Higher-order poetic logic
John Bjarne Grover
The article shows the existence of a poetic reality in terms of higher orders of time beyond historic clock-time in such a way that it can form the basis for a technology for information transfer faster than light. The article presents the empirical data needed for the reader's own evaluation of the theory.
The article has been adjusted in a few minor details after the completion of my 'Poetic semiosis' in 2013. This book of more than 600 pages includes most of the material in this article.
(Click here for an earlier version of the article)
In my 'POLAKK English Bloggi' (2008-2010), I reached what could be called a proof that there exist at least two forms of time - poetic and historic time - with the corollary that information can travel short cuts through poetic time considered a quasi eternity or at least second order time, thereby making it possible to send information faster than the speed of light - without refuting Einstein which is about speed of light in historic time. This discovery of mine (early 2011) came around the same time as the news from CERN on neutrino speed faster than light. I here assume that the news from CERN are not a hoax for 'celebrating' my theory.
The PEB was written at the end of 16 years of preceding work with the form of time. In 1994-95 I wrote the novel 'The Dreamer' on the form of place, in 1995-97 I worked with some preparatory theoretic matters in my PhD dissertation, and from 1997 to 2008 I wrote 'The Endmorgan Quartet' (TEQ), a 16-volume poetic work on the form of time. After this was completed in 2008, I could write the PEB on the form of authorship, on semiotics of the alphabet and universals in literary form. The grammar which can be constructed on basis of my poetic studies could open up for a new physics for speed faster than light.
The Endmorgan Quartet
is written linearily from beginning to end, line after line, more than 100.000 words, with dating of each line (there are only a few lines exception to this general rule). Each book represent a certain 'poetic function' in the relation between poetic and historic time. I here tell of the main structure of TEQ book 14:
If one studies the temporal distribution of a certain word in the total TEQ (or the first 15 books) one finds that it distributes over a certain interval of days and normally will have a notable interval somewhere in the distribution which assigns to it a certain ratio. The word 'considerable' occurs three times in the full work, here quoted with the lines on which it occurs:
02.11.97: considerable consequences to all the
01.02.99: Two hundred and seventyseven: / This would be a considerable trait for me to know
16.07.99: A considerable curb, in the concedation
which means two intervals 456 days + 165 days = 621 days. There are 207 poems in book 14 - or 208.71 or even more, depending on how one counts - there is a short 174a added to poem #174 and there is a motto poem to book 14, even with a small poem embedded inside the motto poem, plus several other unnumbered mottos in later sections of the book - but the numbered poems are 207 plus that 174a. Computing 456/621 x 207 = 152 then selects poem #152 - which is a three-liner (written on 8-9.12.03) wherein each of the three lines (in this later analysis) can be found to correspond to each of the three occurrences in their contexts:
One of the [greatest] British politicians
Fi-net is another dog or similar
= occurrence on 02.11.97
= occurrence on 01.02.99
= occurrence on 16.07.99
The first occurrence (02.11.97) corresponds to the first line, the title of the poem, while the second occurrence corresponds to the second, and the third to the third.
This correlation (which is a result of poetic intuition and not of any deliberate calculation in the composition of the poem) seems to be no coincidence - it seems to be a regularity (not a rule) in the distribution of the words in this work (globally books 1-15/16, locally in book 14) on the form of time and it is indeed easily verifiable by simply counting occurrences and computing intervals - I have tested some dozen occurrences which confirm this hypothesis with not much deviations, and I have ventured the hypothesis that it in principle can be seen to apply to all the 100.000 or thereabout words in the work - all the 'heros' of the golden age, so to speak, the warriors to Troy - which thereby receive a work-internal updating of their semantics for a revitalized poetic language: It is the semantic principle of book 14 (written in the period from 1 january 2003 to 25 november 2004) which thereby assigns a formal semantics - a work-internal semantics - to each word in the total work. For example, the word 'referendum' (line 3) will have its semantics updated by the context-sensitive 'a considerable curb' (the third occurrence) - plus of course other occurrences in triplets which distribute over corresponding temporal ratios. This is a general tendency which can be postulated as a semantic principle.
Book 14 also seems to relate to a 'rainbow' phenomenon in many canonical works from the history of poetry. The present example of #152 out of 207 (= 0.7343) can be checked against for example the corresponding poem in Celan's 'Fadensonnen' with its 105 poems: To find the parallel to my TEQ 14 #152 - which corresponds linewise to the three occurrences of the word 'considerable' - the rainbow principle selects 152/207 x 105 = 'Fadensonnen' poem #78 which is his "Kleide die Worthöhlen aus", which indeed is a good parallel (including the last word/line 'Ton' = 'Zhym'). Celan was concerned with similar poetic structures as I am in my TEQ, but the phenomenon is in principle universal and not particular for Celan - the reader can test other canonical works from the history of poetry for the same ratio. I pick somewhat at random Mandelstam's "Stone" of 81 poems - and find 152/207 x 81 = 59.5 = poem #60, which makes for a nice parallel, one stanza for each line of mine, even with last word 'teleg'. Or Petrarca's 366 poems give 152/207 x 366 = 268.75 = poem #269 ('Rotta è l'alta colonna') which is an interesting parallel to the four lines of mine (signature included) in the four parts of the sonnet. There seems to be a certain rainbow 'typology' which can be established, and of course one can guess that there are some 'types' or 'colours' of poetic logic on work level. This interesting phenomenon - and I have not heard about this discovery before - is what I call 'the rainbow' - it situates poetry and poetic logic in a highly universal knowledge-space and removes it from the realm of administrative logic. It is only free poetic thought which gives rise to such universal 'rainbow' forms when the logic of poetic time projects into the logic of historic time - and of course such parallel texts are totally uninteresting if they are constructed bottom-up with administrative logic from data analyses of corpora of poetry. Heaven sometimes projects into life on earth for a divine interaction with the humans - it is not really so much the other way round. My hypothesis is that the more a poetic work tends to be considered 'canonical' (is a 'good book'), the more it approximates (if the type) this standard of the 'rainbow' - which only means that there is a correspondence between the universal and the 'canonical'.
The third phenomenon which applies to book 14 is the phonological form. The semantics is established by the temporal distribution as explained above, while the phonological form seems to be constrained in the mirror-symmetric point on this 'rainbow' - as follows with some consequence when contemplating what the rainbow has to be. This constraining or determination seems to be of a kind which can be exemplified with the mirror poem to #152 which is 208-152 = #56, where I try to read the segments of the word out of the lines (the 'a' is very brief and centralized, almost only aspiration):
Lo stesso capit
Oh dear! Oh! Oh!
= (closing the vowel)
= n = co-baboo nasalized
= s = fricative, turbulence
It is easy to attack this theory for its lack of consistency and precision. It is not that sort of theory. One must take it that a language user learns the phonological form of an item by playing with associations like these against the temporal distribution of phonological forms which thereby conspire on a semantic definition in the 'rainbow' - and the 'semiotic glue' which keeps the 'signifier' to the 'signified' is quite simply the mirror principle in the rainbow. This could even be recognized as akin to Lacan's mirror phase in early child development. It leads to a constant updating of semantic and phonological forms as the child grows. (See also the 'cabbalism' below).
These three principles make for a very testable theory against a poetic work such as mine - but it is doubtful whether one can find closed corpora which are not of this poetic-esthetic kind and still be relevant to the theory. It is the role of the poetic 'rainbow' which situates it beyond the reach of the data analysis of finite corpora.
I mention another example. The word 'swiss' occurs four times in this corpus of the 15-16 books of TEQ:
10.11.99: ...and then the clocks would open for the documentation on Swiss.
18.09.01: as a Swiss annual kind
13.10.01: To a Swiss gentleman who had Cern -
31.03.02: swisstalking on the eve of Sunday.
Intervals are 678, 25 and 169 days, a total of 872 days. 678/872 = 0.7775 x 207 = 160.9 = poem #161:
That either would be
Is there anybody aufzuwaken/aufzuwuken [here]?
As I said in the beginning: I just can,
hasn't got a chance in his memory back.
To search for a phonological representation of 'swiss' in the mirror point, the optimal poem I find is #49, which can be reached by rounding off and counting 208.71 poems:
Le monijeur Walto
This principle seems to obtain with quite much relevance throughout book 14 - which thereby constitutes an intersection between local and global distribution. The boldest hypothesis on the principles of semantic and phonological updating as in book 14 tells that it could take place on every single interval in the distribution, not only the most significant - and some of the less significant intervals in the samples I have tested seem to suggest this hypothesis. One must of course include special ways of handling words which occur only once or twice or too many times to find a relevant poem. The phenomenon of local/global interaction seems to apply to the other 15 books or 'poetic functions' as well - thereby constituting a complex semiotic web - generally on 'poiesis' from the poetic act of etymological creation to the reality of first order (historic) time.
See also this file on some aspects of function 16.
POLAKK English Bloggi
While TEQ (1997-2008) is a poetic study of what can be called the lexical function in natural language, my PEB = "POLAKK English Bloggi" (2008-2010) is a study of what could be called the grammatical function. The book consists of 365 sonnets plus a leapyear poem #366. The poetry is about the form of authorship in the relation between poetic and historic time. The result is easily summed up as follows: There seems to exist a phenomenon of 1000 year cycles in authorship. If one takes a work from literary history and computes the temporal interval between the year of writing of this work and my PEB (normally dated to 2009), the interval can be multiplied with 0.366 for finding the offset relative to my PEB. If the work is written in e.g. 1509, one multiplies 2009-1509 = 500 with 0.366 and finds offset 183. The work from 1509 can then be subdivided into 366 equal segments, and these will roughly and averagely map onto the poems in my PEB from #183 (or #184) to #366, wrapping over onto #1 and running up again to #182 (or #183). This is a theory which easily can be tested empirically against my poetic work - and if it turns out to find a basis in literary history, then it tells something very magnificent about the relationship between poetic and historic reality. The surprise finding is that there seems to exist this 1000 year cycle which repeats itself. The offset relative to my PEB would be the same for 1509 AD, 509 AD, 491 BC etc. If this is found to be the case, then one can conclude that a transhistoric poetic reality exists and that information can be sent through it. I discuss one example (Kleist) and the reader can easily test other works. The example is based on the following 5 sample sonnets (chosen arbitrarily):
A bulky barge, a ferry
glides in mystery out
the harbour basin, very
red, black, white and stout.
This the movement dodgic
that sympathize the fall.
I says: Here's the logic.
He's the marine call.
Hidden on the corner
there's a stainless ring:
Library Zhikorsky Mourner.
I write on poetic Mecca.
I will write something
for the bridges of Giudecca.
It was a mythological role
in the public sphere, a
girl in a jacket of gold
high-jacking to Commonlehre.
It was soon after Halloween.
The town was under the high dome
minus eight hundred and eighteen
die andrechs anbetrieben kom.
I'm willow on the strand
which I try to reach
when I stand.
Engel der Staub,
cliff on the beach,
bräche den Raub.
The letter reads: "...so I'm ending
this music from these ancient lyres.
With love from one of thy standing
longstanding true admirors".
And as I reach my hand out for
this bottle of indistinct script
with label washed, there's on this shore
another bottle next to it!
These bottles form a girdlefield
on nickle where we're stretching out
to race over this hurdlefield.
The fluid has been re-installed
by measures far beyond our doubt
of lockings. Or it's preinstalled.
The sun is bright.
Three young men sit
in dazzling light
One at the end,
two at the side.
Three are these men
that here abide.
One of them has
a tartan shirt.
He shades his eyes.
With tangled legs
and stares that hurt
at me - they're eggs.
I see her far away:
A woman in a brown-
red coat, if so I may
describe her overgown.
It is this distant view
I recognize as mine:
Cylindrical and new,
and spherical and fine.
Well that is what it is.
What is it more than mine,
if I may emphasize?
It is what's known to us
untill the african
tells it in a blush.
2009-1811 = 198 years interval, while 198 x 0.366 = 72.47 offset, hence the correlation starts at sonnet #73, runs up to #366, wraps over to #1 and continues up to #72. The short story contains 5992 words (6008 if a dash counts as a word, as in the first version of this paper, and then it was perhaps a little more significant - could be the reason for the dashes?): 5992/366 = 16.37 words per poem, which means roughly one word per line. The following correlation is based on word count:
Sonnet #49 will be between 72-49 = 23 and 24 sonnets counted from the end, hence it starts on 24 * 16.37 = 392.9 words from the end, which means that it starts on 5992-393 = word #5599, and it ends on 5599+16.4 = word #5616: "...[geschehen] war; sie fanden ihn noch, da er den Nicolo zwischen den Knien hielt, und ihm das Dekret in [den]..."
Sonnet #132 will start on 132-73 = 59 sonnets * 16.37 words = word #965.8: "...[Denn] schon in seinem funfzehnten Jahre, war er, bei Gelegenheit dieser Mönchsbesuche, die Beute der Verführung einer gewissen Xaviera [Tartini]..."
Sonnet #100 will start on 100-73 = 27 * 16.37 = word #442: "...[sehr] von Schmerz bewegt, den Wagen und nahm, bei dem Anblick des Platzes, der neben ihm leer blieb, [sein]..."
Sonnet #200 will start on 200-73 = 127 * 16.37 = word #2079: "...[er] selbst noch Auskunft auf diese Frage geben konnte, so blieb der Zusammenhang der Sache in ein ewiges Geheimnis [gehüllt]..."
Sonnet #300 will start on 300-73 = 227 * 16.37 = word #3716: "...[Nichts] störte ihn in dem Taumel, der ihn ergriffen hatte, als die bestimmte Erinnerung, daß Elvire das Bild, [vor]..."
Every text is trivially a parallel to every other text - it is not there: There must be more than just an associative connection of some kind for being significant. If the parallelisms in these five examples should be not significant, then one must assume that the text to sonnet #49 on the average should be equally relevant to the other four sonnets, and the same for the others. The reader can easily check that. One concludes probably - although it is easy to see that there are some relevant correlations with some of the others as well - that there is a significant correlation. (It can perhaps be made more significant by counting the 16 dashes as words). The procedure used here, with these 5 sonnets, can be used to check any literary text (mainly prose, since poetry could follow other metrics) in a similar manner.
It can be added that the PEB turned out to run in highly interesting parallel with the first 366 verses of Genesis in hebrew, which comes as no surprise. (#49 = Gen.2:18, #100 = Gen.4:20, #132 = Gen.5:26, #200 = Gen.8:16, #300 = Gen.12:1). Indeed this suggests even that the received interpretation of modern hebrew is close to what Moses wrote. That's something. It even suggests that the beginning of Genesis outlines the semiotic principles of the alphabet used to write it - semiotic principles which also can be fruitfully studied in my book.
The five sonnets should suffice for any reader to test the hypothesis against literary texts (e.g. found on the internet), and if the reader is convinced of the relevance of the theory, then one can also contemplate the extent to which this implies the semantic function (TEQ book 14) discussed above with some degree of necessity.
If Gogol's 'Nose' starts on #63, it suggests 2008 and not 2009 as reference year for the authorship of the PEB. I looked a little at Sophocles' 'Oedipus Rex' (approximately 430 BC) and Strindberg's 'Miss Julie' (1888) which seemed to confirm the theory relative to the PEB. A good status of my PEB as far as dating is concerned could settle the issue as to the year when Sophocles wrote his work. Decartes' 'Discours' is well suited for a study of the precision in the dating and one is naturally inclined to conclude that it is an authentic work. Proclus' 'The elements of theology' is a good example of the precision relative to a non-literary work from the middle of the first millenium.
The status and authenticity of the old norse sagas could be questioned. I tested 'Heimskringla', the famous sagas on 16 old norse kings from the earliest times of the alleged viking kingdom, and found that it probably was written in England between 1688 and 1761 (the official year of writing is usually given as 1225) as a parallel to Alexander Pope's life - whereby the purpose could have been an anglican warfare against the Vatican. If, in addition, one agrees that the stories in Heimskringla seem to be constructed on basis of hebrew and norwegian words sharing phonological and semantic form, often from dubious semantic fields which serve to fuel antisemitism (for example, 'fried whores' is norwegian 'steikte horer', while hebrew ShTUQI = illegitimate child of unknown fatherhood; HRR = to be burned/charred), there are reasons to believe that a collapse of the alleged medieval origin of Heimskringla by the recognition of it as being from the 17th-18th centuries could come to lead to a corresponding collapse of political structures obtained through antisemitism, notably the holocaust 1933-45. When Norway was established in 1814 it was on an explicitly antisemitic basis. But this phenomenon is also the reason why one could expect some political resistance to the conclusions which emerge from my work. Will NATO collapse - and be replaced with a new and pacific NPTO?
In general, it seems that a text can be dated with much precision (down to plus/minus a year or two) with my book, even for works of preceding millenia. I found that if one assumes a fourth millenium authorship of Bhagavadgita, it could be landed on 3102 BC. When precision or dating varies throughout a text, then one could probably even reconstruct its constitution history - including such things as the original oral format of Homer's epics. I dated the Odyssey to having taken shape between 833 and 780 BC - by its parallelism starting from PEB #58, and notice that offset can be the other way for poetry (991-833)BC * 0.366 = 57.8 = #58 - and found empirical evidence for this also in moving the last 665 lines = 20 sonnets forwards to land between songs 18 and 19, a transform which would have been motivated by the long time from the first oral form to its final written format. When works have been authored over more than 3 years they can have an ambiguous offset in parts of the work - and reconstruction of original form can thereby be made possible. I refer to the 'new revelation in Vilnius' with the story of the bricks that jumped out from the wall when I passed them. This was in Geliu Gatve 6, which partly could mean 'GG6' for the 665 last lines of the Odyssey, partly it could mean 'Helios Hyperion' whose oxen or 'kine' Odysseus' men ate at the end of song 12, that is the mid point of the epic. This story is referred to also in the very first lines of song 1. It can be seen as another expression for the same 20 sonnets = 665 lines. See also story 12 (from the Berlin Zoo) in chapter 24 of 'Poetic semiosis'.
Blanckenburg talked of 'die Ründung' in his theory of the novel. The phenomenon of cyclicity could be the same 'rainbow' as poetry is concerned with.
'A waist of time' and the semiotics of higher orders of time
My 5-part PhD dissertation 'A waist of time' (1997), which was rejected apparently 'on a political basis' (the rejection letter arrived a few days before the bombings - while I was writing my appeal - of the US embassies in 'Dar es Salaam' and 'Nairobi' = 'political' and in 'Omagh' = 'on a [...] basis'?) in 1998, includes the idea (part 1) of lexical and grammatical structure expanding independently and gradually-continuously across discrete segment borders, plus the idea (part 2) of roughly 1000-year intervals for progress in formal description of grammatical levels or units, which means that it includes the concept of abstract time proceeding through abstract levels of signification: At the time of Christ, this abstract or absolute or second order time had reached the beginning of the morpheme level, around year 500 it would have come half way through the morpheme, and at year 1000 it reached the end of the morpheme and entered the level of the phrase (by scholasticism - a correlate for 2000 is discussed in part 3 of the dissertation). It is of course possible that this coincides with a 'poetic time' of some sort and that this is included in the format of my TEQ. It means that the entire past (and corresponding aspects of the future) are present in each now as an acoustic reality based on the divine articulation of the etymological origin. This is trivially social cognition or even love - whereby a subject has access to the empirical and spiritual reality of other subjects - and there is no need to postulate ESP particles that are shot in and out of brains in any other sense of it. This immediate presence of the creation can be recognized as the 'poetic feel' in the sense of a larger time. That also is why it can be called 'poetic logic' in contrast to a logic of a bit-map reality wherein the symbols are moved around on a paper as flat as the earth once was (and for some still seems to be). A poetic logic could come to have some affinity with Grassmann's 1844 theory which seems to have been derailed with the development of british binary symbolic logic. One naturally postulates a larger number of orders of time. In 1000 years there are about as many seconds as there are centimetres in the distance which light travels in the course of one second. That is about the speed of a tortoise, or of the word or the name itself. Swift-footed hero Achilleus can run about 1000 times faster but can never overtake the tortoise nevertheless, tells Zeno's paradox. That is because the tortoise runs in a higher order of time - which is the solution to the paradox. Could be logical paradoxes in general can be solved along similar lines.
Part 2 of the PhD dissertation contains the inherent concept of 1000 year cycles or steps in the progress of information technology and formal description of linguistic hierarchies. Part 1 is entitled 'Submorphemic signification' and addresses the question whether such exists in natural language, with an affirmative conclusion. After my PEB is completed, much more detailed things can be said about this. The PEB is divided into 24 main sections (average nearly 16 poems per section) of which one is doubtful since it really was the title to a single sonnet. It turns out, after this book on semiotic mysteries was completed and the first 366 verses of Genesis were attached to it, that the remaining 22-23 sections describe the mystic nature of the hebrew alphabet which seems to be primarily about the relation between poetic and historic time and only very secondarily about phonological classes in historic time. The graphic form of the hebrew letters seems to contain the key to their mystic values. I mention some examples: I wrote the PEB by first drafting a chronological series of poetic observations and thereafter writing the sonnets on basis of these. However, there was not a one-to-one relation between these. The drafts started at what later was sonnet #106 running up to #155, jumping back to #72 and running up to #105, with some disorder around 99-104, and from there continueing from #156 to the end. The drafts to the book's first 71 sonnets were made in a separate book while the main drafts went on in parallel with the writing, and at 72 I jumped into the main book and continued there. This means that the resulting relation between the poetic time of the drafts and the historic time of the poems in PEB 1-366 takes on the scorpion-shape of the hebrew letter AIN and this is likely to be the 'meaning' of this letter. A close study of the relation between drafts and sonnets reveal even the serifs of the classic quadratic form. It is a part of the story that in the course of the writing I found a paperflat dried-out scorpion under a red bucket in my bathroom - I dropped it in the toilet and when I fished it up some hours later it had attained the shape of a normal scorpion. The letter AIN seems to be contained in the section 'The Endmorgan Trolley' in PEB 90-103.
The X-looking ALEF seems to be contained in PEB #254-267, the section called 'Nufr and Nufrcay', but relating to the hebrew of Genesis in such a way that it constitutes a mirror-symmetric form when the preceding section 'SMT - adventure bottle' = PEB #241-253 is included (in fact 'SMT' suggests this '241'). This section seems to be the letter ZAIN which can be seen to be the 'vertical' line of the ALEF when the diagonal split and displacement of the latter is looked apart from. This means that the hebrew to #255 also applies to #253 and vice versa, the hebrew of 256 applies to 252 untill the hebrew of 267 applies to 241 and vice versa. 256 = 2 in the power of 8, and when 254 seems to be the mid point, it explains the displacement in the middle of the 'X'. This is the near mirror-symmetric X-shape of the 'ALEF' form splitting the ZAIN with its diagonal. I have not studied the phenomenon in sufficient detail but guess that the ALEF shares some semiotic characteristics with the AIN (the tail of the scorpion) as far as genre-turn is concerned: Prose typically has its offset in the form of authorship computed from the past while my theory is that poetry has its offset the other way round and is computed for authorship as an offset counted backwards from the future. Which means that it takes its 'empirical basis' from the future and not from the past. This genre-shift has its mid point in the now. When this applies to the lexical function of TEQ 14 (or the 'rainbow'), it means that the offset of poetry will apply to phonological more than to semantic form.
This TEQ 14 'rainbow' seems to have its cabbalistic version (probably) in the hebrew letter TAU in PEB #304-310 called 'Eternityth - my field of language', which starts out in #304 with a phonological parallelism of the hebrew to my sonnet lines and ends with a semantic parallelism in #310.
The mirror symmetry of the typical 'rainbow' of TEQ 14 (the unilateralism in the TAU is contained in its one curled leg) is added with the letter HETH = PEB 275-303 called 'Syntetica Pasterica Goin' (or is it 'coin'?) where one e.g. finds interesting hebrew to the middle of the last sonnet which seems to pop up again in the middle of the first - things like that.
The last example is from the NUN section, the sonnet 314 which in its slightly primitive ('nazi') bone-reading of the hebrew can be seen to be about the opening of the skull of a newborn (possibly even about the possibility of 'ploughing' its white matter) which could be the 'nazi' interpretation of jewish circumcision. My sonnet to this describes the rationale of nature in terms of an actress who squeezes a ball between her hands like wrinkles fold in a face - nature's need for a soft baby skull for avoiding the risk of death of mother and child in birth. Kleist's short story has for this #314 the fragment "...zerriß besonders am Abend der längst mit Sehnsucht erharrten Abreise jener jungen Verwandten sein verwildertes Herz da Elvire...". Homer's Odyssey should have had #314 on 17:248-280 but on a closer inspection this theme is more obviously present in the preceding section #313 = 17:215-247, which suggests that a displacement has taken place in the course of the formation of the written form from the oral poetry. Joyce in his 'Dubliners' has in the story 'Two gallants' the corresponding fragment "He might yet be able to settle down in some snug corner and live". Now the interesting aspect in the relation between hebrew and sonnet #314 is in the sonnet's phonological match relative to the 12 hebrew words in the beginning of each of the lines 2-8 or 9, with a phonological match to the end of the remaining lines (skip perhaps 12), and a corresponding semantic match for the end of lines 2-8/9 and the beginning of the remaining lines. This is what gives the rationale for this sonnet to the shape of the NUN - and the peculiar shape of the letter when it occurs in the end of words. Genesis 12:15 "wayireu otah shorey ware?oh wayihahelu otah æl-pare?oh wattuqqah haishah beit pare?oh" (?=AIN) is parallel to PEB 314: "Sentimental it is, / this performance here, / involving an actress / of very charming air. // She is well dressed. / In knitted jumper she stands. / A sort of ball is pressed / between two of her hands // while cyclically pumped vibrations / are taking form in words, / in spurts and in the stations, // in slow and hurried pace / between the wrinkled folds / of her pretty face".
It must be emphasized that the PEB was written first and the parallelism with Genesis was pasted onto it after it was finished, but clearly the first verses of Genesis will expectedly also (just like my book) contain the key to the semiotic mysteries of the technology it is written by. Which could be a part of the reason for the correlations. This semiotics can be seen to be about the relation of poetic and historic time as far as the levels or units of logical time (in terms of progressing millenia) is concerned. Hence one can postulate a 'Submorphemic signification' of this kind - relating the units of logical space to each other in higher orders of time. That means the technological aspect of the graphic representation of the semiotic processes. These are probably the primary functions and semantics of the alphabet - and it is only by a mystery of historic time that these come to find phonological classes of the surface language as their secondary 'meaning' in historic time. It would be part of what gives form to natural language relative to the historic time format of its linearity. This is also why the study of these levels of signification cannot go via e.g. data analysis of the works of literary history but must be based on a poetic logic beyond the reach of the digital computer.
Part 5 of my PhD dissertation is the short title part 'A waist of time' which starts with summing up the four first parts which lead to the construction of a simple and rudimentary model of analysis of speech signals based on the concept of sameness: If the value of the mid sample point in the scan window is the same as the average of the window, it was called a CONS[onantic] record. If the energy in the two halves were the same, it was called VOC[alic]. The same for the frequency domain (DIFF and GRAVE) gave four formal features - which, in my rudimentary test, distributed with symmetries resembling an hourglass (the two halves of the symmetries generally being associated with speaker and listener or comparable parts). Levels of recorded units (and the thresholding thereby) arise also from the need for avoiding too frequent samenesses - and the psychological registration of sameness is the basis for probabilistic distribution. This again feeds back into the model of the lexical / grammatical interface of part 1. The tests of 1997 had no empirical value beyond the purpose of illustration, and my conclusion was that no further progress could be made in those analyses before one had come to a proper understanding of the poetic logic in the units arising thereby. This is likely to be the contents of the PEB - when the poetic-cabbalistic logic can be used for the concept of distributional values being the same as in phonological classes correlating with the alphabetic symbols. For example, the NUN or HETH can exemplify the VOC in terms of halves. That is when one can start the work with constructing a model of speech analysis.
There is of course also much space for philosophical studies of reality constitution in these matters. The flatter the paper, the tougher the jargon. It should be possible to make a poetic technology which does not boil down to the two dimensions of binary-valued symbolic logic - it is the way of thinking which must be altered. For example, the reader's understanding of the sonnets in my PEB will probably vary with the degree of dimensionality in the reading.
In the original version of this article
there was a discussion of what I in 'Poetic semiosis' of 2013 call 'the redaction function'. The function relates TEQ books 9,10,13 across the mid point of books 11-12 in such a way that a critical text redaction of the New Testament can find a principled explanation. This was not really possible - and the discussion in the original article, although suggestive, is not sufficiently precise to count as valid - before the poems had been enumerated, which I did in the summer 2012 and found that I could count 1719 poems. The redaction function is studied in 'Poetic semiosis' chapters 3 and 12.
This means that there are reasons to believe that the poetic reality exists in a sufficiently precise sense of it to allow for a poetic logic - which also can be used for constructing technologies for information transmission faster than light. Whether neutrino theory is relevant is perhaps another question - I don't know if it could be traced to the title ('Wörter in Eisen') of the norwegian poet Claes Gill's second poetry book which could be the subject of much politics.
Vienna march 2012, march 2013
(Quote from Genesis is from Biblia Hebraica, Hought/Hahn, Leipzig 1839, from Luke some free internet source, could be biblegateway.com or something like that)
The article is the result of my 16 years of work with 'the form of time', and it is now 20 years since I started this project at the end of my MA studies in 1992. Due not the least to former experiences with my attempts to have my book 'Submorphemic signification' publised in the 90's, I could not sit here waiting for the answer to 'exclusive submissions' while the wheels were set going elsewhere. For which reason I had to publish it on the internet. I hope a serious journal will publish it in paper format and skip considerations of 'being first' and things like that: It is material for a knowledge revolution and not for a championship. If you are interested in publishing the article, you can contact me about it. And please credit the source if you use the material for other publications. Hopefully the political resistance to the results in this paper will not be too large, although it must be realized that much politics could have been balanced on the assumption that no technological progress could be made without a reduction of the material to the two dimensions of symbolic logic from about 1850. The present study probably proves that this assumption was not right.
Comment added to the article
Enclosed article contains a discussion of the key to a logic on higher orders of time which solves e.g. Zeno's paradox and can make overlight speed possible.
It is likely that 'politics' has been early on the theme in an attempt to stop the development of this logic. Politics could try and confuse the logical concepts in at least two ways:
1) Neutrino theory could have been constructed for giving pretext for a 'norwegian foldover' in the european swastika around Paris for making a war against Italy look like the only chance the world has to reach overlight speed - as a 'goodenough' reason for a war (or anglican action against the Vatican). It could be a project designed for driving the poetic logic in the ditch for retaining political power as the defining metric.
2) The orders of time and the swapping of orders as in Zeno's paradox could have been abused in the phenomenon of apparent british pre-indexing of the nazi death camps in the undertext of Modern Language Review before Himmler gave the orders to make the death camps. For example, the norwegian 'Anne Orderud Paust' case from 1999 (including the bombing of the chinese embassy in Belgrade - could be the entire Kosovo bombing campaign in 1999) was a sort of Dreyfus case 100 years later and could have been made to confuse 'paused order of time' with 'paused order of death camp'.
In short, there could be much political interests involved in stopping the progress of the work described in the article.
If the international secret services want to keep me behind stage and off public attention, and if the scholarly conclusion is that one must have a copy of the literary works for getting ahead with the poetic logic, if this means that people who want to work with this poetic logic must get hold of a copy via illegal pirate editions and administrative copies for research purposes, there is the danger that the history could come out as wrong as it did around 1850 by way of the inherent rejection of the author and origin of the theory thereby. Therefore it is of utmost importance that one finds a publisher who can print and sell the books. It seems that this finding-of-publisher is out of reach for my person - since it is (on background of experience) likely to lead only to new serious setbacks with rejections of my person and authorship under the heavy control of adminstration which is democratically elected by a majority of the people. It could be of utmost importance to stop the spread of the international secret services who try to get the field of poetic logic under their secret control, which also could let them take over control with democratic institutions globally. I hope somebody can help me find a suitable publisher who can contact me for the rights. Since these are books which should be of interest for linguistics, literature, theology, semiotics and many other fields of study, it is important that they be obtainable in some legal way. In order to prevent that the rights be sold on to Adolf Heitler Verlag rather immediately after my signature has started drying, it could be possible with a preliminary form of contract (for making the books available) which can be terminated on short notice by both parts and with royalty payment only.
John Bjarne Grover
[my email address]
(Postal connections could be uncertain)
© John Bjarne Grover
On the web 5 march 2012
Last updated 20 may 2013