Towards a theory of poetic grammar
John Bjarne Grover
As I have shown in earlier works, my studies of the socalled 'function 14' in natural language - on basis of the data in my own "The Endmorgan Quartet" - have given reason to postulate the probable existence of a poetic-phonological grammar in natural language. However, it has so far been very unclear what this logic could resemble. It would presumably have been about redundancies in some aspects of cognition related to phonetic aspects of language or other forms of 'information flux' that would form the basis for it - in contrast to classic logic based largely on or at least strongly involving the semantic value of the linguistic code.
The present study presents some outlines of what this new grammar conjecturally will be based on.
In the years 1995-1997 I completed my PhD dissertation study "A waist of time", and I concluded that in the search for a lowlevel poetic-grammatical structure in language, it was not possible to come any further without an empirical basis.
In the years 1997-2008 I wrote "The Endmorgan Quartet" (= 'TEQ') - poetry in 16 volumes. This poetry (but not the following 'metric' works) was written by the principled poetic inspiration that I never wrote anything before it was pronounced by itself in the inner mind, and thereby it could be seen to have been in accordance with classic ideas of a 'poetic muse'. In the beginning the memory traces of such an inner poetic articulation were surprisingly short - if I did not take a pen and paper and wrote it down immediately, it would be gone after a very few seconds and could not by any means be retrieved to memory again. This short interval between articulation and oblivion came to be somewhat extended later but is still not so long. It came to mean that there is a spatio-temporal limitation which means that it has an articulatory truth value which is independent of but is filtered through a historic conditioning. Each articulation was annotated with date of writing. The 16 books came to amount to 16 'poetic functions' filtered through 4 poetic metres - of 4 colours - which I wrote in the following years 2008-2018:
|1997-2008||'The Endmorgan Quartet' - non-metric poetry - english, appr. 1900 p.|
|2008-2010||BLUE||'POLAKK English Bloggi' - english, appr 400 p.|
|2010-2012||RED||'My mention e Anna' - english, appr 300 p.|
|2010-2015||YELLOW||'Der Dornenstrauch' - german, appr. 500 p.|
|2014-2018||YELLOW||'SNEEFT COEIL' - german, 168 p.|
|2016-2016||WHITE||'Stillhetens åndedrag' - norwegian, 176 p.|
|2018-2018||WHITE||'Rosens triangel' - norwegian, 147 p.|
See this file for details. The metres can be seen to be what filters the poetic articulations from behind the 'maya' screen into the historic reality. The blue metre has a time span of intervals of 1000 years, the red of 2 seconds. When I wrote the third part of "Der Dornenstrauch", a stone which I came to consider a lapis philosophorum took shape ex nihilo - it had the length of 2,718... cm = the natural logarithm unit 'e' which I have guessed could have been the real basis for the definition of the centimetre probably around the mid of the 19th century - assuming a universal quality of this ex nihilo stone formation. A white stone took shape also during the writing of the white metre - this was less 'archetypal' but exhibited traces of the meaning of the text of poem #5 in 'Stillhetens åndedrag'.
It is assumed here that the 'maya screen' can be situated between the yellow and the white metre (electromagnetism and gravity) - and it could be a relevant question whether it takes on form when light is emitted - and can be articulated with the fundamental theorem of statistics which also can be called a fundamental theorem of logic - and then statistics and logic would be two sides of the same 'maya' coin defining the nature of symbolic representation with a certain value.
In this article I discuss how my yellow poetic metre - two books in german language - constitute a theory of poetic grammar by these properties:
i) The diachrony = "Der Dornenstrauch", 440 poems
ii) The synchrony = "SNEEFT COEIL", 142 poems
In the following I outline how these can be combined to a theory of grammar of potentially new computational format based on my fundamental theorem of linguistics.
In my 1997 PhD dissertation "A waist of time", I postulated that grammatical categories are the same as logical paradoxes. From volume 3 pages 328-329:
The study has shown that there are reasons to compare the development of linguistic levels, logical paradoxes and information technology. The correlations have been sufficiently promising to suggest that logical paradoxes define the epistemological boundaries to the linguistic scope which is susceptible to formalization in the development of the information technology. Since this is also the scope which is subsumed under a branching node in a binary-branching syntactic tree, we can conclude: A grammatical node (or category) represents a logical paradox.
This idea seems generally either too self-evident to deserve mention (it is, for example, a natural consequence of the fact that Russell's theory of types leads to a syntactic hierarchy in extension from logical paradoxes), or it is mentioned only rather vaguely, such as in Curry (1961). As far as I know, the theory that grammatical categories are logical paradoxes has nevertheless not yet been explicitly formulated. In general, logic seems to have been too concerned with removing paradoxes instead of exploring their epistemological productivity.
Chomsky's minimalist program obtains between phonetic and logical form and can in principle apply to rather minute contituents across the lexicon - small bits of phonetics can apply to small bits of logic across the lexicon. This is consonant with the theoretical approach in my 'Submorphemic signification' (1995).
The synchronic 'SNEEFT COEIL' consists of 8 chapters which can be thought of as 8 types of grammatical functions or principles - which tentatively could be considered as basis for a more or less minimalist grammar of some sort.
In my "A waist of time" (1997, 2013), I discuss the historic development of logical paradoxes by the parametres 'nesting' and 'context' which also can be used for categories and grammar types. A logical paradox defines the basis for the postulation of the logical conjunction of two different realities as the point of departure for the fundamental theorem of linguistics. The linguistic role of two different realities has its counterpoint in what I call the 'ethnologic parametre' in language (interpreted politically in e.g. the socalled 'Burgenland border' between Austria and Hungary and more extensively in e.g. the role of the iron curtain through Europe).
Here follows a listing of the 8 chapters in SNEEFT COEIL followed by a listing of the 8 most essential logical paradoxes of the 20th century (my PhD by vol.3 pages 275-276 - the listing follows largely Russell 1908) in the tentatively same order - by their relevance for the corresponding chapters of the poetry book:
1. Die Wahrnehmungen
2. Die Steine
3. Schwarze Blätter
4. Klein ist die Welt
5. Ich ginge aus zu Breleon
6. Die Verwandlung (Unter vier Wänden)
7. 20 Gedichte - in September und Oktober
8. Schneits in die Hand, Verteur?
1. Russell' paradox.
2. Richard's paradox.
3. Zermelo-König's paradox.
4. Cantor's paradox, relying on the cardinality of the power set.
5. Burali-Forti's paradox, set forth before the turn of the century.
6. 'Relations' paradox, discussed by Russell (1908).
7. Berry's paradox, suggested to Russell by Bodleian librarian G.G.Berry.
8. Grelling's paradox
1. Russell's paradox. Create the set of all sets which do not contain themselves as members, and ask whether this set contains itself: In either case, we obtain a contradiction. This paradox would also constitute a theory on the functionality of the 10 sensory modalities (the 5 classic + 5 'cognitive' or 'intramental' sort of) which are contained in 'Die Wahrnehmungen'
2. Richard's paradox. According to traditional set theory, the set of real numbers outnumbers the set of natural numbers, which means that there are two disjoint subsets of the real numbers: 1) The set of finitely definable reals, which is countable (equinumerous with the set of natural numbers), and 2) the rest of the reals, which is not finitely definable. Now, take the set of finitely definable reals and enumerate them in digital (decimal) form. Then take the diagonal to this enumeration, and one obtains a real number which is not in the countable set. However, this definition is a finite one, and therefore the obtained number is finitely definable. But this is a contradiction. The stone with the white enamel sole tells of how the metaphysical and physical realities relate through the white stone when the syntactic function of the 'symbolon' is taken into account.
3. Zermelo-König's paradox. According to Zermelo, every set can be well-ordered, which means that every set can be assigned a first element. Now take the set of all reals which cannot be finitely defined, and take its first element. This is a finite definition of this number, which contradicts the fact that it belongs to the finitely indefinable reals. (This would conjecturally be about the function 14 of my TEQ and the corresponding fundamental theorem of statistics and logic - the role of equiprobability in the sense of equivalence).
4. Cantor's paradox. This is another version of the same theme of the 'largest number'. It rests on the fundamental set theoretic assumption that the power set (which is the set of all subsets) of a set has larger cardinality than the set itself. But this means that there must exist a power set to the set of all sets, and this power set has larger cardinality than this universal set - which is another contradiction on the same theme.
5. Burali-Forti's paradox. There is a mutual relationship between ordinal numbers and well-ordered sets: Every ordinal number (finite or transfinite) can be identified with the set of all ordinals smaller than itself. Similarly, a set with A elements has the ordinal number A+1. If the set is infinite, this ordinal is the (transfinite) limit of the infinite set. The set ? of all ordinals then has the ordinal number ?+1, which is a contradiction, since it entails that there must be a set larger than ?. This could correspond to the phenomenon of socalled 'purkinje' light going out to the curved lenses.
6. Relation's paradox. Defined by Russell (1908): A relation T subsists between two relations R and S when R does not have the relation R to S. R and S can be any relation - which includes T for both of them. Then if R has the relation T to S, which means T relating to T by T, it has not this relation to S = T, and vice versa. This corresponds to the presence of an 'ethnologic parametre' in language defining two different realities.
7. Berry's paradox. 'The least integer not nameable in fewer than nineteen syllables' is a definition which uniquely picks out an integer in the English code of naming numbers. (The number it picks out happens to be 111777). However, the definition itself contains only 18 syllables, which means that it is nameable in less than 19 syllables: The definition picks out this number uniquely. Hence there is a contradiction. This is the role of 'mystic numbers' by my conjectures on the Catalan constant relative to natural language.
8. Grelling's paradox. Let 'autological' be the property assigned to words when they describe a property which they possess themselves. For example, the word 'polysyllabic' is itself polysyllabic, and therefore it can be classified as autological. The converse is the class of 'heterological' words: All words defining properties which they do not themselves possess. Divide the lexicon into the class of autologicals and heterologicals, and take the word 'heterological' and ask which class it belongs to. Either solution produces a contradiction: If it is autological, then it is heterological, and conversely.
The fundamental theorem of linguistics postulates a collapse across a border of realities of two metaphysical items into one in such a way that the difference between them is turned into a semantic/linguistic value and the sameness - according to the human psyche - into a material being - and that is how human contact with the metaphysical origin is retained in the balance of epistemological and ontological value.
For a study of the phenomenon, doublewords in a text seems to have some value. Doublewords are such as occur twice and only twice in a text. Vol.4 presents the words that occur twice in each of the 16 books of TEQ ('The Endmorgan Quartet') and list them alphabetically. These sorted doublewords are matched against the contents of the yellow and the white metres:
TEQ books 1-4 = Der Dornenstrauch (yellow metre)
TEQ books 5-12 = SNEEFT COEIL (yellow metre)
TEQ books 13-16 = Stillhetens åndedrag ('The breathing of silence') (white metre)
In 'Stillhetens åndedrag' there are 1344 lines, and the fantastic correlation occurs that in TEQ 13-16 there are 1344 doublewords. However, the first computer glitsch reported below led to the erroneous addition of one doubleword which took it to 1345, and it can be seen to be the need for squeezing these back to 1344 which led to the second computer glitsch.
In SC chapters 1-7 there are 1823 lines, and the fantastic correlation occurs that in TEQ books 5-12 there are 1824 doublewords. The first of these is assigned the number 0.
In the spring 1995 I made a series of 163 event studies in a street in Oslo - while walking from the housedoor of my home to the nearest road intersection, either the upper or the lower, I habitually wrote down what happened on these short stretches on the way out and way back - normally a handful or so observations of sufficient salience to attract my attention each way. It turned out that the number of such observations in the 163 events was just 1823 observations - and when SC chapter 8 contains 163 lines and is concerned with just 'one level beyond', that assignment completes the perfection.
In the following I study how these elements combine to a theory of grammar and how that even could be seen to account for the two computer glitsches - beyond a normal level of computation.
The two computer glitsches seem to be of very great value for understanding the nature of this new knowledge. They happened while I was elaborating the doubleword basis from TEQ on the white metre.
1) The first computer glitsch occurred during the selection in a spreadsheet of those words which occurred twice and only twice in the TEQ books 13-16 - it halted the incrementation on a semantic screen-interface humanoid logic level, not on a low computer circuitry level, which had the result that a word seemed to have two occurrences in TEQ book 14 when it really was only one. Due to the halted incrementation, the result was that there occurred two where there really was only one, and the result was 1345 words which should have been 1344 - in particular when these were to be mapped onto the 1344 lines of 'Stillhetens åndedrag'! It produced an extra word at the end - which happened to be the norwegian infinitive marker 'å' - which also is the last letter in the norwegian alphabet - as word #1345. This computer glitsch can be compared with the principle of the fundamental theorem of linguistics.
2) It was when these 1345 doublewords were to be mapped onto the 1344 lines of 'Stillhetens åndedrag' that the second computer glitsch squeezed a ZUM - which is the 6th last line of poem 37 and the last word for book 14 - out and sent an extra copy of it over to take the place of the word CULTURE - on the fourth last line of poem 23 - while ZUM was retaining itself on its original place - thereby providing two occurrences graphically. Due to the replacement of CULTURE with ZUM, the result was that there occurred two ZUMs where there really was only one. This computer glitsch can be compared with the principle of the fundamental theorem of statistics or logic. This is likely to be the error of 'equiprobability' in the fundamental theorem when it is taken to mean occurrence of a symbol on the maya screen. ZUM is then 'equiprobable' (?) with CULTURE when it occurs instead of CULTURE - but that is when 'equiprobable' means the same as equivalence of symbolic status. But 'equiprobable' can here probably also mean 'obscure causality' - we cannot find out why ZUM suddenly 'shuttled over' to CULTURE and hence it could have been one single odd occurrence like a single diagonal in Cantor's uncountable ocean being given the status of jolting 'countable' over into the category 'uncountable'. Which means that one single occurrence is as 'powerful' as the infinity of other occurrences for this particular definition - which means that it is 'equiprobable' in the sense of 'equivalent' or 'equally important'.
'Import' (in this 'important' sense of it) could relate to 'export' in a theoretic model of how metaphysics convert to physics via a 1 mm thin layer of white stone: The fundamental theorem of linguistics 'exports' the metaphysics while the fundamental theorem of statistics 'imports' the resulting occurrences into the physics and hence makes them (or even itself) 'important'. (These ideas could typically have been important further on into politics). Cp. the below discussion of 'important' symbol form of 42:109.
It is when these two errors (halting/shuttling = nesting/context?) are taken to be the same that the human semantic screen-interface level is taken as the maya screen level - and hence that the computer monitor level is the maya screen - which is when the inside computations in the computer must count as 'metaphysics' in a new sense of it.
The story of ZUM → CULTURE is really quite fantastic: It is about the doublewords listed in volume 4 pages 1133-1141 - the 1344 words occurring twice and only twice in TEQ books 13-16 that are mapped onto the 1344 lines of 'Stillhetens åndedrag'. In this list, the doubleword ZUM is aligned with poem 37 ('And I can guarantee the day'), the line "som åpner seg mot et hulrom i den" = "which opens against/towards a hollow space in it", while the doubleword CULTURE is aligned with poem 23 ('Language'), the line "den ene veien, den andre óg" = "the one way, the other as well". The line from poem 37 describes the one of the two innermost secrets of the yellow metre DDS - the phenomenon that the grammatical errors or 'flaws' of the german language in DDS tend to occur on places wherein the included table of verses from Genesis and Rigveda (vol.4 pages 942-950) select words from verses in such a way that the hebrew and the sanskrit tend to describe a sort of 'door' in a 'doorway' for the conjunction 'the opening door' - or rather 'the closing door' (see the 'exemplum' below) - described in the alignment to the doubleword 'ZUM', while the other secret property of DDS is the phenomenon of chinese radicals in poems 1-214 plus their mirror poems 215-428 which is captured in the 'CULTURE' alignment. ('The one way, the other as well' could also or rather be about the forwards and backwards enumerations of the 1823 event elements below). The resulting phenomenon of the combination of these (for ancient hebrew, sanskrit, chinese) must be considered highly mystic - and when the computer made such a 'glitsch' of shooting the word ZUM in the list over onto the word CULTURE for taking its place there, it must count as magic beyond explanation so far - although one could speculate on a motivation in the 'relations paradox' as being one of 8 such mechanisms available.
It could be called a spontaneous instantiation of the fundamental theorem of linguistics in the 'new metaphysical space' of the computer 'behind the maya screen of the computer monitor'. It was on this computer monitor - the technical quasi 'maya' - that the first glitsch occurred by the discrete symbols being 'hung' in time for a while or rather for one discrete step when the loop incremented:
1966 1966 = the error - 1966 instead of 1967
1966 1968 = the error - 1966 instead of 1967
The combination of these two errors suggests also that the entire work - the 16 books of TEQ and the blue, red, yellow and white metres - constitute one unit with such interesting properties.
Clearly this is far too interesting for modern computation and semiotic theory to be left to the abuse of terror-orientated political intrigue of the international secret intelligence services for engineering scapegoats to carry the burden of their crimes. It is seen how the 'export' vs 'import' between 'metaphysics' and physics were interpreted sadly by way of the two space shuttle disasters there have been - 'Challenger' halted on its way up and 'Columbia' shuttling on its way back, could be two 'computer glitsches' interpreted in terror.
Discussion of the role of the event study
The 1824 sorted doublewords of TEQ books 6-12 are listed along with the 1823 lines of SC + the corresponding 1823 event elements, and this list is enumerated forwards and backwards such that there will be a mirror occurrence to each occurrence. Since the chapters of SC are recognized as equivalent to the 8 logical paradoxes, it is interesting to study the occurrences of the titles to these chapters in the listing.
I was first hesitant whether it were anything interesting with these 1823 alignments, but I mention here two examples that convinced me:
1) While writing the poem 6 in chapter 3, long before I made any such correlation with other data, I was overcome with the poetic conviction that I should add the number code 42:109 to the end of the poem, even if that told me nothing at that time. The poem then ends like this:
Z.B. wie ist die Lehre
mit Valencia allverklärt?
It was only when I made the alignment with the rest of the material that I understood this number code - since it turned out to confirm the number it was assigned in the enumeration. The columns are from left to right 1) the poem line, 2) the forwards enumeration, 3) the doubleword from TEQ, 4) the reverse enumeration and 5) the event element:
|Z.B. wie ist die Lehre||422||dear||1402||- I meet 3 young women in the intersection to Pilestredet|
|mit Valencia allverklärt?||423||denn||1401||- One of them says: "...vært på fjellet i helga..." = '...been to the mountains in the weekend...'|
|42:109||424||dictionary||1400||- A car appears behind me|
It seems that 42:109 tells aspects of the enumeration codes - resembling 42* forwards and quasi 190* backwards. The mirror enumeration:
|In Afghanistan hört mans wie Jazz.||1399||show||425||- A cardboard box by a car.|
|10. Venedig (im Herzen Berlins)||1400||significationally||424||- A woman, with arms crossed in front of her, around the corner before I have reached the boundary. She wears glasses. I reach the boundary before she enters.|
It is shown in the following why the 'box' of 1399 is interesting. I refer also to the 'φωσ' script on the ground of the photo #23 in this file.
2) The other example serving as proof of the relevance of the alignment is the following:
|So ein Baden habe ich doch nie (gesehn).||550||art||1274||- A man with a headband passes me on the sidewalk outside the PUB in Dalsbergstien.|
|16. Schnee der dunkle 2-3'E||551||article||1273||- The sound of a car central lock. (Before the previous?)|
16. Schnee der dunkle 2-3'E is the poem title (to poem 16 in chapter 3. 'Schwarze Blätter') which I in the article SNEEFT COEIL and the Catalan number discuss as relevant for the assessment of the theory that the decimals of the Catalan constant constitute a natural language enumeration of the numbers in my chapter 7 on numerality in language. This is why I look it up when considering this enumeration - for the issue whether this tells anything like the first example. It does - since the poem title can be seen to correlate with the enumeration and the doubleword:
Schnee der dunkle 2-3'E
55 1 ar ticle 1273
whereby the 'E seems to have been lifted inbetween 2 and 3 for the 7 locked 'centrally' there.
Now looking up the mirror element:
|Verkleidet ist sie - die Dunkelheit -||1273||kept||551||- A boy with a flapped cap is standing beside him, but turns and walks against his mother.|
|wie eine Jungfrau in schwarz||1274||keys||550||- She is standing by the car, stooping and looking into the car mirror.|
one could speculate that the 'flapped cap' of a 7 is described in this event element. It is the poem line which is the proof - when the 'Schnee' (of the SNEEFT COEIL?) is 'verkleidet in Dunkelheit' - the 'dunkle 2-3'E'. This tells also of the complexity which there can be in the alignment with the Catalan constant.
This chapter 7 (in 'SNEEFT COEIL') on numerality in natural language is called "20 Gedichte - in September und Oktober" and is correlated with Berry's paradox. The preceding chapter 6 "Die Verwandlung (Unter vier Wänden)" is the one on the ethnologic parametre which is correlated with 'relations paradox' which here concerns the mutual relations between hebrew, sanskrit and chinese - as examples for the second computer glitsch. The question is whether the first computer glitsch can be recognized in chapter 7. I look up the titles with mirror entries to these two chapters:
|Die Verwandlung (Unter vier Wänden)||1250||honey||574||- As I walk to the right in Sofie's street, he follows after me in the car. He drives a little too close before he trespasses the street obstacle illegally, and drives into the street.|
|wie Wochen die lebn in dem Mangel.||574||box||1250||- A black plastic band is lying on the asphalt.|
|20 Gedichte - in September und Oktober||1519||box||305||- Also, a man was doing something in Glükstad's gate (kneeling, sitting, or in some other strange position, I cannot recall), and I may have seen him before I transgressed the boundary, but it may also be that I did not really notice him before I had passed this line.|
|über die Macht,||305||nose||1519||- A car with TELENOR written on its side in the other end of the street.|
As is seen, both of them have a 'box' - plus a nose and some honey. The event description to 1519 could look like a 'mystic number'. The above 'box' of 1399 could increment to 1400 like 109 to 110 or 140.
I add also the phenomenon of a doubleword 'box' not only for entry 1250 but also for 1150!
|25. Wie in des Strandes weißen Grand||1150||box||674||- A man comes rolling two car tyres down the street, on the sidewalk, to add to the other two which stand outside his door. It is the curled-haired man from earlier events.|
Could be it is the number 1400 he is working with?
Now for the clue: It is in the chapter 8 of SC - on the 'level beyond' by Grelling's paradox. The 163 lines in these 10 poems seem to follow the 163 events. I pick out the event numbers which the four examples correspond to and give the corresponding line number in chapter 8:
|1250||honey||574||93||was begrenzet outdoor Scham|
|574||box||1250||17||Du die ich wende mich so sehr gesprochen|
|1519||box||305||125||...sechzehn wechselt mit sechzig...|
|305||nose||1519||7||ich komme, ich will weil|
It is the example
1519 box 305 125 ...sechzehn wechselt mit sechzig...
which calls for interest relative to Berry's paradox and the incrementation error of glitsch #1 - for 1966 failing to increment to 1967, or rather being 'held back' during the incrementation of one step:
Nineteen sixty six
Nineteen sixty seven
which is interpreted in the line
...sechzehn wechselt mit sechzig...
could be particularly if 'Du die ich wende mich so sehr gesprochen'.
Could this suffice for explaining glitsch #1? Could be - in light of the entire form of the 1823 elements. Each of 163 events (with the 1823 event elements) were about what happened on the way out and way back in the course of short errands outdoors - many or even most of them were about going out to the telephone box for a call and then back again. I had the condition on the event notations that I had a reason for going out - it would not be enough with just going out to the nearest road intersection and back again 'to see what happened', and so the nature of the errand could be of some 'importance'.
I add the two entries - forwards and backwards - for the second chapter "Die Steine":
|Die Steine||207||bout||1617||- She throws [a pebble on a window] a second time. Then she talks into MIKE and the door opens. She steps in.|
|was über Menschenleben sagen||1617||hanging||207||- A man and a girl out of no.7.|
It could be argued that 'hanging' is the nature of this failure to increment - but catching up properly in the next loop - for glitsch #1 - and then it could be that glitsch #2 could be called 'bout'.
In fact even the rest of the 'SNEEFT COEIL' chapter headline doublewords seem to tell essential aspects - here are the doublewords forwards and backwards to each chapter ('linguistic parametre'):
|1||Africa||yellow||1. Die Wahrnehmungen|
|207||bout||hanging||2. Die Steine|
|298||nay||change||3. Schwarze Blätter|
|560||being||issued||4. Klein ist die Welt|
|853||black||meant||5. Ich ginge aus zu Breleon|
|1250||honey||box||6. Die Verwandlung (Unter vier Wänden)|
|1519||box||nose||7. 20 Gedichte - in September und Oktober|
For 4 and 5, if 'issued' counts as 'white', there is a butterfly which could suggest ontology of 4 plus epistemology of 5 against a black-white diagonal which then must count as metaphysical. NEGATION + change of 3 could tell of the fundamental theorem of statistics/logic straddling the 'maya screen'. This suggests that the 'box' of 6 and 7 tells that the relation between numerality and the ethnologic parametre in natural language straddles the border between physics and metaphysics.
In sum, it seems that physics is the column of forwards doublewords and metaphysics the backwards.
|in deren Abend-Stunde heiteres Wesen.||1823||yellow||1||Couple in car with little trailer.|
|was über Menschenleben sagen||1617||hanging||207||A man and a girl out of no.7.|
|und was vergeht and was verbleibt||1526||change||298||After I have passed, I hear the one woman's voice to the boys: OK, gå inn i gangen da.|
|Dann brichts über der Erde Rand||1264||issued||560||I pass between these two women.|
|sind die aufgestellten Blätter||971||meant||853||A group of FIVE people on the benches in the end of the street: 1 man, 2 older men with CAPS, and 2 children by the older men.|
|wie Wochen die lebn in dem Mangel.||574||box||1250||A black plastic band is lying on the asphalt.|
|über die Macht,||305||nose||1519||A car with TELENOR written on its side in the other end of the street.|
One could notice a certain diagonal reference in the event elements in the righthand column: The black plastic band of the 'box' of 6) backwards could refer to the 'black' of 5) forwards. Likewise, the FIVE of 5) backwards could refer to the 'being' of 4) forwards (by the second ex nihilo white stone - of the white metre - described by poem 5) etc.
Exemplum docet - diachony and synchrony
In the following I discuss one single example which seems ideal for telling the principles - it is systematically related to the formation of the 'lapis philosophorum' of 2014 during the completion of DDS part III - but rooted in DDS part I. This single example - at the formation of a piece of ex nihilo matter - finds its ideal counterexample in the story of the 1531 formation of the image of the Madonna of Guadalupe with the socalled 'purkinje light' formations discovered a few decades ago. The combination of these two aspects provides for an impressive exemplum which seems convincing for interpreting the semiotic principle of the chinese script - for a theory for which it otherwise could be very difficult to find any empirical evidence. However, the empirical value of the following 'exemplum' seems quite convincing.
The diachronic 'shuttle' glitsch (ZUM → CULTURE) is quite impressive for a computation theory on basis of this grammatical model if one assumes the theory that the grammatical errors of my DDS correlate with words selected from the 'lithurgic' language of Rigveda/Moses by the peculiar property of the relation between these ancient languages. The correlation list is given in the end of the book and in volume 4 and allows for the identification of one hebrew and one sanskrit (or 'vedic') word on basis of some specific grammatical error in a text of DDS - and when the two hebrew and sanskrit glosses are compared, there is a tendency for the one to be suggestive of a door-like structure and the other of a doorframe - for the formula 'the opening/closing door'.
DDS part I is enumerated in both relative and absolute form: The absolute is a plain listing of the 294 poems of part I - from DDS I:1 to DDS I:294,. while the relative enumeration goes from #1 to #187 and contains many 'subtrees' 72, 72a, 72b... including odd enumrations such as 74, 74f, 74g... or ...109f, 109fa, 109g... ...109j, 111, 111a.... Poem of relative enumeration 110 does not exist.
Now the exemplum is the poem DDS part I relative enumeration #77, in absolute enumeration it is poem #110:
Sommer wechselt Apfelbaum in Apfelfrucht
und die fruchtbare Abhängigkeit des Quecksilbers
ins Gegenlicht des Hundes
als er sich selbst von neuem versteht
und das unveränderliche Wunder der Wiese
ins tiefen Blaue des Grases
in seiner dunklen Schräge enthältend.
Mein halbes Herz
sehnt sich nach der Weisheit
Was unter [transparenter] Plastik verweilt
bleibt in der Schönheit des menschliches Herzens
The line 11 out of these 12 lines contains a grammatical error: It should normally have been 'des menschlichen Herzens'. Consulting the concordance table at the end of the book, one finds that this poem in absolute enumeration #110 correlates with Moses 1-5-5 (= 1st book of Moses, 5th chapter, 5th verse) as well as Rigveda 1-11-8, 1-6-2, 1-35-11, 1-33-1, 1-30-19. For the sake of convenience I skip the cyclic alternatives and consider only the main correlation case 1-11-8 of Rigveda. Since the grammatical error of the poem is in line 11 out of 12, one looks up the word which is 11/12 through the verse. In this case in fact both verses (Moses 1-5-5 and Rigveda 1-11-8) have 12 words each in the verse selected by the concordance table, and so one looks up word #11 in each of these verses.
Rigveda 1-11-8 contains 12 words - and word 11 = सन्ति. Consulting the 'wiktionary' source one finds that it is 3 person plural of 'to be' = ASTI = अस्ति. However, looking it up in Monier-Williams the citation form can also mean 'sati' which is found under Monier-Williams page 1135 (lower lefthand column) - wherefrom it emerges that a main meaning element is "faithful wife who burns herself on the pyre along with her husband's corpse".
Looking up Moses 1-5-5 the word 11 out of the 12 is שנה which can be found in Davidson's analytic hebrew dictionary page 828 (lower righthand side) and on the following page 829, wherefrom it follows that the basic meaning is "repeat, a year, a 2nd time".
1) Rigveda: "Faithful wife who burns herself on the pyre along with her husband's corpse"
2) Moses: "Repeat, a year, a 2nd time".
In this sense, the two forms constitute a variant of an opening/closing doorway. This example would be assumed to have sufficient explanatory power to account for why the word ZUM is selected by the overall structure when it is aligned with the white-metre line in poem #37 "som åpner seg mot et hulrom i den" = "which opens against/towards a hollow space in it" - here the hollow space is this grammatical error which selects these glosses from Moses/Rigveda - and when this chosen doubleword was shuttled over onto another word, it landed on the doubleword CULTURE which is aligned with "the one way, the other [way] as well" - for the forwards/backwards enumeration of the synchronic 'culture' of chinese radicals (1-214 forwards mirrored by 215-428 backwards) or the event structures (the latter forward/backwards being assumed to encode the difference between physics and metaphysics) - the combination of which perhaps could be motivated by a 'relations paradox' of the three languages combining diachrony with synchrony possibly for a 'semiotic fact'.
The third language element is the chinese radicals. It is the 214 Kangxi radicals that follow my DDS in the absolute enumeration. (I have worked a little with the idea that the modern alternative Kangxi of 188 radicals are more akin to the relative enumeration - that is an interesting theory which, though, I have not elaborated sufficiently). The Kangxi series 1-214 follows DDS in parallel from #1 to #214 - and down again Kangxi #241 down to #1 in parallel with DDS #215-428. (The last 12 poems are not included in this). I first look up the correlate to DDS abs #110 which is Kangxi radical #110 = 矛 - which means 'spear, lance'. Consulting the poem rel #77 = abs #110 above, one can lead an argument that the poem is about the classic latin origins of the word CASUS (the grammatical case) which is derived from the idea of a sharp tool falling down to earth: If it plunges perpendicularly into the soil it is nominative and the more it slants off from the vertical position, the more it deviates from the nominative. The genitive of 'des menschlichen Herzens' is a partitive which - in this way of associating - would branch markedly off. This poem immediately precedes the poem 78 which concerns the formation of the lapis philosophorum at the end of the writing of DDS part III - I found this in the edge of the drainhole in the kitchen sink and believed first that it was a lump of petrified salt. The 'transparentes Plastik' finds an interpretation in the story of the potato peel filter from 2006.
To each 'radical' poem among the first 214 there is also a mirror poem in the second half of the book. The mirror to #110 is 214 + (215-110) = #319 which is DDS part II poem #24:
In heilgen Luft gehn Tauben alt
wie ihrer Schatten Hundeschrift -
ein schwarzer Glanz aus blauem Kobalt
sich flach auf Boden wirft.
Dann fliegen hoch wie Gläser Bleis
die weiße Tauben auch,
wie Schattens Wunderwelt in weiß
und rot sich formt wie Rauch.
So gehn die Jungfraun mir dabei
und dann auf linkem Bein
von meiner Seite in die breite
Straßenkörper blau hinein.
In diesem großen Glaubenswissen,
in diesen Träumen auf den Kissen.
It seems to be normal that if the one poem is concerned with the meaning of the radical, the mirror poem is concerned with its form. Consulting the three historic glyph forms under Kangxi radical #110, it can be observed that the Western Zhuo bronze inscription resembles the third stanza with its 'leg extremity' form protruding outwards to the left if the figure is facing the reader. It is possible that the Liushutong form of transcribed ancient scripts could be seen as relevant to the first stanza and the Shuowen Jiezi small seal script the second stanza. Consulting the modern form 矛, one could fancy that it is composed of three angles superimposed on each other - one for each of the stanzas top-down - plus the last couplet in the lower hook. That is of course for optimizing the interpretation relative to this hypothesis, but it has a suggestive value for the idea of a historic motivation in the form of the sign - and it turns out to have a heavy reason in the following discussion of the Guadalupe data.
Now this radical #110 immediately precedes #111 which is the poem relative #78 reproduced in this file - the study of how the formation of my 'lapis philosophorum at the end of DDS part III. This part III was written as 14-liners resembling the completed part II - the example above - sort of shakespearean sonnets - and I had fantasies of going for a new 8000-metre of 365 such shakespeareans or something like that when in the course of poem 78 I suddenly met the wall completely: Having written about 3 lines into this and embarked on the fourth, there it was - the complete halt. Wherever I tried to find a piece of calm enough to continue, there were disturbances, and this drove me desperately around untill I had to realize that I had to accept the fact and do as I had done in part II - which would be to collapse these 77,3 or so poems into 64 of part III. It is when one studies part I poem 78 (abs #111) that one finds the explanation - in the fifth line (out of 17) where there is the form 'plötzlich versteinert' - to the complete halt which made me stop and compress these poems to 64 x 16 lines plus titles. It was in the course of this work with the compression that the stone appeared - which means that it was in the course of these lines of #78 which find their interpretation in the 'purkinje' images of the Guadalupe Madonna's eyes on the icon on the 'tilma' of Juan Diego.
What seems to be of utmost interest is that the images reproduced from the source file http://www.amen-etm.org/Milagre5.htm and which are seen in the computer-enhanced photos of the people present at the revelation of the icon on the tilma seem to allow for a recognition of the outlines of the chinese radical glyphs that apply to my part II poem #24 above - when, though, the Guadalupe images are seen in a mirror. Here are the originals plus the mirror and the annotated mirror:
= the modern form of the sign, for DDS part I:77
= Liushutong form of transcribed ancient scripts = the first stanza of DDS part II:24
= Shuowen Jiezi small seal script = the second stanza of DDS part II:24
= Western Zhuo bronze inscription = the third stanza of DDS part II:24
Notice that this is not mirrored - to the result that all the characters face leftwards. However, if even this 'Negerin im blauen Kleid' is mirrored, the result - due to the apparently assymmetric formation of her breasts in this angle of view - comes close to the modern form such as in the image of the sitting young man:
Only the Liushutong form looks not nearly optimal - there lacks traces of a vertical stroke and there are clear signs of some other notable forms, but of course it need not be that these forms rendered on this historic overview page are the optimal.
I have the computer-enhanced images from an internet page http://www.amen-etm.org/Milagre5.htm which I know little about and cannot tell to what extent extra ad hoc anthropomorphic parametres could have been applied - or, even worse, to what extent the enhancement even could have been optimized against my own poem or person - for example as part of a quasi 'intelligence project'. If the enhancements made by Jose Aste Tonsmann (probably presented in his book "The secret in her eyes") are from the 1980's, they cannot be based on my poems, but there is the theoretic possibility that they could have been related to the octogon 1977-1982. I knew the norwegian poet Jan Jakob Tønseth in those days. But such things are irrelevant if the enhancement procedure is neutral and can be repeated with modern scanning technology etc.
However, the recognition of patterns of relevance for the chinese signs, also in its historic forms, could perhaps lend more credibility to the value of the enhancement.
Poetic logic as the nature of the chinese script
The following discussion could provide a solution to the mystery of the chinese script - and thereby lend support to the overall analysis presented here.
The example of DDS I:77 is quite convincing and concerns the question whether a phonological logic exists in human language. This would be a logic which allows small bits of phonetics (or fragments of other sensory information flux) to guide thought and behaviour according to certain accepted principles. I have earlier postulated that my function 14 on the TEQ data suggests that such a phonological logic probably must exist in human language. This logic would not resemble anything like the semantically based logic since Aristotle - but would nevertheless be supposed to have a generally accepted function in society of a phonetically (sensorially) based guidance of thought and behaviour. If a faculty of faith be postulated, one could perhaps expect to find traces of such a logic therein.
If this should be the case, then one should expect to find traces of this in the data of poem 77. I try the word 'faithful' from the sanskrit (Rigveda) data and 'relations paradox'. It occurs precisely thrice in the course of the 16 books of TEQ - here given with immediate contextual lines:
Mr.Kennedy, just way from
nothing Magari and faithful like that
double 'e' and double 'e'.
He decided on talks at the end of the weekend
in faithful justice:
Where's my tie?
Ich bin Macht
to more than the faithful position.
Dinos at the Cathouse blocking
The three dates have these intervals:
19.03.98 - has 1379 days to the next
27.12.01 - has 629 days to the next
15.09.03 - which means 2006 days in total
There are only two ratios available - 629/2006 and 1379/2006 - which each is multiplied with the number 207 of poems in book 14. This gives poem #143 as the semantic definition and its converse or mirror poem #65 as the phonological.
Book 14 poem 143 בעביטין בשליפין
But Julio Presidenten: "Still a week"
going in sane.
But I must say that present government of state.
A kendel v/Ip
There is no doubt about the high relevance of this for the three occurrences of 'faithful' in the semantic interpretation. Now the mirror poem to this (on the 'rainbow' from poem 1 to 207 in book 14) is 208-143 = #65:
Book 14 poem #65 אין לי אלא ספר
The store is out
It's done with the wind
using lips on the tin.
That it is good on some summer afternoon,
the fur of this weekend.
I have long-since
so small lens:
'Die verlorene Ehre der Maria Braun'.
Monte Esser Globals.
It seems that this applies well to the revelation reconstructions on the web page www.amen-etm.org/Milagre5.htm from the 'purkinje' light in the eyes of the Madonna of Guadalupe relative to chinese:
The title line to TEQ book 14 poem #65 = "The store is out" - could refer to the photo-enhanced human character #5, the woman with the breasts:
The first stanza: TEQ book 14 poem #65 is "Largo Argentina / Z-zhelp, / absolutely. / It's done with the wind using lips on the tin" which seems to apply to photo-enhanced and mirrored human character #2 by the Kangxi radical 54 'YIN' = 廴 meaning 'to move on' - showing outlines of the 'Z' in 'Z-zhelp'. This cardinal is used in sign TING = 廷 which means 'court' or quasi 'courtyard' here for 'Largo Argentina'.
If this suggests human character #2, this is more clearly shown in the unmirrored version where the '7'-similar outline of the cheekbone and cheek down to the chin is prominent. There are several variants of this sign in chinese but clearly the one completely without crossover stroke = 了 is optimal both graphically and semantically since - as tells its meanings or definitions given here - suggest a close affinity with the three senses:
1. absolutely = perfective aspect = action completion
2. Largo Argentina = a change of place
3. Z-zhelp = inform beginning of action
Considering the historical forms of the sign, it seems that most of them (except for the exception L16445) would conform to the mirrored form
The radical 28 is 厶 = this page which suggests a clear form on human character #2 down the eyebrows and the cheek - and up the nose.
But the modern version of the mirrored form of this sign lacks this third line completed - a phenomenon which could be observed in politics in the role of the nasals, nazis or norsemen - see
See this 'wiktionary' page on radical 54 - the historical forms: In fact the Liushutong transcribed ancient script shows a markedly clear affinity to the outlines in the unmirrored version - and here the nose is very clearly present along with a line which resembles the one from cheekbones down cheek to the chin. The small seal script form of Shuowen Jiezi likewise - and this even pays special attention to the mouth and the lips. Cp. also the stanza 2 "It's done with the wind" of the nose - "using lips on the tin/chin".
The second stanza: TEQ book 14 poem #65
That it is good on some summer afternoon,
the fur of this weekend.
I have long-since
For the second stanza radical 15 BING relative to human character #3 seems to apply:
bing = 冫 = ice, ice cold, icicles, frost - alternative form 氷
I mention also 'WEN' = 温 traditional form 溫 which can mean 'warm', 'lukewarm', or '[body] temperature', hence also 'thermometer' to be pushed into the mouth. The play with dark lines to the left and light to the right of the face is interesting, also in the historical forms of the character. Could be the question would be if the dark lines around the mouth can be shifted over onto light lines on the righthand side of the face.
For the 'fur of this weekend', I refer to the above discussion of event elements - the phenomenon 42:109. Chinese 'week-end' = 'zhou-mo' = 周 末: The first of these two signs could apply to the dark lines of lower nose and mouth region while the second is closely related to the radical 'BING' as the white stripes on the cheek.
The third stanza: This seems to apply to human character #6:
There are allegedly four images in the human eye: Behind cornea, in the lens (upside-down) and in the glass ball - these are 'purkinje' forms - plus the fourth on the retina which is electronic in the brain. Similarly, there are 3 levels of chinese - the graphic sign, the pronounciation and the meaning - plus a fourth level which must be assumed since otherwise the extensive homophony would make the spoken language incomprehensible. Could be the pensive human character #6 has this latter aspect in mind. The third stanza seems to interpret the four images well:
|so small lens:||= the purkinje image in the lens|
|'Die verlorene Ehre der Maria Braun'.||= the purkinje image in the cornea|
|Any sign?||= the image on the retina|
|Monte Esser Globals.||= the purkinje image in the glass ball|
The difference from the human character in the previous stanza seems to be that it is not primarily the white but the dark parts of the face which constitute the sign: Here it could be e.g. MING = 命 = the will of God, a command, a decree, to command, fate, destiny, life, to name, governmental notification. (See also the mention of this sign in the 'Hütteldorf' line of Shijing #80).
However, as seen from the historical forms of the MING sign 命, the original graphics (such as the oracle bone script) resembles much more the Guadalupe form of the visionary Juan Diego - which makes sense for the interpretation 'the will of God':
Or it could be JIN = 金 = 'gold', 'precious', 'metals', 'weapons' etc?
The fourth stanza:"Capri? / Oh Johnny! / Men / knock". It seems that 'Capri' here relevantly could suggest 'grasp' and 'parcel' - the two hands 'grasping' the backpack or 'parcel' on #1. This is the sign PAO = radical 20 = 勹 meaning 'parcel', 'to wrap', 'to include' or even better 匊 = JU = to grasp/hold with both hands, or to fill both hands with something:
An alternative is also 灳 = 'brightness, splendour, to shine upon' - by 光 = 'bright, light' - see also the interesting historical forms.
These interpret the image amazingly well - but it follows not the white exposure but the darker coloured lines, like #6.
This phenomenon could be the explanation to both the poetic-phonological logic in general (the logic on the other side of the rainbow of function 14 relative to the semantic definition) and to the form of the chinese script in particular.
It could also be the explanation to why the coronavirus pandemic started in China - if power-making from abuse of poetic logic is the explanation to the disease.
Another synchronic category
To take yet another example of the synchrony, Russell's paradox #1 can be put in connection with the phenomenon of irregularity of the submorphemic sign (vol.3 p.82f), here a quote from pages 83-84:
It is, I will assume, this which leads to the appearance of dialogue around the middle of the second year. When the space is subdivided into different domains which each has a possibly unique signification, that is, a subspace which is a subject, this means that boundaries have been created in the common space, in that space which formerly was the space of attachment. Now knowledge can be gained of this space in full only by communication, which then amounts to mapping from one subspace into another. In the primordial unity, there was no need for such dialogue, since the child's self comprised the total space and sounds mapped directly onto states and events in the space. 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. Personality structure and social role as well as referential signification are narrowed down in the same moment as these two domains gain relative independence from each other.
Ramsey (1925) suggested that the paradoxes be divided into 'semantic' and 'logical' paradoxes, the former including reference to natural language, the latter being restricted to logical concepts only. On basis of the above discussion, one can subdivide in a different way by means of ideas about 'cardinality' vs 'ordinality' with a mirroring of these along the mid of the above-mentioned paradoxes. That leads to the four major examples plus cardinal/ordinal feature - paradoxes 1-4 = cardinals while paradoxes 5-8 = ordinals:
1. The dialogue/reference paradoxes 1 and 8
2. The mystic number paradoxes 2 and 7
3. The different realities paradox 3 and 6
4. The dated light paradoxes 4 and 5
1. Synchrony of light
2. Fundamental theorem of logic
3. Fundamental theorem of linguistics
4. Diachrony of light
which compares easily in reverse order with the conclusion to the introductory lines of poem 78 as discussed in this file
|Leben fährt fort||= the age of light|
|eben wenn die äußere Bedingungen||= the outer 'bedingungen' (= 'lapisations') are equal to|
|die innere Erscheinungen||= the inner revelations|
|wiederspiegeln. Hier||= mirroring in the here|
It is clear that this program could have a very strong impact on linguistic theory: If one considers the potential in the two fundamental theorems along with the two computer glitsches which seem to have functioned on basis of diachronic aspects of DDS (the yellow metre) invoked by the errors of grammar which compares with the errors of the fundamental theorems, then it is clear that a quite new computational capacity can be developed in the 'metaphysics' behind the computer 'maya' screen if the modelling of the natural language goes via the synchronic categories outlined above.
Synchrony = the relation between symbols on the maya screen = the fundamental theorem of linguistics
Diachrony = the relation between symbols on either side of the maya screen ('through' the screen) = the fundamental theorem of statistics/logic
In 1997 it was not possible to come any further without an empirical basis: That is what I have developed since then in the poetic work. Now it should be possible to start the development of a new form of computation on basis of a new conceptualization of natural language grammar.
It appears also from this that the graphic interpretation of the poem to radical 110, that which seems to take place in the mirror part DDS II:24, here is found not in the mirror poem but in the immediately following poem. This could lend sense to the 8 paradoxes discussed under the 'synchrony' above - for the distinction between 4 'cardinal' and 4 'ordinal' paradoxes.
It could mean that the graphics for the chinese radical is ordinal against the semantics which is cardinal - the meaning of the poem qua grammatical 'case'.
However, this means perhaps also that one can (for a theory of poetic logic/grammar) try and reach a formulation of 'grammatical paradoxes' without mathematical concepts from set theory - but use normal linguistic parametres instead - such as chinese which here means paradoxes of 'poetic logic'.
- In political history there seems to have been a large commplex called 'PTRSIM PIK'. It is likely that this has had the main function of serving as a block or control for preventing the progress of poetic logic as described above
- Between the original article '12 november 2020: Can light be dated?' on 12 november 2020 and the present article of 6 january 2022, I published also this brief article about what seems to have happened in the mean time. Could be the story calls for a 'zum' on the 'culture'.
- My books still await publicationn. There could be a problem with pirate copies. The 'intellilgence services' do not have the copyright: I am not an intelligence project and I have no connection with that sort of world. Hopefully legal copies (in agreement with me) can be made available in published form within not too long time.
Added on 8 january 2022: I must credit the hebrew quotes from Talmud Erubin, the classic Vilna edition, El Hamekoroth, Jerusalem 1947/48. Recommendable translation is found in Talmud Bavli. Vol.7: Tractate Eruvin. Mesorah Publications 2005. TEQ book 14 poem #65: אין לי אלא ספר I consult Jastrow's dictionary: אין = to look upon, investigate, something rounded/decorative, nothing, yes, if, whether. לי = negation. אלא = buttress, lament, club, bat, if not, except, only, but. ספר = write, mark, count, Bible teacher, hair-cutter, boundary, border district, sea district, counting, letter, document, book, scribe, writer of document, copyist. I have tentatively translated it: "yes indeed, not bat but book". Mesorah folio 15b1 translates it: "I would not know more than a parchment document" - more extensively and context-cued: "I would not know from this word more than that a parchment document is valid for writing a bill of divorce". (This source suggests "I have only a scroll"). TEQ book 14 poem 143: בעביטין בשליפין By Jastrow's dictionary: עביט = [fastening, pressing] sumpter-saddle, cushion on camel's back, large basket on camel's back for grapes, large vessel for collection of wine. שליפ = [sliding] pouch on animal's back, saddlebag, haversack; pulled off (esp. castrate). Mesorah folio 16a1 translates: "with cushions, with bundles", and adds that the cushion is of the type placed on a camel underneath the saddle. The Sefaria online suggests "these saddle cushions". I tentatively try: "out of saddle-sacks, upon [or: out of] camel-backs". Hence there is a certain basis for a recognition of a butterfly on TEQ #1213 and #1390 for the idea of Guadalupe character #5 relative to this female character on the Schimmelbild of the summer 2020 (which seems to tell of Dylan Thomas' "The map of love") - in the sense of the wrench-form head which in its mirrored form has an interpretation in chinese Kangxi radicals 22 = 匚 and 23 = 匸. See Kangxi radical #22, particularly the historical forms (oracle bone script turns the Schimmelbild way), while Kangxi radical #23 has a somewhat different historic origin. But both radicals have a basic meaning of 'box' or 'basket' - and hence can be recognized in the triple occurrence of doubleword 'box' in the above alignment with the events - enumerated 305, 574 - and 674. Are these the triple occurrences of the 'boxes' inside the historical forms of Kangxi radical #23, such as in the oracle bone script? It is this which seems to make sense of the form 'The store is out' for Guadalupe character #5. I add also for the understanding of the Guadalupe character #1 (mirrored) relative to chinese radical 20 (including historical forms) for "to grasp with both hands" for the fourth stanza of TEQ #1312 above a reference to my poem "LAT: Two men hiding in the church lavatory" in Volume 3 page 1200: This syllable LAT could have some interesting hebrew connotations. Is it possible to see some christian christmas stories in the Guadalupe revelation? Cp. also the revelation of Knock in Ireland, whereby 'Capri' could be the lamb and Juan Diego the evangelist.
Added on 10 january 2022: It is seen from the overall structure that the mystery of the fundamental theorem of statistics/logic could get its explanation if one assumes that it is the formula for the age of light - that it applies with equiprobability only in the beginning.
See also this article (commented on in this) on the concept of 'equiprobability' and the semantics of natural language.
Jastrow, M.: Dictionary of the Targumim, Talmud Bavli, Talmud Yerushalmi and Midrashic Literature. Judaica Treasury 2004.
Ramsey, F.P. (1925): The foundations of mathematics. In: Ramsey, F.P.(1931): The foundations of mathematics and other logical essays. Edited by R.B.Braithwaite. Kegan Paul, Trench, Trübner & Co, London.
Russell, B. (1908): Mathematical logic as based on the theory of types. American Journal of Mathematics 30. In: Russell, B.: Logic and knowledge. Essays 1901-1950. Routledge, London and New York 1992.
Talmud Erubin, the classic Vilna edition, El Hamekoroth, Jerusalem 1947/48.
Talmud Bavli. Vol.7: Tractate Eruvin. Mesorah Publications 2005.
© John Bjarne Grover
On the web 6 january 2022
Last updated 10 january 2022