The rainbow - with the yellow metre
John Bjarne Grover
I here sum up the main conclusions on the issue of 'metre' - with special emphasis on the yellow metre which is the form (and could be some interesting discoveries) of 'Der Dornenstrauch'.
I have described the blue metre - the format of the collective memory and cognition of a 1000 year span of the cycle - and earlier made studies in the red, the format of subjective consciousness of a 2 second's span in TEQ function 16. The secret of politics is not in the blue but in the yellow metre of a 'structural' character that regulates the interface between the red and the blue. My new classification sees the aspects I have described of the red and the blue slightly differently - to make my work conform to the rainbow like this (tentatively on orange, green etc):
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red orange yellow green blue indigo violet |
- TEQ book 16 on the 2 seconds interval - 'My mention e Anna' = the mystic archettypes - Der Dornenstrauch - parallel sanskrit, hebrew, greek - Der Dornenstrauch, the loops of the acooustic features - the 1000-year cycle of PEB - the hebrew alphabet of PEB - the etymological origins of language off PEB |
It is likely that the political crisis is rooted in a misinterpretation of 'indigo-violet' as american 'indian violence', the extermination of the indian culture and population on the american continent - and that this also was the background of the holocaust against the jews in Europe. My interpretation is rather that 'indigo-violet' = The 'Endmorgan Quartet', as one important aspect of this title, and that it overlaps in important respects with the blue-metre PEB, which is an important conclusion. As is seen from this role of TEQ book 16 as Red, there could even be a 'wrap-over' function that could be called a 'red-indigo-violet' = 'The Endmorgan Quartet' - these 'wrapovers' are likely to be related to a set of 'loops' that are essential to the yellow metre - the loops of the acoustic reality.
What is new is the yellow metre of 'Der Dornenstrauch'. It could be a part of the reason why it is called a 'thornbush' that it contains so many anomalistic grammatical forms - those are normally called grammatical 'errors', quite simply. This phenomenon bothered me quite a lot, and it was a sort of serious concern, that the errors to my intuition seemed fundamentally right in my literary 'Dornenstrauch' work. The grammatically 'improved' version I made of Kinderhilfe looked miserable indeed. How come - that the errors were literarily right and the grammatically correct version was wrong? Was it only for making it look 'thorny'? It was when I found the reason that all these problems were solved:
There are 424 poems in DDS parts 1-3 and I listed these in parallel with the first 424 verses of Rigveda, that is from 1-1-1 = mandala 1 chapter 1 verse 1 to 1-36-3 = mandala 1 chapter 36 verse 3. This correlation made much sense and I discovered that the explanatory force rose substantially when I followed the inherent logic of the 4 subparts or chapters of Kinderhilfe - called Hunde, Grenze, Baum and ROP - by displaced loops of these 424 verses. That created 5 columns of correlations - one undisplaced correlation and 4 displaced loops - here the beginning of the series is listed with the relative enumeration of the poems (which means an enumeration of type 1, 2, 2a, 3...) in the leftmost column and the absolute (which would count the same poems as 1, 2, 3, 4...) in the second, followed by the straightforward alignment with Rigveda up to 1-36-3 in the third and the four displaced loops over the 424 verses in columns 4-7:
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Rel. enum. 'Vorwort' 1a 2a 3a 4a 5a 6a 7a 8a 9a 10a 11a 'Hunde' 1 2 3 4 5 6 7 8 9 9ab 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 40 41 42 43 44 45 45a 46 47 48 49 49a 50 51 52 53 54 54a 55 56 57 57a 58 'Grenze' 59 60 61 62 63 64 65 78 79 80 81 82 83 107h 107i 107j 107k 107l 107m 113d 113e 113f 'Baum' 114 114a 114b 'ROP' 150 151 187 'Nachwort' 12a 13a 14a PART 2 x |
Abs. enum. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 etc 111 112 113 114 115 116 etc 148 149 150 151 152 153 etc 185 186 187 etc 188 189 190 etc 245 246 etc 291 292 293 294 295 |
Rigveda 1-1-1 1-1-2 1-1-3 1-1-4 1-1-5 1-1-6 1-1-7 1-1-8 1-1-9 1-2-1 1-2-2 1-2-3 1-2-4 1-2-5 1-2-6 1-2-7 1-2-8 1-2-9 1-3-1 1-3-2 1-3-3 1-3-4 1-3-5 1-3-6 1-3-7 1-3-8 1-3-9 1-3-10 1-3-11 1-3-12 1-4-1 1-4-2 1-4-3 1-4-4 1-4-5 1-4-6 1-4-7 1-4-8 1-4-9 1-4-10 1-5-1 1-5-2 1-5-3 1-5-4 1-5-5 1-5-6 1-5-7 1-5-8 1-5-9 1-5-10 1-6-1 1-6-2 1-6-3 1-6-4 1-6-5 1-6-6 1-6-7 1-6-8 1-6-9 1-6-10 1-7-1 1-7-2 1-7-3 1-7-4 1-7-5 1-7-6 1-7-7 1-7-8 1-7-9 1-7-10 1-8-1 1-8-2 1-8-3 1-8-4 1-8-5 1-8-6 1-8-7 1-8-8 1-8-9 1-8-10 1-12-1 1-12-2 1-12-3 1-12-4 1-12-5 1-12-6 1-15-2 1-15-3 1-15-4 1-15-5 1-15-6 1-15-7 1-18-9 1-19-1 1-19-2 1-19-3 1-19-4 1-19-5 1-23-16 1-23-17 1-26-2 1-26-3 1-26-4 1-26-5 1-26-6 |
Hunde 1-31-17 1-31-18 1-32-1 1-32-2 1-32-3 1-32-4 1-32-5 1-32-6 1-32-7 1-32-8 1-32-9 1-32-10 1-32-11 1-32-12 1-32-13 1-32-14 1-32-15 1-33-1 1-33-2 1-33-3 1-33-4 1-33-5 1-33-6 1-33-7 1-33-8 1-33-9 1-33-10 1-33-11 1-33-12 1-33-13 1-33-14 1-33-15 1-34-1 1-34-2 1-34-3 1-34-4 1-34-5 1-34-6 1-34-7 1-34-8 1-34-9 1-34-10 1-34-11 1-34-12 1-35-1 1-35-2 1-35-3 1-35-4 1-35-5 1-35-6 1-35-7 1-35-8 1-35-9 1-35-10 1-35-11 1-36-1 1-36-2 1-36-3 1-1-1 1-1-2 1-1-3 1-1-4 1-1-5 1-1-6 1-1-7 1-1-8 1-1-9 1-2-1 1-2-2 1-2-3 1-2-4 1-2-5 1-2-6 1-2-7 1-2-8 1-2-9 1-3-1 1-3-2 1-3-3 1-3-4 1-6-3 1-6-4 1-6-5 1-6-6 1-6-7 1-6-8 1-9-10 1-10-1 1-10-2 1-10-3 1-10-4 1-10-5 1-13-5 1-13-6 1-13-7 1-13-8 1-13-9 1-13-10 1-19-2 1-19-3 1-23-4 1-23-5 1-23-6 1-23-7 1-23-8 |
Grenze 1-27-13 1-28-1 1-28-2 1-28-3 1-28-4 1-28-5 1-28-6 1-28-7 1-28-8 1-28-9 1-29-1 1-29-2 1-29-3 1-29-4 1-29-5 1-29-6 1-29-7 1-30-1 1-30-2 1-30-3 1-30-4 1-30-5 1-30-6 1-30-7 1-30-8 1-30-9 1-30-10 1-30-11 1-30-12 1-30-13 1-30-14 1-30-15 1-30-16 1-30-17 1-30-18 1-30-19 1-30-20 1-30-21 1-30-22 1-31-1 1-31-2 1-31-3 1-31-4 1-31-5 1-31-6 1-31-7 1-31-8 1-31-9 1-31-10 1-31-11 1-31-12 1-31-13 1-31-14 1-31-15 1-31-16 1-31-17 1-31-18 1-32-1 1-32-2 1-32-3 1-32-4 1-32-5 1-32-6 1-32-7 1-32-8 1-32-9 1-32-10 1-32-11 1-32-12 1-32-13 1-32-14 1-32-15 1-33-1 1-33-2 1-33-3 1-33-4 1-33-5 1-33-6 1-33-7 1-33-8 1-36-1 1-36-2 1-36-3 1-1-1 1-1-2 1-1-3 1-4-5 1-4-6 1-4-7 1-4-8 1-4-9 1-4-10 1-8-2 1-8-3 1-8-4 1-8-5 1-8-6 1-8-7 1-13-10 1-13-11 1-18-2 1-18-3 1-18-4 1-18-5 1-18-6 |
Baum 1-25-7 1-25-8 1-25-9 1-25-10 1-25-11 1-25-12 1-25-13 1-25-14 1-25-15 1-25-16 1-25-17 1-25-18 1-25-19 1-25-20 1-25-21 1-26-1 1-26-2 1-26-3 1-26-4 1-26-5 1-26-6 1-26-7 1-26-8 1-26-9 1-26-10 1-27-1 1-27-2 1-27-3 1-27-4 1-27-5 1-27-6 1-27-7 1-27-8 1-27-9 1-27-10 1-27-11 1-27-12 1-27-13 1-28-1 1-28-2 1-28-3 1-28-4 1-28-5 1-28-6 1-28-7 1-28-8 1-28-9 1-29-1 1-29-2 1-29-3 1-29-4 1-29-5 1-29-6 1-29-7 1-30-1 1-30-2 1-30-3 1-30-4 1-30-5 1-30-6 1-30-7 1-30-8 1-30-9 1-30-10 1-30-11 1-30-12 1-30-13 1-30-14 1-30-15 1-30-16 1-30-17 1-30-18 1-30-19 1-30-20 1-30-21 1-30-22 1-31-1 1-31-2 1-31-3 1-31-4 1-33-2 1-33-3 1-33-4 1-33-5 1-33-6 1-33-7 1-36-1 1-36-2 1-36-3 1-1-1 1-1-2 1-1-3 1-4-5 1-4-6 1-4-7 1-4-8 1-4-9 1-4-10 1-10-5 1-10-6 1-14-7 1-14-8 1-14-9 1-14-10 1-14-11 |
ROP 1-23-9 1-23-10 1-23-11 1-23-12 1-23-13 1-23-14 1-23-15 1-23-16 1-23-17 1-23-18 1-23-19 1-23-20 1-23-21 1-23-22 1-23-23 1-23-24 1-24-1 1-24-2 1-24-3 1-24-4 1-24-5 1-24-6 1-24-7 1-24-8 1-24-9 1-24-10 1-24-11 1-24-12 1-24-13 1-24-14 1-24-15 1-25-1 1-25-2 1-25-3 1-25-4 1-25-5 1-25-6 1-25-7 1-25-8 1-25-9 1-25-10 1-25-11 1-25-12 1-25-13 1-25-14 1-25-15 1-25-16 1-25-17 1-25-18 1-25-19 1-25-20 1-25-21 1-26-1 1-26-2 1-26-3 1-26-4 1-26-5 1-26-6 1-26-7 1-26-8 1-26-9 1-26-10 1-27-1 1-27-2 1-27-3 1-27-4 1-27-5 1-27-6 1-27-7 1-27-8 1-27-9 1-27-10 1-27-11 1-27-12 1-27-13 1-28-1 1-28-2 1-28-3 1-28-4 1-28-5 1-30-20 1-30-21 1-30-22 1-31-1 1-31-2 1-31-3 1-33-2 1-33-3 1-33-4 1-33-5 1-33-6 1-33-7 1-36-1 1-36-2 1-36-3 1-1-1 1-1-2 1-1-3 1-6-8 1-6-9 1-11-2 1-11-3 1-11-4 1-11-5 1-11-6 |
'Grenze' is the second chapter and can perhaps be compared with the title of the second book of Moses called 'Exodus'. The titles to the chapters compare well with the mystic archetype called 'dogs paradox' - which perhaps could be recognized as closely related to the 'lupus'-es of the loops.
What is the function and meaning of these semiotic and analytic loops? I tell the empirical value right away, and there are two main conclusions:
When I studied the correlations between the poems and the horizontal loop verses of the Rigveda - for example poem of relative enumeration 1 which is absolute enumeration 12 compared with Rigveda verses 1-2-3, 1-32-10, 1-29-2, 1-25-18, 1-23-20 (see the matrix above) in the original sanskrit (it must be studied in original language) that I ventured the conclusion that the poem (rel 1, abs 12) could be seen as contained in the sanskrit verses of these 4-5 loops. The proof I collected for myself that the 4-5 loops of the Rigveda indeed were closely related to my poems was in the method of test: I studied four of the sanskrit verses, then my own poem, and then put the sanskrit aside and left it to my wandering thoughts to come up with some associative ideas on the background of the study of the poem and the four first loop verses: When I wrote down my freethinking associations and thereafter translated the fifth sanskrit verse - voila! - there were my wandering thoughts in the fifth verse - even if I had never read this verse before. Excellent, I said to myself - this is a proof of the authenticity of the 5 loops. (And, I continued, could be original vedic forms could be reconstructed or at least conjectured by these means).
I then turned to hebrew to see if the same could be found for Genesis - which runs in a similar fashion from Moses 1-1-2 to Moses 1-17-27 (in fact the first verse has to be skipped - and chapter 17 ends on verse 27 so it makes sense). There were reasons for a similar phenomenon to be observed, albeit perhaps less striking. I suppose the first and unlooped version (as in column 3) is the most important.
Then I printed out the results to include in my DDS - but made an error of essential kind when I printed the rigvedaen matrix under the heading of Genesis. When I then studied some further correlations, it was highly impressive: It turned out that if poem 1 (abs 12) correlates with Rigveda 1-2-3, 1-32-10 etc, when I now studied the mismatch relative to Moses 1-2-3, 1-32-10, it turned out to have a high relevance as far as the grammatical errors of my poems were concerned.
This error of text (taking Moses instead of Rigveda from the heap of books) explained the grammatical errors - the anomalistic forms - in my book.
It turned out to be the very yellow metre itself - adding to the red and the blue which I have described earlier. What is this yellow metre?
It says that if you take a poem with a striking error in e.g. the last line and study it relative to the correspondingly last word in verse i-j-k of sanskrit correlation and the correspondingly last word in verse i-j-k of Moses correlation, then you will find a surprising correlation between Moses and Rigveda on precisely the points (here the end of the verse and the end of the poem) where I had made my anomalistic errors. Typically, if the hebrew word (here the last in the verse) tells of e.g. a hillside, then the last word of the sanskrit verse can tell of the clouds or trees above the hillside - and my poem with the error tells of e.g. some green grass sliced inbetween. This is the form of an opening door - which seems to be the mystic phenomenon of this metaphysical level of reality. A door to the transcendent realm. You take the spiritual landscape and open it there along the hillside - and that is what my poem tells of in the 'error'. Therefore the errors - and indeed the book looked miserable when I 'corrected' the errors. (I made an edition of 'Kinderhilfe' including part 2 in 2014 - this had some corrected errors and I think the version I have returned to now, closer to the original handwritten manuscript, is better from an anomalistic viewpoint).
I have studied this mainly in the first column, the original alignment, not so much to the 4 loops in the other columns. The loops tell of the chapters of the book.
I tried also the Odyssey and found similar things there: In song j verse k there could be a relevant concept in the end of the line.
An example taken at random - error 'die Tagen' (should have been 'die Tage') in second last line of 8-line poem relative #85, absolute #118: Rigveda 1-12-8 has 11 words, with words 9-10 'sma pravita' which can read 'particle of past tense' + 'come to' while Genesis 1-12-8 has 17 (or 20) words with words 14-15 = L-IHWH (= 'towards God') + [W]IQRA (= 'fut 3psm of 'cry', 'partridge', 'meet', 'happen'), that is
PARTICLE (past tense) + COME TO
PARTRIDGE + GOD TO
The Odyssey has 'rosyfingered Dawn' on the corresponding place.
But isnt this just totally nonsense - thinks perhaps the reader. It cannot be anything but pure coincidences?
It seems to be not coincidental - and it means that a narrative 'object' is closed with a chapter turn and each chapter has a universal semiotic logic which gives reason to the correlation of chapter and loop turns. It seems furthermore that when this looping is based on the concept of chapter turns and correlates with the phenomenon of relative and absolute enumeration, that explains the phenomenon of chomskyan phrase structure.
The answer to the mystery is found in the phenomenon of my 'lapis philosophorum' which occurred in october 2014 after I had completed part 3 (the above loops are based on part 1). Indeed the four parts of 'Der Dornenstrauch' can be seen to be contained in the last lines of poem 11 in TEQ:
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Itemslist Form Crucispace Stab |
- DDS part 1 = a catalogue of mysteries 1--187 (1-294) - DDS part 2 = opening the door of the yelllow metre - DDS part 3 = closing the door of the yelllow metre - DDS part 4 = converting the esthetics too the historic reality |
There is a correlation between parts 1, 2 and 3 - and even 4:
Part 1 is written as straightforward poems with hardly any editing. When I wrote part 2, I wrote it in the form of 12-liners. I had originally the idea of something like the PEB. I had reached some 74 or so of those and was embarking on something like the 75th when the writing came to a sudden halt after three lines. (Part 2 was, coincidentally, written in the time period between Midori's concert in Berlin and - probably - her departure from Vienna). It turned out to be impossible to continue and I eventually, after some time, gave up the project resembling the himalayan blue-metre PEB of 366 poems and the mind turned to another solution instead when I discovered the strange phenomenon that if the 12-line poems 65-74 were divided into couplets, these could be added to the 12-liners with often surprising relevance for a sort of shakespearean sonnet version. There was also some scattered material left from the beginning and a couple of lines in the middle of the things I had written in this period of time, and it turned out that if I collected everything I had written for this project in this period, it was just enough for the 64 'shakespearean sonnets'. Clearly, I concluded, this was the reason why it stopped so abruptly in the fourth line of #75 - I had then just reached what I needed. This reasoning convinced me of the feasibility of the otherwise odd progress of the writing of the 'collection' of poetry. There was a little leftover for a preface and an afterword - these had been written as one poem (which I eventually scissored in two) at the very beginning, before I started on the 12-liners, and these came to constitute the 'doorframe' of part 2 of 66 poems - which contains the preface and afterword plus the poems 1-64 - while part 3 has only 64 poems.
It was around christmas 2013 and into 2014 that I wrote part 2. The summer of 2014 grew hot and I had been battling the problem of lumpy salt in the kitchen where the air eventually was so humid that the water could be wrung out of the salt. It grew so bad that the salt started producing water! The water even rose above the top edge of the salt which I stored in an open container - quite far beyond the top of it, in fact, before it fell again and left a small 'rock' of salt - which could resemble the story of Noah and his ark. It was in this period that I wrote part 3 in the course of few weeks - I followed the same procedure and now wrote 'shakespearean sonnets' in the continuation of part 2 with the potential aim of making a new attempt to go for an 8000-metre (after the success with the PEB - and the failure of part 2 when I had to give up and was driven back by harsh weather) when the writing likewise even this time came to an abrupt stop that could not be transgressed only 3-4 lines into #78. I understood that I had to give up - the winds were too strong - and I had to reorganize the material of these 78 (or 77.3) poems into 64 poems of 16 lines each - really 16 lines plus a title line for each of the 64 poems, and indeed the resulting poems and title lines turned out to be highly relevant for the comparable work of Caravaggio - and then I found the 'lapis philosophorum' in the edge of the kitchen drain (there had been a forecasting of this in the bathtub drain in 2006 which could serve as 'proof' of its authenticity - in particular with the 180 degrees = 78+183 = PEB #261) - but this time the lapis was of a strange 'salty' and 'humid' substance, even if dry, and I concluded that this material stone was the essence of the 'reduction algorithm' in this mystic process of poetry writing. The reduction from 78 to 64 correlates with formation of recursive matter ex nihilo and one can speculate that this is the same as matter generally.
It was at the end of the writing of the 16 poems of the fourth and last part, even this after an eventual reduction and reorganization of some 18 poems to 16, that the great earthquake of Nepal took place and Mount Everest trembled very exceedingly.
See now the poem in part 1 of relative enumeration 78 - corresponding to the poem of part 3 where I had to give up - comparing with line 3-4 of part 3 'virtual' poem 78 (before the reduction) where my writing suddenly had come to a definite halt takes it to line 5 in poem 78 of part 1: "sind wir plötzlich versteinert" - which is telling of the formation of the lapis philosophorum ex nihilo in part 3. This poem of part 1 has relative enumeration #78 and absolute enumeration #111. Enthusiasts of service-vedic logic will probably be quick to notice that this verse 111 in Rigveda is the one which contains one of the 4 'hotarams' that exist in the corpus up to 1-36-3 - to which the only sensible answer will be that 'hotaram' in vedic meant the archetypes of poetic logic and had nothing in principle to do with 'sacrifices' - in particular the 'holocaust' which the 'services' seems to have constructed on such a basis is a tragic misinterpretation of the healthy archetypes. It is the politics (or 'services') who must pull out of the occupied territories of poetic cognition.
There is also a poem 78 in 'Labyrinth 101' in 'My mention e Anna' which tells that this is no coincidence. The poem 78 starts as follows:
The Vatican has email usernames
that hardly can impress or irritate
like ...asdasdasd... and similar word games
that arbitrate the language of the innate.
It means that when the structure is collapsed or reduced from 78 to 64 under these circumstances, then matter is created.
In part 1, absolute 111 = relative 78 which in part 3 reduces to poem of relative enumeration 64 - and this relative 64 in part 1 is the same as absolute #79.
This means that there are two kinds of reduction involved in these mysteries:
1) The reduction of 78 poems to 64 (in the 'AIN' function)
2) The enumeration of absolute 79 poems as relative 64
It is important to observe that this suggests that there is a close association of the matter that has been formed by God or by Nature (type 1) and the linguistic forms of human language that have been formed in a 'similar' way (type 2). But these are not the same - although one can guess that it is the 'isomorphy' in the relation between them that makes language meaningful - which then means imbued by the creation of divine character. The theory says that language is meaningful because the referential objects (stones, lapises of various forms) created by Nature or God in a reduction are 'the same' as the semantic references in the phrase structure of a reduced symbolic series. Cognition = reduction to categories, typically boxes on a 4 x 4 x 4 format. Or is it the other way round?
It is important to observe that the 4 x 4 x 4 = 64 poems of part 3 exhibit a surprising 'crystalline' symmetric form in its 'crucispace', although, and this is the important observation, this symmetric and crystalline form arose only after the reduction from the 78 poems of a highly unsymmetric character.
The poems 1-78 were really 77.3 poems of 14 lines each - I then took poems 65-78 and divided them into couplets which could be appended to the end of 1-64 - that is a real reduction from 78 to 64. That is not the same as the re-enumeration which takes place when 78 poems enumerated 1-78 are redefined to 1-2-3-3a-3b-4-5...62-63-63a-64 - but the secret is that language becomes meaningful and imbued with divinity when the two are understood as the same.
This is likely to be where the yellow metre arises: This is the reduction which takes place when e.g. a hebrew chapter is interrupted in the enumeration and leaps over to follow e.g. a sanskrit in the next chapter, verse 1. Each chapter is a fresh start - and the mythological reality of the homeric epics tends to run the chapters into many hundred verses before they give up and starts anew. These are perhaps the differences of the world religions. The fact that a verse of Rigveda and be compared with a similar enumeration of Genesis is then found in the universal semiotics of the human nature and how its reality is formed. In the chapters covered by the alignment with my Dornenstrauch, all Genesis chapters are longer than the corresponding Rigvedaen ones - except for one, which is chapter 23 on Abraham's burial of his wife Sarah - in Rigveda there are 24 verses in chapter 23 while in Genesis 23 there are only 20 verses. The difference is in Kinderhilfe relative 155-157, including 155a.
That is the old alchemical wisdom that is contained in the formation of the 'lapis philosophorum'.
With chomskyan grammar, it is possible that the formation of this perennial 'lapis philosophorum' can be turned into a technology for making any form out of any new substance. That is when reduction of matter need not follow reduction of form for the formula FORM = MATTER under all circumstances. Some may claim that this is 'un-divine' - others will say that on the contrary this can serve to transcend human understanding beyond its boxy limitations and thereby bring humans closer to God.
Now it is probably a common human error of hubris to believe that we can coup the power in heaven if we can dress up in the garments of the Creator of Matter. It is likely that much political struggle is about just this - and that is the reason why these knowledges are burdened with so much secrecy - otherwise, if the cat is let out of the esoteric sack, the trick with making the public 'believe' in the politics doesnt function.
The rainbow is the symbol of God's pact with the people of Israel. The ideas contained in the above are probably old news in jewish mysticism - and it was likely to be the work of Hitler to try and coup the whole thing for the political circus of gaining confidence. The phenomenon of 'terror' is likely to be just this - that nature collapses in conformity with phrase structure when it is overburdened and things go wrong way, but by way of terror the Demiurge can create the impression that this is right way nevertheless - it is the Power of Nature or even the Lord himself that speaks through the terror, is the propaganda - "it is a 'reduction' for making matter". This is likely to be closely related to the nazi philosophies based on genocide, cannibalism and pederasty: When 64 poems 'consume' the remaining poems 65-78, it is understood as 'cannibalism' (or carnivorism), and when such reduction is understood as 'the same' as absolute enumeration converted to relative, that is understood as 'pederasty' - and these meet in the end of the colon for being the mystery of 'the same'. It is probably as tragic as that. 'Genocide' relates to the vedic concept 'hotaram' which has to with the loopings and 'möbius stripping' and is understood as 'sacrifice'.
It is likely that the 4-5 loops define various acoustic features in human language and understanding of reality. The horrors of nazi misunderstandings with the holocaust probably served to detach the archetypes from the acoustic features in an attempt to get to the Demiurgic power therein. If one searches for a historic rationale nevertheless, it could be in the 'chomskyan' program of dissolving the clamphold of FORM to MATTER in these theoretic constructs - but most people would probably agree that the nazi misunderstanding is rather of the opposite kind and can have its 'rationale' only to the extent that it fails historically - since its effect rather is intended in the clamphold that could lend quasi-divine character to the demiurgic linesman. Such terror propaganda is the same as the return to the formula FORM = MATTER. The new technology transcends these limitations - and it follows that it can only be developed under conditions of peace and absence of terror. But that is when politics cannot dress up in the garments of the Creator any longer - that is, when politics cannot abuse and rape the people's natural religious understanding and intuition any longer.
The green metre is likely to be the loops of the displacements - these seem to conform to ratios 1/2, 2/3, 3/4 and 4/5 - which seem to be the secrets of acoustic features in a potential acoustic phonology. But that probably just means that all this is the secrets of the acoustic reality - and that is what Hitler tried to coup for political abuse.
It is not permitted to be so naive as to believe that 'installing' these theoretic ideas into the historic reality - for example, by making large streams of refugees move around to imitate the loops of the permutational matrix - is to create an 'acoustic reality'. Of course that is just what Hitler was doing - an attempt to coup the power of heaven. You think Hitler was a leader of the jewish revolution?`I do not. I think that was only the old temptations of power.
But isnt this whole story only the world of the alphabetic technology - and now has come a new age? It is not the alphabetic technology - it is the architecture of the reality of the human organism - and that is what the alphabet is about as well. It is not the only reality - birds fly in flocks and turn all of them on the same microsecond, and they eat a few breadcrumbs and fly thousands of kilometres on that fuel. Where do they get their energies from? Clearly there are other and bigger realities beyond the boxes of the humans with their causalities. Therefore, if the poem is supposed to understand even the bigger realities, beyond the 4 x 4 x 4 boxes, it will come to look a little crumpled there on the vital spots of the yellow metre. Therefore the Dornenstrauch - about a door opening to a bigger reality. The anomalistic forms of my book were there first - and then I discovered the yellow metre thereafter - also on basis of these errors.
'Der Dornenstrauch' can be read as a study in metaphysics - how each part of it tells of its own function in the formation of the historic reality - in a poetic more than a philosophical form.
Some notes on politics
Now there are signs that politics is trying to wring some power out of the yellow metre - and that it is natural for politics to be concerned with the conceptual fields between the red metre = subjective consciousness and the blue metre = collective consciousness. However, if the plan was to make me (or somebody else) perform a 'chapter turn' by moving from one place to another, and there find that much politics arises on the 'metres' from the border to the eaves gutters (the runners of the regen), or that ejaculation of biological material is considered an 'error' due to the 'metres' of the site which can lead to 'loops' of refugee streams, that is a very mistaken way for the yellow metre. My guess is that this would be due to a general fear that the blue metre contains a long-distance gun or cannon sight on the form of a cross which the divine is directing through the universe towards the politicians on earth - who suffer from bad conscience due to those mistakes with the hotarams and holocaust and those things. This could have been even Hitler's reason for the holocaust on God's chosen people - to escape the doom from former errors of history. It is certain that politics cannot have known before 2010 about my PEB, the blue metre which contains those sights on the political names in line 4 - and e.g. the aircrash of Smolensk could have been due to those fears of politics on that particular thing, and could of course have been spurred by a natural intuition that such focussing things exist in history - and it is felt as 'bad conscience'. If the political program is to combine the yellow and the blue metre (of course all politics could be about just that, and has to), it could be that the Odyssey has been planned to be the blue metre format of politics around the millenium's chapter turn - this is an epic about those who ate the sun's oxen ('solens okser' in norwegian), as it says in the opening lines, which could be mistaken to be about the onanism on the 'metres' of building regulations and site borders - that is, if you have built a house too close to the site border, you can masturbate on the transgression, so to speak - and set large streams of refugees agoing. Could even the Oslo terror have been about an 'oszlop error' in the 'abdating' of the map? If so, the political jargon could have seen this celestial eye with a cannon sight in it as an 'agnus dei' with a certain particular focussing role to the 'g' - and with satellite surveillance technology as an attempt to gain some of the powers of those focussing celestials. The site of building regulations could then contain an 'agn-hus ste[d]-i', a 'bait-house place-in'. Even the name of Spiro Agnew could have been about such things - including the 'sperm' in the 'agnhus'. The recent terror in Paris was probably not, though, about the sanskrit concept of 'venika' = 'a continuous stream', 'a twisted band' in the name of Agnew backwards. If all this makes for a matrix of a political reality, it is probable that it is about making a lot of circus on the essential concepts in order to try and get through the difficult fields of history - after those grandiose errors - without being hit by a beam from heaven directing its SIGHT on the political tellurians. That could be if the politics tries to imitate all parametres of these rainbow metres except for the long-distance sight which probably was unknown before my PEB and for which it could have been the intended project to lift that target role over onto somebody else - such as the genetics of biology. The holocaust could have been just that - for dumping the blame of the indian pogroms in America over on somebody else. The role of the bull's eye of the sun in the Odyssey could be just that - since it clearly is a little off the focus. Is this 'masturbism' on the eaves-droppings targeting the politicians who made the regulations on the spaces between houses? "Well if you target us then we target you" could be the strategic reply. But that means dressing up in divine clothes, as before, and it means getting the whole thing wriggled a little off the terrible focus. It is important to understand that history has to acknowledge the reality of the blue metre and that even if a celestial amnesty cannot be issued on order from the trembling humans, in particular not from the guilty politicians, it is the only possible way to go. Hope the best etc. To run another round of genocide for dumping the blame on others - by making somebody else move out of the focussed zone as quickly as possible - doesnt help at all.
© John Bjarne Grover
On the web 20 november 2015