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Dependent distribution
Fundamental inguistic nucleus
The Endmorgan Quartet and the hieroglyphs
John Bjarne Grover
Introduction
On 9-11 april 2023 I solved what could be called 'the most pressing problem of politics' - a solution which I quickly published in the two small additions of those days to this file (added to example 3). The solution is in the discovery of a structure in my own TEQ ('The Endmorgan Quartet') for the socalled 'global function 15' on 'logical order' which shows that the 'needle's eye' of Szolnok - that is the final hebrew 'F' at the end of the celestial trumpet of the name of 'Josef', the fancied imagery in the alphabetic letter 'F' of the Madonna holding the Jesus infant in her hands - which camels try to go through on their way eastwards is but a special case of a more general semiotic phenomenon which can be described by the TEQ structure. This means that Cantor reduces to the special case of Grassmann that even Grassmann's theory - which can be seen as a mathematical modelling of the 'faculty of faith' - had to be printed on flat paper. Could be the story is that paper-print technology now is about to see its end with the computer technology - and the concomitant 'pressing problem' thereby whether the faculty of faith - conceived as a precondition for 'philosophical consciousness' - will come to be a part of the computer technology.
'Tables for interpretation of the global function 15 of TEQ poems 1455, 1458, 1473, 1483 with Caravaggio correlates' is an integral part of the present study - but it is too long and detailed for being included in the overall exposition in the following.
The complex is discussed in the following chapters:
1. The italian renaissance seen through my TEQ and DDS - this discusses the point of departure in the analysis of Caravaggio's total work relative to one work of Correggio.
2. COVID-19 - as a pandemic crisis in this knowledge - how this particular Caravaggio-Correggio phenomenon could be observed in the start and spread of the pandemic
3. Vas Gereben 1984 - the 'pressing problem' seen in a streetname structure of Szolnok in Hungary
4. Panini and Nono - the theory of universal phonetic and logical form being mirrored (which is a sensible theory) finding a modern-day example in Panini's sanskrit grammar read backwards in 'universal' english - 'what a detour'! This theory on Panini is not what I advance but can be seen as a theory that historically could have served to fill in a vacuum hole in a probably irrelevant way - instead of the phenomena discussed in chapters 1 and 7 which are structurally similar but empirically sound.
5. The qubit - the isomorphy in this crisis in knowledge - the idea that quantum computing applies to the same epistemological format as the basic linguistic nucleus
6. How were my TEQ and DDS written? Of course a general theory based on the relation between art history and my TEQ and DDS requires knowledge of the epistemological status of these works of mine
7. Function 15 and the hieroglyphs - the theory of visual art generalized relative to my TEQ as a basis for a global function 15 and a general semiotic theory explaining the story with Grassmann and Cantor. The empirical material for this is found in this file.
8. Some concluding remarks
1. The italian renaissance seen through my TEQ and DDS
The 16 books of my TEQ (1997-2008) are assumed to constitute 16 'poetic functions' that in their totality constitute the poetic reality - the form of the human psyche. In the article Text and image in TEQ I show that there is a strong tendency for prominent names of art history to be concentrating on any one of these poetic functions - that is, it can be shown that most of the works of e.g. Tiepolo can be 'essentially' interpreted by way of some poem from TEQ book 6 because, as tells this theory, Tiepolo is of a type who is a 'function 6' artist. Delacroix, on the other hand, seems to have focussed on 'poetic function' 7, since his works find reflexes in book 7 but not in book 6. Antonio Balestra, on the other hand, seems to be a typical function 2 artist. Rembrandt seems to be function 7, same as Delacroix. For more examples, see this list.
It can be concluded from these correlations that art probably relates essentially to the poetic functions defined by my TEQ. This should also mean 1) that my TEQ is not a failed program, and 2) that its ability to interpret art = cultural history is of essential importance. I return to this point below.
The present study continues from the correlation of Caravaggio with my DDS - a correlation which assigns a special order of the works of Caravaggio and - as the following discussion shows - follows the 1-step cycle (column #2) in the titles or 1st line and 5-step (column #3) in signatures or last line of the poems of TEQ.
See the discussion of Correggio's work relative to my TEQ - the example 3 with discussion of the global function. It is the discovery told of in the additions of 9 and 11 april 2023 that shows the essential phenomenon I discuss in the following.
The example is 'The mystic marriage of St.Catherine' (from this source) which finds a very precise - surprisingly precise - interpretation in the first poem of TEQ book 15 'Gentlemen' - that is TEQ #1455 (= volume 2 page 1586). The method is to consider this a 'global function 15' and take TEQ #1455 to be in the one endpoint of the span of 1191 poems in the total number 1719 of poems in TEQ: (1719-1455) = 264 poems on either side leaves a total of 1719-(264*2) = 1191 poems in the global scope of this poem.
As to the socalled 'global scope' of this function 15, I notice that the last poem in book 15 is #1520 which is 199 poems from the end of book 16 - while poem #198 from the beginning of book 1 is signed 'The Endmorgan Quartet' - which thereby comes to be a sort of 'title' to the global scope from #199 to #1520. This means that there is an extra poem - it would have been a perfect balance if this signature were to poem #199 - and this single extra could be the same phenomenon as I discuss below - see 'convex and concave' below.
In this global scope I compute the ratios 1/3, 1/4, 1/5 ... 1/10 (as well as 9/10, 8/9, 7/8 ... 2/3) and find the poem for which I consider the first and the last line which is read backwards (with wrapover) from the corresponding ratio point and the resulting form is tested against the corresponding 'baroque' work of Caravaggio (according to the list in columns 2 and 3) who worked appr. 100 years after 'renaissance' Correggio. Correggio is appr 500 years before my TEQ and Caravaggio appr 400 years.
It turns out that the correlations with Caravaggio has such a high relevance that one can probably conclude that this phenomenon is even what constituted the artistic quest of Caravaggio - an example could be found in Caravaggio's "Judas kiss" - the character to the left looks as if he is facing the situation from a certain ratio 1/8 or something like that from a wrapover point. See also e.g. his two 'Conversion of St.Paul' in the below discussion.
There are in the list in columns 2 and 3 four cycles of 16 works each in the 64 elements that are listed - the works of elements 4, 20, 36 and 52 are the same in both columns. I here discuss the span between elements 20 and 36 and consider all ratios between 1/3 and 1/10 = 8 ratios, plus the 'converse' ratios 2/3, 3/4, 4/5...9/10 for the remaining 8 elements. The ratio 1/2 is not included here - I return to that below - because it is always the same mid point - the poem TEQ #860.
Example of reading in the below discussion: In the 1-step column, the ratio 1/3 = poem #661 which has first line "It's not unlimited". Backwards this is "detimilnu ton sti" which then is read from 1/3 (which backwards means 2/3) = "on sti detimilnut" which then is correlated against the relevant artwork listed under 1-step for element 21 - which means Caravaggio's "Jupiter, Neptune and Pluto". Does it makes sense for the artwork? The artwork shows a 'steed' which indeed is present in the backwards form - and the test is to see whether other aspects of the artwork is present in this backwards form - as close to the backwards form as one can get it - ideally the same but normally an approximation only.
A 'tympan' is defined as a drum membrane or a thin plate in any mechanical apparatus such as a phonograph: Indeed the white disc in the mid of the artwork could be a 'tympan' and it could have its transform in the surprising 'fishfin' or 'fishtail' form of the steed's feet/hooves. Hence the backwards reading goes tentatively 'on steed a tympan-nut' - or 'on steed a tympani' - not a perfect match but certainly close enough. The general theory arises that this function even is constitutive for Caravaggio's works - here it will mean the 'reason' for those fish-membranic end of legs of the steed.
Some of these are quite impressive. See e.g. the two 1-step 'Conversion of St.Paul' or '#26 John the Baptist (1602-03)' for the 5-step form 'gnigroeg drol not' = 'the crutch & droll not'. That 'droll not' in his lap is something. Likewise, the 'Annunciation' shows a surprising form which gets its explanation in the interpretation of the fragment from my work ('a seizure is like erotic snake-rem' = 'snake-belt'). See also the two 'Conversion of Paul'.
But what would that mean - if Caravaggio (appr 1600) took his motivations from my TEQ (appr 2000)? It would mean that my TEQ has a very high universality. See discussion in chapter 6 of this article.
And, it must be noticed, even the DDS must have a high degree of universality since the order of the Caravaggio works in the list is based on DDS part 3 "Linien die prägen die Sternen über uns". (The form 'Sternen' is poetically right albeit wrong by normative grammar).
It is this phenomenon of a universal quality in my TEQ which makes it possible to draw certain radical conclusions from the following discussion of the political corollaries - in particular from the apparent conclusion that the art of the italian renaissance seems to be particularly strongly motivated. Here the example is the artwork of Correggio seen through this prism of Caravaggio.
If it is found to be a valid analysis, in the sense of backwards-reading with 'convex-concave' undulations of the ratios, like in an hourglass, it is likely to be related to what I call 'A waist of time' in my PhD dissertation (part 5) of 1997.
And, of course, certain conclusions about the role of anglophony as global lingua franca could then also be tentatively established.
The 1-step column reading title or first line of poem backwards:
Element #20 Calling of Matthew
1/2 = 264 + 1/2 * 1191 =
TEQ #860
the mean flat
talfan emeht
emeht talfan
e met telephone = 'a mid telephone'
'a metal fan' = the coins which Matthew is counting
(see also TEQ #47 for 'Bangladesh' backwards - see below on the COVID spread)
Element #21 Jupiter, Neptune and Pluto
1/3 = 264 + 1/3 * 1191 =
TEQ #661
It's not unlimited
on sti detimilnut
on steed a tympal-nut
(horse has fishtail hooves - a fishtail wind = (Onions) 'a breeze blows now on this side, now on that, of its main direction' - the 'main direction' being the track across the round marble disc)
Element #22 Salome and baptist head (1609)
1/4 = 264 + 1/4 * 1191 =
TEQ #562
A few offentlig rath-seer
(f)o wef a rees htar giltnef
over-far is the arch-guilt new
Element #23 Regretting Mary
1/5 = 264 + 1/5 * 1191 =
TEQ #503
in fighty years
(f)ni sraey ythsi(f)
news-ray it's up
(the row on the floor to the ray in the water bulb - up to the ball above)
Element #24 St.John the Baptist (1602)
1/6 = 264 + 1/6 * 1191 =
TEQ #463
Yesterday, the one fells into the sea
etsey aes eht otni sllef eno eht yadr
it say/see/through eyes a thought-[k]new's leaven of a theater
Element #25 The conversion of Paul (1602)
1/7 = 264 + 1/7 * 1191 =
TEQ #435
The press for media flow
eht wolf aidem rof sserp
a thwartwise demur of seraph
Element #26 The conversion of Paul (1600-01)
1/8 = 264 + 1/8 * 1191 =
TEQ #413
If you did earn some
fi emos nrae did noy
phimosis rayed in croup
(phimosis < gr. φιμωσις = 'a muzzling')
Element #27 Ragazzo con canestra di frutta
1/9 = 264 + 1/9 * 1191 =
TEQ #397
past hoizons
nezi(r)oh tsaps
news/nets (f)(r)uit-saps
(foot-saps = 'trench' of throat-collarbone / wickerwork, his look)
Element #28 St.Gerolamo writing (1605-06)
1/10 = 264 + 1/10 * 1191 =
TEQ #384
Johni
jinho
geno(me)
(the genome = DNA can be seen as a balance organ between the physical and metaphysical reality)
Element #29 Martha und Magdalena
9/10 = 264 + 9/10 * 1191 =
TEQ #1336
traders
the read-art
Element #30 The holy Katharina of Alexandria
8/9 = 264 + 8/9 * 1191 =
TEQ #1323
In the mind they deliver
viled yeth dnim eht ni re(v)
wheel at yer denim ethni(c) - ('denim' = 'serge de Nimes')
Element #31 Crucifixion of Peter
7/8 = 264 + 7/8 * 1191 =
TEQ #1307
If you come in here, I'll kiss you so
oy ssik ll'I ereh ni emoc noy fi osu
why the clothes and the mock? and why fixes?
Element #32 Narcissus
6/7 = 264 + 6/7 * 1191 =
TEQ #1285
Rue Hospital
tipsoh eur la
tips over la / tips of curla
Element #33 Salome and the baptist's head (1609-10)
5/6 = 264 + 5/6 * 1191 =
TEQ #1257
living
gnivil / nivilg
Element #34 John the Baptist (1602-03)
4/5 = 264 + 4/5 * 1191 =
TEQ #1217
and I have to detect her once again
ecno reh tceted ot evah I dna niaga
ek-knorret seated at Eva I'd known again
Element #35 Birth with Lorenzo and Francesco
3/4 = 264 + 3/4 * 1191 =
TEQ #1158
John Wrong
Lorenzo
orwnhoj gn - or when high gene
Francesco
Element #36 St.Frances in meditation (1606)
2/3 = 264 + 2/3 * 1191 =
TEQ #1058
It improves the - Mr.Moaney
tsimeht sevorpmi ti yenaomre
the mid's a warp-mid in genome-re
The 5-step column reading signature or last line of poem backwards:
Element #21 Salome and the baptist's head (1609-10)
9/10 = 264 + 9/10 * 1191 =
TEQ #1336
Schumakker (he's the one who has paid a lot of houses in recent weeks)
necer ni sesuoh fo tol a diap sah ohw eno eht seh rekkamuhcs skeewt
knew turn in sexual foretold a synaps of how one ought see rekkamush skewt
Element #22 Burial of Christ
8/9 = 264 + 8/9 * 1191 =
TEQ #1323
En voice
eciov ne (?)
Element #23 Burial of St.Lucia
7/8 = 264 + 7/8 * 1191 =
TEQ #1307
Rita
atir (?)
Element #24 Concert of youth
6/7 = 264 + 6/7 * 1191 =
TEQ #1285
Val Bom
mob lav = 'mob love'?
Element #25 Jupiter, Neptune and Pluto
5/6 = 264 + 5/6 * 1191 =
TEQ #1257
Civiliz
ilivicz(i) = (in) levitati-on
Element #26 John the Baptist (1602-03)
4/5 = 264 + 4/5 * 1191 =
TEQ #1217
Lord Georgington
gnigroeg drol not = (the crutch and the 'droll not')
Element #27 Incoronazione di spine
3/4 = 264 + 3/4 * 1191 =
TEQ #1158
John Chretien
erhc nhoj neit
main lines of artwork suggest hebrew number 75 or 78
see
TEQ #441: "[no] need to invite Coy" = "neit erhc nhoj"
Element #28 Sleeping Amor
2/3 = 264 + 2/3 * 1191 =
TEQ #1058
BBC World Service = bibici world service
sdlrow CBB/icibib ecivre
steelrow CBB a quiver
Element #28 Sleeping Amor
1/3 = 264 + 1/3 * 1191 =
TEQ #661
'I am still the best up on the moon' →
'it's my numer up on the Bethl'
Element #29 Peter's denial
1/4 = 264 + 1/4 * 1191 = 561,75 =
TEQ #562
'Orpeucter' →
'rore/røre[t] til keup' (the rudder/pipe/touch of keup') or 'berøre[t] til keu' =
'touch for keu'
Element #30 Salome and baptist head (1609)
1/5 = 264 + 1/5 * 1191 = 502,2 =
TEQ #503
'Gørmemanich Aniselich' →
'Med rø[g] skilles/kiles i naken amme'
'with red/smoke is parted/wedged in(to) naked breast-nurse'
Element #31 Birth w Lorenzo & Francisco (for the idea of Christ as the arbitrary morpheme level)
1/6 = 264 + 1/6 * 1191 = 462,5 =
TEQ #463
'Peter Sharp'
'a proud shredder'
Element #32 Annunciation
1/7 = 264 + 1/7 * 1191 = 434,1 =
TEQ #435
'The Americans endorse also Eutheia' →
'aeth aiethue osla esrodne snacirem'
'a seizure is like erodnes snake-rem'
'a seizure is like erotic snake-rem'
Element #33 Maffeo Barberini (by chinese 'public' and '6, six')
1/8 = 264 + 1/8 * 1191 = 412,8 =
TEQ #413
'Dr.Angle' = 'Doctor Angle' →
'delgna rotco'
'jerken erotico'
Element #34 The martyrdom of Matthew
1/9 = 264 + 1/9 * 1191 = 396,3 =
TEQ #397
'North Zen of Stemmer' →
'on remmets fo nez ht'
'honour a metre's phonetic'
Element #35 Regretting Mary
1/10 = 264 + 1/10 * 1191 = 383,1 =
TEQ #384
'Not here, but in that narrative' →
'ton evitarran tath ni tub ereh'
'to never tire and touch need to bear it'
There are four of the 64 elements in the Caravaggio-Dornenstrauch scheme which are the same in the 1-step and 5-step columns: Those are element 4, 20, 36 and 52 - there are 16 elements between each. The series discussed here is between 20 and 36. One guesses that the entire series will constitute the basis for the formation of 'magic images' as for Rilke's Duino elegies 1 and 4 discussed in the beginning of this article.
A notable phenomenon is that the convex and concave series are not entirely parallel - they are displaced with 1 element. This displacement is 'compensated' for by a comparable displaced reference of the non-reversed original line to the adjacent backwards-reading: For example, for 1/6 the original line is "Yesterday, the one fells into the sea" which then in the form "Yesterday, the one fells into the see" interprets the 1/7 form "a thwartwise demur of seraph" and the artwork thereto, while the original line of 1/7 = "The press for media flow" interprets the 1/8 form "phimosis rayed in croup" and the corresponding Caravaggio artwork.
The reason for this 1-elemental displacement of the 1-step relative to the 5-step series could be that the 1-step interprets the first line in a poem and the 5-step the last.
One naturally conjectures that the inbetween lines of a poem will follow a scheme of 2-, 3- and 4-step cycles. I have not inquired further into these possibilities.
However, this theory could constitute a basis for my theory of 'A waist of time' - my doctoral dissertation (1997).
The resulting form of parallel columns with horizontal element rows will come to resemble the neck of a guitar with 5-6 strings and parallel frets across - see Caravaggio's "Lute player". My TEQ #110 "Jacob's ladder" contains the lines:
Don't fret any more than that with Panini.
Doctoral dissertation: Landskater with reasons født,
and hold on the lamp.
Indeed one can see how this fretted complex can give rise to a complex 'generative grammar' of Panini type described in his 'Asthadhyayi' which means '8 chapters' - or, in chinese script, the 'ba ya' = '8 bifurcations' = the 'steelrows' of the 'ba' on the arms of the inspector to the left and the 'cuivre' of the 'ya' in the bamboo to the right in the #27 'Incoronazione di spine' - for the 'steelrow is a bib/bub/bebe quiver/cuivre' of the following #28 'Sleeping Amor'. This is a particularly interesting case of adjacency - here in the 5-step column. The two elements form a 'fret' which here is counted up to 8 in each formation. A tempting conjecture is that these adjacencies concern the 'bifurcations' of linguistic borders.
The two following lines ('Doctoral ... lamp') define the corollaries for some considerations of the following kind - on my virus theory and the isomorphy of language and logic in the qubits of computation theory.
'The lamp' is otherwise the german 'ethnologic parametre' from an anglophonic viewpoint. I have made two extensive studies of this socalled 'ethnologic parametre' from an anglophonic viewpoint: 'Hymen' of hungarian language and the 'Lampe' of german.
Although much more far-reaching studies must be made for a decisive conclusion, it can already on basis of the present data be assumed that my TEQ interprets in particular italian art history in a specifically relevant way. This seems to be the explanation to the COVID-19 phenomenon discussed in the following.
2. The virus theory
I set forth my theory of virus and its spread in some articles on covid-19 - the pandemic that spread from the end of 2019. My suggestion for how to make a medication against virus infection (and hence also how to delimit the spread of a virus epidemic) is based on the outlines of my general virus theory, wherefrom I quote the following:
Above I showed that the virus epidemic probably spreads in such a way that the distribution interprets the relation between some peculiarity in the linguistic 'identity' relative to the shape of the border. This need not be the country border, of course, but would be about the border to another reality. My 'fundamental theorem of linguistics' tells that only 2 items can be the same across different realities. The metaphysics goes as follows: Two items e1 and e2 from 2 different realities are recognized by the human spirit as the same item and thereby they reduce to one existential being (referent) x1 plus one semantic meaning s1 attached thereto like a shadow it is hard to run away from. This theory tells that this is what existence is. However, if culture develops into a state which takes history astray (the example was the state of Austria in late 2019 - I mean at the Steiermark election, not Bierlein's government), it must reverse the development and start over again from an earlier point. That means turning x1 into 2 items e1-e2 in two different realities - that will turn the history. But for a virus that means to divide x1 into two new items that then count as e1 and e2 - and since the meaning s1 still remains, it comes as a third element when considering the distribution: It is by this that the two new realities are two and not only one. Hence for a probability distribution there are now 3 items for computing e.g. the entropy, but only 2 of these have real existence - and that means that summing their probabilities will not take it to 1,0 but only 0,67. Therefore at least one of them must divide again in order to fill in the missing slot. In this way, the former realities will be tentatively accessed and the cultural condition in the collective consciousness reversed - and the state of the existential being who hosts them will be weakened and possibly even die and buried and it is gone - and in this development a gap between the realities of the linguistic centre and the border will be levelled out untill equilibrium is reached. In the state of formation, there are two forms of existence - one real existence and one meaning-existence and the probabilities of these will sum to 1,0 but the sum of real probabilities only (without the meanings) will be less than 1,0. In order to remedy for this, new reduplications will speed up the number of existences in an attempt to reach 1,0 for the entropy function - a sort of vacuum pump that will be - untill the host cell bursts. The difference between ontological and epistemological existence, as it could be called, corresponds to the difference between the knockings that could be recorded on 15 january 2020 and 20 january 2020 and those that could not (a week or two later) - that is, the border to silence - the later knockings had 'meaning' only but not enough material existence to leave traces on recording equipment. Could be such virological existence could be called the border to white noise - or just a variant feature of that silence.
How then is the epidemic stopped? By creating a substance that can fill in the slot of the meaning s1 with existing substance - could be by studying the distribution of viruses in their multiplication and recognize same clusters and establish a formal lexicon by my TEQ function 14 and grammar that can engineer the same distribution - a distribution or lexicon-grammar modelled in a complex organic molecule that takes the place of the existence qua meaning of the viruses - their 'shadows', so to speak - and thereby prevent these from multiplying into new existences. The crux of this theory of mine is that the virus has a brief existence on the border between eternity and history - a 'diagonal' existence straddling eternity and history, two different realities - wherein it is 'meaning' only but fills in the form of 'existence' - and if the shadow which is called 'meaning' can be filled with other substances, the virus will not reproduce. It is the entropy function that interprets the flux of information from eternity to history.
A 'negative imprint' of the semantics is found on the mirror point of function 14 - for a theory of a 'poetic logic' on the other side of the rainbow. But me as 'grandmother' shooting Lenin or sth like that is not relevant for understanding this turnaround of meaning and substance for stopping the epidemic.
After I published this theory on the internet, there seemed to be some commotion on the novelty of the idea and I soon elaborated the principles for the practical research for finding the molecular substance in this file. Whether Pfizer had used my ideas or not for the socalled 'Paxlovid' pill that was launched on 21 december 2021, I dont know, but the COVID curve that followed the launch was quite impressive - see the data in this file. Clearly, as the following discussion suggests, if the COVID pandemic quite simply was a direct result of violations of my intellectual properties (plagiarisms, abuses of surveillance data etc), then an uncredited use of my idea for making this virus medication should expectedly have led to an immediate rise in the COVID curve from 21 december 2021 onwards - and indeed the global curve seems to suggest that this could have been the case, for whatever reason. This observation is interesting also for the reason of the concerns discussed below about the possible 'significational' circumstances of the socalled Kennedy assassination on 22 october 1963 - I notice Modern Language Review for october 1963 shows the 3rd article title "Gérard de Nerval, Fire and Ice. By Norma Rinsler". Since the circumstances otherwise suggest an involvement of a latter into the a former, as for a 'sexual intercourse' by a male name into a female, it could be that 'Fire and Ice' → 'Fi-ice-re' - here for 'Pfizer' - could be a part of the possible background for this global effect of the 'Paxlovid' launch. This could also mean that these data could support the theory of a direct connection between the COVID pandemic and abuse of my intellectual property.
It is seen that my theory of virus formation - as a 'vacuum pump' created by distributional ambiguities on the border to existence, eliciting new existences untill the DNA-measured balance between physics and metaphysics be regained - that is, the 'border to existence' whereupon my own 'fundamental theorem of logic' is situated and measures the differences in information flux - is based on essentially the same basic format as the fundamental linguistic nucleus which also can be postulated as the form of the computational qubit (discussed below). It is the isomorphy of logical and linguistic form which touches onto this distributional ambiguity by the socalled 'stringhook' paradox - the following diagonal dependency line pulled like a string and hooked down onto the lefthand element - this reorganizing of the dependencies could probably be conjectured to be related to Chomsky's phrase structure grammar:
|
Dependent distribution |
Fundamental inguistic nucleus |
Therefore data on virus epidemics can shed light on the semiotic matters.
COVID-19 is said to have originated from Wuhan in China. The name Wuhan (City) is composed of two characters - here excerpted from Mathews chinese dictionary as in the file 'Covid-19 as data for new etymological studies':
WU = 
= 
HAN = 
= 
With 武 = 'wu' = soldier, military matters - it concerns the issue of geographic national borders explored in the article 'The reason for the corona epidemic crisis' (see also the etymological considerations under "5. The deep logic in the historic collective consciousness" in this file). In 'the article', I tell the story of how I discovered the role of the national border outlines for the spread of the covid-19 pandemic. I had seen that the border outlines of Bangladesh and Myanmar/Burma adhered to the stories enumerated 4 and 5 in chapter 5 "The border" of my prose book "And hang under the Justcan keys":
 Outlines of Bangladesh |
 Outlines of Myanmar/Burma |
The Bangladesh map looks like the man (man pointing out with dog jumping under his outstretched arm) I describe in my prose piece under #4 and Myanmar/Burma the story from the 'bunker' in #5.
Now for the new discovery on basis of the above observations of the correlations of Caravaggio with my TEQ and DDS:
WU =
resembles the Caravaggio work "20. The calling of Matthew" - with Jesus pointing towards Matthew sitting at the end of the table - at the beginning of the correlation series 20-36 at the beginning of this article - and indeed the character and artwork thereby also resembles strongly the border outlines of Bangladesh on the map - the man pointing with his arm stretched out and the dog leaping underneath it - only the pointing goes the other way - it is mirrored relative to the form of the country outlines on the map.
HAN =
This likewise resembles the element at the end of this same correlation series at #36 - St.Frances in meditation (1606)" - holding out a skull in his hands over a cross that rests on a structure resembling the skull. The corresponding phenomenon on the map is Myanmar/Burma which resembles Caravaggio's artwork - and indeed this aspect is then just what is needed to recognize it also in the chinese sign HAN = 漢.
It is seen that if the purpose of the COVID pandemic were to REGRET the development that had been started and the delay of its turnaround, calling for massive braking of the historic development, for the two dependencies shown in the upper left of HAN qua 'Milky Way' one of these can be turned to go the other way as in the the isomorphy of the fundamental linguistic nucleus for another sign HAN = 'regret':
HAN = 漢 = = 'Milky Way'
HAN = 憾 = 
= 'regret'
It is seen that one of the dependencies is hooked the other way (here also turned upside down) and the righthand upper part of the 'regret' sign resembles the main parts of the WU sign - that part which also can spotted in the WO sign. What is the lower righthand sign of this 'regret' sign is the sign for 'heart' = 心, which adds meaning to the 'regret' and the need for halting and turning the whole historic development. The glyph origins of this 'heart' = 心 could suggest even a certain role for the story about 'Apenes' and 'Aldo Moro'?
This indeed looks interesting for the question why did the pandemic start in Wuhan = 武漢? Because the name describes the Bangladesh-Myanmar border outline phenomenon in the same way as my prose piece does - and this is defining for the italian renaissance seen through the prism of my TEQ.
Briefly: This suggests that COVID-19 broke out because my TEQ was installed or interpreted into alien cultural environments potentially hostile to the cultural and artistic history contained in my TEQ. As I show below, this alien cultural environment is likely to be identified as the eastern arm of the european swastika - in contrast to Italy as the southern arm.
I repeat the four elements in Caravaggio-DDS correlation table that is the same in the 1-step and the 5-step columns:
4 David with the head of Goliath (1609-10)
20 Calling of Matthew
36 St.Frances in meditation (1606)
52 Victorious Amor
India after the Divide looks like a man kicking in a door or something like that - or simply a David holding out the head of a Goliath. The following three likewise - after India ('David') also Bangladesh ('Calling of Matthew'), Burma ('St.Francis') and Thailand ('Victorious Amor') - these being recognized in this sequence from 'this article':
3. A man plants his boot in a closed wooden door, near to the frame where it opens. The door is old, the planks withered and weather-beaten. But the sound of the boot on the wood is still not as hollow as the scissors clipping through the hair.
4. In a harbour region there are ships lined up along the quay. A man comes with his dog. He stops and tells to the animal: "You see that ship anchored up over there? You go to that ship and I will go to this other one over here. So let's leave with the ships and we can go to the same place", said the man to the dog. The animal listened intently and watched how the pointing finger pointed in a certain direction, and it seemed to understand what the man had explained. They parted and the dog ran off in the direction of its ship, the owner turned the other way for his. But no sooner had the dog run a few metres, it suddenly understood how impossible this would be: If it should have gone to that hollow ship anchored up over there at the quay, the dog would lose contact with the owner. How could it first find its ship and then find the owner again afterwards? So the dog turned around and ran after its owner and followed him to his waiting ship, so that the owner could show it the way to find its own ship thereafter. It didn't really matter - they could of course go to the same ship in any case. The man and the animal walked side by side along the quay, and the dog wagged its tail.
5. Far underground, in a deep tunnel under the surface of the earth, in a deep dark bunker tunnel, a vehicle was standing and waited to be hit by a super-ray from above. It would be the new technological type of ray that can go through just anything and could be sent out from a satellite. It stood there on the concrete rock in the dim cave and a man was watching it anxiously, waiting for what could happen when the ray hit, when suddenly an unexpected impulse hit the vehicle from below with a dump sound. This movement from below was very unexpected, since they had been waiting for the super-ray to be hitting from above.
6. It was the tramway car running through Siebensterngasse. We were travelling through the lower curve when suddenly I lifted my eyes and looked with some indignation at my own self. It was not a mirror! It was the same pure reality, a sheer fact: "I have, after all, written extensively through these many years ...", I said to myself and felt that I had reasons of justification for this vague indignation of mine, although I am not the type to make too much out of such claims. I am not making claims but the reality should understand and respect my rights, of course. It felt as if I was taking something up.
Wuhan City = 武漢市 could perhaps add this third element resembling a winged being a la 'Victorious Amor' of Caravaggio.
WU = military = defending-consolidating the border outlines of a state
HAN = Milky Way - the border to the metaphysics
 Calling of Matthew (detail) |
The chinese sign WU |
 Outlines of Bangladesh mirrored |
 St.Francis in meditation |
The chinese sign HAN |
Outlines of Myanmar/Burma |
The conclusion is that the assumed origin of COVID-19 tells that the relevant part of the Caravaggio-DDS table to study relative to my TEQ as far as concerns the art of the italian renaissance (here by Correggio) is in the quarter from element 20 (Calling of Matthew) to element 36 (St.Francis in meditation).
This also suggests that the COVID crisis could have been apparently all and only about the relation between my TEQ and the italian renaissance. In my view, it was about my budget economy which made me dislocated relative to Italy. This means that the global economic recession could probably have been avoided by providing me with a better economy.
The second conclusion could be that the pandemic seems to have arisen in China because of the inherent image-text constitution of the chinese script - well exemplified by just the name Wuhan City = 武漢市.
Conclusion to this is that I should have been in Italy or China with my important work - but economic limitations made this impossible so far, and therefore Covid-19 broke out. To see why, I discuss the political background in more detail in the following.
3. The ratio 1/2 and the 'Vas Gereben' data
As seen in the discussion above, the ratio 1/2 is special by always being the same poem TEQ #860 in the mid point of the range from 1 to 1719 (or from 199 to 1520). The poem TEQ #860 is a parallel text, a title, a line and a signature:
TEQ #860
Acts 10:13
καὶ
ἐγένετο
φωνὴ
πρὸς
αὐτόν
Ἀναστάς,
Πέτρε,
θῦσον
καὶ
φάγε
The mean flat
THUNDER ROLLING OUTSIDE
Newton
09.07.01
The signature reads backwards from the mid point 'w[h]en-not' or phonetically more like 'Wun-net/not'. By 1/10 displacement it could come out as 'Neptune'. The title would transform into 'em eht talfna' which I could interpret as 'I'm a telephone'. If 'telef-HAN' be the form, the title + signature could read 'WU-not-a-telef-HAN'. The total could resemble the idea of a BORDER - here between WU and HAN.
The greek parallel text is not so interesting: "And there came a voice to him, saying: Stand up, Peter, kill and eat". This is the story of the 'temptation' lowered thrice from Heaven - which Peter did not give in to. It could be telling of one of the fundamental problems of human existence - which christianity has tried to solve - the problem of being dependent on ontological nourishment, a condition of inserting material being into the body - an 'insult' which can make people a little hostile. Christanity (with the holy communion) has tried to make it possible to eat without getting hostile.
However, there is a special circumstance of this mid point TEQ #860 which perhaps is the real issue: The entire TEQ is written unidirectionally from the beginning to the end - with very few exceptions - the main exception being exactly there at the mid point which is in book 12. When I wrote the book and had come to the end of the manuscript, I found it right to move the end to the beginning and so the poems of the last 24 days of writing of book 12 were moved from the end to the beginning of the book and this TEQ #860 is inside this transposed part. (See the handwritten manuscript to TEQ book 12 - where what is now the beginning is at the end of the original manuscript). This means that if one counts not the mid point in the series of poems enumerated from 1 to 1719 - that is #860 - but considers the dates of History instead - not for the entire span of writing from 25 february 1997 to 21 july 2008 but for the local temporality around this transposed part of book 12 - one can find a virtual 'historic' mid point by counting 12 days from the temporal BORDER created by the wrapover (on 28 november 2000). This lands the 'virtual mid point' not on #860 but on TEQ #875, written on 9 december 2000.
Philosophically this means that if History decides the mid point, then it is at #875 - but if non-history i.e. Mystery or 'mystic inquiry' decides on it, #860 will be the mid point - but then it means #860 of 'mystic inquiry' which is just the art of not giving in to temptations - not even to those temptations apparently lowered on a blanket cloth from Heaven. But giving in to temptation is just to fall back into History and then the mid point is not #860 but #875, and my TEQ therefore steers around those troubles inherent in the apparent assignment of a divine justification from Heaven to evil and murder on basis of this Acts 10:13. The words of TEQ get their distributional semantics updated from function 14 - which is utterly defined by counting the days of History.
On basis of the experience with the backwards-readings discussed above, an interesting experiment could be to read #860 and #875 backwards and with wrapovers like above - which here means from 1/2 in the title (first line) untill 9/10 in the signature (last line) - and (since these two poems are twinned in a butterfly shape) comparing the resulting reverse forms with the greek parallel text to the other poem - that is comparing the reverse reading of #875 with the greek of #860 and vice versa. The two greek fragments are sort of opposites. It turns out that this seems to confirm the WU-HAN phenomenon in COVID-19.
TEQ #860
Acts 10:13
καὶ
ἐγένετο
φωνὴ
πρὸς
αὐτόν
Ἀναστάς,
Πέτρε,
θῦσον
καὶ
φάγε
= 'and there was a voice [talking] to him: Stand up, Peter, kill and eat'
like a debt, rat[e]s eat a taste and lightning deaf-knocks heal
= καὶ
ἐγένετο
φωνὴ
raisely fuke nalbe/navel
=
πρὸς
αὐτόν
they saw up mar/wards
Ἀναστάς,
folks knock erotic deeps-gnol a dna sense
= Πέτρε,
mack it rates him for lure alle (= power corrupts for luring all)
= θῦσον
καὶ
φάγε
It is seen that the last line feedbacks into the first
TEQ #875
Acts 10:27
Καὶ
συνομιλῶν αὐτῷ
εἰσῆλθεν,
καὶ
εὑρίσκει συνεληλυθότας
πολλούς
|
Καὶ
συνομιλῶν αὐτῷ WU |
εἰσῆλθεν,
καὶ
εὑρίσκει border |
συνεληλυθότας
πολλούς
HAN |
συνομιλῶν αὐτῷ = talking with/to him, but etymologically it is composed of συν = 'together' + ομιλεω < ομιλος = 'Volksmenge, Kriegerschar, Gedränge, Kampfgewühl' (Frisk). Clearly this συνομιλῶν αὐτῷ is as close to the chinese 武 = 'WU' as one can get it
εἰσῆλθεν, καὶ εὑρίσκει = 'he went in and found' - which can be associated with 'border'
συνεληλυθότας πολλούς = 'many had come together': συνεληλυθότας = συν = 'together' + εληλυθοτας < ελευσομαι / ερχομαι = 'to go, to come' = to go/come together
Whether this 'to go/come together' qualifies as the chinese 漢 = 'HAN' = 'belonging to China, the Milky Way' I dont know, but completely irrelevant it probably isnt.
Hence these two greek fragments (of #860 and #875) meet in butterfly format by the backwards-reading of #875 for #860 and inserting 武漢市 = WU-HAN CITY for #875 like Horace's two petrification points. Horace wrote at the time of Christ. It is likely to be the essential history in Italy of the times - that Horace was not a catholic but italian he was. Jesus was a jew.
I refer also to Paul Celan's 'Atemwende' (in Celan 2003) which has two poems in distance 875-860 of very comparable format: Those are the poems 'Ein Dröhnen' and 'Das aufwärtsstehende Land'.
One can - if one wants - see COVID-19 as starting in Wuhan City in China in the form of this misunderstanding of Acts 10:13 - taking it for being about History rather than Mystery - possibly due to a cultural-environmental mixmax misunderstanding of my TEQ. That would not be because of the status of History in China, but rather, as I show in the following, because of a displaced abuse of the italian renaissance in my TEQ into a text-image program associated with certain specific aspects of probably the former austro-hungarian Doppelmonarchie. I tell in the following why and how.
The 'Vas Gereben' complex
It is seen that the reverse reading of TEQ #875 leads to
1. like a debt, rat[e]s eat a taste and lightning deaf-knocks heal
2. raisely fuke nalbe/navel
3. they saw up mar/wards
4. folks knock erotic deeps-gnol a dna sense
5. mack it rates him for lure alle (power corrupts for luring all)
The last line probably feedbacks into the first.
There exists in Szolnok in Hungary an area east of the main railway station which (from the present data) seems to have been the locus of nazi 'mysticism' and organized political intrigue possibly since well down in the 19th century. It is likely to have been an essential aspects of Hitler's program. It seems that this area was planned to be inhabited by me qua PTRSIM PIK - for a role in that intrigue imposed on me without my knowledge or consent. It was the need for finding a solution to my housing problems that my budget economy could afford which eventually landed me there - after several attempts to find a house in other parts of Hungary. (At hindsight I have come to conclude that if I had bought a house elsewhere, I would have met problems enough to drive me on untill I landed in that area in Szolnok). The streetname of my house is 'Sziget Utca' which means 'Island Street' - and it is possible that this could have been the background of the norwegian Labour Party acquiring 'Utøya' - a small island with name which means 'out-island' (or even 'outstanding eyes') in 1933 when Hitler came to power in Germany. ('Øy' = 'island', hence 'ut-island-[c]a' = 'sziget ut[c]a'). It was on this island - used as a summer camp for the Labour Party - that the Oslo terror took place in 2011. I bought the house in 2015 - but would of course never have bought it if I knew what it was. It took me some years to find out of it. It seems that the streetnames around Sziget Utca is the real theme of Ibsen's 1892 play 'Master Builder Solness' (hence 'Solness' for 'Szolnok'?), which he wrote around the same time as 'Eyolf Little' (for 'Adolf Hitler'?) and 'John Gabriel Borkmann' (= me, 'John Bjarne Grover'?). I discuss this complex below. (I add that my father was replaced with a not-very-similar copy in the summer 1969 when I was 12 - and I have later speculated that the new one, who never told his name however much I played the piano, could have been a rebuilt Adolf Hitler, but there is little basis for this speculation).
Now it is the streetnames around this area which seem to be the interesting issue as they can be seen to imitate the form of a hebrew final 'F' as in 'Josef', the father of Jesus, in a hebrew name form יוסף which can be seen to imitate a trumpet from heaven heralding the Madonna Mary with the little Jesus child in her arms:
The purpose with this 'political program' could have been to install that visual aspect of the Bible script (hebrew) which would have been a variant of the art history with emphasis on certain poetic functions in my TEQ, as discussed in the beginning of this article. The purpose with me qua 'PTRSIM PIK' in this complex - probably from a Stammbaum constructed since about the french revolution (not the least for lending an aspect of 'divine authority' to the monarchy which a republic could not contest - and it is even possible that the kingdom of Norway could have been established in 1814 for this specific purpose - in such a way that each new branching of the Stammbaum would add to a function from words or word-pairs in the Old Testament to verses in the New Testament in such a way that a Messiah function could be obtained - for the idea that the global collective-historic consciousness was scheduled to believe when I was born that a Messiah had been born in 1957 for the turn of the new millenium. If this divine 'Messiah' authority would have been easily hijacked by some politician (there exists MRT scan evidence that my head could have been opened in early infancy and a part of the lower occipital lobe scissored away), that could explain the history. The removal of a part of my occipital lobe could then have been about just this visual aspect of e.g. the Madonna + bebe trumpeted from Heaven through the hebrew name of Josef.
My speculations about Adolf Hitler potentially hiding behind the facade of the new father in 1969 could not avoid continueing the speculations - into ideas of Heinrich Himmler hiding behind the facade of my mother who then would have been in form of the Madonna holding the little Jesus bebe in her arms (see this file for some suggestive data), in which case even the holocaust against the jews could have been contained in or motivated by this program. If so, it is not impossible that my person would have been the socalled 'Dritte Reich'. But these are mere speculations of mine - there are some reasons for them but probably not enough for any conclusive evidence allowing for definite claims. It is possible that a 'Dritte Reich' could have suffered some abuse in the childhood - quasi-'divine authority' pirated for political use - but not in such a conscious form that any claims could have been lauched from me in an attempt to get it back.
If 'The Dynasty' TV series should have been about my family background from about 1969 up to 1981, it is likely that the role of 'Alexis Coleby' (Joan Collins) could have been me. In those years my 'school town' (= 'skoleby') was mainly Fredrikstad. There was a person a little older than me but around in the same environments - he was called 'Alex' and had a sort of 'Jesus'-style hair. The 'die nasty' could then have a reference to the auto-fellatio ('self-sucking') of a 'J-suss' type which I (as I would assume) was lured into in the early 1970's. However, the series was started in 1981, the year when my official mother had a serious auto accident and could have appeared a little marked by it thereafter. If this series should have applied to my family background, the role of Krystle Carrington could have found a name-echo in Himmler's Kristallnacht. Why the name 'Carrington'? The family was for some days in London in the summer 1972 and one of these days the father absented himself for other errands and the rest of the family went to (I think it was) the museum of natural history. In the cloakroom, when we were about to leave, the official mother had bought a book (about the history of primates, was it?) and asked for 'something to bear it in' when I corrected her and said that it is not called 'bear', it is called 'carry'. If this is the reason for the fiction name, it could have been about why the father absented himself that day. I dont think I saw the soap but may have heard some rumours on the inner radio.
However that be, it seems that the visual aspect of the alphabetic technology would have been maintained by the final F in the old-testamental hebrew 'Josef' as a trumpet from Heaven while the non-visual and 'abstract-symbolic' form would have been contained in the new-testamental greek of the Jesus bebe in the Madonna's arms - as e.g. in 'Correggio's 'Nativity'' (from this source) - see discussion of it in example 5.
It would apparently have been the greek (associated with the Jesus bebe in the 'holding' arms of the Madonna) in the form of Acts 10:13 (or Acts 11:7) which should have given a divine sanction on nazi terror - for the trumpeted program of a secret route to Heaven for all those who had been involved in murder - possibly swapping around with the opposite solution for those moralists who feel uncomfortable with such methods. It could have been for lending a shade of 'divine authority' (a la Mary Magdalene, not really divine but nevertheless considered the mother of a god) to those who had been involved in mass murder - possibly the more mass murder the more 'divine' or something like that. Hence the 'hold-o-cost' - for a program offering salvation also to those who had been involved in murder - via the 'cost' of a nazi 'beast-of-terror' Jesus?
The program admittedly looks not optimal. It seems to be up and going in present-day politics - potentially affiliated with an eastern arm of a european swastika. In my view, it is not a recommendable program. (I have speculated if the russian attack on Ukraine could have included an attempt to stop the global spread of this program).
Now it can be shown how the five lines (1.-5.) of my TEQ #875 read in reverse and ratio-divided format can be recognized in the relevant streetnames of Szolnok around that essential 'Sziget Utca' - and how these conspire on the form of outlines of a mirrored hebrew final 'F' (cp. the role of the mirrored outlines of the map of Bangladesh discussed above):
1 = Szántó Körút = 'saint/sand took the ear out'
2 = Ősz-Tél-Rege = Österreich = Ø-streich
3 = Sziget Utca = see, get ut/up, saw
4 = Rába Utca
5 = Száva Utca
 The streets around Sziget Utca |
 The hebrew final 'F' in these streets (my annotation) |
It is the streetname 'Vas Gereben' (not included in this list of streetnames but being on the map) which attracts most interest here - as it is intersected by the 'rake-teeth' of 'Ősz-Tél-Rege' utcas: 'Tél' = 'winter', 'Ősz' = 'autumn', 'vas' = 'iron' and 'gereben' means a sort of tool which can have teeth a la e.g. a rake. Hence there is no doubt that the name of 'Dwight David Eisenhower' can have been directly motivated by these streetnames - he was 5-star general leader of the final allied victory in Berlin 1945 and the administrative leader of Germany in the times following it - before he later became US president. It is also possible that his party and White House fellow Reagan could be a name recognized in the 'Rege Utca'. These names add strongly to a recognition of the names of this area as 'potentially politically loaded'. I have also speculated that the Rwanda genocide against the Tutsies could have been about those same 'teeth' of the 'vas gereben' rake - possibly for enhancing the 'divine' factor of somebody - a 'Himmler' madonna holding a Jesus bebe against her 'wranda' in the word-final hebrew 'F'? I notice that if my head were opened not long after birth and a part of the 'visual' lobe scissored away, it is also possible that some 'politician' could have been present for masturbating a spurt on my young cortex - and that this phenomenon is associated with the phenomenon of leftsided gynecomasty later developing on the child subjected to such 'genetic' abuse - hence the idea of 'geno-side' by that leftsided 'wranda' which could have been intended even for shifting the responsibility of a 'hold-o-cost' from the 'final F' ('Endlösung'?) madonna to the bebe.
'Sziget Utca' could have been interpreted in the sense of 'sighet toucha' for the concept of the (probably) jewish mystery called 'Sob-i-bor' - the visual impression of a high drill going up and down along with the auditive impression of strong sobs or breathing sounds from a neighbourhood, cp. the official version of a suicide of Himmler before he was buried in some unknown location of 'Lüneburg Wald ' - the school dentistry on my 'tutsies' in 1970 was with a socalled 'lynbor' drill while 'kvalt' means 'strangulated' - by Hitler/Himmler turned into a death camp rather than the original jewish sense of this mystery more resembling a life camp. The rest of Himmler's 'Aktion Reinhard' (Sobibor, Treblinka, Belcez) could likewise have been about this area.
If there have been attempts to make the concept of 'beast of terror' stick to my person, it could have been for reasons of this construction.
If this 'nazi' political program is still up and going, it would have been under the pretext that 'there is no other solution available for the new information technology'. Clearly such a pretext would rest on a fundamental flaw - the lack of knowledge of the 'visual aspects' of the logic of the italian renaissance recognizable in the reading of my TEQ as discussed above - and in the lack of such an understanding, the political construction has taken recourse to finding the solution in the terror affiliated with this szolnoki streetname 'madonna' due to the visual aspects of the hebrew alphabet.
If so, it is likely that the real pretext would have been something more resembling 'there is no other solution available for a murderer than to swap around the entrance tickets for Heaven and Hell'. Clearly this problem could have been felt as acute by many responsible state politicians and royals who, although being aware of the chance for grace offered them by the church, could have doubted that this clerical allotment of grace would have sufficed when they came to St.Peter's.
The factor of italian visual art seems to have been tentatively introduced into the political history by the idea of a european swastika turning 90 degrees - for swinging the eastern arm down onto Italy and the british up towards the north where the divine authority of the 'aurora borealis' was hanging like (sinful?) bedsheets down from Heaven. The role of Norway established with its counter-italian shape in 1814 could have been for precisely this mythology.
My TEQ constitutes - as shown in the beginning of this article - a bridge from italian renaissance to the current day in such a way that those times of blossom are reinvoked for the cultural development of the society - but when I am displaced from this italian context into the cultural context of Austria where the history of art is another, it came out wrong and the spread of my poetic work did not take the form of a cultural blossoming but on the contrary it took on the form of uncredited borrowing (apparent plagiarisms etc) from my literary work - probably in an attempt to maximize this mistaken 'visual' function of that single final hebrew 'F'. A healthy cultural development does not produce copies but independent work spurred by the intellectual independency and freedom which my work can elicit (see discussion at the end of this article). But if this is replaced with uncredited borrowings and plagiarisms, as in a helpless attempt to imitate the intended potential in the work, then of course things could come out very wrong - however much it could 'look right' - and this would have continued untill the global community could not allow for more of it and put the brakes heavily on with the COVID-19 pandemic. The whole hysteria is now hopefully about to calm down and the world can gradually start trying to move forwards again.
But the mystery remains for me: How on earth is it possible that the world continues to respect those nazi intrigues which apparently include my person qua PTRSIM PIK and therefore, it seems, they do not help me get out of those mythological traps? Is it because 'there is no other solution for a state leader carrying much responsibility'? It is only my budget economy which has prevented my relocation to Italy. I applied for political asylum in France in 2002 but did not get it - but I got a pension from Norway 'instead' without which I would not have had much chances. But clearly the massively mistaken apparent global plagiarist program on my authorship has been a very mistaken form of growth and 'resurrection' of the italian art traditions - it looks like a mixmax of metaphysical tickets - and such monkey business would have served only to maximize the 'final F' ('Endlösung'?) function of the nazi madonna and not the blossoming of culture which it should have been. My work is not for maximizing mass murder! It seems that COVID-19 with the following economic regression was the only way to stop the madness.
Ludwig Wittgenstein could have had a role comparable to mine. He bought or built a cottage in Skjolden in Norway, not Szolnok in Hungary, and it is not impossible that the 'spanish flue' pandemic one hundred years before COVID-19 could have been on a comparable background. Consider e.g. the fishamend's tooth (or 'tutsie') on the new eastern border of Austria since 1919 on the background of Wittgenstein's 'Logisch-Philoso-FISCHE Abhandlung' - later rebaptized into 'Tractatus Logico-Philosophicus'. Clearly such a pandemic should have been avoided this time - and it could probably have been avoided by lending a better economy to me rather than letting my work running into the ditch of apparent uncredited borrowings.
The 'Vas Gereben' (pronounced 'vash gereben') streetname in Szolnok could perhaps be recognized in the greek text concerning that problem of moral justification - by the temptations of quasi-divine sanction - of imposing death on fellow beings - for a quasi-imitative quasi-visual format of even the greek - as for the possibly intended option of shifting the responsibility of a 'hold-o-cost' from the old-testamental-hebrew final-F madonna onto the new-testamental-greek bebe - possibly even of 'PTRSIM PIK' type:
αναστ
vas
v
ας
as
πετρε
ge re
ge re
θυσον και
ben
φαγε
ben
A norwegian ear would say that 'vaske-reben/reven' sounds like 'to wash the behind' such as the madonna does with the bebe. Hitler/Himmler's ideas of a 'Dritte Reich' could have been about an unfortunate variant of this. There was the 1972 norwegian film 'Norske Byggeklosser' (cp. 'Vaske Reben') from the early 1970's which to me seems to be about the trivialities of mine when I would try to be moving into Sziget Utca decades later - it could have served as a dating and 'responsibility claim' on that 'project'.
The story is likely to be about the administrative dream of turning the grand delusion into reality - for the program of lending to administrative logic (based on streetnames etc) a defining role in the constitution of the world. (See below on Grassmann/Cantor). However, the simple explanation is that the 'visual logic' of the italian renaissance could not be easily borrowed into the protestant world - and were there some historic reason for protestantism that would compare with the pessimistic outlook on chances even for murderers? The nazis wanted to turn the whole european swastika 90 degrees - for letting the eastern arm swing down onto Italy and the british arm up to the 'aurora borealis'.
Not long after I came to London in the spring 1997, Tony Blair won a landslide victory in the general election. I sent my 'Hammerfest', TEQ book 1, to Faber in late december 1997 or early 1998 but they did not then feel for publishing it. I had then already completed most of book 2 - which later turned out to find an interesting echo in the work of the italian artist Antonio Balestra. A 'blaire' is not exactly the same as a 'ball-es-dra[y]', but some similarities there could be.
'Vas Gereben' in a 1984 story
I here bring some further empirical indications that this 'Vas Gereben' of the szolnoki area around Sziget Utca with the apparent final hebrew 'F' for a visual Madonna + Acts-greek Jesus child is the story.
It was probably in 1984 (probably not 1985) that I spent the christmas (from a few days before christmas untill probably the beginning of january, or close to it) in rented flat in Budapest. As the owner showed it to me, I recall that he said something as he turned the key in the door - I do not remember what it was but he did say something which attracted my attention. I recall also that he showed me the kitchen stove. On christmas eve I stood in the kitchen window and looked out when a car driving up the lane crashed with a car coming in the opposite direction from around the corner. The woman who had driven up the lane stepped out and stood weeping with her face in her hands. Probably between christmas and new year I went for a day's trip to Pecs and back again, and when I was about to leave the flat for going back to Oslo with the train (after having left the keys at the tourist office where I had got it - probably 'Budapest Tourist'), I found that I needed to iron my shirt for the trip (as I was going to share train compartment with other people etc), and could be I recalled an incident with a conversation with a hungarian woman in a museum in Budapest - how she used the expression 'mert tiszta' = 'because it is clean' while frowning a little at my semi-clean shirt collar. There was in those days a sign with the slogan 'rendes haz, tiszta udvar' = 'orderly house, clean frontyard' - or was it vice versa - on the outer wall of many hungarian houses. It is possible that the 'spoon' in the form of 'hennes raz Isten tudvar' - 'Isten' = 'God' could be taken to mean 'sighet toucha' for the 'Sobibor' of the Sziget Utca in Szolnok. ('Tiszta haz, rendes udvar' → 'hista-taz endes rudvar' could comparably have been a reference to 'Raba Utca'?) There was an ironing tool in the flat but there was no suitable protecting textile to put under it - the varnished table could not be used but there was a sofa and I put the shirt on the sofa and ironed it there. However, the orange sofa coating was made of a surprisingly easily melting short-haired plastic stuff and so the iron tool left a J-similar mark on the orange plastic coating. Why did I not mention this scar on the sofa when I left the keys at the tourist office? Were it because I was afraid of being ruined by the repair costs? As I now see it, it is possible that the story could have been an intelligence project preheralded in Modern Language Review for october 1984 and that even the destruction of the ruins of Palmyra in Syria a few years ago could have been for this 'palm-iron ruin' = 'Vas Gereben' street. If so, it could have been an intelligence project for pre-organizing that the subject (me) would leave a 'J'-shape on the sofa - and this triumph could be celebrated even today with the www.jstor.org web domain which contains apparently a number of periodicals (possibly of this type) - www.jstor.org/librarians/journals - including the MLR itself. It seems that the intelligence program of that christmas 1984 could be summed up under the formula 'da stritte reich': 'Stritt' is a word which means 'busy' or 'tiresome' (about everyday life) but the word is closely associated with the idea of a pig's hair or fur, lending resistence to something combing or stroking (a 'reich') over it. The working theory here could also be that 'das dritte Reich' was a concept of Hitler which could have been intended already by Hitler but also by postwar 'intelligence' as a concept on me qua PTRSIM PIK - and there is the theory that I was subjected to rapes in drugged condition in my early puberty by a penis which had got its contents transplanted from my own - hence the program could have been to dump blames for the rapes on me. If it should have been a postwar Heinrich Himmler who did it, it could have included the blames for the holocaust. To this theory comes the idea that if I had been subjected to a schoolbook with a high-resolution image of Heinrich Himmler, I could 'in a flash' have recognized his iris in my own mother's eyes if she were Himmler rebuilt to woman after the war - a phenomenon which could have been called 'Flash Gordon'. This could also have been invoked for the name of 'Hannah 'Flashg' Arendt' with her 'Eichmann in Jerusalem' - here for me qua PTRSIM PIK 'eichmann' and the J-mark being a variant of 'J-rusalem' - or 'J dans la rue'. 'Anna Hardhendt' = 'the other hard-fisted', like the idea of 'Tyson can fighte' for the greek of Acts 11:7. (These 'J-rusalem' elements could be recognized also from graffitis on the asphalt outside my home in Oslo on national day 17 may 1983 - the word 'svin' = 'swine' for the 'stritte reich' and two phalluses for 'J dans la rue'). The investigations against Arne Treholt (suspected of being a spy for the Soviet Union) was started on that day. Another two persons - both of them while being foreign ministers for the Labour government of Gro Harlem Brundtland - seem to have fallen under potential spy suspicions: Knut Frydenlund died under circumstances which could be associated with the streetname 'Ifjuság Utca' (during an official dinner he hurried to the men's toilet and died on the toilet ring there, as if shot in the back of the head through a little window sawed out in the back wall) in the area around Sziget Utca in Szolnok, intersecting with 'Berzsenyi Utca', cp. also the italian Labour politician 'Bersani', while the news of the death of Johan Jørgen Holst could be associated with the streetname 'Szántó Körút' (the news told he had been surprised in his bedroom by an intruder - he had grasped for his 'gold pistol' but was not quick enough) - as if he had been in bed with an agent and was shot in the moment of ejaculation.
The theory is that the 1984 christmas event primarily could have served the purpose of installing the streetname 'Vas Gereben' from the same area of Szolnok - between 'Szántó Körút' and 'Ifjuság Utca'.
I discuss 3+1 pieces of evidence supporting the theory that the J-mark on the sofa could have been pre-heralded and hence would have counted as an 'intelligence project' for probably a 'Vas Gereben' program. The pieces of evidence I discuss are 1) Modern Language Review october 1984, 2) the norwegian TV series 'Marve Fleksnes' sent in 1988, and 3) the cartoons of The New Yorker for christmas 1984. As a fourth piece of evidence I discuss also some aspects of Ibsen's 'Master builder Solness' from 1892.
1) MLR october 1984 - the titles of the articles are these:
1. Two Versions of the Problem of the Modern Intellectual: "Empedocles on Etna" and "Cleon". By John Coates
2. Browning's "Aristophanes' Apology" and Matthew Arnold. By Jane A. McCusker
3. Baroque or Burlesque? Aspects of French Comic Theatre in the Early Seventeenth Century. By C. E. J. Caldicott
4. George Eliot's Nightmare, Proust's Realism. By P. McKenzie
5. Revolution and Revisions in Genet's "Le Balcon". By David H. Walker
6. Heroism in an Unheroic Society: Galdós's "Lo Prohibido". By Geraldine M. Scanlon
7. Rilke's "Marien-Leben". By Elizabeth Boa
8. Art and Politics in the Correspondence between Grosz and Brecht, 1934-36. By M. Kay Flavell
1 - the idea of the 'intellectual' (me) being a mechanic doll under remote control from the intelligence services - supporting the theory that possibly 'dritte Reich' rapes of myself were under my own 'authority' or at least flesh.
2 - 'Browning' could mean the eyes of 'Flash Gordon' while "Aristophanes' Apology" could be telling of the 'arr' = 'scar' in the sofa - or the alternative 'stol' - and the issue of apology for the damage. The 'J-name a kusker' - for the 'J mark'?
3 - I have no good explanation to this one but notice that 'kott' is norwegian for a small storage room, typically of the kind where one can find an iron for hot-ironing textiles.
4 - The 'nightmare' could - if this were the story - have been about the operational replacement of my penis contents which thereby is associated with 'stritte reich' as well as a 'car crash' - for letting the car crash seen from the kitchen window be suggestive of the idea of a 'J' mark - cp. 'P mark ends i'. Otherwise there could be a 'gol Ger-iot' for the 'Vas Gereben' if L/R is the story.
5 - The 'revision' of the 'genetic' penis contents would with this have been associated with the view from the 'balcony' - that is, the kitchen window
7 - the penis contents = 'royal' boa transplanted over from the poet onto a quasi 'madonna' with 'leb-ben'
8 - the 'kay flavell' = the 'key of farewell', the words said while opening the door and the later return of the keys to the tourist office (I did not meet the owner of the flat on that occasion). I could then have had the chance to apologize or at least mention the 'scar' on the sofa but did not - as could have been precomputed as well.
2) The 'Marve Fleksnes' TV series of 1988
The 'Marve Fleksnes' entertainment series was made by norwegian TV - it went for a couple of decades on scandinavian TV, starting well before this 1984 event. The series sent in 1988 seems possibly to have been based on this Budapest 1984 story - 'pearly gates' = 'girly pates' = 'Budapest' etc - could be the themes of the series suffice for associating my person with 'Marve'. The series is about an unmarried middleaged man 'Marve' (played by Rolv Wesenlund) who works as 'lager/store chief' living together with his mother (played by Aud Schønemann) - and the spoon 'Farve Mleksnes' could support the theory that 'Flash Gordon' is the concept associated with the mother on background of the theory that I could have been exposed to a high-resolution photo of Heinrich Himmler in a schoolbook and in a flash recognized my mother's iris from that photo. ('Fleksnes' could likewise point to a 'Flashg'). The car crash outside the window could then have been organized for invoking my official mother's car crash of 1981 - as far as I remember it was around the time of the attempt on the pope - and it could have been designed in such a way with me visiting her in the hospital that it served to encode the name of 'Volodymyr Oleksandrovich Zelensky' - if he should have been planned already then. 'Farve' = 'colour' (as in the iris) - cp. 'Flash Gordon' and 'Gordon Brown' - while 'Mleksnes' = 'with the school homework'. It seems that the 1988 series in 10 episodes served to encode jointly the 1984 events from Budapest and the streetnames from the train station to Sziget Utca in Szolnok - the way I had to walk for solving the mystery of 1984 and hence I could come to find the way to the house in Szolnok.
The Fleksnes series of 1988 could be analyzed as follows, excerpts from this source:
1. "Ja da - vi elsker!" [Yes, We're in Love]
= yes, we turn the key in the flat = 'Szol-(k)nok'?
'Ja vi elsker' is the norwegian national anthem - while the hungarian is "Isten, áldd meg a magyart" which could rewrite to 'sten ild da eg-magyart mm' = ' stone-fire of flame-hungary' = the kitchen stove which I think I was instructed about when the owner showed the flat.
2. Marve tries to stop his mother from remarrying.
"Her har jeg mitt liv" [This is My Life]
= ID etc by handover of the flat? The train station platform of Szolnok
Marve wakes up at the Pearly Gates, where St. Peter looks at episodes from Marve's life (and extracts from earlier episodes are shown). = Pearly Gates → Girly Pates = Buda Pest
3. "Blodgiveren '88" [The Blood Donor '88]
Marve shows St. Peter what happened when Marve went to donate blood.
= I took a taxi from the railway station?= Thök-öly ut
4. "Ensom '88" [The Bedsitter '88]
Marve shows St. Peter what happened when Marve had to celebrate Easter alone.
= celebrating christmas in Budapest = Jubileum Tér - 'bar Oster' = 'Baross Utca'?
5. "På topp-planet '88" [Comedy Playhouse. The Telephone Call '88]
Marve shows St. Peter what happened when Marve tried to stop the Cold War.
= tried to use the Hot Iron - sol = hot sun, vas = iron, stop = stoop - hence 'Vas Gereben' = the ironing tool pressed down
6. "Rotbløyte '88" [The Reunion Party '88]
Marve tries to convince St. Peter that people can change by showing St. Peter what happened when Marve invited some friends from Marve's military service to a party.
= the museum visit with the 'tiszta' = 'clean' woman (shirt collar etc). Hungarian 'change' money = FILLÉR, cp. norw. 'FILLER' = 'torn textiles', 'rags', while 'FISER' = 'farts', hence 'Liget Utca' vs 'Sziget Utca'.
7. "Radioten '88" [The Radio Ham '88]
Marve shows St. Peter that he once tried to help somebody by radio.
= me buying ham for christmas, asking for advice in a shop - 'Mátiász Király Út' = 'Mát je skir-aly ut' suggests 'food I cut other out'. Cp. also 'Ifjúság Utca' on the other side of Sziget Utca.
8. "Det går alltid et tog - ta plass! '88" [The Train Journey - Dawson's Weekly. Strangers in the Night '88]
Marve shows St. Peter what happened when Marve went to Sweden by train.
= my trip to Pecs at the same time, probably just before christmas = 'Szán tok øre ut' = 'Szántó Körút
9. "Høyt henger vi '88" [The Galton & Simpson Playhouse. Car Along The Pass '88]
Marve shows St. Peter what happened when Marve and his mother were stuck in a cable car with some foreign tourists.
= me standing in the high (2nd floor?) kitchen window when the cars crashed outside = 'Tél Utca, Rege Utca, Ősz Utca' ('lutsa' suggests 'lute-se(g)' = 'to lean/stoop') - also Levente Utca
10. "En siste sjanse" [A Last Chance]
St. Peter finally passes judgment on Marve.
= the return of the keys to the owner of the flat - or putting weight on the iron (key)? = Szava Utca (ça va utsa), 'Si get ut, sa'
An element such as #7 or #8 could have been added afterwards (1988) but not in advance.
Conclusion, if one assumes that the J-mark from the iron had been planned in advance, is that it could have been about creating a reference to the area in Szolnok which describes the final F = 'ף' (mirrored) of the Madonna with Jesus in her arms (#6) - in the name of the J-name of Josef: 'Ødelagt sofan' (= 'destroyed the sofa') = 'Österreich Raba-Szava' = 'Ösz-Tel-Rege' utcas - this form could have created optimism in Austria by avoiding the ridiculous 'Ø-streich' associations to the street order 'Ősz-Rege-Tel'.
'Vas Gereben' = 'stryke-jern' = ironing tool: 'Vas' = 'iron' while 'gereben' is a sort of rake, hackle, hatchet, jagger, 'gradine' - cp. also Hackengasse parallel to Zinckgasse in Vienna The 7-volume 'Magyar Nyelv Értelmező Szotára' explains "gereben-ez" = "gerebennel fésü tisztít" = 'with a gereben combing to clean' - hence 'vas gereben' = 'jern-stryke' or simply 'stryke-jern' = 'iron' for 'ironing textiles'. 'Combing' would also suggest 'stroking' as on a pig's 'stritte' fur.
'Stryke-jerne[t]' = 'the iron' for ironing, while the same 'stryke hjerne' = 'to delete brain': I was subjected to a cerebral haemorrhage (a 'stroke') in 2003 that in principle could have been by a laser beam. It paralyzed my left hand for a long time.
The teeth of the 'Vas Gereben' rake would then be the Ősz-Tél-Rege = Österreich = Ø-streich. Whether these teeth also would be the same as the Tutsies of the Rwanda genocide, I dont know. (Search also the ABC for '12 January 1994'). It was the Hutus who were held responsible. The Rwanda genocide was equinumerable with Treblinka (800.000 dead). Treblinka is my name - and it could be this 'Sziget Utca' phenomenon. Most of my teeth were destroyed by school dentistry in 1970-71. The front lower teeth were allowed to stand, though, as could have been preheralded by PM Per Borten (1965-1971) whose government had my 11th birthday in its exact mid point.
'Norske Byggeklosser' (cp. 'Vas Gereben' - 'epít' = 'bygge' and 'rend' = 'order') is a film from the early 1970's which seems to be about me in Sziget Utca some decades later. (Search also this file for '24 may 2022'). The film was made by 'Pål Bang-Hansen' which then could be a name as a quasi 'responsibility claim' on the destruction of the Palmyra ruins decades later - which here could mean the 'Palm-iron' - cp. the hand-sen turning the key in the door. The area of Sziget Utca was unknown to me at that time but the preparations could have been extensive - such as this film could be telling of.
3) The cartoons of 'The New Yorker' for christmas 1984
The relevant issue is the one of 24 december 1984. This magazine is relevant for reasons of the data discussed in this file which suggest that the interval of 12 years 2 months and 3 weeks/days is potentially defining - serving as a potential political 'J-mark' relating apparently John F.Kennedy with my birth in 1957 via the 'Österreichische Volks-Partei' = 'ÖVP'. This makes it relevant to look up also the issue '1223' earlier - it seems that the issue of 7 october 1972 is not relevant but the one 12 years 2 months and 3 days earlier - on 21 october 1972 - seems rather exact and could have been a source for the selection of themes.
The cartoons of 24 december 1984 are the following:
Cartoon 1 - turning the key in the hole
Cartoon 2 - Weinberger = Sziget Utca (cp. 'Martha's Wineyard'), Schulz = the question of guilt far as concerns the J-mark on the sofa
Cartoon 3 - limitations of human semiotic constitution: 'Da stritte reich' (reading newspaper) is sleeping
Cartoon 4 - auto-fell-achio - automechanic = Edgecumbe + Sobibor mystery
Cartoon 5 - Ragney or Casey = Ragna Grøver (of 'da stritte reich'?)
Cartoon 6 - question of guilt or 'fault', Richter scale
Cartoon 7 - DJ = the J mark? - or 'mechanic sounds' = Sobibor sounds (sobs too mechanic to be human, but too natural to be a machine)
Cartoon 8 - Budapest museum collar frown
Cartoon 9 - 'horny' honkings outside: Did they cue the J mark on the sofa of the christmas 1984 with car honks outside?
Cartoon 10 - iron (cliche) pressing down on hairy 'straw' of the sofa coating
Cartoon 11 - appr. 10 years = a 'dekk-ade' - earlier, possibly minus appr. 2 months and 3 days/weeks, probably at my age 17, there was a reception of folks at my girlfriend's who patted the bed with her flat palm as for telling me "put the wintercoats here" - this movement of the hand is also called 'DEKK' when told to a dog instructed to lie down on that place - while 'bedekk' would mean 'please copulate': Their own russian greyhound later came in while I was there and I patted it with my hand and came perhaps a little close to its back orifice - not inside but near to it - there was no coitus or involvement of gender organ like the one in egyptian for '1823' but maybe the question was what were these arrangements about really - I believed the Krøtøes were friendly people without intrigue intentions - the puzzle could have been whether anybody were pulling people by the nose of friendliness. I do and did not suspect them of hoping for surveillance data that could be used to steer me around with remote control. My hand did come near but not onto the 'edge' (cp. the 'Edgecumbe' earthquake) of the dog's back orifice - and this would have been the question what the nature of the 'DEKK' movement of the hand really was - the girlfriend's repeated motion up and down with her hand and a look onto me. Could be it was a little dubious - what for really? 'Vaske reven' (cp. 'Vas Gereben') = 'to wash the fox' could mean 'to wash the behind'. This story - about '10 years earlier' - could have been the background of this cartoon. See also cartoon 4 - a car tyre is in norwegian called 'dekk'. If intrigue had wanted to create the idea of me pressing the 'J' into a dog, for identity with a theoretic rape of me qua 'dritte Reich' in drugged condition, in the hope of turning roles around, they could not have found data from 1974 but the christmas 1984 could have been organized in the hope of luring me into pressing a 'J' into a 'fur' of a sofa - could be for adding pieces together for claims about the nature of my 'movement of hand', possibly in the sense of the hand that wrote the poetry.
Cartoon 12 - la gloire, la mer - the woman following 'le general' or 'gendarme' puts her hand on the DEKK = headcover
Cartoon 13 - the dog story was some year(s) earlier, could be one DEKK-keid, dog in manger/bed= iron in sofa
Cartoon 14 - ornton thrainer = Ordon Flashg, 'mount re-keid' could be the 'dritte reich', in which case the 'keid' could add to the 'DEKK-keid' - here of the 'Grand Piano Klaver', Jastrow = the talmudic hebrew dictionary, cp. also the 'gen-darme' of cartoon 12, the music is by the RING which could be the voice of the next cartoon
Cartoon 15 - doing as prescribed, but not entirely automatic - if surveillance had hoped for a 'J in the fur' a dekk-ade ago, they did not succeed - but now the voice starts getting more independent - which could mean the opposite - that I really followed 'preprogramming' in 1984 but not in 1974 - as if for turning this factor around in time
Cartoon 16 - auto-mechanic = of-tome-canic = edge-cumbe = Vas Gereben. Would it have been about a 'nedtrekker' = 'downpuller' or 'downpusher' of the iron into the sofa fur? Ex nihilo matter such as a lapis philosophorum could perhaps be considered an aspect of the 'ex nihilo' phenomenon associated with 'christmas presents'
Cartoon 17 - Lloyd is a name in insurance - could be about covering the expenses with the sofa?
Cartoon 18 - changed party = 'change spar-ti' = the hungarian FILLER for 'fille-rye' textile - woven rugs: I think there were a woven rug there but it was not suitable as undertextile for ironing
Cartoon 19 - car crash seen from window, the 'double button'?
Cartoon 20 - the hands of the man sitting to the left is perhaps associated with a gesture symbolizing early infancy head opening, in which case the man to the right could symbolize the masturbator. Would the 'Edgecumbe' quake of 1987 be in a field of reference - with a certain 'magen er tyte' = 'magnitude'?
Cartoon 21 - short-haired sofa fur
Cartoon 22 - royal iron pressing on hair - 'da stritte reich'
Cartoon 23 - the sofa, pressure from the 'We[m]bley' cartoon 1223 earlier - see Mischa Richter's cartoon of the issue 14 october 1972 - while the 'elitist' could be the immediately preceding cartoon by Warren Miller, encoding perhaps also the 1936 title of British Library "J.Grover: 'Nature's melody'" - other Grovers in that library catalogue are John, only this is J. Could be the J-mark - in the sofa?
Cartoon 24 - wanting to run off from the duties with the J-shaped mark
To this account I add what could be the most important aspect as far as the streetnames of Szolnok is concerned - the hieroglyphic interpretation (see below). Since the one who was in my official father's role died officially on probably 27 november 1990 and this could have been for the hieroglyphics of the year numeral '1823', it is of some importance how that is spelt in hieroglyphs. I have constructed the form 1000 = 'kha' + 100 = 'shaa' + 8 = 'khemenu' + 20 = 'tchaut' + 3 = 'khemt' (linked quotes from Wallis Budge), and I doubt that the egyptians would have pronounced '800' as 'shaa-shaa-shaa-shaa-shaa-shaa-shaa-shaa' even if it is written like that according to Gardiner, I cannot take the speculations on numerals too far - but constrain the discussion to a few comments on a few of the cartoons:
Cartoon 7 can be seen to be about 'pah-shhh-klack' (a variant of this 'shaa-shaa-shaa-shaa-shaa-shaa-shaa-shaa'?) which can be recognized as 'vash-ger-eben' whereby the first two parts can be constituted by hieroglyphic 'uas-qer' = 'Aurora Borealis' via 'uas' = 'happiness, contentment' and 'qer' = 'the north wind'. The remaining 'akh' in egyptian means 'to spread out heaven' which then can mean Grassmann's 'Ausdehnungslehre' (see below) in contrast to Panini's 'Asthadhyayi' which means '8 chapters', here possibly in the sense of '8 chap-tears' for the 'e-ben' = 'e-leg/bone'. Cp. also the name 'Fitzgerald' resembling 'uas-qer-akh'.
Cartoon 9 can be understood to be about not only 'Szántó Körút' in the sense of 'Santa driveout', but in hieroglyphic interpreted in this format - the elements of the cartoon simply approximate the forms of the hieroglyphs amounting to appr. '1823' = kha shaa khemenu tchaut khemt.
Cartoon 11 can similarly have been based on the same number in a similar fashion - but with swap of gender effect: The numeral '3' = 'khemt' can be written as in cartoon 9 with the three strokes (here the three persons in the doorway) plus an ejaculating phallus - which here would be the apparent female, in which case the joke would have been "I'm so glad you 'came'. Just throw your clots on the bed". If the hieroglyphic is for the numeral '1823' as in cartoon 9, it could be pronounced 'kha' + 'shaa' + 'khemenu' + 'tchaut' + 'khemt' and it seems that the name of the late 1974 or 1975 girlfriend 'Mette Krøtøe' can be recognized in the '-menu-tchaut-khe-' in such a way that it would call for a rewrite in terms of 't-k-n' = 'teken' = 'to enter, to go in'. 'Tekhtekh' = 'to shake out the hair'. Since the name associates with the sense 'to feed cattle' = 'mette krøtter' it clearly calls for a comparison with cartoon 9.
Cartoon 12 could be another variant of the same theme of '1823' but in the form of the story of king Edward V from 1483 which seems to be defining for the whole history, including the role of 'a Duke of York' = 'a doll fitler' (in the 'Task Force') which here could be in the form of the 'gendarme' or 'Ch-Arles de Gaulle'. If this is taken to be the phallus of the numeral '3' = 'khemt', it is seen how the cartoon has a circular form above this 'gendarme' - and the essential story would be in the shift of '1483' into '1843' - a shift which is accomplished by the movement of the hand of the second female behind him - in a 'ta-over' movement for the princes of 1483. (Is it the twin towers of Manhattan in the background?) See also cartoon 8. The '1843' is the year of the second 'John Grover' in British Library.
Cartoon 20 shows traces of the same hieroglyphic '1823': There is a circular shape above the doctor's 'phallus' nose over his mention of the 'loaf' = 'bread' underneath. There could be three horizontal strokes on the back of the chair. Before him there are two structures which could amount to the numeral '20' and to the far left there is a structure which resembles the '1000' sign. How the man to the left encodes '800' I dont know - could be the 'hund-RED' is in the Aurora light of the dawn = 'lighten up' on the daily bread.
Cartoon 21 likewise shows 8 furry animals around a table etc.
Cartoon 22 shows a circular form over the female 'phallus' and a 'loaf' underneath, with three vertical strokes in the bound curtain to the right. Edward V of 1483 was heir to the throne. Could be the joke is that her husband (the king) likes her better with a 'chimney' = 'khemenu' = '8' in the second last position of the numeral.
A good guess could be that all or most of these cartoons show the hieroglyphic form of '1823' plus an aspect of the possibly organized events of 1984.
It is also possible to make a guess on cartoons 1-6 for the name of 'Szava Utca' pronounced 'sa-va-ut-sa' but here in more cumbersome spelling 'sa-uau-?t-tesh-sa' (the '?' is the pharyngeal fricative 'AIN'): cartoon 3 = sa = [sound] protection, cartoon 2 = uau = divine, cartoon 1 = ?t = room, chamber, cartoon 4 = tesh = to go/depart, cartoon 5 + cartoon 6 = sa = behind. Some of these are rather vague, such as the last sa = behind as composed of the 'lip' of cartoon 5 + the 'courtroom' of cartoon 6, but others are quite good such as the sound protection + loudspeaker + newspaper between of cartoon 3, or the 'airplane' bird + two sticks carried by locals in cartoon 2 for one of the gods. Cartoon 1 is more difficult but not impossible to recognize in the three elements of the glyph. If this should be the case, it would mean the 'divine custody' in the back room - such as in the draughtsmen's room in the background of Ibsen's play. If this is supposed to mean 'Wallis Budge', the 'Vas Gereben' can be taken to mean 'Aurora Borealis' and hence 'Adolf Holzhausen' (see below) - the sum of the cartoons could thereby conspire on the idea that Hitler was a briton (by the 'saucy plagiarism' of 'Cauchy') who worked on behalf of England during WWII. The streetname 'Szava Utca' would be hard to decipher from the cartoons but 'Vas Gereben' could be easy - but only if you know the names.
For #4, it is noticed that if #11 is supposed to mean 'ten years earlier', then a puzzling phenomenon appears by adding another '12-2-3' to this christmas 1984 event - that takes it to appr. february-march 1997 (when I had just moved to London and got the keys to the flat on 5 march), when the only significant event I could find was the legislation of Ireland that opened up for possible divorce on 3 march 1997 - but ten years earlier there was the dramatic Edgecumbe earthquake on New Zealand, near to the area of 'Grove Farm' - at UTC 01:42:34: If one takes it that 'edge' can refer to the 'egg' of my mid nameform 'jarn-egg', here correlating with 'of-tome' (of the 'automechanic'), the 'jarn' can mean the 'Vas' of 'Vas Gereben', in which case the 'cumb' can mean the 'Gereben'. If one puts the date 2/3 inbetween the hours and the minutes, one gets 1-23-42-34 - or is it only 'pigs' (with 'stritte reich') who thinks like that? But a study of the earthquake data tells that since this quake (a 7 km edge 'cumbed' through the landscape which fell 2 meters down on the other side of it and has since then been more easily flooded, and a long fissure 3 metres wide sank 3-4 metres down with rather vertical walls - a 'pen rille' it could be called in norwegian) cannot have been manmade, it would have been about forces of nature. It was about the 'Edgecumbe fault', as it is called - a puzzling echo of this story from 1984 about whose fault was it really - this J-mark on the sofa? And then one could speculate that the irish legislation could have had a motivation in the Kosovo bombing campaign. (My theory is that the Kennedy assassination and even JFK's involvement of USA in the Vietnam war could have been about Shijing #37 - cp. also the '37' of the 'octogon' (the name 'Herdis Eggen' associated with the name of 'Saul Bellow') - which would have been the background why I had to do some 'autofellatio' in my puberty 1971, and after the octogon was over in 1982 my sexual career was closed with another few repeats of such 'autofellatio' in late 1983 - this is otherwise not a part of the story and not a part of the christmas 1984 events, but it could have been invoked for the idea that 'remote manipulation' by e.g. 'secret intelligence' had managed to lure me into it in 1971). There is of course the natural idea that forces of nature through millions of years have formed a natural 'liturgic-diachronic' periodicity which constitute a backbone of the collective historic consciousness of humans and hence is an integral part of a poetic understanding of human reality - and then the Edgecumbe quake would not have been a result of the cartoons in The New Yorker but maybe it could have been the other way round. It would anyhow be about a logic beyond causality if the quake could not have been manmade - and it is extremely important to dissociate such phenomena from my person and not invoke 'stritte reich' explanations to it. People are easily scared if the rules of causality start behaving like the tectonic plates of Edgecumbe. See also my TEQ #590 (from book 9 '...to be an emperor...') - which suggests that this is a poetic phenomenon for which it is hard to find causal explanations.
For the Edgecumbe quake, see also title 3 of the MLR data above: "Baroque or Burlesque" could in theory have been about BAR-BUR + 'oque-lesque' = 'Aucklandsk'. It is added also that Hannah Arendt's "Eichmann in Jerusalem" was first published in The New Yorker, over four issues. Could it be that this periodical is always about me qua 'eich-mann' ('Stammbaum') phenomenon - and that is why the book was first published there? And hence that was the J-rusalem? Clearly 'Edgecumbe' is more naturally taken to be about the 'Sobibor' mystery.
If the Edgecumbe earthquake of march 1987 could not have been manmade, it can be added that this was the new year when I started working for the 'Musikus' project at the university in Oslo. In probably the first meeting of me with the group, professor Dahl arrived in a black suit which he explained with being on his way to a funeral for a young relative. Some time later (probably not a full year later) I got the news that my younger cousin Hans Frode Nedregård had died - they believed he had been surprised by a storm when trying to ski across a mountain, and it was said a year later that he had been identified by his clothes that had been found there - and one observes the possible redundancies relative to the cartoons of The New Yorker that 'hands fraude' could be associated with the authority to the hand that leads the pen of writing, while his family name 'Nedregård' (means 'the lower farm', lower in the landscape) could be associated with the 'nedtrekker' = 'downpuller' and the robotic run-off with the 'ex nihilo' christmas present in cartoon 16. The Edgecumbe earthquake near Grove Farm landed a good part of the landscape 'lower', by the internet article. Clearly if the earthquake were not manmade, the death of my cousin could of course have been. Probably some time later, I shared office in the institute of informatics with 'Dag Diesen', a name which in the present context could have been recognized as 'diesen qua dag[e]' resembling θῦσον καὶ φάγε = 'thuson kai fage'. The name otherwise means 'misty day'.
However, more interesting it is perhaps to notice that hieroglyphic egyptian RA = 1) 'sun-god', 2) 'day' = 'Dag', FA = 'to carry' like pregnant women before they 'breast-nurse' = 'Die', and EL = 'to, into, more than' = 'sen[d]' which could mean that such a name-formula exists which associates not only with the idea of 'Rafael' but also with 'the day of the Jesus' in 1483, the day when Edward V disappeared. The breast-nursing role adds also to the final hebrew 'F' = 'ף' from the Szolnok streetname complex.
Computing 12 years 2 months and 3 days/weeks before christmas 1984 takes it to the beginning of october 1972. What happened in those days? It was in the autumn-winter 1972-73 that I had my first sexual experiences in the form of innocent petting with (as I believed) a class-/school-mate girl called Anne Skundberg who lived not so far away and we met a few times in the nearby forest outskirts. At least I believed it was her, the school- or classmate, although it is perhaps not impossible that it could have been another one I met in the evening in the forest than at school - I dont think we ever talked about or even mentioned these evening meetings when we coincidentally met at other times. I sometimes went for walks in the forest in those days and one day - probably before these meeting started - I found an old and weatherworn horse skull - it was clean bone and a little discoloured probably due to age, as if there could have been even a little moss on it, or as if it had stayed clean like that for a long time outdoors. I took it and brought it home and kept it in the socalled 'hobby room'. Now it is easy to recognize it as potentially related to the poem 'Der Hengst' from Celan's 'Fadensonnen' which also has an even more precise representation on the front page of my TEQ (90 degrees).
Looking up the New Yorker cartoons for 30 september 1972 one could perhaps see some traces of this story - notably the horseskull in the 'hobby room' seems to be present in this cartoon (which is cartoon #11 in that issue, by Mankoff 2004) - which then would mean approximately the place where we met some time later. I dont know how this surprise skull could have landed there. The preceding cartoon, though, could more suggest my official mother's birthname 'Ragna Augusta Devold Eidsvig', suggesting 'rain and gusts of devil's treason'.
The idea that Ragna Grøver could have been the one in the forest darkness (a similar to my schoolmate, that would mean) while Heinrich Himmler could have been the mother in the home is supported by MLR october 1972 - the author of the first article is S.S.Hussey: 'Huse[t]-i' = 'in the house'.
The trick is the idea that if I were opened in the head some days after birth, the days from birth to this opening would have been the only really happy ones in my life, it tells. It should mean the lost paradise, the remote memory of a happy world etc. Therefore the idea makes sense that it could have been the original mother, the one who knew what happened in my life the few days from birth to this opening, that was in the forest darkness and this should have been significant of the idea that it was Anne Helen Skundberg (as I have later found that her full name probably was) and hence 'a Nelly Sachs'. Since this was my first sexual experience, it should mean that sexually related aspects of life would be the way to a lost paradise (which I think that it is not in my life).
The schoolyears 1971-1973 were subjected to some 'pedagogic experiment' in Norway - that the original classes (which could have been the same since 1st grade) were integer in basic subjects but interlaced in main subjects (math, english, norwegian etc) whereby the more or less gifted students were selected across the classes in high, mid, low levels called 'kursplan', which meant that Anne Skundberg and Tone Lien (both from the same neighbourhood) would be in my class for some lessons per week but not all. Since '2-Nelly-1' is easily deciphered, this 'scissoring' of the classes could have contributed to a 'Nelly Sachs' representation also for the name of Anne Skundberg, whose full name probably could have been Anne Helen Skundberg also in those days. See the cartoon for 16 november 1963 just before the Kennedy assassination - it seems that 'interlaced' or 'web' is a theme, not only for the 14 'Parents Day' cartoons. The main teacher for my class was called 'Weberg'. There are reasons to believe that a part of my lower occipital lobe was scissored off during the assumed opening of the head in 1957. This lost part of the visual lobe could then have been associated in the intrigue with the 'lost paradise' of the early days. (Norwegian for 'brain' is 'hjerne', pronounced like 'jern[et]' = '[the] iron' = hungarian 'vas', which means that when the interlacing would add a 'gereben' to this, there is the 'Vas Gereben' in the whole story). The whole intrigue may of course have been designed as an attempted but failed coup in Heaven, as if the coup attempt could not be avoided due to 'new times' but its success could - and then the failure could have been associated with this scissored-off part of my brain for dumping the war crimes of nazis etc thereover.
It is not because 'a Nelly 1-2nd-berg' = 'a Nelly Ens-s[e]kund-berg' that my book is called 'The Endmorgan Quartet'. But clearly it could have been the other way round - that this spiritual phenomenon is a background of the name. The collective historic consciousness may give you a name at birth which corresponds with the life assigned to you, so to speak spoken over your cradle, the role you are given, but that does not mean that the name has any value beyond this: It is not the name which generates your life.
The cartoons in the New Yorker just before the Kennedy assassination in 1963 seem to present some evidence in favour of the idea that the 'assassination' was known in advance. Assume that Kennedy was present and masturbated on my opened brain some days after my birth in 1957, such as these data can suggest: If so, then the Kennedy assassination could be seen as 'the same in return' - when a 'Silberstrahl' hit his own cortex, according to official data. The cartoons of 16 november 1963 include 14 cartoons under the common heading 'Parents Day' - which then could be suggestive of the parents present in 1957 - in addition to me and JFK and his 'junior'. What are the data 12 years 2 months and 3 days before this? See the brief comments 15 may 2023 - from which one can conclude that there are good reasons to assume that these encoded the concept of 'poetic inspiration' - here for the poet 'Halmrast' which means 'straw-rest' = 'mattress'. More specifically, 'Johan Halmrast' could be taken to mean 'joh anal m/rast' = 'good anal with rest' - or simply 'John Grøver' it could mean, the name of my first official father born 'John Jensen' before he changed his name to 'John Grøver' soon after the war. It would have been he who was present in Sandvegen in 1957 - and who could have been the 'poetic inspiration' that triggered the bullet that hit JFK's cortex - preheralded in New Yorker 16 november 1963 cartoons 'Parents Day'. This official father was (as tells my memory) replaced with a copy in 1969 - and the theories go that this copy could in principle have been Adolf Hitler.
It may have been rather precisely 10 years after the Kennedy assassination that I met Petter Enok Skau Jakobsen - at my first encounter with him (in the probably late autumn 1973) he was on a mattress on a floor - I think it was his brother Ole whom I had come to visit for some occasion along with other schoolmates when somebody (could be Ole) told me to go to his brother's room - I think it was probably approximately like that, at least he was on a mattress. He could thereby have been taken to encode the role of the original father. I have not considered seriously the possibility that it even could have been him, although such a theoretic construction is of course possible, which is what could make the thought of it more relevant than the fact.
Hence if 'Anne Helen Skundberg' is a name which is taken to encode the female parent and 'Petter Enok Skau Jakobsen' the male, these combine in the Kennedy assassination for the concept of 'poetic inspiration' - and this again would be the main theme for the sofa story in 1984, the theme of which would be whether it was I who decided to press the pen into the paper (the iron into the plastic coating of the sofa) or if it were the secret intelligences. This again would have repercussions for understanding the Szolnok complex via 'Vas Gereben' - the final hebrew 'F' for the Madonna holding the Jesus bebe like a bra holds her breasts. My PhD (= 'bra', 'sheepskin') stipend for 'Bergen-Belsen', so to speak, in 1995 could have been preplanned from the holocaust times - including the rejection of it.
Of course all this is a 'coup attempt' only - the same old story with Satan trying to coup the power in heaven. But it is also mainly on an 'imaginative level' - which means that the ideas are more relevant than the facts. Whether there really were other identities hiding behind the facades I cannot know or claim. But the conclusion to the story via this '1223' of New Yorker cartoons could be that the real interest behind the sofa story in Budapest 1984 could have been in the Kennedy assassination of 1963 on background of an opening of my head in 1957. As such, the Szolnok area could have been planned to be the 'lost paradise' - present in that hebrew letter. I am sure they could have microscoped the scissored-off brain tissue as well for 'mapping it onto' the Szolnok area.
It has for some time been my theory that these two publications - the New Yorker cartoons and Modern Language Review article titles and author names) could be concerned with 'documenting' aspects of this history relating to my person. It adds to my theory that Hitler's 'dritte Reich' and Himmler's 'holocaust' could have been about planned aspects of my person's life. (For example, the concentration camp 'Bergen-Belsen' could be telling of the idea that I got a PhD stipend at Bergen university in 1995 - that could have been planned since long ago, tells this theory).
The New Yorker data from 1984 seem to suggest that the political intrigue is an attempt to create doubt about the integrity of my poet's hand (not the least since the 'poetic inspiration' also seems to be associated with the inspiration for the Kennedy assassination as a 'revenge' of the 1957 story), while the data from 12 years earlier could be seen as at least partly relevant - and hence the essential interval 1223 = 12 years 2 months and 3 weeks/days can serve to signify the origins of my ideas in the sense of the one who seems to have spurtet on my cortex in the early days of my life. However, of course this intrigue would make sense for blame-dumping etc only to the extent that secrecy of the intrigue be respected - and hence it is really only about the status of the 'secret intelligence services' - if the full truth be told there is of course nothing left of the whole intrigue. If the christmas 1984 intrigue tried to engineer an idea of me having the 'J' a little inside the surface fur of a 'sofa' (or 'shoah'?) - cp. 'J on, Gr[ey] over' - the story could have been the possible sperm inside the skull of my head in 1957. Hence if it were John F.Kennedy who masturbated on my brain in 1957, the intrigue could have been aiming at the idea that he controlled a part of the authority to my authorship. Which is nonsense, of course: I have written my work with my full integrity.
Did JFK survive the assassination in 1963 and went for a new career under new identity - and now even could plan to hijack my work by claiming that he has written them - and thereby dumping blames for this and that onto me? I hope that is not the case. However, looking up the New Yorker cartoons of 16 november 1963 I could observe a certain redundancy of my younger sister's (born 1961) name 'Tone Helene Grøver' qua 'tone he-lene g-røver' ('he lene' = 'he leaning') as the sound and smell from a flatulence escaping from under a lifted buttock on a chair seat before the buttock is lowered again - could be a variant of a 'thuson kai fage' program. The 14 'Parents' Day' cartoons could invoke associations to the name of 'Petter Enok Skau Jakobsen', whom I was acquainted with in the autumn 1973 - here possibly for me as the 'petter' in the 'skau' = 'forest' outskirts of 1972. A theory I have constructed, with little empirical basis, though, except for phenomena such as these cartoons and things like that, is that if my penis contents were transplanted over onto somebody else for a 'Dritte Reich' program of 1970-71, then I could in theory have got JFK's penis contents as replacement - hence the joke a few times about 'Mr.Important'. Cp. also the story of Inger-Johanne Apenes and Aldo Moro (who were murdered around the same time) of 5-6 may 1978 - after which USA on 13 may sent a new ambassador 'Adolph Dubs' to Afghanistan where there had been a coup on 27 = late april. The official father was officially born on 27 october 1916. The conclusion to such speculations could be that if the petting in the forest outskirts of the autumn 1972 had been pre-scheduled, or, say, 'pre-cued' already in 1963, the field of attention in 1972 could have been seen even as a part of the cartoon themes just before the Kennedy assassination. See e.g. Charles Saxon's 16 november 1963 cartoon (Parents Day 10 of 14) about 'irony and metaphor' which in principle even could have been about 'Vas & Gereben'. ('Me[d] tapper' = 'with teeth'). Hence if this 'Vas Gereben' were a concept even for the circumstances of the Kennedy assassination, there would have been some time perspectives invoked for the 'iron J-mark' of christmas 1984.
But clearly if the political history includes such an extensive personal persecution of me, a normal privat individual only, with no affiliations to politics, then it is clear that the relevant authorities sooner or later will have to confess and apologize and compensate for this story. They cannot take it that I should have liked it or agreed to be involved in the games and plays for a role as a 'Jesus' or something like that.
4) Ibsen's 'Master builder Solness'
The hypothesis that Henrik Ibsen's "Master builder Solness" from 1892 could have been constructed over these streetnames - hence 'Solnes' for 'Szolnok':
Here from this internet article with my commentaries:
Halvard Solness, master builder
= house in Szolnok
Aline Solness, his wife
= aligned Ősz-Tel-Rege
Doctor Herdal, physician
= Szanto Körut = sand/true took ear out (= 'sanskrit'?)
= doctor heard all = stryke jern(e) = Vas Gereben
Knut Brovik, formerly an architect, now in Solness's employment
= Sziget Utca ('knot bridge-bay' = island = hung. 'Sziget')
Ragnar Brovik, Knut Brovik's son, a draftsman
= Raba Utca = Ragna-h-Arp ROVI-k
Kaia Fosli, a book-keeper
= Szava Utca
Hilda Wangel, a character introduced earlier, in Ibsen's The Lady from the Sea
= the chimney = hung. Kemeny (= 'Kennedy'?)
Some ladies
= op i røg (='up in smoke')? ingen røg uden ild ('no smoke without fire')
Folkemengde = Volk-Menge (a lot of people) in the street
= fool kemeny = John F.Kennedy?
I refer also to this source for the description of the scenes/stages to the acts. I think I recognize the form of the house in Szolnok - which, though, is said to have been built in 1970. The room is decribed as having a view to the draughtsmen's office: "ACT FIRST: [...] At the back is an open door into the draughtsmen's office. [...] A smaller table, with a rocking-chair and arm-chair, in front on the right. Lighted lamps, with shades, on the table in the draughtmen's office, on the table in the corner, and on the desk". Analyzing this relative to my house in Szolnok, I believe that the draughtsmen's office will be the same as the attached outhouse - however, to get there one must go out first but if it should have been a parallel to Ibsen's play there would have been a 'secret corridor' leading through the wall down into this outhouse. This could be the same phenomenon as in 'There's no business like show business' - the secret corridor from the corner heater in my grandparents' house in Fjellgata 72 (in 'Klipra' in Ålesund) in to the kitchen = through 'an-retningen' - corridor with cupboards between dining room and kitchen - search this file for 'bookshelf' - here the 'secret corridor' = 'etter-retningen' = 'the secret intelligence services' - in Szolnok there is no corridor and the wall is probably integer but there exists an 'imaginary' corridor there out to the outhouse with a refridgerator. "'Imaginary' corridor out to the outhouse with a refridgerator" could mean just the semiotic imagery of the final-F Madonna holding the breast-nursed infant.
My guess is that this play, which he wrote along with 'Eyolf Little' and 'John Gabriel Borkmann', could be a tentative piece of evidence that Adolf Hitler also used this area of Szolnok for his 'Aktion Reinhard' and similar programs - could be even with specific attention to me 'John Bjarne Grover' for that 'John Gabriel Borkmann' in the sense of the one who had been opened in early infancy with a 'masturbator' spurting onto the cortex = the 'masterbuilder' onto the Szolnok?
The 'Belcez' phenomenon which I experienced in the house in the summer 2015 - whether it was an artificial mechanic device or it was a real metaphysical being - could be indicative of the idea that the mysterious being (either levitating or running on silent wheels - there was perhaps a very silent humming from something) was heading in the direction of the 'secret corridor' - which would have been in the wall where the house corner had either sunk or had been built deliberately 10-15 cm lower than the rest of the house.
Why did they organize all these things - such as apparently that sofa story from 1984? Would it have been designed in such a way that it led to unsurmountable problems which could be solved only in one way - that I bought the house in Sziget Utca and thereby came to understand what the 'Vas Gereben' was? It seems that the constructors of the intrigues seem to try and construct a new quasi-religion? When the Oslo terror took place in 2011, Breivik with his 'iron tool' ('Vas') was 'combing across' ('Gereben') the 'Ut-øy-a' = 'ut-island-[c]a' = 'sziget ut[c]a' - and this could suffice for me to find the place in 2015? It is extremely important to understand that such constructions of mythological religion cannot be the right solution.
Finally, it can be added that there is a trivial interpretation of the sofa story from 1984 in the fact that my name (here also relative to 'John Gabriel Borkmann') can be read as a J-on B-jarne[g] Gr-over - which can be brought quite close to sense of the iron (= 'jarne[t]') tool story relative to Vas Gereben.
4. Panini and Nono
It is shown that the idea of reading the text of my TEQ backwards is what rescues the world from the tragic nazi misunderstanding of going through the szolnoki streetnames as a keyhole to heaven even for those who feel that they have no chances otherwise.
It may be that this is mainly a phenomenon in what is called a state's intelligence services. It may be a very old problem - that the government - who gets its power from the selection of the people, the people (s)electing the government - depends in its daily work on the information from the intelligence services - and therefore the intelligence, who per definition should be devoid of any power at all, harvests some power when they give or select false or insufficient information since that increases the government's dependency on them. Since only humans work in those intelligence services, it has always been a problem - and it constitutes a 'converse' (or 'backwards') form of (s)electional power: The government gets their power from the people's (democratic or other form of) selection of their government while the intelligence gets their converse power from their own selection of the information they present to the government. This 'converse' power phenomenon could be the reason for the apparent attempts to construct a 'quasi-religion' that could swap the roles of good and bad - and, via the 'intelligence' about streetname indexes in Szolnok (= 'sunray knock' after the 1879 revelation of Knock in Ire-land?), they could have hoped to find a metaphysical rooting. It was after I published this article in the spring 2019 that my house in Sziget Utca was burglared - and half a year later there followed the election in Steiermark (anglophonic 'Styria') opening on 15 november 2019 which was followed by the first attested occurrence of COVID-19 - on 17 november 2019. It could have been about this phenomenon of democratic governmental power stained with systematic problem of intelligence. The Österreichishe Volks-Partei progressed markedly in this election.
Intelligence power probably comes from the problem of giving in to temptations. The pretext for intelligence power could be the idea that 'it is inavoidable since intelligence work is to select information in the right way and since perfect selection is not always possible for a human being after the Fall, such power cannot be avoided'. But that is of course no real reason: Nobody can be the perfect parent - but that is not a valid reason for beating up the children.
'Thuson kai fage' was the order from heaven which Peter three times did not give in to - and 'thereby' Peter came to be the cliff of the christian church. It was a temptation which he resisted - but since the problem of intelligence is that they have to give in to some temptations in order to be able to select the right information, while the government could feel that they secure their place in heaven by discarding this and that temptation-stained intelligence in their selection for the right decision, it may have been turned into the essential tenet of this attempt to construct a 'converse' religion for those metaphyiscal problems which the intelligence workers suffer from. And, they may think, if one day the intelligence power comes to surpass the governmental power, it could come to be the main problem of society. That could be the reason for the whole construction. When will intelligence power come to 'transcend' governmental power? That will be the day when the fog of mythos and primitive impulse takes overhand and rationality has to give in to 'temptations'. Hitler is the hallmark of intelligence power and his program was to increase intelligence power as far as possible. The nazis probably got hold of the deepest jewish mysteries (Sobibor, Treblinka, Belcez) and turned these mysteries (this intelligence about them, it means) into a death machine against the jews.
It seems that the whole complex is this attempt to construct a 'converse' religion (possibly with Hitler as the chief of the pantheon) on basis of the need for revising certain important aspects of knowledge by turn of the millenium and the formation of a new information technology by the electronic computer. The program seems to have been based on a naive identity of 'converse religion' with 'converse reading' of old-enough texts about fundamental aspects of knowledge.
Panini wrote a sanskrit grammar in very tightpacked grammatical rules that were ordered in chapters and 'sutras' (mainly short verses) in such a way that it today could be recognized as 'generative' in the sense of being 'explicit, sufficient, necessary' for outputting in principle all and only wellformed surface language. It may be the oldest of its kind - and there are some reasons to speculate that it thereby enjoys a foundational status in the construction of a 'converse intelligence religion' - probably in the hope that it will constitute a gateway to understanding the peculiarities of the human semiotic constitution that hides the ultimate truth from our knowledge after the fall from Paradise.
It is therefore possible that Panini's 'Asthadhyayi' - of unknown date but probably from one of the centuries 4th-7th BC - has been assigned such a status by the secret intrigue - and it is not impossible that Hitler's ideas about 'aryan supremacy' were based on such theorizing about just Panini - but it is of course also noticed that Hitler sniffed up anything of value for human spirituality for attacking and destroying it since that destruction gave him more power. It is also likely that this would have been his reason for his interest in Panini - if that were the background of his ideas of aryan supremacy. (It may also be speculated that Panini's 'Asthadhyayi' = '8 chapters' could have been the background of a construction on the socalled 'octogon', could be for the childish 'phonetic' interpretation '8 chap-tears' - cp. also the tragic train crash at 'Åsta' = sanskrit for '8' in Norway on that day when I swallowed the first pill of 'Zyprexa' in the forced psychiatric custody - I tried to protest but had to swallow it). Anglophony seems to be another aspect of this story - which german language and culture now seem to suffer under: There are some reasons to believe that english is a language which interprets a relation between logical and phonetic form which other languages lack - and this would be the reason for the global spread of anglophony. An example is seen in my translation of Ouyang Xiu's poems which can be taken to be about the formation of a 'lapis philosophorum' - see part 5 of this translation which shows a surprising similarity of the english words with the corresponding pinyin transliteration of the chinese original - and which still is a surprisingly relevant translation!
However that be, I myself found - when leafing in the printout I made of the reverse spelling of the sanskrit of Panini's sutras and searching for a trace of the essential alignment point in the Nono recording relative to my 'Stillhetens åndedrag' - one such fragment of reverse- or backwards-reading which is worth pointing to: It is from his book 3 chapter 3 sutras 58-61 which read backwards
3-3-58 ac samagicsindrvaharg
3-3-59 had egrasapu
3-3-60 ac an uan
3-3-61 egrasapuna ropajahdayv
The essential alignment point in the Nono recording (part 2 at seconds 100-105) relative to my 'Stillhetens åndedrag' is at the end of my poem 50 - which is the third poem after the Nono recording starts its Part 2 on poem 48 'Eva': There are 21 lines per poem (title included) and hence the turning point is on lines 59-60 (see vol.4 pages 952-954 for the details) after this beginning at poem 48. It is in the linebreak from 60 to 61 that one can see the chapter titles of DDS part 1 - the issue of ordinality and the relation between relative and absolute enumeration, which is the basis for those chapter divisons in their relation to the cyclicity of Rigdeva (from the times of Panini):
Hunde
Grenze
Baum
ROP
uan-e
grasa
puna
rop
The last poem in 'Grenze' has absolute enumeration 187, which also is the last poem by relative enumeration in DDS part I. Hence 'egrasapu' of 3-3-59 would cover also this 'Grenze' between 'Grenze' and 'Baum'.
That this is a relevant observation for Panini is shown by the further application to the same example of Antonio Balestra for his Dream of Ezekiel relative to my TEQ #82
There is something about eye-grenser.
Spitakel - I don't know who that is.
Synes' twilight.
3-3-58
ac
there's
samagics
something
indrvah
arg
ab-
3-3-59
had
-out
e grasa
eye-grenser
pu
spi
3-3-60
ac an
takel
uan
I don't
3-3-61
egrasa
know
pu na
who that
rop
is
a
synes'
jahdayv
twilight
"Synes' twilight" is then visible in the peculiarity of the artwork as being intimately related to the architecture of the inner doorframe - that has an edge or corner that relates apparently essentially to the corner of the eye of the sleeping Ezekiel - the 'eye-grenser' here of 'egrasapuna'. Notice the tree trunk ('Baum') or wooden beam going up in the darkness in close parallel with the doorframe. Ezekiel's dream seems to be about his own visual relation to the doorframe or 'inner doorway' = 'indrvah' (of 3-3-58) 'about' or in front of him. His knee points towards the doorframe which in the dream is the foot of the angel - like the Jesus child's face is close to his mother's. There is a suggestive similarity, says the second angel, whose wing resembles the stump of a trunk. Ezekiel's own hand rests in his lap under the suggestive similarity with the mother's bosom, and his own foot rests on the wooden 'beams' of the floorplanks.
The theory is that the correlation between backwards reading of Panini's hyper-essential grammatical rules and such poetic-artistic relevances is found in an immediate universalist basis for a systematic relation between phonetic and logical form. One can speculate that poetry typically tumbles around with these things - and it is likely that my own TEQ #82 is about this phenomenon.
Why should Panini be read backwards? I refer to Rembrandt's night street = example 8 relative to my TEQ #484 - which suggests that logical and phonetic forms are mirrored and run in opposite directions.
Now for the clue of this account: If one assumes that one sutra (or line) of Panini corresponds to one line of my 'Stillhetens åndedrag' (2016), it is found that the essential and unique wrapover phenomenon in the construction of the whole book of mine is just between lines 60 and 61 counted from poem #48 onwards - that is where Nono part 2 starts. There are 21 lines in each poem, that means end of poem 50 is line 63 and hence the wrapover between the 4th and 3rd last lines of this poem means the wrapover of line 60-61. That is at just 01:40 or simply 100 seconds into the recording of Nono's string quartet. It is this fragment of Nono which was the basis for my alignment of his quartet relative to my book at that wrapover point - since one can easily hear the unique status of those seconds 100-105 (the restful striving towards a new tonality, living spirit hovering over water) in the entire quartet. There is also a very clear logical 'scissoring' edge between the sunflowers of line 60 and the twigs of line 61.
Now the logical discussion of Panini in these sutras 58-61 in chapter 3 of his 3rd book is about the status of the affix 'ap', and the essential linebreak of 60-61 discusses the verbs for
ad = to eat
vyadh = to hunt
jap = to utter
Hunting gives food and thought gives utterance - hence a redundancy in the fourth square which is the theme of Balestra's 'Dream of Ezekiel'.
The verb roots mentioned under 3-3-58 seem to be about satellite, certainty, go, eye-sight - indeed relevant to my first line "There is something about eye-grenser".
It is likely that all this, including Nono, encircle and approximate a phenomenon of universals in logical-phonetic-acoustic form. The problem of current-day semiotics is to steer around those terrorist philosophies who want to mix up heaven and its opposite and nevertheless be able to proceed with the interesting study of the universalist relation of phonetic and logical form.
Computer glitsch #1 - the extra doubleword CONTAIN
For an account of the two computer glitsches, see volume 4 pages 1253-1258.
The failed incrementation of entry #1966 led to the computer counting the word CONTAIN twice even if it occurs only once. It counted ...1965, 1966, 1966, 1968, 1969... This very odd behaviour of an electronic computer seems to be in conformity with certain semiotic redundancies that can be recognized in Panini by backwards reading. The entry CONTAIN in the listing of doublewords at the end of 'Stillhetens åndedrag' comes to poem 47, the 5th last line. That is just before the end of Nono part 1, just before it turns to Nono part 2. Part 1 starts on poem #17. There are 21 lines (titles included) in each poems. Hence there are 47-16 = 31 poems multiplied with 21 minus the 5 last - gives line #646 counted from the beginning of the Nono alignment at poem 17. Counting from the mid of the 8 chapters of Panini, that is from 5-1-1 and counting 646 lines takes it to 6-1-91 which in the backward reading is 'uatahd itr dagrasapu'. Why were the computer left hanging in the incrementation on this entry #1966? I dont know why but - unless it be a case of trivial sabotage by somebody - it is possible that this constitutes a peculiar redundancy in the human semiotic constitution. I tell this story: I was coming back to Vienna from some months in Italy (during the COVID pandrmic) and found the main fuse had gone kaputt and in the empty refridgerator there was on the glass plate in the bottom a rather substantial heap of a brown matter which looked like excrements - but it had no smell so it could not have been that - and on the inner ceiling and walls - but not on the inside floor - of the fridge there were lots of rice or millet seeds spurted around: These had been stuck to the walls and ceiling as if glued there - or 'it was left hanging there', like that computer incrementation. Could be the phenomenon could be called 'uatahd itr dagrasapu' = 'what a ditrd of grass/glass of pu'. Could be this is an old 'Bloksberg' trotter - I recall from my childhood a radio reading for children from a book called 'The road to Agra' - could be a paraphrase on 'what a detour to Agra [sapu]'? I have guessed that this bloksbergish redundancy in the human semiotics could be associated with just that series 1966, 1966, 1968 and hence the skipping of the following 6-1-92 = 'helasipa ypus av' (backwards). The children's book and film about 'Lassie' - the dog astray who sought its way home - could have been motivated by this Panini sutra backwards - assuming a 'dritte Reich' scenario in the form of the contents ('CONTAIN') of a puberty penis being replaced with new matter and the original moved over onto a 'trans' mother who uses it for raping the drugged puberty-onset child. Will this 'dog' ever return to its proper owner? 'Pipe-use of he-lassi' would then have been the story - and the Lassie astray would search for its proper home. 'Papers of he-lassie' would be a variant of it - and hence it could be a sutra abused for dirty intrigue by theft of authorship. The trick would then have been that the victim of the intrigue would be left hanging on 1966 while time passes across the 1967. Even the socalled '1968' generation could have been about these matters. The Per Borten government had my 11th birthday in just 1968 in its exact mid point - and hence it could have served to secure a safe crossover from 1966 to 1968 in spite of my human semiotic redundancy. Were the P aborted?
This series of backwards sutras seems interesting:
6-1-91 uatahd itr dagrasapu
6-1-92 helasipa ypus av
6-1-93 hosasm' otua
6-1-94 mapurarap ine
6-1-95 ac sonamo
6-1-96 tadnadapa ysu
6-1-97 enug ota
6-1-98 uati ata aysanarakunatkayva
I recognize 6-1-93 from the end of TEQ #10 - the "hold on [lamp], / come on, Motual" - and the parallelism seems to continue with the first lines of #11 which is the first poem in the work which is written from beginning to end without editing of the order of the lines. The parallels can be traced down to line 5-6 in #11 - 'But he at least was at the village land / while I slept' - here for Panini 6-1-98 'uati ata aysanarajunarkayva'. See volume 4 pages 1253-1258 for a discussion - including the identification of the CONTAIN glitsch - for the line 'visshet du får' as the 5th last line in 'Stillhetens åndedrag' poem 47 = end of the Nono part 1 alignment - as being the same as this line 'village land' from poem #11.
But that seems to be just the fragment 'RAKUN' of the backwards sutra 6-1-98 'uati ata aysanarakunatkayva'. "What your ties/toys and a raccoon at cave A"?
It was reported from Clinton's visit to Oslo in 1999 that he had changed his tie three times (or he wore three ties) in the course of a few hours.
It happened after I had completed my study of the ordinality of Horace in 2022 that I felt that I had developed a 'raccoon'-like mask across the eyes - it may be this which later developed into a veritable 'shiner' - the area around the eyes got so swollen that I could barely see. 'While eyes leapt'? However that be, a raccoon is in norwegian called a 'vaske-bjørn', a 'washing bear' - which could be contrasted with a 'washing fox' = 'vaske-rev', or, in definite form, 'vaske-reven'. I could guess that this is just that 'Vas Gereben' described earlier in this article.
Erwin Rommel was called 'the desert fox'. The opposite of 'Elv Wien Lummer'.
Now this CONTAIN glitch at 6-1-91 is sutra #2530 "upasargad rti dhatau" (counted from Panini 1-1-1). The relation between the two numbers 2530 and 1966 is just 0,777 - a salient part of the car numbers in my novel 'The Dreamer'. In addition to this 777, the other salient number part is the 666 - and 1966 / 0,666 = #2952 = 6-3-9 'a sarvanamnah' - or, backwards, 'hanmanavras a' which to a norwegian ear could sound like 'han må navles av' = 'he must be de-naveled', 'he must be de-bellybuttoned'. Ah, that was the main fuse that had gone kaputt - even if it had been detached while I was away - and an electrician had to come and put in a new.
Now studying the following '91' shows a remarkable phenomenon:
| 2530 | 6-1-91 | upasargad rti dhatau | uatahd itr dagrasapu |
| 2753 | 6-2-91 | na bhutadhikasamjivamadrasmakajjalam | malajjakamsardamavijmasakihdatuhb an |
| 2952 | 6-3-91 | a sarvanamnah | hanmanavras a |
| 3091 | 6-4-91 | va cittavirage | egarivattic av |
It is possible that this 'demiurgy' is what the Kennedy assassination was about.
The last issue of The New Yorker just before the Kennedy assassination (which includes 14 cartoons on the theme 'Parents Day') shows traces of two names from my life a decade or so later: A female I met a few times for youngster petting in the forest outskirts in late 1972 (it need perhaps not have been the same as I met in school) - this was probably about 12 years 2 months and some 3 days/weeks before the sofa story of christmas 1984 - and a male I met about a year later - he was situated on a mattress the first time I met him.
2753 6-2-91 na bhutadhikasamjivamadrasmakajjalam
= that butt-a-dick of 'samgi' (could mean 'mutual petting') var madrass-smak av jalam = 'was mattress-taste of jalam'
which could have been taken to mean that the ejaculations of the mutual petting was a late reflex of the sperm ejaculated on my newborn brain in 1957 - which in theory could have been done by JFK and hence he got 'the same' in return in 1963.
Now assume that the mirrored form 'malajjakamsardamavijmasakihdatuhb an' was the Malay 17 aircraft that crashed just at the Donetsk border ('kam') to Luhansk. Would this have been about 'my airline, my onr-o'? The crash site was just close to VUl.Shyroca = 'Scirocco Street' - cp. the 'desert fox'. The wings of the aircraft had 'combed' the scirocco.
2530 6-1-91 upasargad rti dhatau uatahd itr dagrasapu
= the Malay 370 aircraft that 'disappeared' outside Banda Aceh and never was found again - 'what a detour!' - is the counterpoint to this. 'Dagros' (means probably 'Daybreak' etc) is the standard name for a norwegian cow and hence 'Dagrasapu' could have been taken as a reference to 'Kuruksetra' of the 'Bagavadghita'. It could have been this standard cow-name in Panini which attracts norwegian interest. It would have been the story of my refridgerator when I was coming back from Italy.
3091 6-4-91 va cittavirage egarivattic av
'Va cittavirage' could be that 'Kuruksetra' while 'I go in the Vatic an/off' could then be the attempt on the pope in 1981.
2952 6-3-91 a sarvanamnah hanmanavras a
It is not impossible that my prostate could have been removed - and hence 'hanmanavras a' ('han må navles av') could have been the code for this.
If I let 'Asthadhyayi' be rewritten to 'ayi-asthadhya' for 'Ayo Jardar', it is also possible that 'upasargad rti dhatau' could have been taken to mean 'Jimi Hendrix': Put a little coin into this 'sarg'.
What were the purpose with all this? Could be the following:
6-1-91 2530 = 1966 / 0,777...
6-2-91 2753 = 1966 / 0,714...
6-3-91 2952 = 1966 / 0,666...
6-4-91 3091 = 1967 / (2534/3982)
3982 = the total number of sutras
2534 = almost 2530 (of 6-1-91), but a little more
It is this small difference (see the end of this paper) between 2530 and 2534 that would be credited with the phenomenon of the 'hanging' 1966 - that it skips 1967 and counts 1966 over again before it continues with 1968.
2534 6-1-95 omanos ca ac sonamo
My official mother had a frontal car crash around the time of the attempt on the pope in 1981. Ukraine nowadays looks like a 'mo' = 'military field'.
Computer glitsch #2 = the movement of ZUM to CULTURE
The computer (printer) should have written 'CULTURE' for the 4th last doubleword to poem #23 but wrote surprisingly 'ZUM' instead. This ZUM must probably have come from the 6th last doubleword to poem #37. Computing this interval - from the beginning of Nono part 1 at my poem #17 - on Panini book 4 (that is, from Panini 4-1-1 on the title to my poem #17) takes it to ZUM at 4-3-113 = backwards 'ac sisat' and 'CULTURE' at 4-1-143 = backwards 'hahc susavs'. These easily read ZUM = 'a taxis' (= 'an order, an arrangement') vs CULTURE = 'a saxis' (= 'a cramming full', 'packing completely full').
What calls for some interest is the proximity of 4-3-113 to 4-3-111 by the logic of the 'lapis philosophorum' - see the writing of DDS part 3 - including how poem #78 reduced to #64 in part 3 and how this #78 in relative enumeration in part 1 is the absolute enumeration #111. See also this phenomenon. Now one could of course guess - if these phenomena were up and going in administrative logic - that Hitler, who had a holiday house in Berchtesgaden, could have had it for reasons of this 4-3-111 = backwards 'hini davsasrkadnamrak' → 'american need of Vsasrkadn' = 'american need of Berchtesgaden'. However that be, it seems that the backwards sutras from 4-3-75 to 4-3-79 (by the relation of absolute 111 to relative 78) could be taken to encode the streetnames of the Szolnok area:
4-3-75 hayhbenahtsaya gaht
4-3-76 n' oyhbidakidnus
4-3-77 nuv oyhbehdnabmasinoyaydiv
4-3-78 nahtsatr
4-3-79 ac cay rutip
= eben Vas Ger
= Utca Sziget
= Rege / Ősz / Tel
= Utca Raba
= 'rutabaga' = 'swede' = Utca Szava
A little farfetched some of them, but it is probably not impossible that the political intrigue could have indulged in such interpretations. I notice the 'nahtsaya' of 4-3-75 which spoons to 'Saidnaya', the place of marian devotion in Syria associated with divine custody which again could be associated with the human urine system 'washing' the body - see also the 'kidnus' of 4-3-76. Saturday, Saturnight. A closer look at the list of damaged heritage sites during the terror in Syria could in fact seem to find some echos in the backwards reading of Panini 4-3-75 to 4-3-79 and thereabout - that is, apparently those streetnames around Vas Gereben. Bel and Baalshamin in 4-3-77, Elahbel and Saidnaya in 4-3-75 etc. 'Palmyra' as the 'palm-iron' of 'Vas Gereben' could have been the main interest. The sites of Palmyra were demolished soon after I had bought the house in Sziget Utca. It is observed that 4-3-79 'ac cay rutip' could be suggestive also of the name 'Kaia Fosli' from Ibsen's play. ('Foss' is waterfall).
The purpose with the destruction in Syria could then probably have been to lend much emphasis to the program of 'thuson kai fage' as the entrance ticket to heaven - in contrast to those who follow oldfashioned moralism.
5. The qubit and the new computation format
It is many decades ago that I read about quantum mechanics that it describes a strange state of being wherein a nuclear particle can be in two places at the same time. When I later have tried to find out what a 'quantum computer' or 'quantum processor' really is, it has turned out to be surprisingly difficult to come to the essential information. Shouldnt it be about such particles being both here and there at the same time? The mystic fog which this landscape seems to be shrouded in could, I have come to understand, be a side-effect of what could be a western inclination towards reserving the broomriding Bloksberg philosophies discussed for the 'backwards Panini' above for its military and political aspirations by way of a governing mythology which perhaps also could be the background of the ado around the relevant streetnames of Szolnok.
It was only when I some time ago read an article in China Daily about the new quantum computers that I finally - ah, there it is! - found mention of this probably essential aspect of quantum computing:
"Quantum computers could potentially solve calculations in seconds that might take today's computers thousands of years. / This is possible through exploiting the unique capabilities of quantum particles (or qubits) to be able to be in two places at once, and communicate mysteriously with each other even if they are millions of miles apart".
Ah, I understand completely: The two particles, which are 'the same', 'communicate mysteriously' in the sense that each of them is 'the same' as the other - and therefore the information contained in one of them is also available in the other - and information transmission can therefore in principle be 'quicker than light' from this viewpoint. That is of course something very essentially different from a normal processor.
I have also understood that in the modern military star wars reality, the one and only thing which counts is to be the first on the laser beam - and then it is all and only about being the quickest to calculate and generate it - and therefore the one who has the smallest computer wins the star wars - because electronic information takes more time to travel 1,1 millimetre than it takes for 1,0 millimetre - and that obtains of course also for the nanometres. But quantum computing in this sense of it is a 'quantum leap' also in that sense of it.
But scanning available sources on the internet of 'what is a qubit' leaves the interested reader rather confused and demotivated. (There is an account for simpletons in this article on qubits and in this article on quantum computers). It is well possible that Bloksberg strategies of NATO and similars make it difficult to come to the point - since coming to the truth of Ibsen or Hitler - not to speak of Grassmann and Cantor - could be to let the cat out of the sack and then the mythological government does no longer function and then the 'Bloksberg computing' does not either. 'Irrational computations' such as by way of Panini could be a form of such 'Bloksberg computing'.
Therefore I have to take recourse to my own reasoning in an attempt to find out of what a qubit is.
For once, this concept of two quantum particles at different places being 'the same' at the same time clearly sounds very akin to my own fundamental theorem of linguistics - and the virus theory I made therefrom in 2020. This fundamental theorem of mine tells that "two and only two items can be the same across different realities". It means not that they are 'the same': What it means is that the limited human spirit with its redundant semiotic constitution takes them to be the same. In so doing, the human spirit makes an 'error' which collapses the two metaphysical items into one (in a sense not the same as a categorial reduction - if it were about a category then it could have been about more than two) - which is what converts that new two-turned-one into an ontological substantial referential item - to which the human spirit attaches a meaning - a semantic unit - which serves the purpose of labelling the postulated primordial difference between the two originally metaphysical items. It is this semantic labelling which makes it possible for the limited humans to steer through the universal ocean without shipwrecking against the clanging but ah so invisible bronze. Christianity calls this condition the 'sinful' humans, they are 'sinners'. Christianity also postulates a 'trinity' which is hard to understand for humans - it means probably that even three metaphysical items can be 'the same' - without being conceived as a category, that is. But that is more like three points on a surface - you can always draw a circle through them unless they are on a straight line, in which case (if they are on a straight line) they would probably be in the category of 'divine' beyond human reasoning if a circle nevertheless can be drawn through them.
These concepts of two strata - one physical (ontological referent + semantic label) and one metaphysical (the two quasi-same items) are the four elements in what I call the fundamental linguistic nucleus - which I referred to also in the above discussion of the virus theory whereby a virus epidemic as culture astray is seen as trying to reverse the cultural ontology to its original metaphysical condition - with the isomorphy of language and logic discussed in this article.
It is likely that this 'sameness' in 2 + 2 = 4 is also the nature of quantum particles - and hence an important part of a computational qubit.
It is not so certain if the units are particles, if I have understood it right - they can also be considered waveforms - the latter could suggest a (trigonometric?) dependency which reduces the four parts of a qubit into two complex numbers, whereby the imaginary part is linked ZUM CULTURE, while the alternative as 'particles' would mean that the dependency which is CONTAINed in the human semiotic constitution is expressed in a dependent variation of the semantic unit - in the sense that the function of the semantic unit - more than only being attached to the referent - is to preserve the 'invisible' and hence 'un-empirical' but theoretically postulated difference between the two 'same' particles. Hence there will be a 'diagonal' dependency to the 'semantic' part of the 'qubit' (in this semiotic sense of it), but from the semantic to either this or that metaphysical part, the difference between which is hard to grasp for the human mind.
Quantum computing struggles, if I have understood it right, with uncertainties which allow for only statistical precision - and they are concentrating on developing error correction procedures for narrowing down the error range. If two complex numbers are used for the qubit, would that be the reason for these uncertainties?
It is hard to understand what is beyond the reality of the 'maya'. Religion and mystic inquiry is the way which the humans have for this important task. Mystic inquiry can be understood as an attempt to understand or re-establish the original primordial integrity of the metaphysical states, hence it typically goes for 'the cloud of unknowing', so to speak. Mystic inquiry necessarily goes via detachment from the historic reality - from that reality which arose when the human mind ignored the fine distinctions and differences between metaphysical states. The historic reality typically presents itself by way of temptations and troubles - a sort of 'soup station' it could perhaps be called - if you try to detach from it, and conversely it can offer success if you agree to its terms.
PTRSIM PIK is a variant of the fundamental theorem of linguistics - the idea of two disparate metaphysical 'items' recognized by the limited human mind as one and the same - in the PTRSIM PIK construction in the form of one word from the old testament (occurring twice and only twice in Genesis) being considered 'the same' as one verse from the new testament - in a two-strata model for what is beyond the maya. It is the old-testamental twice and only twice (occurrence of some word in Genesis) which approximates the fundamental theorem of linguistics while the new-testamental 'isomorphy' to this (via that PTRSIM PIK scheme) is the correlate to the fundamental theorem of logic - and hence the isomorphy between these creates that fundamental linguistic nucleus which is the secret to not only the new quantum computer - and the chance for humanity to enter into communication with the remote universe, like the cosmic harmony of a jewish sabbath - but also to the principles of virus epidemics which I outlined in my virus theory of april 2020 - when the world seemingly tried to detach from the temptations of success in the 'thuson kai fage' program and offered people a chance at the soup station instead: It seems that vaccinations against COVID generally tended to increase the chance for disease and death rather than reducing it, but it may be that the world nevertheless considered this a better alternative than the 'thuson kai fage' program.
But a tragically pitiful misunderstanding it is to 'play' (like children) this computation theory that now shall I be the PTRSIM PIK playing Jesus living in Sziget Utca in Szolnok (because of the 'quantum' streetnames there) and you shall be administrators of power. It is very high time to understand that even dark medieval times would have sunk in earth for sheer shame when understanding what a gloomy superstitious reality that is. The world went right into a COVID-19 when it suddenly understood what was going on.
This clearly was the COVID-19 - the immediate realization among all people of the world that a nazi program of 'proving' that the new information technology is in extension from the christian creed (with Madonna and Jesus bebe) and that it rests on the triple heavenly order (of Acts 10:13 and 11:7) of doing terror and mass murder (one understands that it can be difficult to work in responsible administration from this point of view) - must be a fundamental flaw. COVID-19 would then have been the immediate popular insight that this program has to be stopped - and hence the 'fundamental qubit' was turned into a disease which meant that the development had to be stopped.
All this gloomy broomriding is nothing but Bloksberg - it is not healthy computation theory. PTRSIM PIK has the role of being the qubit - but that is clearly the wrong way for such computation theory - to keep the 'qubit' under surveillance and spread the data through the international media.
Where is the problem?
It was in the year 1970-71 that I understood that Cantor's diagonal proof suffers from a flaw which probably is the same as the paperflatness of mathematical symbols. I understood this while the school dentist was doing terror on my young teeth - he drilled for weeks and filled almost all of them with amalgam - could be in an attempt to deepen those 'mathematical symbols' of me as a 'lapis philosophorum'. The later Rwanda genocide on 800.000 Tutsies could have been for similar 'philosophical' purposes.
If the postulated difference between the two metaphysical items of the fundamental linguistic nucleus is beyond our reach of empirical verification, it is not the right solution to try and detect the difference by way of threats and terror - or trying to scare the differences to stay there on one place, please, so that we can have success in our computations and celebrate it with cake among our families. Of course the right way is still the same old traditional frugal science - by conjectures and refutations (Popper) postulating metaphysical states which then will have empirical repercussions. But will this ever be anything but an endless series of shots in the dark? That is what 'mystic inquiry' has always been about - not the shots in the dark but an education and refinement of the faculty of faith which builds a new world in interaction with a friendly attitude to reality. The soup station is not the goal, of course - it is sometimes a possible way to detach from the historic reality offering temptations and troubles (or 'conjectures and refutations').
Good art is friendly art. That is of essential importance. That is when you get an answer from eternity (rather than from history) to the theories of what are the differences beyond the maya.
Hence a part of this story seems to be the problem of paperflat symbolism in mathematics. My mathematical intuition (or what intuition it is) tells that
7½ + 8 = 3
but it is hard to prove this two-dimensionally. If the '3' is the christian trinity, would the '7' be Cantor's diagonal - and hence this is the proof of his continuum hypothesis - one of the famous unsolved riddles of 20th century mathematics? If this is a proof, it is not based on the semantic and rickety 'meaning' of the symbols but on the faculty of faith.
What could be an empirical verification of 'meaning' is found in my recording of ten metaphysical knocks (on 20 january 2020 at 11:00 o'clock) - the 8 first were 'equiprobable' but the two last were not - and that could have been when 'meaning' arose in the recording. The meaningful knockings stopped before they reached '3'. At e = 2,718...? But that could be just at the human border to the 'trinity'. It would tell that the infinite distribution of the 2 metaphysical items equals the cantorian aleph-1 of the trinity - against the aleph-0 level of ontology + semantics - and the border between these is just where the meaning of the symbols arise - in the human struggle to keep up navigational chances in the oean of eternity. Hence if the proof is right, it could tell something important about the nature of the dependencies among the four units of the qubit.
Do you get scared by the 'poltergeists', if that is what I recorded? There is no scare there - it is a friendly answer to my friendly inquiries into what is the nature of meaning really.
Likewise, it is difficult to understand my virus theory (on the 'vacuum pump' pushing and pulling ontological matter - the viruses in the DNA-containing cells - in and out of reality like 'zum' to 'culture') by paperflat logic, if the sum of the probabilities can be both 1,0 and 0,67 at the same time. These two different values at the same time could look quantum mechanic, sort of.
My fundamental theorem of logic tells that semantic meaning arises from the fact that any language that shall carry any information must necessarily exhibit non-equiprobability of its distribution of symbols - and since only equiprobability satisfies the equation (of the fundamental theorem of logic) which describes the information flux on the border between history and eternity, that is the maya border beyond which we cannot know anything with certainty, it follows that the 'sinful' humans have constructed something called 'meaning' for clumsily retaining this equiprobability nevertheless - then it is not the probability of the occurrences which is 'the same' but the 'meaning' of a symbol is postulated to be 'the same' every time it occurs. Hence semantics arises from this paperflatness called 'distribution' and attaches to the ontological referent with a glue (or 'soup') arising from the logic that 'same meaning' must be the same as 'same distribution', dont you think so?
This clumsy 'meaning' sometimes spreads like inflation in a culture (hence 'business' is often concerned with 'meaning') for enhancing 'computability' in a mythos fog from terror and monkey business. That could of course also be because such human 'meaning' arguably looks a little strange. Isnt there a short circuitry there somewhere?
Could be Cantor's continuum hypothesis is the answer to what such a qubit is or is not. The continuum hypothesis is defined by
2א0 = א1
whereby א0 = the infinite set of natural numbers and א1 the infinite set of real numbers, the 'continuum'. Clearly א1 as the real numbers will be the upper two metaphysical items (x) of the fundamental linguistic-logical nucleus -
while the lower 'y' is the natural numbers to the left with its semantic attachment to the right. (This view on the matters could immediately create doubts whether the idea of infinite extension/expansion of the decimals after comma in a real number can allow itself to implement the semantics of the natural numbers which such a decimal extension/expansion is based on). The continuum hypothesis tells that the branching from the lower lefthand 'y' up to the two metaphysical x's is the base 2 in the formula - and the question will be what is the role of the semantics (with its non-equiprobable distribution) and the theoretic or postulated differences between the two upper x's - whether this dependency will affect the equation. Cantor's formula should probably suggest that the role of the semantics in relation to the metaphysical difference is not interesting. It could suggest a paperflat mathematics which constists in moving symbols around on the paper.
The difference between the two sets is defined by Cantor by the idea that if you find a method of ordering א1, there will always be a diagonal set popping out of it - it is 'crammed full' = 'SAXIS' even if you can 'order' = put a 'TAXIS' to it - it will always transcend the CONTAINer. One could therefore guess that if 7½ + 8 = 3 is a proof of the continuum hypothesis as far as the qubit is concerned, that is because it handles strange redundancies in the human semiotic constitution - and it would mean that Cantor's diagonal proof is about something similar. But the diagonal proof is based on the idea of quite simply replacing one symbol with another symbol, which would mean that the distribution is free and equi-probable, in which there will be no semantics and then the problem is solved, so to speak: Then the semantic item will not relate dependently to a postulated difference between the metaphysical items and hence the continuum hypothesis applies.
My proof does not say so - it rather says that there is a difference between 7½ and 8 and therefore there are 3 dependencies going out from the lower left 'y' - two up to the metaphysical x's and one to the lower righthand semantic 'y'. But if this - as the mathematical intuition suggests - should turn out to be a valid equation, it could mean that the continuum hypothesis applies neverthtless. It could mean that 3-2 = 1 is the same as 8-7½ = ½ - and hence that 1 = ½ - which it is if the lower 'y' branches up into two 'x'. Could be this would tell how the qubit could be made functional without errors.
Hence 7½ + 8 = 3 takes its numerality from 23 = 8 - but one of these contains a difference which is 'the same' as the 'diagonal' paperflatness when 1 referential symbol = 2 metaphysical units. Humans after the Fall may think that divine reality is in the 3 of the trinity but 23 = 8 reduces to 7½ by the 'diagonal' straddling finite and infinite realities.
See also Rembrandt's 'Nightwatch' - the discussion under point 8. It seems to display a related theory on the semiotics of the qubit - including lots of 'equiprobabilities' (resembling the metaphysical knocks?) This work is believed to have been originally larger - cp. the 'global scope' of function 15 (from poem 199 to poem 1520). If this streetscene of Rembrandt also displays the audition of the inner ear one way and the 'poetic logic' the other way, it could be suggestive of why it could make sense out of reading some of the lines from TEQ backwards.
See also this egyptian relief of a ship (illustration from Breasted 1964) - in suggestive similiarity with Rembrandt as far as this semiotic theory is concerned. Are there 9 or 10 rowers? In fact this is how I found the parallel texts to books 13-16: The title to book 13 contains the word 'praxis' which I looked up in Meyer's selection and translation from Talmud and found one reference on its page 313 which referred to Eruvin folio 14b. I found the Mesorah edition (volume 7) to look it up - and found also on the same folio 14b the following excerpt which attracted my attention:
(For the 40 se'ah, see also the '40 doors' and these 'forty doors').
It is this 'alexandrian ship' which looks the same as the egyptian relief resembling Rembrandt. And, indeed, it is explained in this Mesorah edition as something like CONTAINers for ZUM → CULTURE. It is when this fragment is aligned with TEQ #1117 = book 13 poem #83 that the whole parallelism of books 13-16 makes sense. This Mesorah edition has large explanatory value and discusses the Eruvin text in fragments which are natural in the sense of being exact for the poems of my TEQ in these four books. (I made a detailed study of them and found only one single fragment - among the total of 693 - which had to be segmented differently - the fragments are listed in volume 3 pages 839-859). See TEQ #1117 for a suggestive interpretation of how the 'stringhook' paradox can be derived from the egyptian relief for a solution to the problem of how the acoustic form relates to the difference between the two metaphysical items - this could include the riddle of the 'Chomsky hook' of phrase structure. (Would this explain how my 'blue metre' relates to that logical hook - by the egyptian relief being appr. 2000 years before Panini who is appr. 2000 years before the italian renaissance?) I had just discovered the table of volume 3 pages 839-843 when Obama was elected in late 2008 and I speculated if there were any connections to the israeli attack on the palestinian areas in the following christmas. I speculated that my TEQ for reasons of this semiotics could have been tentatively reserved for secret intelligence projects - which of course would have been strictly against its intentions. In particular the 'thuson kai fage' program is as contrary to my TEQ as it can be.
I notice also this nature's art created by wind (the photo annotated with spectacles by me) compared with the Rembrandt artwork (annotated with spectacles this way or that). If Rembrandt is normally a function 7 artist but a function 8 on this artwork, it could be that the story is just this 7½ + 8 = 3 - in which case the secret could perhaps be found in function 3. If the story is the e = 2,718..., that could mean 0,184 into poem TEQ #193.
Similarly, it is likely that Hermann Grassmann's distinction between analytic and synthetic construction concerns just this difference between a 'triadic' format of 8 vs 7½ - and hence that his 'Ausdehnungslehre' is not a variant of complex numbers or Hamilton's quaternions. I quote a line from this not paperflat mathematics - and point also to the (relevant or not) prewar syntax of the finite verb in the dependent clause: "Da auch dies analytische Verfahren als Verknüpfung kann aufgefasst werden, so unterscheiden wir die ursprüngliche oder synthetische Verknüpfung und die auflösende oder analytische Verknüpfung" (Grassmann §5). It is possible that these considerations concern the main interconnecting lines of my fundamental linguistic nucleus. See also my TEQ #613, with a 'triadic' format possibly including Rafael's black plastic strip.
Were modern set-theoretic mathematics developed in an attempt to get this mathematics down to a paperflat level?
Hermann Günther Grassmann's 'Ausdehnungslehre' was published in 1844 and Georg Ferdinand Ludwig Philip Cantor was born in 1845. The above discussion of 'CONTAIN' showed that the incrementation was hanging for a twice recording of #1966, skipping #1967 - hence a 'magic' point there. The mathematician Grassmann was also a sanskritologist and published a dictionary of and a translation of Rig-Veda. Now the sanskrit grammar of Panini has - by the enumeration of the sutras in this source of Panini's 'Asthadhyayi' - the following sutras on these numbers:
#1965 5-1-81 masad vayasi yatkhanau
#1966 5-1-82 dvigor yap
#1967 5-1-83 sanmasan nyac ca
#1968 5-1-84 avayasi thams ca
Now 1966 / 0,777 = 2530
#2530 6-1-91 uatahd its dagrasapu (backwards)
Now it seems that these fragments - separated by the factor '777' - contain just the names of these two mathematicians (backwards for Grassmann):
khanau
Cantor
[au] dvig or yap
Ludwig Philip
sanmasan nyac ca
Ferdinand Georg
= #1965
= #1966
= #1967
#2530
6-1-91
uatahd itr
what a diter
Her monkey
Hermann Gün
da
da
tear
ther
grasapu
Grass-apu
Grass-ape
Grassmann
So the secret of this 'mirror' is the 777 which can be recognized in the 7½ with, say, a slim 7 (with 'ditr') and a fat 7 with attachment below = grassapu - or something like that - so there are small differences nevertheless, however much Cantor insisted on the diagonal slash / between the 1 and the 2. (I saw a Hollywood film called 'American pie', if I remember right, which could have been about these things?)
No wonder this looked miserable and Cantor landed in asylum where he died in 1918. This 1918 multiplied with 0,777 = 1491 = the year when Henry VIII was born. I do not know the story but I have guessed (on basis of historic redundancies, so maybe this idea is not relevant at all) that Henry VIII could have been involved in some responsibility for a heinous attack on Rafael - that his eyes could have been destroyed by some agent or something like that - and that this was a historic background even of the formation of the anglican church: If so, it can be noticed that the name of 'Georg Ferdinand Ludwig Philip Cantor' could be seen to tell such a sad story - 'førte-hand' = 'led the hand'. Would that have been the bad conscience that even today can be seen in the story of nazi attempts (since 'Adult Fitler'?) to solve such problems? 'Hermann Gühter Grassmann' etc. Henry had a lot of wives, some of whom even were guillotined - as if that made his finger shorter?
Talmud Eruvin defines (by the Mesorah edition) three forms of 'leniencies' against the prohibition of carrying 'ontologies' on sabbaths - these are 'lavud', 'gud' and 'the edge of a roof extending downwards'. One naturally discovers the unfortunate association of 'love-ud' to 'Adult Fitler' in the demagogic sense of 'a man presses his 'finger' into the woman because he desires what she has and hopes that it will come out and be available for him in that way'. Very unfortunate this idea is for the hypothesis of Rafael - for ideas of how to acquire his skills, his art. Ambiguities of hebrew spelling makes 'lavud' look similar to 'Labur' - Hitler was a part of the 'labour movement' in those days. The 'Gud' factor could then have been misapplied to a 'divine Jesus' in the 'szolnoki' complex, and hence the 'lavud' could perhaps be unfortunately associated with ideas of a 'Madonna in Labur'. The idea of 'secret intelligence services' could then be a concept applying to the eavesdropping of a diagonal roof.
Cantor's diagonal proof (like a sad nose up to the eyes of the visual faculty? - I notice the role of Norway up to Russia in the geography of the NATO alliance) can be understood as an attempt to get down to the paper and forget about the haunting witchcraft, the swishing in the air. The diagonal replaces one sym-bol with a-not-her. The nose never was a threat to the eyes, though, however much the diagonal ('bias') presses on.
It is likely to be this sort of word-games all of it - playing with the problems of a universalist theory on the relation between phonetic and logical form.
Would the apparent 1984 story from Budapest have been an attempt to dump the blame for the 'pressure onto the J-mark' on me? 'Vas Gereben' could be interpreted as being about 'washing the behind' - could be the above story of the 'raccoon' mask on the eyes after my study of 'Horatius'. It was I who pressed it in, but were it really my fault? Were I really guilty of the damage to the sofa? Werent it rather about a 'Ge-org ferdihand' etc? It seems that much of these problems consist in an unfortunate identification of the anus as a 'celestial/divine eye'.
'Georg Ferdi-HAN Ludwig Philip Cantor' = Wu-HAN City.
'Her man 'grynter' grassmann' = the solution by the 'stritte reich'.
Could be the only important thing in the world is to get that italian renaissance up and going again.
Clearly a serious non-paperflat mathematics must look better than these sad witchcraftly name-jokes. They must have looked like sad facts which one could not come around in mathematics - and indeed the world seems to have struggled with getting them right and tried to respect their status of apparent facts - but a miserable philosophy it would have been.
#2530 = 6-1-91 = 1966 * 0,777
#2753 = 6-2-91 =1966 * 0,71413
#2952 = 6-3-91 =1966 * 0,666
In 1966 (or maybe a little later) I noticed that the ratio or 'ratius' of dollar-NOK (= 'dolnok'?) stood steadfast on 7,14 and did not get off the spot for some time.
I had on 2 march 2021 returned from Italy and found the main fuse gone in the fusebox (6-3-91) over the refridgerator with the 'grassapu' and the 'white ditr' (6-1-91). A few days later there was the volcanic eruption on Iceland (with 1823 km from 'Rekavik' to 'Rekvika'), at Fagradalsfjall, Geldingadalur by source Google satellite map).
It is possible to see these names (would 'male pride' have been the story of a tragic fate of Rafael?) in the #2753 = 6-2-91 = 'na bhutadhikasamjivamadrasmakajjalam'. The reason why I associated the volcano with the fusebox was the volcano's strange and abnormal double outlet which I associated with the double electric outlet in the kitchen wall just on the other side of the fusebox: The 'buta dika samji va madrasmaka dalur' etc. 'Buktaling' = 'ventriloquism'. A few weeks later there was another volcanic eruption on La Palma of the Canary Islands from which 1823 km eastwards would take it to Arawane with the rare deep well of lukewarm water on the caravane route through the sand dunes of Sahara - no oasis but an isolated well among the sand dunes. (How did they find it? Could be my TEQ #577 could tell it). 2753+1823 = 4576 minus the 3982 of this edition of Panini takes it to #594 = 2-4-60 = 'inah pracam' (= 'male pride'?) or backwards 'macarp hani' which is close enough to a 'Canary Map' - or simply 'in La Palma'. To me, these volcanic eruptions only meant a tragic stop in the poetic work I was doing because I could not continue in Vienna the work I had been into in Italy. The icelandic volcano was spectacular and nice but the one on La Palma was only tragic for the people there.
Talmud Eruvin folio 16 discusses what counts as legal partitions for caravans. The 'lava-ud' of La Palma then tells that humans have a faculty of faith which is the main component in their reality constitution. If you believe that everybody are crooks, you will probably conclude at the end of your life that you were right indeed - but it is likely to have been because you invested your faculty of faith into such a belief. The art of believing is to believe the world upwards and not downwards. These ideas of 'Labur' a la Hitler could be about a crisis in faith - like standing on quicksand, sort of. Could it be about the history of protestantism?
Of course the geophysical history of the earth has formed the historic collective consciousness via the 'liturgic diachrony' of earthquakes, volcanos etc through thousands and millions of years. Is it a coincidence that Panini's sutra #365,25 read backwards looks somewhat like 'Ahuramazda'? Of course the volcanos of Iceland and La Palma did not erupt because I had travelled back to Vienna from Italy - of course it was rather that the 'eruptive poet' travelled back in accordance with some 'collective logic'. But it is arguably interesting if the contents of the refridgerator had been affected by the interface of subjective and collective logic in this way.
#2952 = 6-3-91 = 1966 * 0,666 = a sarvanamnah = 'Adolf Anamnesis' (the father of post-1969 had a slanting nose, while I had a leftwards-pointing erection) with reverse 'hanmanavras a' = 'han må navles a' = 'he must be de-navled/de-bellybuttoned' = a mock name of 'Ø-streich'? But that could be simply the 'Rafael' = 'Raba Utca' and the rest of those szolnoki streetnames, including 'sighet toucha'. Hence Ibsen's 'Halvard Solness' by 'rafael' = 'halvard' - for 'knot bridge-bay'?
The question is therefore if 'terror and monkey business' ('ditr with monkey tear'?) based on aspects of Panini forwards and backwards (such as in the streetnames of Szolnok - or 'sol-knock') is what has come to take the place of a sensible definition of the qubit and thereby quasi-justified Panini as a 'converse' intelligence-rational substitute instead of a reawakening of the italian renaissance - and putting a program of θυσον και φαγε from Acts 10:13 in its place.
But it is not so funny - if my computer really went for those CONTAIN and ZUM → CULTURE and the main fuse went kaputt when the fridge produced a heap of a kilo or so of a brown amorphous mass on the glass (looked like 'grassapu') and spurted rice around the walls and ceiling ('uat a ditr'). However, this should not be taken as an evil curse - it must be understood as an aspect of the limited human semiotic constitution which it is important to understand in order to make it possible to get a (mystic) glimpse beyond it. That is what semantics is for. Or is this redundancy all and only bad conscience - and hence a mystic inquiry suggests confession after confession?
Grassmann translated Rig-Veda and wrote a voluminous dictionary to it, and when Panini's grammar fills exactly the open slot between these two works of Grassmann, that explains the tragic western history: His mathematics can have the potential needed for explaining rationally and scientifically phenomena such as e.g. Fagradalsfjall-Geldingadalur, but when Grassmann was not understood and mathematics was squeezed down onto the flat paper, a new reality arose which shifted these fields of semiotic studies over onto 'the error' of terror. At the time of Cantor, anarchists would throw their bombs against political power - but today terror seems to be mainly a 'semiotic' phenomenon - and e.g. the destruction of the Palmyra ruins in Syria could have been only for installing aspects of Panini into the political reality.
The tragic phenomenon of replacement of people with near-identical 'copies' (engineered medically by changing bodily organs) is clearly a result of Cantor's diagonalism as defining semiotics.
It would probably have been wise to let Grassmann get that chair of mathematics at the university of Berlin which he had hoped for - instead of letting him go 'on the other side' as a high school math teacher in Stettin for letting Cantor dominate the world of mathematics throughout the 20th century - Cantor's mathematics seems to be that diagonal and maybe a little more but not so much more, and mathematics is today rather paper flat. And the diagonal logic does not even hold water - the diagonal set is very countable indeed! What a detour! Dreams about computing with cantorian tranfinite numbers into the universe must be classified as failed - could be a branch of somewhat vain philosophy mainly. And terror-and-monkey-business was never a good solution.
The poet was driven back from Venice to Vienna in march 2021 by meagre economy. Would it be about a 'smala-hove' = 'de-Nelly-muttoned'? It must be understood that this necessarily is old geophysically cued 'liturgic diachrony' in the collective consciousness and that the art of good subjective faith is to believe upwards and not downwards. Hitler may have wanted to leap to the power of the collective consciousness by letting others leap downwards (which is easier than leaping upwards) in cantorian diagonal ('bias') replacement with himself. But clearly that is only the dried-up alcoholic who gives in to the temptations from History - for a brief feeling of success.
6. How were my TEQ and DDS written?
How can these two works of mine be assigned explanatory authority for these problems - if one concludes that the history of italian art is contained in my TEQ (= 'The Endmorgan Quartet') on basis of the 'taxis' of Caravaggio's works given by my DDS (= 'Der Dornenstrauch')? For the issue of the validity of the observations on a rather strong correlation between prominent examples from art history with the backwards- and ratio-wrapped reading of the first and last lines of poems in my TEQ (as discussed in the beginning of this article), for which one could perhaps speculate if this be about a layer of knowledge which could have been determining for Caravaggio's baroque art, the question will necessarily have to be how my TEQ - and the DDS that determining the order (taxis) of Caravaggio's works - were written.
For TEQ the answer is that it can be said to be a sort of prophetic language - the poet has tried to go as little as possible inbetween the transcendent source (pronouncing the inner poetic articulations in the poet) and the written poem. It could resemble the heavenly trumpet of the name of 'Josef' in hebrew. I never wrote anything as long as I had a rational choice - but waited untill it was pronounced by itself in the inner mind. This could mean that the choice of 2 was reduced to the ontology of 1 - and maybe one can see this on the poetry of TEQ that it is difficult to 'explain' a poem by re-telling it in 'other words'. It does not 'mean' anything else than itself, that could be. (This is a trait which it thereby could share with art - if art is defined by the concept of 'unique artifact' - in which case some of the correlations with art history could perhaps be explained thereby). The 'intelligence services' could probably have planned to claim responsibility for these poems - telling that they are a result of their manipulations with me as the PTRSIM PIK or even that 'spy messages' could have been transmitted through the platonic space for being radio-perceived in the inner mind of the poet, possibly without the poet's conscious awareness of such an 'administrative' source - but it can be shown with much rigor and precision that this could not have been the case: The global function 14 on distributional semantics is the proof - it covers all words in the entire work and has a high degree of precision and it is impossible that this could have been organized or taken form by manipulations from external interests - in particular when even all the other functions are woven into it. I consider TEQ a work of 'revelational' character - it raises the question what is the nature of the source of the inner poetic articulation. Am I such a superbrain that I have computed all these things in advance - or am I just a humble poet who lets eternity be articulated in my historic person? It is noteworthy that in the beginning of the 11 years 1997-2008 that it took to write the work, the acoustic trace in my memory from such an inner poetic articulation was so short that unless I grabbed a pen and a paperflat medium and wrote it down immediately, it would be completely gone in the course of very few seconds and could not be retrieved again by any means. I concluded that it was a briefly bypassing phenomenon of spatio-temporal interaction of some 'transcendent' source with the flimsical and ephemeral historic reality. Had I been somewhere else the surface poetry could have looked different - but the overall 'crystallic totality' would in sum have been the same. The results showing that prominent names from art history have tended to concentrate on one or other of the 16 books or 'functions' would be suggestive of the assumption that the work TEQ has a certain universal quality. That would mean that correlations found between this and historic phenomena - such as these examples from art history - are but secondary effects of a primary principle of poetic integrity in the writing.
I myself believe that TEQ, however few could have read it that far, started to change its environmental world as soon as it was finished. 'Der Dornenstrauch' = DDS is a study of those changes in culture (much of it is written on coffee points around in Vienna, Bratislava, Győr and elsewhere) and could therefore be called a 'reflex of the revelation' or a 'revelation of the revelation'. Could be the combination of the two works (TEQ and DDS) constitute the effect of a phrase structure grammar (see the above discussion of the qubit) wherein both left- and right-hand parentheses are jointly paired (quasi 'maya-zugoted') without an intermediate storage medium - and it would have been in this field that the correlations with Caravaggio would have to be searched.
It is my lonely intellectual property and nobody else has any rights to it. I am not an agent and have my full authority. (On my return to Vienna from Italy in april 2023 I started once again getting respiratory = 'spiritual' problems and blood in the urine (= 'genital' = 'work'?) - as if the 'intellectual property' of the 'spiritual work' were under stress. If the distributional semantics of book 14 "If you're going to København" constitutes a proof that the work is not under any administrative control, it can be observed that the paper chain 'Flying Tiger, Copenhagen' has been expanding rapidly in the international market in recent years - I have speculated if it could have been about an administrative interest in softening the value of the proof.
7. Function 15 and the hieroglyphs
In this chapter I discuss some artworks relative to the structure in my TEQ and show how this can be read against the form of egyptian hieroglyphs for a general theory of a global function 15. The procedure is the following:
Identify an artwork in a poem from TEQ book 15 "Gentlemen". The example can be TEQ #1473 which finds an interesting echo in Tizian's 'Ariadne and Bacchus' (source Kennedy 2018). This poem is 1719-1473 = 246 from the end of the work (which is 1719 poems long). The global scope of this artwork qua function 15 will then be on either side of the mid point - across 1719 - 2*246 = 1227 poems. I study the ratios 1/2, 1/3, 1/4...1/10 and 1/2, 2/3, 3/4...9/10 for each such scope. Since 1/2 is always the same for all poems, since it is always the mid point #860 for all intervals, it is omitted from the studies. There are therefore 8 ratios 1/x and 8 ratios (x-1)/x - a total of 16 ratios for each interval defined by a poem in book 15. Computing these over the interval, here 1227 poems, gives a series of 16 poems. For these poems, the titles or (if no title) the first lines of each is studied in a separate group, the signatures or last lines likewise, and the mid line or lines likewise in a group #3.
The rewrite principle is the following: If e.g. the title to a poem is 'abcdefghij', a word of 10 letters. First the ratio applies, say, if it is 4/5 then last 2 of the 10 letters will be moved to the other side - that means 'abcdefgh-ij' → 'ij-abcdefgh', and then the word is read in reverse - for 'hgfedcba-ji'. It is this which should describe a certain element in the artwork of Tizian.
The sensational discovery is that the series of such elements in group 1, 2 and 3 tend to follow the elements in the Caravaggio works which I arrived at in this study (such as by this image): The titles or first lines group follows the socalled 1-step column while the series of signatures or last lines follows the socalled 5-step. One naturally guesses that the mid part of the poems will follow a '3-step' order of the works. While the 1- and 5-step columns share element 4 times in the course of the 64 elements, at elements 4, 20, 36 and 52, the 3-step series will do so only twice, depending on where one starts the alignment. This means that there will be 2 different series of 3-step orders - I have, on basis of some correlations with Tizian, tentatively associated these with a masculine and a feminine order or alignment.
It is seen that the 5-step column can of course be considered primary and the 1-step secondary - but then it would have to be a 12/13-step order - which could make sense for Jesus and his disciples. Even the 3-step can be established this way from the 5-step - as a 38/39-step order. (Could be there is a '37' in some modern administrative intrigues).
Function 15 concerns the cognitive phenomenon of 'logical order'. I continue the example of poem 1473 for Tizian's 'Ariadne and Bacchus': It turns out that the 1-step series of 16 elements follows the righthand margin, about 1/5 of the canvas horizontally and each segment is then 1/16 of the vertical size. It should be possible to recognize these segments in the series of 16 rewrite forms - such as this 'hgfedcba-ji' about segment 8+3 = 11 from the top downwards. Then the 5-step series reads the lefthand margin bottom-up in the same manner - and finally the 3-step series reads the mid part of the canvas top-down again.
This will produce the form which is the same as the egyptian hieroglyph 'reed shelter in fields' upside down:
The theory is that if the righthand form is constitutionally present in the form of the human semiotic endowment, the artwork of Tizian will concern just the turning of logical order of the elements in the 3-step series when the 1- and the 5-step series swap. They will do so not necessarily in the artwork but in the form of my TEQ - for which the 16 functions are supposed to be tightly interwoven in such a way that each and every word in it in principle is controlled by each and every of the 16 global functions - which in total make up for a literary interpretation of the human semiotic constitution.
More generally, the theory goes here that this is what a hieroglyph is. It is assumed that there are some 24 basic hieroglyphs and a large number of additional glyphs adding imagery to the code. I here study the following 4 examples:
| TEQ poem | Artwork | Primary glyph | Secondary glyph |
| TEQ #1455 | Correggio 'Nativity' | snake | hand |
| TEQ #1458 | Correggio 'Noli me tangere' | foot | quail chick |
| TEQ #1473 | Tizian 'Ariadne and Bacchus' | reed shelter | mouth |
| TEQ #1483 | Tizian 'Bacchanal' | hillslope | pool |
The secondary glyph is the one adjacent to the primary glyph in Gardiner's list, the classic order (wherefrom?) of this primary egyptian 'alphabet'.
I present some telling and convincing examples and leave it to the interesting reader to study the details in the full list for these four examples - given in this list of 48 forms for each of the 4 artworks - a list of 192 forms for 192 art segments.
This explains what a hieroglyph is. It is assumed that there are not so many possible basic forms of such 'logical order'.
(There are various possible interpretations of the title 'Gentlemen' but one of the more interesting is the reverse and ratio-turned reading of the mid poem TEQ #860 'The mean flat' - which turns reverse into 'talf neam eht' and with ratio-turning into 'I'm a telephone' or simply 'Gentlemen'. All the defining readings turn around the mid point #860).
TEQ is written in english and that is why the reverse and ratio-turned reading can find an interpretation in the hieroglyphic forms relative to works from art history.
It is seen that the assumed classic jewish mysteries associated with 'Sobibor', 'Treblinka' and 'Belcez' adhere to just these forms of 'ratio', 'magic image' and 'backwards'. Hitler's death camps with these names came to be a hilarious version of these theories - possibly intended specifically for a program on the structure of the Szolnok streetnames.
(See example 2). This is here considered to TEQ #1455 and seems on the surface to be constituted by a butterfly structure but hieroglyphically one could postulate a snake-form for the 1-step mirrored in the 5-step and lifted up for a 3-step - for the snake-head at the eye of the 'Father-in-Heaven' form, the divine custody authority with marble-white hairlocks etc:
(Photo source Correggio 1963 annotated with glyphs from Gardiner 2012 by me). The two lower snakes also suggest two opposing faces - cp. Bassano's 'Supper in Emmaus' - the two persons resembling each other as if they are balanced up between the physics and metaphysics - and the divine finding its place between these two - potentially also with 'ex nihilo' fish and bread for feeding thousands of people.
The first 1-step rewrite form of TEQ #1455 for Correggio's 'Nativity' is 'onstidetimilnut' which could read 'on steed at himil-/a temple-nut' = the donkey (in-stead) suggestive of the hand gesture (towards the temple) of the woman who sees the strong light - or even the basket she holds in her lap. This basket will then extend to the second 1-step element which comes out as '(f)owefareeshtargiltnef' = 'of a forest/farest arch-guilt new'. The two Caravaggios corresponding to this basket and its arching handle would then be 'Jupiter, Neptune and Pluto' with the 'steed' and 'Salome and the baptist's head' for the 'arch-guilt'.
There is a dog's head peeping up from the darkness to the table or crib or straw-surface of the child - this could be element #5 in the 1-step series, reading 'ehtwolfaidemrofsserp' = 'at the wolf-item/aid (I'm) roof-serp', commenting not only on the dog/wolf but also the serpent of the snake-form.
The mirroring 5-step series shows for the 1st element (the head of the snake here being at the face of Mary, just touching the head of the donkey), at the very strong light: '(t)necernisesuohfotoladi apsahohwenoehtsehrekkamuhcsskeew(t)' = 'the new son/sun is as Our Photolady (etc)' - 'a psycho when (you) not see rekkamuch skewt' (sth like this). The 'rekkamuch skewt' - is that the 'stringhook' paradox? The next rewrite forms suggest the role of Jesus: 2) 'Ciovnee' = 'the/see own eye', 3) 'at ir(a)' = 'a tear', 4) 'oblavm' = 'obla[t]um'. The sum total of these rewrite forms for the strong light of the Madonna with the newborn Jesus child in her arms would then resemble the main parametres of grassmannian theory (see below).
The 3-step snake-form above the 1-step (in Correggio) could then read the 2nd element 'htteyteopehtfosisih' = 'the tight up is a folds easy' - for the hand tightly at the head of the bearded man, probably Josef.
Finally, I had considered Correggio's 'Mystic marriage of St.Catherine' originally for this TEQ #1455 - it can be analyzed correspondingly, but clearly with a higher explanatory potential in the 'Nativity' image. Could this phenomenon be the background of Hitler's apparent obsession with this 'Josef-trumpet' nativity theme - apparently a focus of interest going back to the 19th century - as if the secret hiding in its dark recesses were that the Jesus bebe were a snake - a 'dirty beast', so to speak? See discussion below on Cantor and Grassmann - how this even could have sprung forth from such an identification of the Jesus bebe with the hieroglyphic snake - with Cantor presenting an alternative in the form of 'the ad-jective' - not the snake but the hand that held the Jesus bebe in the szolnoki streetname structure: That would have been the rationale in the 'hold-a-cost' of Heinrich Himmler. It is fully possible to see Cantor and Hitler/Himmler as two sides of the same coin - and the western doubleworld as closely associated with this problem. The following Correggio could in principle have been contributing to the ideas of a cantorian 'diagonal'.
(See example 1). This is associated primarily with the 'foot' hieroglyph, secondarily with the quail chick.
(Source Correggio 1963 plus glyphs from Gardiner 2012 annotated by me). There are not so many distinct details to assess the theory from, but a few there are. Assume that the 1-step goes down on the left front of the leg (the left side of the tree trunk) and down to the instep at the quasi 'bucket' behind Jesus and out to the 'toe' in the lefthand margin, next that the 5-step follows the bottom line (the sole of the foot) and the 3-step goes up again along the righthand margin. The tip of the diagonal shuffle is at element 6 out of 16 from bottom to top, or at element 11 from top to bottom. Assume that this tip is #6 in the 3-step series:
6. Element #10
Ratio: 1/8 = TEQ #410,625 = TEQ #411
Forwards: Querela Books
Backwards: skooBalereuQ
Ratio: (u)qskoobalereu
There is a presence of the last line of poem TEQ #1458 - "What its pipeline, efficient Rolf" - 'whaksku Rol-ef', 'what its balereu' etc. What lies beneath this tip of the handle looks like a bucket. 'Dont touch me, wooden handle'. As if this were the wife's coup, the 'uxor koo'. There are also phonological traces of 'efficient Rolf' in the element 11 of the 1-step series.
For the 1-step series, there is in element 2 from the top a crossing of two twigs at the trunk of the tree.
2. Element #6
Ratio: 1/4 = TEQ #560,25 = TEQ #561
Forwards: The Frank Hotel suddenly burned sharp
Backwards: prahsdenrubylneddusletoHknarFehT
Ratio: knarfehtprahsdenrubylneddusletoh
It is seen how this 'knarfehtprahsdenrubylneddusletoh' resembles the signature of TEQ #442 'Nix Knarbybroker' qua 'knarfehtprahs' = 'Knarbybroker' - which means that 'nix' would be 'denrubylneddusletoh' = appr. 'den ruby, I need you so' (or something like that). It is seen that TEQ #442 contains the form 'Haupsup Law (1934)' which resembles the '[h]apsa hohw e noehtse hrekkamuhcsskeew(t)' of the above discussion of the 'Nativity' = the childhood with the 'photolady' etc. 'Go around' = 'rekkamuch' - on his birthday? The poem ends with the lines 'when everybody are concerned with Cart Hussein' - cp. 'the art you sign' = the grassmannian aspects (the faculty of faith) here of the 5-step order. Why should the title to this poem be 'The previous one'? Could it be a poem about 'monkey business' - that the emotions really are called forth by 'the other one', hence Correggio's theme? Now this 'Nix Knarbybroker' can be reached (for global function 15) by ratio 1/6 from TEQ #1486, which could complete these ideas of possible 'monkey business'. It can be observed how these two poems - #442 and #1486 - relate to each other in a mutual reference like the cross of the twigs at the trunk of Correggio's artwork. Hence a relevance there is. Observing how the Caravaggio works relate to these 1- and 3-step orders for the tip of the handle and the crossing twigs and the tip of Christ's finger, it can be concluded that 'the previous one' just as well could be about the element (rather than the person) that applies to these ordered structures. Which makes more sense than the idea of 'monkey business' of humans. See also the vague similarity of Christ's lifted hand with the lighter-coloured formation a little down the trunk of the tree - a la a 'quantum mechanic' phenomenon in the physical reality shaped by the human faculty of faith?
This relevance of the 'Knarbybroker' of TEQ #442 for the 'knarfehtprahs' of this rewrite could suggest that these backwards and ratio-turned forms could be considered inherently present in the literary work.
Assuming that the 5-step goes along the bottom margin from left to right, Christ's foot stepping on an edge would be at element 12 which has rewrite form
12. Element #16
Ratio: 1/6 = TEQ #460,5 = TEQ #461
Forwards: Miller and Livingstone, Supports
Backwards: stroppuSenotsgniviLdnarelliM
Ratio: ellimstroppusenotsgnivildnar
Would it be about 'a limits trop - you send out sign i will/feel dnar'? 'Tropos' is greek for 'turn', like Christ's posture, or like turning the diagonal axis between him and the woman into a diagonal axis from the public to the quail chick glyph in the background forest green. Hence a 'quail chick' glyph would inherently indicate 'the previous one', the primary foot hieroglyph. This turning function with the secondary glyph could even call forth associations to Rafael's self portrait with a friend and hand-on-shoulder.
(See example 3). This seems to encode the 'hillslope' hieroglyph - 1-step from top right to bottom left, 5-step from bottom left to bottom right, 3-step from bottom right to top right.
(Photo source Kennedy 2018). The lower left quadrant seems to be particularly dense with cues from the rewrite form. First, the notable evidential value in the man who holds a carafe of wine up for inspection from below. It is in the position which corresponds to element 7 in the 1-step order:
7. Element #43
Ratio: 1/9 = TEQ #374,56 = TEQ #375
Forwards: This is a donation to the library from the publisher
Backwards: rehsilbupehtmorfyrarbilehtotnoitanodasisihT
Ratio: isihtrehsilbupehtmorfyrarbilehtotnoitanodas
'Isihtrehsilbupehtmorfyrarbilehtotnoitanodas' could read 'is it dregs or burped mor[f]? Your (h)ability at know it (this) and know das (that)': This could be seen as extremely relevant to the very special image element in this artwork possibly concerned with the theme of female sexuality. See also TEQ #471
Next, the main scene is in the lower left along the 5-step axis. It seems to be about the woman resting on her elbow while a woman symbolizing her vagina looks up to her while holding up a plate being filled with wine. She seems to constitute the symbolic element of a sexual intercourse with the man behind her - could be the one who pours the wine. He reaches up to the 1-step series where the wine-pouring is in element #10:
10. Element #46
Ratio: 8/9 = TEQ #1.344,44 = TEQ #1345
Forwards: Have the dog
Backwards: godehtevaH
Ratio: odehtevaHg
= oh dirty vag[ina]
The theme recurs in Caravaggio's 'The cheaters' wherein the one to the left (1) is the woman resting on her elbow (1), the man who peeps in her cards (2) is the 'vagina' woman (2) and the man who pulls a card out of his spine (3) is the one behind her back (3), with the wine-pourer leaning over his spine:
Now the question is how to move the man behind the elbow-leaning woman over to her front. That is apparently the theme of the 5-step order wherein the position of the red leathern sack in front of her corresponds to element 7:
7. Element #43
Ratio: 3/4 = TEQ #1.171,25 = TEQ #1172
Forwards: is in technology, alphabet and craft
Backwards: tfarcdnatebahplaygolonhcetnisi
Ratio: (a)tebahplaygolonhcetnisitfarcdn(a)
= at a bar-play go along: Ketten is in the far-/fork-ketten
The bar-play is clearly the pouring of the wine just above this position, for the 'oh dirty vag', while 'ketten at far-ketten' could mean that this position of element 7 properly belongs to element 3 just behind the woman's back, where the man (3) is leaning forwards. Caravaggio's 'Cheaters' is just the element 3 in the 5-step series. One can see the rewrites for elements 3, 4 and 5 as being concerned with this - as if they are pulled out of the man's spine and moved forwards to fill in the vacant space when the 'ketten' of element 7 is moved to 'far-ketten'.
It was after my publication of volumes 1-2-3 in 2013 that the parquet ('parketten') in my home started moving around.
The rewrite for the position of the woman on her elbow is element 6 = 'Brejda', which could mean 'brei-DA' = 'S-T-A' of the Schimmelbild - cp. also the thresholded black-and-white photo 15 from the 23 photos:
The theme of the movement of element 7 to element 3 or vice versa is clearly the interesting aspect of the 5-step order. It corresponds to the furrow ('renna') in the 'hillslope' part in the upper righthand corner of the 'lapis philosophorum'.
(See example 4). This is to TEQ #1473. It seems to be about male sexuality as a counterpoint to the previous of female sexuality. I divided the artwork into 5 vertical columns divided each into 16 horizontal parts. I here show three very convincing excerpts from the artwork (photo source Kennedy 2018) matched against the corresponding fragments from TEQ read backwards and with ratios as in Correggio:
Fragment 7 in the 1-step column
7. Element #59
Ratio: 1/9 = TEQ #382,33 = TEQ #383
Forwards: Taken from Pauline's trash-ensemble
Backwards: elbmesnehsartseniluaPmorfnekaT
Ratio: kaTelbmesnehsartseniluaPmorfne
= cat-elbow with shared senile-warp of morph-neck
The 'senile' riding on the donkey is 'shared' with the man supporting him, while the carrier after them would be the 'morph-neck'. The alignment with Caravaggio assigns to this element the 'Burial of St.Lucia' - which exhibits clear similarities - the 'senile' is the second digger, under whose face there is another mourner. The 'cat-elbow' is then the lefthand digger, and the 'morph-neck' carrier is the clerical with the hat. St.Lucia is the donkey.
A strange concept it is - which Tizian has interpreted with high precision.
The part immediately above this in the same righthand column is the following:
Fragment 6 in the 1-step column
6. Element #58
Ratio: 1/8 = TEQ #399,38 = TEQ #400
Forwards: 35 percent believes that
Backwards: tahtseveilebtnecrepevifytriht
Ratio: rihttahtseveilebtnecrepevifyt
= right at the veil up to the croup of a foot
Finally a convincing fragment from the lefthand 5-step column:
Fragment 2 (bottom-up) in the 5-step column
2. Element #54
Ratio: 8/9 = TEQ #1.336,67 = TEQ #1337
Forwards: The Danish rocket/record player
Backwards: reyalpdrocer/tekcorhsinaDehT
Ratio: yalpdrocer/tekcorhsinadehtre
= help draw care-shin of the tray
This could call forth associations to the red leathern sack which is in front of the woman on her elbow in 'Bacchanal'. Help draw the man with the card in his spine over from her other side? This could be the male correlate to that female aspect of the movement.
Finally, quite convincing is the last element in the 5-step series when read bottom-up - that is the last element on top left of the artwork. It shows a formation of stars on the sky resembling an egyptian-hieroglyphic mouth:
See also the last example in the listing, for the uppermost lefthand corner:
16. Element #4
Ratio: 1/10 = TEQ #368,70 = TEQ #369
Forwards: Pamphilie Modality PS (If you are curious before, see today's riff)
Backwards: ffirsyadoteeserofebsuoirucerauoyfISPytiladoMeilihpmaP
Ratio: hpmaPffirsyadoteeserofebsuoirucerauoyfISPytiladoMeili
Considering only 'Pamphilie Modality (PS)', it rewrites to 'ytiladomeilihpmap-SP' - and taking PS to be for a P/S conversion, it could read 'a tiladom, a lipmap' - or, if you like, 'a sideraform, a lipform'. This is all the more precise if this 'mouth' is considered a 'secondary hieroglyph' to the primary 'reed shelter in fields' which is read from this artwork.
These examples probably suffice to show the high relevance of this hypothesis.
An interesting observation concerns the two leopards in this artwork: Their function in this male sexuality artwork seems to be to be the correlate to the female sexuality in the previous - with a counterpoint in the furrow in the upper righthand part on the white stone, the lapis philosophorum. But this furrow is clearly a part of the 'hillslope' glyph, not the present 'reed shelter in fields' which rather is in the front 'snout' of the white stone. The egyptian hieroglyphs seem generally not to be bothered by privacy matters - one of them shows a phallus from which fluids are running. The question is whether this 'running' in the phallus is the 'renna' which is absent from the hillslope glyph. In Tizian this 'running' could be 'renna' between the two leopards, while the female in the lefthand margin would correspond to the running fluids from the phallus. If so, one could postulate that the two leopards correspond to the movement from element 7 to 3 (or vice versa) in the 'Bacchanal'. When this is in the 'Ariadne & Bacchus', it would be in the second out of 5 columns. If that means the 3-step column in the mid, the opening between the two leopards is approximately at element 11-12 in the 3-step series, which means from 'Sacrifice of Isaac' to 'Medusa'. This 'Medusa' will then clearly correspond to a cork shooting out from a bottleneck - cp. the famous 'sobreiro' = 'cork-oak' cross in the mid of the text of the 3rd ('3-step'?) secret of Fatima. When this is turned around by 'logical order', it becomes the step from 'Narcissus' to 'The cheaters'. One could even recognize the 3 columns with crossover at the 'Medusa'?
Clearly the black-and-white correlate to the two leopards are in photo 18 and photo 19 - the low hand in photo 18 being the lifted hand of the woman in blue on the lefthand side. On the socalled Ostarrichi document (reproduced here from this source) there are inkblots low right (and some high left) which could invoke associations to nose monkeys (one photo here = 'glove-in-face'?, another here) - as in this detail (excerpt from this reproduction from Kennedy 2018):
If this document is fraud, which it arguably could be, the apparent campaign against my poem about the sailor and the ship that soon will leave the harbour for the open sea, like this sea beyond the leopards and the ship on the 'Bacchanal' artwork, it is likely to have its origins just there. If even the earthquakes of Turkey and Syria of february 2023 were indexing this book of mine, is it that same old story? I notice the italian 'Movimento 5 Stelle' and 2 * 5 stars in the top left. However, the movement is likely to be from elements 3 to 7 in the 'Bacchanal' - with that 'STA' and 'BREI-DA'.
See also the story of the falling cliff of Beachy Head: There is behind the two leopards what could resemble such an 'ejaculated' cliff and Ariadne to the left wears a red colour like the lighthouse.
The 'Ostarrichi document' contains also the mystery word 'zidalweidun' the origin of which I probably have shown in this study which allows for a division of the Yijing into 3 groups which each is folded for various aspects which eventually outputs the 'zidalweidun' form. It can be noticed that these 3 foldings will resemble the 3 'curls' of the inkblot nose monkeys in the form it has in the Tizian artwork, and these again will resemble the 'snake'-glyph that seems to hide mysteriously behind the artwork on Jesus' birth. It is likely to be just this phenomenon which constitutes the attention to this 'zidalweidun' concept. There seems to exist an idea that Austria is conceived conceptually as 'the heart of evil' - if so, it could be about just this snake-glyph hiding in the visualized Jesus infant as the basis for the 'zidalweidun' of the Ostarrichi document - which is taken (more or less seriously) as the evidence of the austrian territorial rights. Of course Austria would do well in discarding officially this document if it is known to be fraud. It is of course possible that these 'nose monkeys' = norw. 'nes[e]-ape' is the background of 'Apenes' story and hence that they are rather essential for the entire construction.
Were the Beachy Head landslide triggered by dynamite? Could be the matter could be recognized as 'nose mo[n]ke[y] without fire'.
Cantor and Grassmann
It may be that the whole story is this Cantor as the 'diagonal' to Grassmann - what is wrong is right and vice versa, a self-referential final hebrew F - the basis for the 'dritte Reich'. Grassmann could then be the Jesus on straw in Correggio's 'Nativity' image, the very 'Halmrast' of the Kennedy assassination.
Is there a role for the 'secondary hieroglyph'? The list above tells of these 'secondary glyphs', like the quail chick to the foot of Correggio's 'Noli me tangere' qua 'diagonal', that these are but the adjacent glyph in a list for which some more or less universal rationale of order exists.
(Source Correggio 1963 plus glyphs from Gardiner 2012 annotated by me). Is this simply Cantor's diagonal proof - based on the 'ad-jective'? Could be it seemed intuitively right somehow - that the world could not take the eventual insight that the essential secret of Jesus - both divine and human - was that he was the hieroglyphic 'snake' in the earthen paradise - and so they had to find a way around this looming threat and a solution with a 'secondary glyph' could be the solution. (It must, though, be understood that this threat of a 'converse' snake is perhaps not much else than the phenomenon of 'converse power' by the intelligence services providing the needed information to the government). The despair could have prompted the feeling of a need for lifting this 'snake' out of the identity of the Jesus bebe - politically in the program of opening the newborn 'Messiah' head for a masturbation (of the 'snake') on its cortex, like leaving the viper's egg there as an alien element explaining the strange feeling of identity of Jesus with a snake, and thereby navigate through the troubled waters of the unfortunate insight. The western world had invested all its future into this religious concept - including its moral integrity in the heavenly justification of colonialism and erasure of other people's creeds by hardboiled missionary activities - and so they felt that they had to solve this problem somehow. Hence the class of Kennedy, Hitler and Cantor in one lump - and could be the fate of Indira Gandhi could find its explanation thereby.
Could be this problem of a looming doubt in the firmness of the christian foundations facing a new information technology would have been the ultimate reason for the story of Grassmann shifted diagonally (qua 'other side') over onto Cantor - since it could have been conceived that Grassmann entailed the danger of magnifying rather than solving this problem by lending essential value to the 'magnification' of religious beliefs through its 'Ausdehnungs'-lens, and so this 'wölbing' problem was solved by way of paperflat cantorian diagonalism. Are the paperflat Venn diagrams of boring 'Mengenlehre' an attempt to explain what Grassmann 'really' is about?
Logic of the 20th century has struggled with finding a rationale for 'wellorderedness' - as if the quail chick needed a reason for being 'ad-jacent' to the hieroglyphic snake?
The 'Noli me tangere' is also self-referential in the form of the face in the background forest - at the head of the quail chick - being seen like Jesus sees the woman's face (as in a pirouette of a gender-swapped ballet) - and hence the quail chick is seen as from the eyes of Jesus. (A quick jelly? A chilly quake? Were Kennedy reconceived to a 'chick' - for borrowing Hitler's mass greetings?) The rewrite formulas (discussed above) of 'see the own eye', 'a tear', 'ob-la[t]um' = the 'ad-jective' of Cantor could have been recognized by Hitler on the format of Treblinka, Sobibor, Belcez. The 'foot' hieroglyph as 'primary' could likewise be seen as motivated by the foot of Christ in this Correggio artwork.
But if Cantor's theory is the same as this witness report 'ad-jected' as a secondary diagonal glyph to the primary glyph of real matter, it suggests that Grassmann is the real stuff of the history - the hillslope, the reed shelter, the foot and the snake - the main alignments of the columns in Caravaggio's work which also can be recognized in the four corners of this butterfly sign. (See also these ideas for a suggestive comparison of the idea of a 'secondary glyph', or 'The structure of divine revelation' for the 'witness report' of line 11 - as well as this grouping of Acts 10 - including Acts 10:13 for the apparent innermost 'mystery' of the Szolnok-nazi complex being associated with the 'negation, paradox, binary values' of Cantor's principle - could be also of certain 'administrative services'?). Since hieroglyphs should apply to any theoretic poetic work independently of the language it is written in (that is, if this is not only a result of the form of anglophony), it follows that these are constraints on the phonetic and logical form of the language and the thought. Indeed it is possible to understand Grassmann's distinction between analytic and synthetic 'Verknüpfung' (§5) as being concerned with whether the hieroglyph conforms itself to the form of the language or if it is the other way round. Is the human thought (its semiotics) guided by the symbolic (geometric) constraints contained in the principled variability of the basic hieroglyphs, or is the human thought and language constrained by 'the form of being' and the hieroglyphs get their shape after the intentionality in the language - of, say, a poet or a mathematician? If these are the variables, it is not a paperflat mathematics.
If Cantor's 'ad-jective' claimed that 'it is quite the opposite', it means that Cantor ignored these cognitive distinctions and arrived at an artificial bridge between the geometry and the symbolic forms and value of the language. From this arose the modern confusion on 'arbitrarity', and nazism sprang probably forth from this cantorian simplicity - when reducing the rich variability in the esthetic thought of italian renaissance to one single symbolic form in the final hebrew F for the Madonna and the Jesus bebe.
It is possible that Grassmann quite simply was not understood in his time - since it is probable that it is only by my TEQ that one can prove this connection between the visual arts and the hieroglyphs, a connection which otherwise remains speculative and suggestive like that final 'F'. Hitler's variant contained perhaps many of the 'factors' but suffered from major defects from other viewpoints - mainly it would have been about minimizing the visuals to the imagery of Madonna + bebe in that single final 'F' while maximazing the 'power' element correspondingly. Could be the role of Hitler was to associate his program with Grassmann while cantorian theory came to be recognized as progressive and anti nazi. Why so? If a gap opens between the geometry and the semantic theory, humans are getting scared and hurry to claim, with Cantor, that it is quite the other way round.
It is clear that if an infinite series can converge on or approximate a trigonometric or integral value, if the semantic value of the symbols is not the same if you derive it this way or that, then a much easier and quicker way to success is to just postulate that this distinction doesnt matter and it remains the same anyhow. That makes math easy. But it can be that the problems are not really solved but only postponed and that they return in the form of quantum mechanics and computing. Since grassmannian intentionality can be seen as an integral ingredient in that faculty of faith - when assigned theoretic status this probably is the same as his concept of 'Ausdehnung' in his 'Ausdehnungslehre' - which makes the world take on this shape or that, it is clear that cantorian theory imposes on theory a rigid invariability which drains humans of the involvement of this faculty of faith and therefore can postulate a quick success in the form of workable theories and cosmologies. But it is clear that this cannot be a lasting success and it entails a spiritual totalitarianism which makes western symbolism turn fanatic and its theories psychopathic. Therefore nazism could be another side of the same coin as cantorian theory.
Every human being must make use of the innate faculty of faith for being conscious and having a workable theory of the world. It is your belief about the world which gives it its particular form - not necessarily only the popular 'modern' theory that it is the other way round - that it is the form of the world which is given and which gives shape to your theories of the world. This phenomenon leaves a trace of theoretic difference on the world - the difference between what the world is and what it could have been. That is why quantum mechanics has to include 'what it could have been', as an alternative and equivalent form of being to 'what it factually is' - and hence a quantum particle is believed to be in two places at the same time. Grassmann's 'Ausdehnungslehre' is a mathematical modelling of this 'faculty of faith' and is therefore probably the solution for quantum computing. Hitler can be considered an attempt to associate this 'jewish-type' theory of Grassmann with nazism - since all the main factors of the theory on how art (Tizian etc) relates to the 'revelational poetry' of my TEQ can be recognized in the 'Josef-trumpet' of Szolnok - the Sobibor, Treblinka, Belcez, the 'art' theme of the Madonna ('Himmler') with the Jesus child in her arms ('Heinrich') in the form (of 'Luitpold' type?) of the final hebrew 'F' ף in the sense of a 'graphic image' which also has an alphabetic function. It is possible that the choice of 'Szolnok' for these functions is due mainly to the name of the place resembling the three forms 'Sobibor', 'Treblinka' ('szoblnoki'), 'Belcez' ('kon-losz'), which I have guessed are the names of deep jewish mysteries essential for understanding Grassmann's theory. The error of history was that it interpreted Grassmann in the form of the terror-and-monkey-business of Hitler-and-Cantor - and let Grassmann go 'on the other side'. Could be the problem was felt as unsolvable and hence the 'quail chick' had to change the ballet gender via a 'kveil-e-dick' ('curling-up-dick', like a snake) into a 'Kennedy' (cp. Rafael's 'La Fornarina'). It may be telling that protestantism developed along with the italian renaissance - could be even the assumed essential issue of 'transubstantiation' could have concerned this idea of a sudden transform of Jesus into a snake (hiding in his 'potentialities'). Rafael's 'double portrait' may have encoded the essential turns in the 'wellordered' relation of a quail chick glyph to a snake in such a way that the 'hieroglyphic' aspects are inherently present thereby, albeit not visible on the surface.
Is this about the two leopards of Tizian - qua 'dirty bi-east' in the 'revelation' of elements 3-7? The 'cork-oak' mystery from the 3rd secret of Fatima? Why did the protestants split off from the catholics around those times?
The conclusion to the whole story could therefore be found in the isomorphy of the mirror-symmetric hieroglyphic snake in Correggio's 'Nativity' with the 'converse power' of the intelligence services relative to the governmental power: This could explain the power of 'intelligence services' as a 'Schlangenbiss' of 'mafia' type qua 'diagonal ad-jective' - like a 'bear/beer on the rails' - to the governmental power. It may be that the 'pressing problem' is not much more than this brolly-tip phenomenon in administration - the 'tivoli' qua 'brolly-tip' - and the correlate of 'computer glitsches' with apparent mystery value. Qua political problem, it would mean that this snaky isomorphy is lifted over onto the epistemological isomorphy of the qubit with a virus multiplication spread, so that the pandemic could be seen as starting with a 'Schlangenbiss' qua burglary of my house in Szolnok after my publication of this article on the internet. The conjecture can be made that there could have been 'intelligence services' behind the burglary.
Consequently, were Henry VIII - a contemporary of Rafael, Correggio, Tizian - and Luther - cheated by his intelligence services? Did they 'contain' - 'zum culture'? Or is that the essence of administrative 'intelligence' - 'containing the zoom on culture'? A postwar US program of 'containing the beast' could perhaps be recognized in just this story, and the post-napoleonic construction of the european swastika by the state of Norway in 1814 could likewise have been the construction of a 'tivoli mirror' with England + northern Ireland.
Why was Grassmann's theory left in the shadows of cantorian theory? Could be he was victim of a 'Schlangenbiss'. He had sent by post his 'Ausdehnungslehre' to Cauchy but felt that Cauchy had only plagiarized it. Evans (Saunders Series 1990) tells that Augustin-Louis Cauchy (cp. the later story of the name of 'Adolf Holzhausen'), had started studying civil engineering but, having won the admiration of Lagrange and Laplace, let himself be turned to pure mathematics instead when accepting a teaching post. Cauchy was very prolific, tells Evans: Being born in 1789, he wrote 789 mathematical papers etc.
Were my own PhD dissertation subjected to an attempted 'Schlangenbiss'? The 'converse' snake of Correggio's 'Nativity' could find its rationale when lifted up to the view of the 'divine custody authority' - as for a 'high international level' - which could be when the intelligence tries to gain the upper hand on the government.
It is a rickety shack, the whole scientific enterprise, but it is built by way of the faculty of faith and it functions reasonably well - it could have been worse. The story could be the mishaps when this faculty is identified as the intelligence services which the government by necessity is trying to take faith in.
Adolf Holzhausen
One can guess that the Szolnok streetname complex were selected in the second half of the 19th century when the interpretation of the egyptian-hieroglyphic signs came to be settled on a certain form, be that valid or not. The "Egyptian Hieroglyphic Dictionary" of 1911 (first edition 1897) of E.A.Wallis Budge was printed by Adolf Holzhausen in Vienna, and when king Edward VIII abdicated in the 1930's for marrying Wallis Simpson, it is not impossible that this could have entailed a reference to Wallis Budge - and hence also to the name of Adolf Holzhausen which could have been a hidden reference to Adolf Hitler. After the publication of his 'Ausdehnungslehre' in 1844, Hermann Grassmann sent it to Cauchy and it may be that history has recorded this as a case of potential plagiarism (I dont know which work or paper of Cauchy that could have been) - which also could have contributed to the story with Cantor. If so, it is possible that 'Cauchy' is the name which is the 'saucy' part of the name of Holzhausen qua Hitler. Some leafing in the dictionary of Wallis Budge can suffice for the conclusion that the szolnoki streetname 'Szava Utca' can have been taken in the sense of 'divine custody' in a chamber on the other side (as for the Sob-i-bor mystery) and hence the name of 'Wallis Budge' could be an interpretation of this, not the least in the form of Hitler's 'Solness' play (with the accountancy room 'on the other side'). 'Raba Utca' on the other hand could be recognized in the hieroglyph 'erpa' or 'raba'' = 'hereditary tribal chief' = 'king'. Furthermore, if 'uas+qer' (for 'Vas Gereben') is taken to mean 'Aurora Borealis', for the northern branch of the european swastika after Norway was established in 1814, including the idea of 'divine authority/custody' in the curtains (or bedsheets?) hanging down from heaven, so to speak, to be shipped down to the british monarchy when the swastika turned when the italian fascism 'collected the sheaves of constellations of stars' (collecting an underearth 'pane-ic' of the eastern branch of the swastika), there is most of the historic apparatus present in the streetnames. To this 're + ben' can be added in the sense of 'a single chapter + NOT' (cp. the silly idea of 'chap-tear' qua 'pane-IK'), hence 'not (only) a single chapter' but maybe '8 chapters' = 'Asthadhyayi' of Panini (for the 'pane-IK') - which then will be the 'sauce', the very Bloksberg factor. If it is 'Cauchy' which is this 'sauce' and it consists in a plagiarism from Grassmann's theory, there is the possible interpretation of the complex that Adolf Hitler was an agent for the british monarchy (and hence he lost the war) and the responsibility claim for this could have been the Wallis Simpson story - and if Hitler should have been a 'saucy' plagiarism, he could even have been a briton who took the place of the original. 'Vas Gereben' in this sense of it would then mean just that 'Adolf Holzhausen'. Clearly if this should have been the story, one sees how it could have served as a massive brake on the development of the new knowledge and information technology. Is the decipherment of the egyptian hieroglyphs really right? The present study can of course be used for a re-decipherment on a principled semiotic basis.
King Edward V
I have no data on the end of Rafael's life but have speculated that he was murdered by a british envoy and that this should have led to the protestant formation of the anglican church. Why should England have wanted to take the italian renaissance? The reasons could be simple, reactionary and tragic. The catholic church could have invested much into giving England a chance to apologize and when the british royals were for an official visit to the Vatican a few years ago, it could have been that the Vatican had still hoped for an apology - they had themselves been on an apology tour in England due to sexual abuses from some catholic priests in England. But if the meeting did not produce an explicit apology after all, it could have been rather 'expensive' for the Vatican. This could have happened before and the costs could have been no less then - I have speculated if this were the reasons why the Michelangelos in the ceiling of the sistine chapel were scratched out and overpainted with fresh colours (which would have left nothing of the original brushstrokes and many artists would perhaps say that it reduced the great art to a mere reproduction only) and why pope John Paul II canonized more saints in his lifetime than the catholic church had done in all the centuries before him. Some could even speculate if this problem could have been the historic reason for the development of the italian mafia phenomenon. And since the italian mafia could have constituted a 'proof' of this history, it is possible that english intrigue could have constructed the Decameron as a fraudulent literary piece in order to create an alternative explanation to the mafia. (One could guess that the Decameron could have been constructed as an italian counterpoint to and potentially even in dependent relation to the equally possible fraud in the austrian 'zidalweidun' phenomenon - see this file and the much more extensive explanation in this study - including the construction of the 'european swastika' by the establishment of Norway in 1814 - as a northern counterstructure to Italy in the south).
How would England respond to this if the problem really were that an apology should have been necessary for getting the world up in spiritual balance again? They could have tried to find a socalled 'goodenough' reason. How would that have looked? It could have looked as if it were about the-other-way-round - that the english renaissance including Rafael's great art really were a direct result of some english incentive or origin somehow and the italians had not understood this and not credited the source properly and eventually the english king could not take more of this obstinacy and sent an envoy for stopping Rafael. How could this construction have looked if it were an attempted defence against the bad conscience that could have followed from an english attempt to deflate the entire renaissance blossoming - which really could have been due to trivial human reasons such as envy etc? Were Shakespeare a result of the italian renaissance? Clearly if the catholic inquisition could be considered a part of the background of the italian renaissance, that does not mean that it is meaningful to immerse people into chemicals today. (See end of this document).
It seems that the construction could have been to establish a theory of a divine revelation in England at some time prior to the release of the italian renaissance. My guess is that this is what the modern-day apparent mythos on the role of king Edward V be about - the young king who disappeared in the tower - an attempt to construct the idea that Edward V was divine and a new Jesus and that the spiritual impetus from this 'revelation in history' is what prompted the sudden impulse for the italian renaissance - but the italians did not understand it and did not credit the divine source properly and eventually the english king Henry VIII lost his temper and sent an envoy to take that Rafael who surfed so high on the english spirituality but did not understand where the original source for this came from. It is even possible that the temper did not stop there but could have continued with more assaults in an attempt to get the 'spiritual balance' right. Why are there so few Leonardos left - Mona Lisa and perhaps one or two more but that is all?
If this had been the history, one could have understood that England would not apologize - for the split-off of the anglican protestant church from the catholic. Would it even have been not only the anglican but the entire protestantism?
However, it is doubtful whether there is a basis for claiming divinity of Edward V, even if the idea of course can be constructed. The modern-day apparent 'intelligence project' on my person could have been for constructing a quasi-divine role for me (ideas of a unique genetic Stammbaum on a PTRSIM PIK basis, possibly with ideas of royals relating to Edward V in the tree) which could have been taken over by plagiarists and extensive 'monkey business' on my life and work for the eventual conclusion that I should have been an usurper trying to claim the 'divine throne' on a false basis - while the monkey business could have been recognized as adhering to the only proper and authentic divine english revelation in history. It is possible that largescaled constructions could have tried to make my life fit into such a scheme, including friends and foes prepared and controlled by the international intelligence services under the control of british intelligence. The role assigned to me as attempted 'usurper' would then have been potentially recognized as 'Satan' - and hence the idea of jewish genetics as my origins are in conformity with Hitler's program. Of course I am not a part of neither an attempt to claim british divinity or involve in the historic mess in any way. I am only a normal human being who never was informed about this history with any single word. And of course I hope that there will not be attempts to 'usurp' my work. I have speculated if Kennedy were in such a program and that the 'assassination' could have been organized by himself for a program of making similar claims that the 'divine inspiration' for my work really came from himself. One of the elements in this construction could have been that my skull were opened not so long after birth and that JFK were present and masturbated a spurt on my cortex and that this should have counted as 'divine inspiration' for my later work - and similar constructions.
This 'point of view' - these different conceptions of the historic origins of protestantism, at least anglicanism - could have come to enter into history in the form of a split between monarchism and republicanism. Of course I am a republican from this point of view.
But the construction of an attempted 'divine status' for king Edward V cannot have been entirely devoid of any basis - if it has succeeded in continueing up to the present day? What is the basis for it?
Grassmann would have been the german version and Cantor the british - the 'Edward V' basis. This again could have been a part of the background for the idea that Hitler could have been an english agent of 'Adolf Holzhausen' type. Panini read backwards as the 'cantorian diagonal' to Grassmann could be a part of the construction - including Hitler's claims of the 'aryan origins' of his nazism. As the present study has shown, there could be some cognitive and semiotic reasons for a logic on reverse phonetics - but probably not of a 'diagonal' kind as for Panini on basis of Grassmann.
My view is that there are some potentially impressive redundancies in the 'monarchic' world view, redundancies which could have been recognized as a basis for 'royal divinity' in Edward V, but these are probably due to some redundancies in the human semiotic constitution which need not be recognized as necessarily monarchic. I would call these 'poetic redundancies'.
'1823' could be one of these - comparable to '1967' (in the computer glitsches) and recognizable also in the revelation of Knock 1879 (from this source). One could think of british-philosophical attempts to link 1823 to the year 1483 of king Edward V: Say, the series Josef = 1, Mary = 2, John = 3 and the altar with the cross and the lamb = 4, by which '1823' can be reached by 'John' qua 'octogonal' = '8' going inbetween Josef and Mary and 'thereby' redefining the cross and lamb from '4' to '3'. Conversely, the year 1483 can be reached by postulating '8 chap-tears' of 'Asthadhyayi' type for the Madonna (with 'final F' etc) and thereafter letting the lamb with cross = '4' move inbetween Josef and Mary. 'Theologies' like these can certainly be established - in an attempt to make Edward 1483 a case of 'divine revelation' invoked via 'John Grover 1823/1843' which are very parallel and could thereby constitute another element in a comparable 'theological philosophy'. 1223 on me could be a 'strategic' variant of '1823' - claiming to be the origins even before a 'diagonal' was put over the '2' for making the 'Asthadhyayi' (= '8 chapters') basis for the english conception. This '1223' seems to be a part of the strategy on the role assigned to me in the mythos theatre - and hence it could have been a numeral assigned to Edward V. But clearly ideas like these are a poor substitute for filling in the gap between the 'final F' with imagery values and the italian renaissance format which I have described for my function 15. It would have been the 'missing link' in terms of insufficient explanatory potential in the hieroglyphic conception which could make for these mythologies.
It is likely that the human semiotic constitution contains some such puzzling redundancies - and that these are used also for attempts to construct a theory of 'divinity' in Edward V. Others would call it Bloksberg and broomriding - to compare ideas of divinity with such strange things. Christian dogma recognizes Jesus as both divine and human which means that his transcendent divinity can be understood also by way of studying his human life which imposed such constraints on the divine being - but that does not mean that quirks and puzzles in the human construction can be taken as proofs of any divinity.
From this file - the story already described a few times: When I returned to Vienna on 2 march 2021 after more than 7 months in Venice, I found in the fridge under the fusebox a brown puré-like mass on the bottom glass (a few decilitres it was - but it didn't smell) and it looked as if a 'granat-apfel' had exploded - seeds had apparently been shot out in large amounts and were stuck to the fridge ceiling and walls (but not the bottom) - but these seeds were rather small and would not ordinarily have been from such an apple - they looked in fact like small rice so maybe it was only some sort of rice or seeds that had been shot out from the 'brown amorphous mass' somehow. (I dont think I had left anything like that in the fridge when I left - it was rather empty of decayables). [...] The main fuse in the box right above the fridge had also gone kaputt while I was away - could have been in the same moment? - and I lived in darkness with candle vigil untill an electrician came and repaired it on 4 march.
The main fuse had been disconnected while I was abroad. Some intruder could of course have been there and sabotaged it and left the strange phenomena in the fridge - but if that were not the explanation, the main fuse would have gone defect in the moment when I reconnected it on my arrival. I would also say that the rice or seed that had been spurted onto the ceilings and walls of the fridge (where they remained like glued to the smooth plastic surface) looked difficult to imitate, but of course that is a possible and most natural explanation - if it were not about some puzzling redundancy in the construction of the human reality.
From this file: 'Rekavik': There was on 19 march 2021 [i.e. 17 days after my return] a volcanic eruption on Iceland - in Geldingadalur some 33 km off Reykjavik.
Rekvika: News (here from expressen.se, here from www.tv2.no - I quote from the latter source this photo and this photo) tell of a strange object drifted ashore at Rekvika (!) on Kvaløy near Tromsø in northern Norway. It was Tine Marie Valbjørn Hagelin who found the object which looked somewhat 'ex nihilo'.
(I quote this source in this copy and this photo in this copy - in case the source should come to be removed from the web).
Then again some time later another volcano erupted on La Palma - in the distance 1823 km from Madrid. One can also measure 1823 km right east to 'Arawane', the desolate caravan stop with a deep well in the middle of Sahara - along the sand dunes that stretch for many hundred kilometres along a south-north route.
Now for the mystery: It turned out to be just 1823 km from the volcano of Geldingadalur to the mystery object found on the beach of Rekvika. That means appr. from Rekavik to Rekvika. I observed also some other cases of this 1823 distance. I notice the 'a Rafaele' in the name of this c-'Arawane'. It is possible that 'Arawane' is a wellknown phenomenon in the history of intrigues from the 'intelligence business' in attempts to construct a quasi-divinity on earth, but this I know little about. I recall the name of a french doctor 'Caillié' (probable spelling of the name) from my childhood in Molde.
I dont know if volcanos can be constructed with modern-day military weapons, but I would doubt that it is possible. Would it be possible to create a crack or fissure many kilometres through the rock? Even if it should have been possible to create a path of rock turned into pebbles and dust by a chain of small bombs, this entire shaft would have to be lifted up by the lava and it sounds improbable. If it is not possible, then there could be some evidence of something in the 1823 kilometres of this story.
Now of course the easiest explanation to the mystery object found on the beach of Rekvika is that it could have been made by somebody and put out for somebody to find it - perhaps not the least for reasons of these 1823 km. However, I found an independent piece of indication that maybe it could be some genuine 'ex nihilo' mystery phenomenon: See this file on 'Delacroix' - and the phenomenon briefly mentioned as 'Apollo's lyre'. (Cp. also the theme of 'apologies' and 'liars').
If, therefore, the mystery object from Rekvika in Troms of northern Norway is not a piece of fraud but an authentic 'semiotic' phenomenon of ex nihilo character, it could count as a case of '1823'. I have not enough data but it could look from the photo of probably Hagelin as if the object had been 'melted into' or somehow been attached to a piece of timber that had drifted ashore - cp. the quote I have made earlier from Seferis - see the end of this file - in which case it could perhaps have been more probable. It looks in its form also like the poetic structure of my 'The breathing of silence'. See e.g. this early discussion of its form - 105 poems reorganized into 64 by letting poems 65-105 be divided into 64 parts attached to the end of the 64 - that would have created a form resembling this one.
Monarchic inclinations could perhaps call this a late appearance of something related to Edward V, who disappeared in 1483. I compute this date in my PEB and find (2009-1483) * 0,366 = 192,516 = PEB #193 which seems to tell just the story of the refridgerator on my return from Italy. (See also the above reference to TEQ #193). The 'much' could then have been what was found on the glass plate in the bottom of the fridge. "It is much" has a story from Venice - I was in for a morning coffee in a 'pasticceria' and stood talking with a female japanese tourist (eating chocolate pudding) when suddenly a voice was pronounced apparently 'ex nihilo' over the heads of the congregation, under the ceiling: "È un ragazzo". (She asked me what it meant - it was not only I hearing it). For a link from this to the 'much' of PEB #193, see the above discussion of the 'egyptian RA' and the final hebrew 'F' which could suggest a link to 'the day of the Jesus' - which then could suggest the day of the disappearance of king Edward V. However, it is possible that this link would go through the decipherment of egyptian hieroglyphs - and if that is not valid it is not certain that there would be a link from such an '1823' and similar phenomena associated with a potential divine status of king Edward V.
'Ragazzo' is, tells De Mauro (2000), a word first attested in 1313. That means my PEB #255 - with 'ingresso'. The word seems to come from arabic 'raqqaz' = 'corriere, messaggero che porta le lettere o che conduce i viaggiatori'.
Is the story of what happened to Edward V in the tower known - but secret? Were he lifted on angel wings up from the tower to heaven? One could speculate that it is considered a wellpreserved royal secret what really happened. 'Adolf holdt sausen' = 'Adolf held the sauce' if he had got the 'saucy' secret. I have speculated if I could have been constructed for the purposes of this 'saucy' secret - say, an 'intelligence project' to find out what happened really when Edward disappeared. However, I have no strong opinions on this idea. I dont know what my Stammbaum contains but there are certainly only normal human beings there and I also count as such - and there is no basis for any such organized intrigue against my lonely individual.
My view is that this story tells of strange redundancies in the human semiotic constitution and that ideas of such a largescaled 'intelligence project' for finding out of the fate of Edward could even have been constructed for the purpose of trying to lend divine status to the uncoronated king from 1483. It is of course possible that monarchies are concerned with these redundancies in the human constitution, but these redundancies are, in my view, of primarily poetic character.
Hypothesis: The 'hieroglyphs' apparently form the basis for these modern phenomena - but are they really only a misconceived decipherment - and the phenomenon of 'HI-and-LO' of Caravaggio's canvases is the real interest? (That would be about my DDS - and see also this account). Then the role of anglophony - such as in this phenomenon - with political echos in this story - or in this - could even have its rooting there. Since these anglophonic puzzles seem to make some sort of sense, there could even be such redundancies hiding in the understanding of the hieroglyphs if 'HI-and-LO-glyphs' is the factual (but, it would probably be, subconscious) basis for the received decipherment of Wallis Budge and others. That could also concern the question what could count as 'hiero' even among humans - including Edward V? An example is found in this account of the artwork of Filippo Lippi: This shows a HI head (or really three heads in conjunction - as for the three columns - see also the motto from Strindberg to my novel) immediately above a book which also is the LO element in the same mid - see also the book in the bookshelf immediately above St.Augustine - for that 'reed shelter in fields' glyph called HA which here (in the above account) is taken to be about the change of logical order when the glyph turns or rotates for upside-down. The meaning of this glyph is not given in isolated form but here with walking legs underneath (quote from Wallis Budge) it is taken to mean just that 'falling down' which will be the essence of the change of logical order in the 3-step column in the middle. Hence it could count as an example of a HI-and-LO-glyph which gets its meaning thereby.
8. Some concluding remarks
It was shown that the problem of politics consists in a collapse and conflation of certain important parametres as far as the semiotic sign is concerned, so that an identification of the visual parametre (Correggio-Caravaggio for TEQ) is mistaken for a logical (Grassmann-Cantor for Panini). It could have left the unfortunate effect that Grassmann's theory could have been taken for the Bloksberg factor.
However, it can be observed that if quantum computing is based on the idea of two particles or 'information items' being 'the same' with a potentially large distance between them means necessarily that their logical order can be swapped - which could mean just my 'function 15' relative to the history of art.
The collapse and conflation (Cantor, Panini) may be identified as a matter of information technology relative to the functionality of chinese and hieroglyphic script in such a way that geophysical-liturgic-diachronic aspects are conceived as potential sources of demagogic political power disguised as renovation concerns for the new information technology.
See some occasional studies of mine on the relation between hieroglyphic and chinese signs: This poem with comments of 10-12 may 2023, continued in this comment and in this.
It was shown that the COVID pandemic was a global attempt to halt and reverse this demagogic development.
The discussion of the qubit showed that the semiotic concerns inherent in the COVID pandemic resemble structurally the computation problems of the socalled quantum computer wherein the computational control of the quants can be identified as the problem of identifying and measuring the values of metaphysical units transcending the borders of the human reality. It is postulated that the human reality is limited relative to an assumed larger metaphysical reality (the field of religious and mystic studies) and that the human semiotics formalized in information technology is a relevant formulation of these borders between physics and postulated metaphysics.
Religious and mystic studies identify these problems as morality and attempt to formalize them into dogma.
The problem of the quantum computer is that one cannot know what is the difference between two metaphysical units identified by the human spirit as the same - when it is postulated that they really are different beyond the human reality. However, if the theory obtains that the primordial difference is maintained in the semantic labelling to the ontological unit, then there should be traces, however transformed, to this difference in the semantic labelling of the ontological unit. Demagogic power recognizes the problem in terms of the relation between Grassmann and Cantor (such as by their names) in Panini. This report is concerned with what factually are these names - the huge weed out from the Cant-tor and the waveformed traces of the Grassmann - and it seems that the publication of the report prompted a burglary into this 'secret garden' ('barn inni' = 'child[ren] inside'?) which half a year later led to problems of potential demagogy in democratic election which could be postulated as the origins of the COVID pandemic and its formal isomorphy with the qubit.
There could be a number of theories on the unknown value of an item of the transcendent reality. The choice of theory = value would constitute an arbitrary component in the qubit - but clearly if even causality dissolves beyond the human reality, the theories are hard to test. Arbitrarity is not the same as random, rather the opposite - an example is shown in this study of the strong correlation between my 23 photos and the chinese film from the 1960's. This arbitrarity emerges more in the form of a 'tresholding', but maybe that could be considered a sort of 'diagonal'. The title to TEQ book 16 is 'I tell you, Estunates'.
Classic linguistic theory often makes a rough identification of the arbitrarity as being the same as the conventionality needed to explain why one language is not the same as another language, if indeed there should be some philosophical link between the referent and the semantic unit. The confusion is likely to stem from what I recognize as this 'unknown difference' in one of the two metaphysical units: That is the arbitrary value 1 which we cannot find out of - and which is clumsily recognized as 'the same' as the conventionality in the relation between ontology and epistemology:
Computation theory for a quantum computer will face the task of finding out of the relation between the two arbitrary values - if there is any relation between them when philosophical causality dissolves. As the chinese film from the 1960's shows, there are ways of establishing a relation between the two in such a way that one could talk of them as arbitrary value 1 and 2. Most notably is the relation with the two in the HAN-CITY images - and those who 'believe' in Panini would probably compare this to the difference between #2530 and #2534 for the 'hanging' 1966-1967 incrementation discussed above:
It is seen that the film has an image corresponding to a re-gression for my photo #1 with the 'HAN' = 'regret'.
For my photo #2, which is the WU = militarily, it is the image wherein the chinese film shows the final text, which semiotically could be seen to be the entire film: How to make a text. As I have pointed to with the two red circles, it is also possible to see the last scene as being about one unit standing on top of a vertical pole and another suspended at the end of a horizontal beam - the vertical could be for a royal element while the horizontal would be for the frog - in the moment when the female in the film at 00:15:13-14 - or my photo #5 - peeps out between the curtains ('Vorhang') to see the frog. Hence it can be seen to be about the role of the visual faculty - such as in the relation between my TEQ and the italian art history. The progress then goes via photos 2-1-3-4 for ending in this #5.
I have to add to the 'frog' of the chinese film the following beautiful observation on this 'arbitrarity': From the idea of a 'Medusa-head' in the third secret of Fatima, I look up my poem TEQ #1581 from 'function 16' = TEQ book 16 = 'I tell you, Estunates' - in correlation with the start (the first 12 seconds) of Midori's recording of Bach violin Sonata 2 movement 4. The concept of 400.000 will in egyptian hieroglyphs look as follows, as computed from Wallis Budge's hieroglyphic dictionary:
4 100.000 |
= = |
 
|
The frog is in the beginning of the 100.000 and the reed in the beginning of the 4. It can be heard from Midori's recording that the bow alternates quickly between the Frosch and the tip. In the parallel with the chinese film, the frog is in the fourth photo - and counting the fourth photo from the end takes it to my photo which can be annotated as follows for showing the '4':
Only the 'snake' or 'viper' is missing - that is the poet, it seems, who trumpets his words across the tree trunk, the 'arbitrary' form. Impressive it is, though - and where is that old 'Jesus snake' threat? It seems to be gone from these forms.
There was also the story of the distance 1823 km from the volcano at Geldingadalur, Fagradalsfjall near Reykjavik = 'Rekavik' on Iceland and the mystery object found in 'Rekvika' near Troms in northern Norway - a sort of 'Medusa' head/heart? - some days after I had returned from Italy and found the main fuse ('mainly stream'?) gone (it had been disconnected while I was away) and a heap of amorphous brown mass on the bottom glass plate of my refridgerator and seeds of possibly millet or maybe a sort of rice had been spurted around on the walls and ceiling of the fridge - but not on the bottom. (This story is told also above). Some weeks later, another volcano erupted on La Palma - exactly 1823 km west of 'Arawane', an old and desolate caravan stop on the route through Sahara. 1823 is the year of the oldest document in British Library written by a 'John Grover'. '1823' is also a number susceptible to find some relevance in the revelation of Knock - see these comments. Now those who believe in the hungarian szolnoki factor could look up Wallis Budge and construct the following number '1823' in the following way:
1000 = 'kha', 100 = 'shaa', 8 = 'khemenu', 20 = 'tchaut', 3 = 'khemt'
which means that the number 1823 = 1000 + 100*8 + 20 + 3 = 'kha-shaa-khemenu-tchaut-khemt' which can be read in hungarian 'ká-s[h]áh-kémény-csausz[t]-kém[t]' = 'whore-shah chimney (ACC:)[turkish]-messenger-intelligence-agent'. My custody father died officially on (probably, plus/minus a day) 27 november 1990 - he died allegedly from pancreas cancer - this was before British Library moved its old premises (where Karl Marx had written his 'Kapital' under the high dome) to Pancras in London. 27 november 1990 is in the mirror time point across the death of the persian shah to the birth of the shah's youngest daughter 'Leyla' - and it is 160 years after the Madonna in Rue de Bac in Paris. If, therefore, the political intrigue counts me as a sort of 'Jesus' (or quasi 'Messiah' by Stammbaum mysteries) in the szolnoki structure (by the 'chimney') and Madonna counts as an 'intelligence agent' for a 'Black Sea Loop' (of the nazi Wannsee conference of 1942?) from Turkey, nazi philosophy could feel this '1823' as a triumph of their political intrigue on the 'Josef-trumpet' on the Szolnok streetname structure. However, I think that my poem TEQ #1581 is a much better explanation to this story - a poem about the grammatical difference between 'cannibalist' and 'cannibalism' without curses or racism or anything the like.
Is this arbitrarity the same as the apparently terror-orientated Panini ideologies? I would believe it rather is something of the opposite. It is likely that the use of Panini for quasi-demiurgic control with the universe is something that has sprung out from the Grassmann-Cantor phenomenon and that it functions only under conditions of gloomy secrecy and control. Although I know little about such Panini ideologies, I would guess that it could be about technologies that can be constructed on basis of faustian temptations - possibly in an attempt to lend divine authority to Edward V. I have guessed that Sobibor, Treblinka and Belcez are old jewish mysteries that in my art-text-theoretic interpretation can be recognized in the parametres 'ratio', 'visual imagery' and 'backwards-text' for a healthy conception of this relation between poetic text and artistic image. When Hitler/Himmler used these concepts for the three death camps under the socalled 'Aktion Reinhard', that could have been for turning this 'italian renaissance' into heavily gloomy suppression for a quasi-technology on basis of e.g. Panini ratios, Josef-trumpeting final-F imagery and backwards reading of sutras. It is not likely that these parametres would function without the violence and suppression, and one could guess that particularly genocide could be prone to affect the balance between physics and metaphysics. But clearly such tragic 'science' cannot be the future for the new technology. It is likely that Hitler's terror was a way of continueing the Grassmann-Cantor format of terror-and-monkey-business.
Grassmann's theory is likely to describe the metaphysical realities beyond human reality on a high-dimensional general format which allows for scientific description without hysterical anxieties, while implementing Panini for broomriding redundancies is to make tivoli out of the human reality - some fancy effects that calls forth applause and surprise but not much beyond what was already known.
It seems that the history of at least the last 500 years can be described in terms of the feeling of a snake hiding in the depth of the christian faith, prompting the need for a way to dump the problem on others. (See chapter 2 for COVID-19 as this global 'snake' of the Caravaggio forms 20-36). This double snake is probably the same as the modern butterfly - see volume 4 chapter 5, pages 1147-1214 for a discussion of the all-over presence of this butterfly in the modern mind. It is likely to be an attempted solution to the problem of the snake. The real problem has been that one could not find out where it was hiding. Jesus resides transcendentally relative to the human reality, and as long as the 'glyphic link' between the two arbitrary values of the qubit sign is unknown, one could have risked a 'Schlangenbiss' from the transcendent reality. The present study has attempted to contribute to a solution to that problem.
TEQ is written on basis of 'prophetic inspiration' - and it can probably be concluded that this is beyond administrative control.
Does logic exist beyond causalities? Maybe only wishful logicism believes that logic exists independently of the cognizing human and its semiotic constitution. Is logic the same beyond the human reality? Probably not. If logic were the same beyond the limits of our psyche, then it should be possible to prove God's existence - tells my logic.
It is because the computer is ontologically real that one can use the Catalan constant. At least as long as the computers continue to remain ontologically real.
Brief summary:
The study concludes that the complex is rooted in the decipherment of egyptian hieroglyphs in the 19th century and the implementation of this in the streetnames of Szolnok:
1) 'Szava Utca' via the hieroglyphics of Wallis Budge means 'divine custody in the backroom', included in Ibsen's play in the sense of the draughtmen's office. It is the name of Wallis Budge as the author of the book printed by Adolf Holzhausen which holds this sauce.
2) 'Vas Gereben' via the hieroglyphics means 'uas-qer' = 'contentment north wind' = 'Aurora Borealis' + 're-ben' = 'NOT a single chapter' = '8 chapters', whereby the '8 chapters' is Panini's 'Asthadhyayi' (the title means '8 chapters' in sanskrit) and my own 'octogon' ('8 chap-tears'). 'Aurora Borealis' seems to mean 'Adolf Holz' (the 'bo-realis' is here wood, not adobe).
Why should I be so interesting that such an 'octogon' be part of the construction? The theory goes that the french revolution prompted the need for a goodenough reason in the royals for their rule and they may have constructed a Stammbaum that imitated a Messiah function from the old to the new testament in indexical terms, in such a way that it was easily couped e.g. by child abuse, plagiarisms etc. Could be postwar popular music plays on kettle lids, guitar and basket-hard for such reasons? There may be people who think of me in terms of such a Stammbaum - however, I am only a lonely individual without any involvement in this story and there can be no justification from such a Stammbaum for mobbing me.
3) Hence if the story succeeds in shipping the divine custody authority from the far north down to the british monarchy when the european swastika turns, it means that the british monarch has divine authority to the extent that a british responsibility claim on Adolf Hitler can be made.
It is likely that this is the purpose with the Szolnok factor - a british resonsibility claim on Hitler - possibly for relating also to a potential divine status of Edward V. Could be an eastern branch of the swastika was planned to go through Szolnok, over Ukraine and around the Black Sea to Turkey. It seems that Ukraine was a nationality without an independent statehood before the Soviet Union, and if Russia now feels discontent with its independence (which has lasted since 1991) that could also have been partly motivated by a potential ukrainian involvement in these plans.
It would have been this story which has invested the money in Cantor (pure nonsense, some would say, but it used to be a western favourite toy) instead of Grassmann (= 'grace-man'?) - and it is likely that it is Grassmann's theory that can solve the computational problems in the qubit - the quantum computer. Since this also is at the forefront of military development, it means that british royalist concerns on the theme of 'divine' cannot continue to hold the knowledge-development behind. It is the role of Grassmann 'on the other side' and Cantor 'instead' which is the problem - which also could have led to COVID-19 - the 'snake' of elements 20-36.
It seems that the entire political complex could be based on the hieroglyphs. Hopefully my TEQ can now open for a re-interpretation of these in such a way that the political problem can be seen as solved.
Some final words on a puzzling paradox: Why do I still reside in Austria and have done so for more than a decade if that is to be on the axis of the eastern european swastika arm? Shouldn't I have been in Italy instead - with that potentiality of my TEQ and the obvious advantages that could entail for the italian society? Of course I should - but for once there seems to be a very heavy political intrigue that wants to have me on this axis, secondly the same intrigue seems to struggle for keeping my economy on a budget level which does not allow for finding a home elsewhere. Wallis Budge? The house in Szolnok was very cheap - but it is adobe only and apparently water pipes only inside the adobe walls (photo source) and in sum it is not really possible to use it. The intrigue could be of the kind which hopes to swap around on me and my work and leave the stamp of 'Satan' and 'Schlangenbiss' on me - for the role of that Jesus snake which could have been the secret of the history for centuries. People still seem to delight in tumbling around in my latest diary notes and notebook hand scribble and uncredited quotes seem to be quickly on the ad posters - while related or 'interlaced' political and criminal events swap around on the responsibility issue. This sort of 'Schlangenbiss' probably hurries to assure you - talking in your heart from the depth of the historic collective consciousness - that I am not claiming any rights and should be detached from this work of mine - which is snaky talk indeed and not mine: Of course I must be credited for the work I have done and of course all plagiarisms of my work must be stopped and brought to justice. Do not listen to that snake which tells that 'this is an intelligence project'. It is not an intelligence project! I am only a private lonely individual (and I am not an agent) with no connections or involvements whatsoever to the political intrigue or any 'intelligence project' there could be, and I protest particularly against any identification of me with a mythological Jesus or Satan or Messiah or anything the like - in particular as far as this Szolnok is concerned. I discovered the relation between my TEQ and Correggio while in Italy on 9 april 2023 (which happened to be 540 years after the death of Edward IV!) and because I had no proper workspace in Italy I had to go back to Vienna to write out the present study. While I was so doing, it seems that terror such as possibly the train crash in India on 2 june 2023 could have tried to derail and coup the 'inner identity' of the present work of mine - could be the bursting of the Kakhovka hydroelectric dam could have been of a related kind of type - it happened at 1:50 Vienna time, cp. TEQ #452, which could have indicated that it were not russian interests, at least from this point of view (for the copy of the 'whale', norwegian 'veil'-edning = 'supervision' (e.g. the writing of a university thesis is often guided by 'advice' or 'supervision' = 'veiledning' - there is also new cables = 'ledning' installed in the area of Zinckgasse / Märzstrasse for the time being, with huge reels of many tons of cable being parked in the roadside - the reels can be seen as filled with tons of 'vei-ledning') - and when I return to Italy with these good renaissance news, I hope that I am not recognized as a terrorist snake - due to a feeling that could arise 'in the heart' by a swap mechanism. No sooner had I started the work and came to the 'Vas Gereben' issue with the sofa story from 1984, I got this letter from the hungarian bank which I use for paying regular bills for the house. (Hung.'sz' is pronounced 's'). The letter seems to indicate that the sofa story - if that prompted the letter - even could be used as pretext for pulling people out to the waiting 'van' at 09:15 in the morning - and for dumping the blame on me - say, by interlaced fill-in-form formalities? My norwegian bank used to have 915 as telephone prefix for the 'bankophone' before it was changed to 232 - as for my younger sister's birthday 23 february. I am not involved in the 'games' and if those 'games' organized an intrigue for making me leaving that 'J'-mark on the coating of the sofa due to nose-pulling of my friendliness, I think it is high time that the organizers come out with the truth - in which case the responsibility and 'blames' thereto would not fall on me. But the responsibility for my authorship is mine. Whether related or not, TEQ book 6 = 'Orphan and the angels' while hungarian PM through many years has been 'Viktor Orbán', chief of his party Fidész. I have no reason to believe that some 'J' was pressed into my behind in 'Via Fidene' - but there could be certain redundancies in the mythos structure that points to this 1984 and 1963. After the burglary of the house in 2019, which included the Hableány disaster ('hab'-'leány' means 'skum'-'girl') some hours after I had discovered the burglary and reported it to the police who investigated it but found not the burglar, while the insurance company Generali probably did not pay the reparation although it is difficult for me to find out of it since the bank never sends me the ins-and-outs of my account but only once a year or so the balance sum plus many papers with calls for registering formalities on 'tax residence' etc, the conclusion to this seems to be that they believe that I had burglared the house myself, which of course I had not. And I am not an agent. It is possible that this burglary story could have been a part of the outbreak of the COVID-19 pandemic. Of course, if pressing a 'J' into a 'fur' means that one is the author of some text, that is mafia logic only and should not be associated with public administration. But how can I show that the blames for the games are not mine - while the responsibility for my work is mine? I have to publish this very lengthy analysis for showing it - which is to pull my work out perhaps a little early. There is also a morning reading of the water metre coming up - before 10:15 in the morning. It was announced on a 'knørva' paper hung on the glass door. Ultimately, if you indulge in the 'games' you do not risk being taken for 'selbst-blamieren' - it is not impossible that the whole game-circus is for keeping that 'nose-monkey' factor from the Ostarrichi document and its 'zidalweidun' mystery in shape. I hope that my two articles 'What is the 'zidalweidun'?' and the more extensive study 'Caravaggio and Yijing' will contribute to bring that apparent construction 'zidalweidun' out of the mystery 'games'.
Finally, there has been an occasional need for showing that my poetic work has value and can be considered important work which the world needs for sensible progress. Although a poet cannot present an employment contract for proving the need for staying in another country, the present study should suffice for showing that I have a legitimate and justified need for staying abroad while elaborating my poetic work: There is one and only one basis for the discoveries presented in this study and that is my poetic work TEQ (1997-2008) and DDS (2009-2015) and theoretic work thereafter - relative to Caravaggio, Horace, chinese and other things. It is on basis of this that the theoretic vacuum hole now can be filled in for this semiosis - and that can probably even lead to the dissolution of a cultural need for nazism and other forms of terror that has performed and found its quasi legitimacy in this vacuum hole.
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https://www.worldometers.info/coronavirus/
© John Bjarne Grover
On the web 11 june 2023
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