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Chiesa di San Lazzaro dei Mendicanti
John Bjarne Grover
The church is in Venice close to Fondamente Nove.
The artworks in this church seem to make up for my poem TEQ #584 = SNORT/SGORT.
This title of the poem could be seen to be about the velum in snoring - the flapping sails of sleep - and hence also about the mystery of VISION going past the tip of the nose.
The first two lines, Sally Tibbon starting a walk but the mechanic doll is soon running out of energy, are in the 'Annunciazione' by Giuseppe Porta showing a woman in a moment of apparently frozen action
(For technical reasons it seems that I cannot get the artwork up directly on the screen if it contains strange characters in the url - I hope to improve that later - but it can be found by searching this page).
"...and he thought their hearts which he had thought to brought up anyway" tells of a key for winding the spring up again, like opening a box of brisling, for example - it is in the Tintoretto on 'Sant'Orsola e le sue Compagne' - which shows not only this early line in the 'brislings key' in the form of flying cross in the air but also the 'asiast Nil of dolfer's, bristling under the socalled 'Intrak & Formco', the key and the spiral spring of 'thought to brought...'. Below mid and left the apparently only males in the grex - could be 'one of them' = 'Wan Ata(n)'. Hence this artwork frames the following lines:
a bill's technical evidence of a flytevest,
five,
she is prepared to fly
adessed, she shows.
which are shown in Giovanni Francesco Barbieri: Sant'Elena con la croce: The bill's evidence is probably up and mid down, the five is in the hand and the fly-prepared and 'adessed' are the women down right, both of them wearing fine crowns.
So that what a man sees, escapes description
and farming, too, such as 'kvass'
orange brand, he told me
weeks on after they lost their correspondence.
See this artwork by Paulo Veronese
'What a man sees' is somewhat included in the previous artwork, the man standing and holding the cross, looking up in it. 'Kvass' is the russian alcoholic drink made from rye bread, tells the internet, but in norwegian it means something 'sharp', like the nails holding the body to the cross, while the 'orange brand' would be the collection of orange-coloured putto heads so to speak lending 'definition' to the sharp nails. 'He told me' is the man pointing down left, while the 'correspondence' is in the two hands of the man down left, holding each other in the palms - cp. the palms of Christ. His forearm muscles are exposed, weak or not. The 'farming' - is that the torn background, clouds like e.g. rice paper?
The remaining three lines are perhaps the best:
Since I was educated in så,
the women eased because of their progression.
It was said that in apothy/apostasy.
See this artwork: Christ seems to be in the process of sowing out the seeds in an 'educated' way, the woman down right seems to be 'eased in her progression' - quite impressive that one - related also to the 'Sally Tibbon' theme. The pale man down left could be about apoth[ecar]y/apostasy.
In fact this seems to empty the main artworks in the church - which is the church just adjacent to and (as a chapel) a part of the main Ospedale Civile in Venice centro storico where I spent 47 days from december 2018 to 1 february 2019.
The theme seems to be 'vision beyond own nosetip'.
Why is the web file of mine to this poem called 'A day with a mechanic sound'? This is a quote from the first poem in 'The Endmorgan Quartet', a poem which goes across several pages and was written in the period 25.02-13.07.1997. The poem contains the lines
It's still the thirteenth of July,
a day with a mechanic sound
you think I can find. Hm?
which were written probably half way or so through the poem - and I did not know then that the poem would be completed on that day. The three lines seem to pose a sort of riddle - you dont think I can find this 'day with a mechanic sound'? I did find it - in the hospital's chapel. (There was an annoucement of a series of 'Momenta di preghiera' from february to may in this San Lazzaro put up on the church door to Chiesa di Santa Fosca at Strada Nova close to the sculpture of Paulo Sarpi - this announcement contained also a reproduction of the work by Paulo Veronese with the 'kvass' orange brand which I immediately recognized). Why I called the web file with that name (when I published it on the web in 2004 or 2007) I do no longer remember - there was a strong reason for it in some cueing of some sort.
The idea that it is possible to find such an intricate and complex thing in the haystack of existence is probably just the theme of the poem and the church - that is just what 'vision beyond own nosetip' is about: Pure guesswork all of it but an amazing precision nevertheless. It is a spiritual work of intuition that guides us sleepwalkers along.
'Lazarus' is also a poem - #49 - in 'Stillhetens åndedrag'. Its counterpoint is poem #16 in 'Rosens triangel', three stanzas with mid stanza the following of acute relevance for the Paulo Veronese artwork:
| Det er på den andre siden | It is on the other side |
| et bilde av midten som munn. | an image of the mid as a mouth. |
| En underarm skriver i tiden | A forearm writes in time |
| der hieroglyfen er rund. | where the hieroglyph is round. |
What sort of 'mechanic sound' could it be? Ah, the xylophone...
Added on 21 february 2021:
#49 in 'Stillhetens åndedrag' is this poem 'Lazarus' which then should be an important element. 'Stillhetens åndedrag' interprets harmony as the mystery of counterpoint voices meeting in harmonious intervals: That necessarily has to come about by 'historic discontinuity'. The art is to make even such 'historic discontinuity' become harmonious. That is when the 105 original poems of the book are reduced to 64 by scissoring the poems 65-105 and attach these by mechanic procedure to the end of the poems 1-64. Then the three first stanzas in each poem will be original and the two last will be attached by 'historic discontinuity'. It is the poet's art to make both versions be in harmony with the form of the human psyche - that is when such historic discontinuity can be possible. Poem #49 'Lazarus' seems to be telling of this in terms of the recent change of government in Italy if one considers professor Giuseppe Conte in the three first stanzas and new PM Mario Draghi in the two last - the stanzas 4-5 of poem #49:
| De snakker om svanen i dag | They talk about the swan today |
| - står på gress - | - stands on grass - |
| som svømmer på elvens drag | that swims on the river's current |
| - en sypress! | - a cypress! |
| | |
| Hah, visste de bare hvor lekkert | Hah, knew they only how delicious |
| - for de små - | - for the small ones - |
| som var den en blåhvit pjekkert | as were it a bluewhite reefer [jacket] |
| - i det grå! | - in the gray. |
'Svanen [...] på elvens drag' could receive a good interpretation in the name of 'Mario Draghi'. That would be the historic discontinuity of the 'ex nihilo' xylophone sound at the Giardino Ca'Bembo, heard in the corridor just to left of the wisteria (the 'cypress'!) climbing up on the back side of the linguistics institute at the end of the lawn there - and the following stanza 5 would be the apparently 'ex nihilo' dog 'Adesso' (it may be that the real name was something else) in the nearby pasticceria (mit 'Lekkerbissen'), dressed in winter coat. Its existence or 'air travel' could have been a 'gray' phenomenon - a cognitive travel (unless, of course, it came in the door without me noticing it). In stanzas 2-3 there are the lines: "Da sendte man brevet to HORGAN express, / til Bergen sendte man det. // Du bodde i SUPPORT med vinterbless / og stempel og frimerke. // Man setter HELT og får betalt for det. / Det er bare sånne fag / igjen på universitetene" = "Then one sent the letter to HORGAN express, / to Bergen one sent it. / You lived in SUPPORT with winterblaze / and date stamp and postage stamp. // One calls it HERO and gets paid for it. / There are only such fields of study / left at the universities" - which clearly tell of the story of 'professor Porto' in the house next to the linguistics institute, in the Ginnasio Liceo Marco Polo where professor Giandomenico Porto, who died in early december 2020 (on this photo similar to my uncle Arthur), in principle could have heard the xylophone from his window. If Porto died suddenly for not natural reasons, it could have been a comment on this 'hero' - but it is also possible that he died as a hero for this story. The story of the thermometres in the post offices seems to have started only very few days later - and jolted the curves for daily new infections and daily deaths upwards again. What happened with the apparently 'ex nihilo' xylophone? It must be understood that my poetic and semiotic work is of potentially much value - indeed if an acoustic 'hallucination' can be recorded it is no small matter of historic discontinuity! - and if the only response to my work is only from more or less criminal secret intelligence intrigues it must be kept in mind that my work is not an intelligence project. They have no right to consider me and my work their intelligence project! If my work is channeled into governmental history, that makes it only more important to credit me for the results of the work I am doing. I hope to get a copy from 'general surveillance' (or local surveillance) of the xylophone by my presence in the Giardino around 13-14 october 2020 (or thereabout) as empirical material for the semiotic studies I am doing - and indeed I hope that the intrigues have not classified them as 'secret' for running dubious politics thereon. For similar results from Vienna, listen to these probably ex nihilo knockings on 20 january 2020 at 11:00 o'clock: If those are 'hallucinations', they are well recorded - and I believe that the xylophone from the Giardino Ca'Bembo could be something similar. But that is not for political intrigue!
The poem #49 goes in parallel with Luigi Nono's string quartet 'Fragmente - Stille, and Diotima' part 2 from 00:35,6 to 01:11,2 (shortly after the three distinct chords): The ex nihilo 'wisteria' xylophone sound would then be from 00:57,7 to 01:04,5 (a 'wooden' sound it is!) while the dog would be the rest of it - from 01:04,5 to 01:11,2 - quite much of the same. A 'wooden dog' is mentioned in my 'Stillhetens åndedrag' poem #20 'Swan'.
It must be understood that if the thermometres were installed in the post offices on this background, possibly including the death of professor Porto, it tells of how the pandemic could be a result of senseless 'political' (or 'intelligence') abuse of valuable semiotic research - abuse of my poetry and semiotic studies it could be about.
I add that the 'Chiesa di San Lazzaro dei Mendicanti' is a chapel to the Ospedale Civile in Venice - and in the entrance to this hospital there is now an exhibition on aspects of the socalled 'shroud of Turin'. It is possible to see this as a counterpoint to my studies of the Madonna of Guadalupe - here for the ideas of a 'theory of vision' in a christian-philosophical framework. (My poem 'SNORT/SGORT' is the first in the fourth and last part 'SOLAWBAR...' in my TEQ book 9 called '...to be an emperor...' - a speculation today could be that this 'SOLAWBAR...' is about revelation in the soul as the factual contents of vision - cp. the theories in the poem of the windup philosopher - see also this file for the story of the photo of a comparably describing/descriptive 'Lenin'). For a parallelism of Nono's string quartet with my book, my poem #47 'Adam' is in parallel to the 35 last seconds of Nono's Part 1 while my #48 'Eva' is in parallel with the 35 first seconds of his Part 2. Clearly if the xylophone can be 'ex nihilo', so could the image on the shroud of Turin be as well - like the image of the Madonna on the tilma of Juan Diego in Guadalupe.
PS For those interested in a good reason for the new italian government, I can tell that the poem #49 'Der Herbst hat angefangen schon' from 'Der Dornenstrauch' part 3 (the part with the 'lapis philosophorum' - even this part is 64 poems of four stanzas each) can be seen to be about the state powers - legislative, executive, judicial - and yet another one - which is that shroud of Turin (as a 'corona-virus')? The fourth stanza goes:
Verändern wir die ganze Welt
aus dem Stoff
verliert sie ihren Wert in Geld
auf dem Kopf.
[22/2-21: The third stanza - for the 'judicial' state power - immediately preceding this tells: "Ein Zehner ist geklommen / auf eines Tisches Weiß. / Der Frühling ist gekommen. / Der Herbstes Tag ist heiß". I believe that it could be this 'Zehner' that is heard clearly in the 10 probably ex nihilo knockings on 20 january 2020 at 11:00 o'clock (that is 10 o'clock UTC). 24/2-21: It can be added that if DDS part 3 is seen as having a 'counterpoint' in DDS part 2, then poem #49 of part 3 has its counterpoint in the poem #16 of part 2 - and the 'wooden' sounds mentioned above do there have a reflex in the two last lines: "Der Klang ist hölzern von geheim' Oboe / und Klarinette aus dem Rokoko"].
Added 11 march 2021: For an even more precise interpretation of my poem TEQ #584 = SNORT/SGORT, see Caravaggio's "The Martyrdom of Saint Matthew". (I think the vest or chest-cloth of 'Matthew' on the ground is originally more orange than in this reproduction). Tradition tells that the face in the background is Caravaggio himself (here as 'Formco'?) - hence this artwork could have contributed to the ('intelligence'?) myths on his life and character. (As far as I know, I had not seen this artwork when I wrote my poem). Adding to the observation on Caravaggio's view on the end of Matthew's mission, I consult the mirror symmetry of my TEQ to see if I can find the beginning of Matthew's mission in the mirror poem TEQ #1136 (= 1720-584) - and, indeed, there are the psychological characters from left to right. Christ's finger is likely to be the word 'unmovally'. You want to read this poem? Buy the book when it is available in the bookshops - hopefully that will not last too long. It is not an intelligence project, and it is not for politics.
Added 13 march 2021: Given the massive resistance that arose after I had published this last notice two days ago, I had to find out why - and traced the concept of 'eschatology' to greek 'eschatos' etc - untill I came to Grimm's 'Wörterbuch' with their discussion of 'Wanze' (ordinary louse in walls, planks, beds - and in modern times used about hidden microphones in the walls) - type in 'wanze' in the search field 'Stichwort suchen' here, press 'enter' and leaf down to #6 wherefrom the following is excerpted:
6) wegen der äuszeren ähnlichkeit wird wanze übertragen
a) auf muscheln: die wanze des Linné, die warzenschnecke, turbo cimex L. J. S. Schröter einl. in die conchylienkenntnisz 2 (1784) 8; ferner eine zu den chitonen gehörende muschelart 3 (1786) 507.
b) kleine münzen: bezeichnung der sehr geringhaltigen silberpfennige, welche um die mitte des 18. jh. massenhaft in Kursachsen eingeschleppt wurden J. F. Klotzsch churs. münzgesch. (1780) 2, 950; pfennig Kluge rotwelsch 1, 485 (schwäb. krämersprache); vgl. 1DWb wandläuschen (sp. 1718).
c) 'sind schwefel und mangan im eisen in gewissen mengen nebeneinander vorhanden, so verbinden sich diese beiden körper und bilden schwefelmangan, welches im schmelzbade nicht löslich ist und an die oberfläche steigt. die sogenannten »wanzen« sind gewöhnlich auf diese weise entstanden' buch der erfindungen9 5, 390.
d) im südl. Hessen wanzen 'reiszzwecken' Pfister 329.
I noticed the potential 'kvass orange brand' in the 'schwefelmangan' - and maybe there is a 'farming' in the 'reiszzwecken' (the intentionality in the growth that pulled from the ground). I then soon discovered that this 'Wanze' well could be the origins of the nazi 'Wannsee-Konferenz' with Adolf Eichmann in a central role - could be this also is the background of the idea of a 'Black Sea Loop' going from the Van See in Turkey around the Black Sea towards Paris - as an eastern arm of a swastika on Europe around Paris. From this I discovered that the names in the rock group of my time of youth in Fredrikstad around 1970 called 'Aunt Mary' could be seen as related to these ideas of 'Wanze' - including their name 'ante m/[h]airy' for that 'conchylienkenntnisz' - could be even for the 'secret intelligence' of 'hidden microphones'. The names in the group could be suggestive of these Grimm's Wanze's (including the 'Silberstrahl' - cp. also the wave of asylum seekers to Germany from the middle east in the summer 2015 after I somewhat exceptionally had ejaculated in the house in Szolnok). Could be nazism (Eichmann etc) is not only that they dig up such precious mysteries of the human existence as in these artworks of Caravaggio and Veronese and turn them into terror (Black Sea Loop etc) - but also that they refrain from crediting the true source of these mysteries - and could be they even edit Caravaggio's biography for making him look like another murderer. I did not murder Apenes - the old mother in Fredrikstad of the MP. Later singer in the group is apparently called 'Per Ivar Fure' - I notice the name of first lead singer 'Jan Groth' - could be for 'gave him growth' = the 'farming' aspect. Do I have my ideas to this poem from the Fredrikstad and Ålesund background? There are of course traces of these concepts in that background, as in the italian art history, but I would believe that my concept of 'farming' probably comes not so much from e.g. the name of 'Jan Gro[w]th' but rather from the story of the 'new revelation' in Vilnius: I was walking up Geliu Gatve on the way towards the railway station when I passed the gate to #6 and saw in the corner of the eye the bricks that were ejected from the wall and strewn out on the ground - I just had the time to turn the head and observe the bricks still moving. When I went in the gate to see what it was, the brick wall exposed what looked like Lenin pronouncing something in description - the bricks had 'escaped description' when they were ejected from the position immediately in front of his eyes - in this 'gate'. 'Geliu' (or 'gele') is lithuanian for 'flower' - hence a certain element of 'pulled from the ground of farming'. The bricks had escaped description - and farming, too. The similarity of this photo from the gate of Geliu Gatve 6 - cp. particularly the 'Ganesh' in the upper part of it - and a similar photo of Mandelstam in a quarry in Armenia is quite convincing:
Could well have been what Lenin wanted to tell me with this 'peanuts': This is like Mandelstam, not like the nazis. If Hitler couped Lenin's revolution, is that why they apparently did not credit the source?
Added 14 march 2021: Yet another addition must be made: This poem TEQ #584 = SNORT/SGORT is followed by #585 ('It's probable that it does not transeed the limit') and #586 ('Silver bow death') - after which follows #587 which seems to contain the clue to Lenin in the brick wall of Gelius Gatve #6: The lines are "She has fired jellious bit, / illustrates the finy". This 'jellious' or 'Gelius' was written on 6 november 1999, which was long before I had even been to Vilnius. The mirror poem to #587 is (1720-587) = #1133 - a 9-liner including the lines "I have made up my flower: / ...stay with me", written on 8 february 2002 - while I lived in Vilnius, but long before the bricks leapt out. The parallel text to #587 is Matthew chapter 2 verse 11: "And when they were come into the house, they saw the young child with Mary his mother, and fell down, and worshipped him" (quote is from King James version on http://www.biblegateway.com).
I dont know if it is worth the mention, but #1133 tells of an 'Olga Vom' which perhaps could be an echo of 'schwefelmangan', cp. the idea of Jesus picking up the ear and putting it back on the head - although I would believe that it is less interesting. (By the way, it was when I came to Vilnius in 2000 - and could stay on a kind invitation from the ministry of culture - that I later read that Norway had donated two warships to Lithuania. An invitation to stay included also the formal obligation of being able to finance the transportation out of the country if that should be necessary - and I did in fact probably suffer a brainstroke not long before I left the country in 2002 and went to France to apply for political asylum, I did not dare to consult a doctor for fear of being sent back to Norway - and the question could be whether the brainstroke was triggered by a laser beam, norwegian or british or whatever - in fact the brainstroke was on the younger sister Tone Helene Grøver's birthday 23 february when the news appeared of the abduction of Ingrid Betancourt: If that were about an F-preposal, I notice the form 'Fone Telene Grøver' - and there was the story with Stephen Saunders in Athens when I believed they 'smote me on the ear' with a telephone just before he was shot). Mirror poem #587 contains also the line "15 kilometres depth and 15 metres circumference": I saw a report a few weeks ago in an internet newspaper (was it expressen.se or maybe ilmessaggero.it?) on giant mystery holes found in Siberia - it could, told the photo, be about 15 metres circumference and an apparently bottomless hole. Of course probably fake news - and if the purpose were to make a reference to this phenomenon, it could be telling of a reason for covid-19: Such abuse of the poetic work will perhaps not be discovered immediately on the surface but perhaps rather in the form of the rise of a terrible pandemic. Some people think perhaps it must be right and just to rape infants because it makes the world feel warm and light - it would be that sort of abuse. (Or like when I work out a theory on my home computer and the world of 'intelligence scholars', if having tapped it illegally, invade the theory for doing it first - and I am left like a wornout floorcloth). And where would they have got the copy from? There are so far very few legal copies produced. Hitler apparently did not credit the source. - The story could be that the plan was to use me as scapegoat - but since such bad behaviour as that (it is bad behaviour to use people as scapegoat) should not be permitted against a valuable poetic work such as my TEQ seems to be, the further plan could be to try and pull the conception of the poetic work down into the mud - in order to make it look 'more acceptable' to continue the original plans (cp. the 'mystery holes' reported from Sibir) - but it must be admitted that this should not make the conception of the behavior any better.
Added on 17 march 2021: It was noticed above that the beginning and end of Matthew's mission in Caravaggio's conception finds a mirror-symmetric interpretation in my TEQ (#584 and #1136), and one can find the two other corners of the 'window' of 'The calling of Matthew' as well - could be recognized in own life. This symmetry across the whole TEQ in concepts of spiritual devotion has a counterpart in function 14 which spans every word in the work and assigns a semantic value to them by distibutional properties which also seem to suggest that a proof can be established that a phonological-poetic logic probably exists in human cognition. These are aspects of the work which strongly suggest that the poetry is not guided by political intrigue. It is the poet's natural wish to be a prophet for the deeper divine articulation - and that is why this Gelius Gatve 6 is in my poetry. It is not because my poetry contains magical forces that the bricks leapt out when I passed them - it is on the contrary a result of the same 'divine articulation' as was behind my inner articulations and there is no causal relation between my poetry and the leaping bricks except possibly for that 'divine causality' which is assumed to be beyond the limitations and redundancies which make up for the causalities of the human reality - and leave an imprint in the distributional semantics of language. When a political system has drifted too far off and the friction between metaphysics and physics is getting too heavy, it has to find a way of reconstruction. Diseases is one way, warfare another, terror and problems a third way of pulling the old system down for finding a better foundation. Poetic logic is the opposite of these destructive means - and it could be a way of finding a new foundation without having to destroy so much.
The above quote from poem #49 in 'Der Dornenstrauch' part 3 the fourth stanza goes: "Verändern wir die ganze Welt / aus dem Stoff / verliert sie ihren Wert in Geld / auf dem Kopf". Compared with the 'Kopf' in the gate of Gelius Gatve 6: I have this theory about 'Der Dornenstrauch' that there are 'encavements' between hebrew and sanskrit that denote doorways - and that the role of the grammatical errors in the book is to refer to these. This story of the gate has an interesting reflex when searching for a sanskrit 'gelt' which could go via 'ge' = 'gai' for 'gaira' = 'coming from the mountains' and 'gairika' = 'gold, red chalk' - while hebrew 'qoppa' or 'qopfa' = 'arch, doorway'. Klein refers to the etymology of 'qoperah' ('copra') that it comes from old indian 'kharparah' = 'skull', and indeed sanskrit 'kharpara' = 'thief, (half of a) skull, mineral substance' while 'karpara' = 'thief, pot, cranium, shell of a tortoise'. In Caravaggio's 'calling of Matthew', the man in the middle with the back to the observer of the artwork has the ('psychological') interpretation in my TEQ #1136: "I've had a crush on you since first I met the sixth performer / over the affair, / and, in particular, it won't be [...] to give the tortoise away". This could mean that the face in the gate of Gelius Gatve 6 is what Jesus (or even the 'prophetic poet' next to him) sees in Caravaggio's work - the man in the middle turning rightways is the leaping bricks. See also photo #12 from the Danube Island and its counterpart in the chinese film.
Sources:
Grimm, J. & W.: Deutsches Wörterbuch. (33 volumes). DTV 1991 Nachdruck von Ausgabe Leipzig 1985.
Jastrow, M.: Dictionary of the Targumim, Talmud Bavli, Talmud Yerushalmi and Midrashic Literature. Judaica Treasury 2004.
Klein, E.: A comprehensive etymological dictionary of the hebrew language for readers of english. Carta Jerusalem, University of Haifa 1987
Mandelstam, Osip: Stikhotvorenia. Proza. Ripol Klassik. Moskva 2001.
Monier-Williams, Sir Monier: A Sanskrit-English Dictionary. Oxford at the Clarendon Press 1979.
© John Bjarne Grover
On the web 19 february 2021
Last updated 23 march 2021
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