_il_Vecchio
https://commons.wikimedia.org/wiki/Category:Paintings_of_Madonna_and_Child_by_Palma_il_Vecchio#/media/File:Palma_il_Vecchio_007.jpg
https://commons.wikimedia.org/wiki/Category:Paintings_of_Madonna_and_Child_by_Palma_il_Vecchio#/media/File:Palma_il_Vecchio_-_Sacra_Conversazione_-_WGA16934.jpg
https://commons.wikimedia.org/wiki/Category:Paola_Priuli_by_Palma_il_Vecchio_(Pinacoteca_Querini_Stampalia
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https://commons.wikimedia.org/wiki/File:La_Virgen_y_el_Ni%C3%B1o_con_santos_y_un_donante,_por_Palma_el_Viejo.jpg
https://commons.wikimedia.org/wiki/File:Palma_il_Vecchio_-_resurrezione_di_Lazzaro,_00287406.jpg
https://commons.wikimedia.org/wiki/File:Palma_il_Vecchio_-_Adoration_of_the_Magi_in_the_Presence_of_Saint_Helen,_1525_-_6,_140.jpg
https://commons.wikimedia.org/wiki/File:Palma_Il_Vecchio_-_Jakob_und_Rahel,_Um_1524-25,_Gal.-Nr._192.jpg
https://commons.wikimedia.org/wiki/File:Palma_Vecchio_(workshop_of)_-_The_Holy_Family_with_a_Female_Saint_and_Saint_Francis_of_Assisi,_ca._1520,_82.jpg
https://commons.wikimedia.org/wiki/Paintings_by_Palma_il_Vecchio
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https://commons.wikimedia.org/wiki/Paintings_by_Palma_il_Vecchio#/media/File:Palma_il_Vecchio_-_Madonna_con_il_Bambino_fra_i_santi_Giovanni_Battista_e_Maria_Maddalena,_1520_circa,_81LC00183.jpg
https://ctext.org/book-of-poetry/cai-ling
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https://ctext.org/book-of-poetry/odes-of-tang
https://ctext.org/book-of-poetry/shan-you-shu
https://ctext.org/book-of-poetry/you-di-zhi-du
https://ctext.org/book-of-poetry/wu-yi
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https://en.wikipedia.org/wiki/Liberty_Leading_the_People
https://en.wikipedia.org/wiki/Miracle_of_the_Sun
https://en.wikipedia.org/wiki/Motor_cortex
https://en.wikipedia.org/wiki/Motor_cortex#/media/File:Figure_35_03_04.jpg
https://en.wikipedia.org/wiki/Our_Lady_of_Guadalupe
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https://en.wikipedia.org/wiki/Palma_Vecchio
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https://en.wikipedia.org/wiki/Palma_Vecchio#/media/File:Palma_Vecchio_-_Portrait_of_a_Poet_-_Google_Art_Project.jpg
https://en.wikipedia.org/wiki/Salome_with_the_Head_of_John_the_Baptist_(Caravaggio,_Madrid
https://en.wikipedia.org/wiki/Salome_with_the_Head_of_John_the_Baptist_(Caravaggio,_London
https://en.wikipedia.org/wiki/The_Martyrdom_of_Saint_Matthew_(Caravaggio
https://en.wikipedia.org/wiki/Turing_machine_gallery
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https://it.wikipedia.org/wiki/Adorazione_dei_pastori_con_un_committente
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https://skd-online-collection.skd.museum/Details/Index/365155
https://upload.wikimedia.org/wikipedia/commons/0/03/Comunione_di_santa_Lucia_-_Giambattista_Tiepolo.jpg
https://upload.wikimedia.org/wikipedia/commons/2/24/Palma_il_Vecchio_-_resurrezione_di_Lazzaro%2C_00287406.jpg
https://upload.wikimedia.org/wikipedia/commons/6/62/Jacopo_Palma_-_Adam_und_Eva%2C_1520_-_1522%2C_GG_453.jpg
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https://upload.wikimedia.org/wikipedia/commons/thumb/9/95/Ch%C3%A2teau_de_Chantilly%2C_Palma_il_Vecchio%2C_Madonna_with_child%2C_Saint_Jerome%2C_St._Peter_and_donor.JPG/800px-Ch%C3%A2teau_de_Chantilly%2C_Palma_il_Vecchio%2C_Madonna_with_child%2C_Saint_Jerome%2C_St._Peter_and_donor.JPG
https://www.facebook.com/MyHoldingCross/posts/in-1979-a-peruvian-engineer-by-the-name-of-dr-jose-aste-tonsmann-started-to-exam/3849953445045818
https://www.lombardiabeniculturali.it/assets/immagini/liv2/OA310RL/SC/OA/C0050/00/OA_C0050-00741_IMG-0000462324.jpg
https://www.lombardiabeniculturali.it/opere-arte/schede/C0050-00741
https://www.wikiart.org/en/palma-vecchio
https://www.wikiart.org/en/palma-vecchio/the-three-sisters-1520
https://www.youtube.com/watch?v=bKZ4rYEdEJ8
© John Bjarne Grover
On the web 6 september 2024
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