Author's will for rights under public domain

Author's will for rights under public domain

John Bjarne Grover

This article is based on the assumption that a will cannot impose conditions of behaviour on the inheritors - and hence that rights to a work cannot be inherited on the condition of 'nice treatment' of the work. I dont know really if this is impossible under present legislation - but the article assumes so.

'Winged words': A state leader is one who has gone astray in the wilderness.

Example: Moses and the people of Israel in the desert. They buried their rings under an oak in Schechem.

Nowadays an author can grant rights to a work in the will to inheritors - but not - as far as I know - under the condition that the work be kept available for publication. This condition - or the unavailability of it - could be the entire 20th century and the reason why terror politics has gained grounds.

It means that if an author gives the rights to a work to an inheritor in the will, the one who inherits the rights can block the publication of it. The alternative (to avoid such a block) is to put it in public domain - but then it is out of control and the original version can drown in an ocean of erroneous versions - and what was once a christian book can eventually come out as pure satanism. Therefore the safest is to mention a person in the will - but that is to take a chance if the inheritor will not publish it.

Publication means in some languages that the book has been 'given out' (ut-giver, iz-dateltj), such as I do with my books, in other languages it means that it has been 'hidden away' - Ver-lag - in the wilderness (such as under the oak in Schechem). In others again it can perhaps even mean that it has been subjected to sex and power struggle (pub-lishing).

A new orientation should arise - whereby it can be understood that copyright can be inherited on the condition of ensuring availability of the work. Nowadays that is probably not possible because it is taken for granted that rights to a work means the rights to earn money from its publication and that it is self-evident that one who gets the chance to earn money from publication (the inheritor) also will do so - never mind threats and offers from black money for keeping it off publication. It means that the value of a work is its commercial potential - the chance to earn money from it, to keep wife and children up and going - not really its spiritual or intellectual value. This copyright inheritance principle of self-evidence is as naive as peer review - the idea that peer review always is neutral and unbiased. It is not self-evident. The only alternative is 'public domain' - and then the problem is to ensure that the original version be maintained. Perhaps much could be gained by a public office (surveyed by authors' interests) for keeping an eye on the original version - capable of verifying the authenticity of a work in public domain. Then authors could in their will give the rights to their works to public domain under such authority - while still earning a living from them in their lifetime - and so they need not be helped off before time. One could fancy an office under a national library or something like that. It is likely that modern scanning technology can verify a book against an original work in few seconds of time - x-ray etc - and then it is possible for a library to handle it. 'Hidden away in the wilderness' - with state leaders arising for finding them again (cp. the Dead Sea Scrolls) - will then not be needed. The books of Moses are probably authentic.

Under the present circumstances a serious poet faces the problem that the work composed can come to be turned into a tool for brute power and the only alternative is to make unserious works - plagiarisms etc.

Is high political power involved in the issue of the live-ability of the poet? Then the laws for will-making could be the issue. But those laws can be left unaltered if such an office for surveying authenticity of works in public domain be established. One could even have the option of granting rights to percentages from the sales to inheritors without these inheritors being granted the right to restrict the spread and publication of the work. Then the rights to percentages must be fixed by law or statute of the office on some upper percentage (to prevent those inheritors who claim 99% royalties for taking the corruption money instead) - royalty level of 5-10% for example. Ah, but that is why it is called 'royalty' - because it is the top political authority of the state. In the will-dörn-ess.

The angel of Port-ugal - the three 'pass-dörn-in-hos' - of Fatima. The opening door in the gap between hebrew and sanskrit in my 'Dornenstrauch'.

Is this the whole story - that valuable cultural works cannot be made if one risks that they be couped by power interests due to will restrictions? So Heaven even had to send the Madonna to Fatima to tell what the problem was?

For example, my 'The Endmorgan Quartet' and 'POLAKK English Bloggi' could face problems with publication and spread - and then the will would be the threshold which could concern interests. Political interests could be waiting for getting it under their exclusive control. Then it is the threshold to the will which is the story - the will-door-ness - and that could be the reason why terror politics has gained grounds in the 20th century. Humans lay not very spherical philosophical eggs - and so it can be hard to reach the threshold to a new solution to such problems.

But heads can be lifted and optimism regained if states establish such an office for securing extended publishability and authenticity of works.

My 'Hammerfest' (TEQ book 1) was rejected by the english publisher (Faber) in 1997 or 1998 - and now BREXIT (reversed 'tysk Erb') could perhaps be an attempt to repair that. That would tell of the 'political power' of peer review. ('Rub-off' is those ex nihilo graphics at the end of Der Dornenstrauch part 2 while the 'tis kerb' - the slam-in - could be the lapis philosophorum from the end of Der Dornenstrauch part 3 and hence the cosmic mysteries of part 1 turns into the present historic reality of part 4 when these turn around - then it is about a 'turn around' and the odd german or 'indo-european' grammar could be from the inner 'mother tongue' which tells of the opening door in the gap between hebrew and 'vedic' - this tells why my Dornenstrauch looks so miserable without its 'errors').

Office for rights under public domain should be established - that is the right of authenticity of intellectual property. All that politics and problems of 'copies' (affes etc) could be just this problem - a sort of helpless attempt to extend the authority of a person beyond the threshold of life.

Every country could have an office for rights under public domain which could constitute an international organization checking each and every publication in public domain under legal deposit etc against the original - the check would be electronic - scan against scan. The same offices can take in the royalties under public domain and pay them on to the right holder. This means that authors can put their works in public domain immediately when they are completed and earn royalties from them in their lifetime and forward these rights in their wills. Then royalties under public domain could also be raised to an upper 25-33% or so of the sales prize. This institution will also track down plagiarisms and stop illegal copies that contain errors or do not pay royalties to inheritors.

It can be observed that this institution taking care of works in public domain will resemble somewhat the role of the 'collective historic consciousness' in the Burgenland power mystery relative to my PEB line 1.

The temporally restricted subjective consciousncess of intellectual property is the subjective world - and when this can extend into the next generation after death, it is a culture. If only the commercial value of a work can be inherited, so will the culture be as well - posing a threat against the life of those who want to make more than only money out of their intellectual work. The current system is (if I have understood it right) based on an author selling the exclusive and complete rights to a publisher - which often means the publisher's chance to abuse the work and the author for the period of time appointed through the car window. This could lend an unfortunate form of 'professionalism' to the literature.

Public domain means then that anybody can print and sell or forward the work unlimited - to the extent that it is the authentic work and the true author is credited as source - but if there is a clause to it of royalty claims, those must be paid to the official institution who oversees it and these forward it to those who have the rights.

What such an institution costs will grossly be paid in terms of cultural values - since it makes it possible for the society to consider an intellectual work as more than just a resource for making money. The current system does perhaps not even favour the publication of valuable and serious work - but could tend to reject them for publishing plagiarisms and similars instead. Nothing but money comes out of that.

This story is an example of how much a small detail can count. It is likely that it is about the threshold to existence - that is the philosophical stone and it is the will - and the holes of redundancy in the philosophical stone being the explanation to ex nihilo matter and money. But the financial system should be able to take the effect of such 'ex nihilo' money - and a crash on Wall Street (followed by service hitlers and mussolinis) should not be necessary in order to restore spirituality in literature and culture generally.

There are missing parts of the philosopher's stone relative to a spherical egg - but those missing parts should not be 'modelled' in a legislation which has a hole for the rights under public domain. Then it is better to downgrade the stone.

The final answer to the riddle is likely to be the story since 1912 (or even since Columbus) and those who feel that knowledge of the lapis philosophorum is to have the keys to religious faith in their hands and therefore they could have tried to purge all archives of knowledge of it - in order to be the exclusive holders of this knowledge since that is power. Therefore they may have tried to spread the idea that ex nihilo matter does not exist - and therefore these restrictions on the rights to intellectual property in the wills. This drives the culture down. That could be the heart of the story.

It is likely that such offices under the national libraries should be connected such that if one office be closed its functions can be taken over by another (in another state). Then a creator of a work can give it to public domain, and anybody can publish it under conditions - surveyed by the office - that 1) it is published under the right author name, 2) it is in the form which the creator has established, and 3) royalties are paid as they should and can be forwarded to the proper person.

(It must be understood that the holes in the form of the lapis can be seen as the reason for the religions - needed to understand the world right - but to believe that these mysteries can be replaced with the secrets in the archives of the secret intelligences - and hence that these services can take the place of the churches - is to be totally wrong. It may be that the secret intelligence services had hoped to build a new world of mysteries on basis of their own administrative secrets corresponding to the rationality in the mysteries of the holes, but one is probably right in believing that this cannot be anything but vanity - and that is proven by the fact that the stone as far as I know is not yet officially published - which proves that this 'new religion' is nothing but vain power struggle - sex as publishing, so to speak).

In my new book SNEEFT COEIL there is a poetic idea that chinese script is written between bananas, probably while still being on the palm. This could mean that there is a genetically conditioned knowledge of the right context paranthesis in every left context - in contrast to latin script. TEQ book 14 tells that a phonologically or acoustically based poetic logic exists in human language - and if chinese script encodes these somehow, the theory could apply to phonological logic and not semantic. If this theory is right, it could be the explanation to the 'klass-gen' which could have got a very unfortunate interpretation in the concept of 'klatschen' of 'Ø-streich' - such as the war in Syria for the idea of an 'i-slam'-ic state. (Not to speak of 'homo' for 'writing between bananas'). That sort of ridiculous theory (penis slamming into the belly during gymnastics) could be about interpreting this poetic-phonological theory on chinese script as a matter of semantically based logic, such as the if-then syllogistic logic of computer programming with a 'banana-like' logic of parentheses ((())). If the political program is for the west 'to take China' by this strategy, it would be neither more nor less than imposing an oldfashioned semantically based logic as interpretation of the new acoustic-phonological-poetic logic the existence of which can be shown by my TEQ book 14 - but indeed it was much work to reach this and rather groundbreaking it is to show that this logic most probably exists in human language. 'Brexit' could concern just this - that it is backwards or seen from behind - like the boy with his index finger if he were left standing there like a righthand context banana while still like a lefthand crossing the street with the wagon - the assumed Leonardo painting of the lifted index - looks like a 'tis-kerb' (the man-on-wagon slamming - by 'i-slam'-ic state - into the kerbstone on the other side of the street) while still retaining a reminder that this be about a 'tysk Erb', a german inheritance in the poetic performance - in my case about the genetic parents Nelly Sachs and Paul Celan. With such an Erb it should be publishable? It is probable that the man-on-wagon is contained in the lapis philosophorum if the face to the right is the boy who crosses the street with the diagonal rope and the 'eagle' is the man on the wagon.

It is possible that the date 4 october 2018 has been used by the 'service philosophy' for implementing the idea of this Leonardo boy with lifted finger in the sense of 'car-a-vaggio-ba-lest-r-a' = 'man on wagon asked did you read the metre' = the wagon slamming into the kerb on the other side asking the boy on the other side of the street whether he read the metre. The encoding of this as Caravaggio and Balestra could apply to Caravaggio first Emmaus - with Christ holding his hand over the 'chick' - and the chicken showed in 90 degrees a face with a staring eye which could be recognized in the 'eagle' in the lower right of Balestra's 'St.John the evangelist' from San Stae in Venice. (The annotated detail of Caravaggio is adapted from the reproduction in Schütze's book, the one of Balestra from the referred-to internet source). Cp. also my photo of the big moth that I found on the sidewalk outside the house in Zinckgasse in Vienna some years ago - its look resembled the one of the 'chick' under the hand of Christ in the Emmaus artwork of Caravaggio. 4 october 2018 = norw. 'fjerde oktober to tusen (og) atten' = 'fjär rokt over tot use natten / you send watten'. 4.10.2018 = 'fjerde i tiende to tusen (og) atten' = 'fjä-ritt-iene-tot-use natten / you send watten'. Ritt Bjerregaard was a danish politician who resigned in the 1980's after having launched the program 'vi har ikke bruk for disse gamlingene' which is ambiguous for 'we dont need these oldies' or 'we dont have a desolate place for these oldies', which sort of tells the opposite. 'Soami Divyanand' published his 'Vedamrit' translation of the vedas. BATMAN could be the place in Turkey encoding these 'watten' ideas (the word 'vatten' in norwegian dialect means 'water') - it is symmetric around the border with Jerusalem and could symbolize the end of a 'Black Sea loop'. It is likely that all these things really are about these chinese 'bananas' - really for the mix off poetic vs semantic logic - but in the erroneous conception which tries to battle the poetic logic with war in Syria ('Ø-streich', 'klatschen') etc - coupled with indian spirituality - could be for a western strategy against the east, or for terror intrigue against sensible politics.

If these two comparable aspects of Caravaggio's first Emmaus and Balestra's Evangelist are the secret of the intrigue, leaked by heaven with the moth, then one could notice a certain femininity in the Christ apparition as a potential cue to the artwork - I notice the gender focus of recent times. But are these intrigues really anything worth? Is it terror intrigue who also has constructed Mao 1976 and Gandhi 1984 (shot with a gun) on these two artworks with that particular viewpoint?

Also, if my theory is right that the art of Antonio Balestra is all and only about the second poetic function (by my definition, that is - and I do not consider my work to be under the activities of the international secret intelligence services), then it could be a matter of recognition of a new time or era after the millenia of the first poetic function ('Hammerfest'). But then of course this should be studied in rational and peaceful ways and not via violence and warfare.

It is possible that Balestra's second artwork in Chiesa di San Stae in Venice - of 'Osvaldo' - could be seen to encode the date 4 october 2018. It would correspond to my poem 'We dont know' - poem #114 in The Endmorgan Quartet, #54 in the second book:

TEQ #114
Luke 24:46 τη τριτη ημερα

We don't know

We don't know when you'll be paid.
We don't know if you'll be paid at all.

Lev Xylongabang

In the beginning of october or maybe end of november now 2018, I paid with a one euro coin from my pocket but the receiver in the shop would not take it - it turned out to be a one LEV coin from Bulgaria which I had accepted for a euro. Then a few days later on 4 october 2018 I paid with smaller change which likewise was rejected - it turned out to be a uruguayan dollar coin. I dont know how I had got these coins in my trouser back pocket. 'LEV VEL' is the norwegian expression for 'farwell', 'goodbye'. Clearly the 'Osvaldo' of Balestra could have been the Oswald of the Kennedy assassination. (If the coins were ex nihilo, it could have been a transcendent support to my poetry - telling that this is your poem, John, it is not from the propaganda of the 'secret intelligences' since Kennedy and Lee 'Harveyoswald').

It must be noticed that if my TEQ book 14 ('If you're going to København') indeed shows that the poetic logic does exist, then there should be no basis any longer for such a long-term and bellicose strategy against China - but on the other hand the chinese script and culture should be of much value for the development of this new logic. Truly unwise it would be to want to acquire the hands-on this logic by warring or breaking down China. And a 'Black Sea loop' nobody wants.

Could be my TEQ book 14 would not have come out with such a proof if TEQ book 1 had been published under the authority of a publisher in the 1990's. With the Rub-off graphics of january 2014 it could have meant that the books can now be published.