"Stillhetens åndedrag" - a few technical comments
John Bjarne Grover
In january 2017 I completed a new edition of my new book - but this time only poetry without any critical comments at all - with norwegian original on the lefthand side and a literal english translation (or rather 'translation help' - even if it is a full translation) on the righthand side. This edition has the double title "Stillhetens åndedrag - Og lønn vi fikk avstanden fra".
In the mean time I have also (in spite of my reduced working capacity for the time being - which makes the following observations of a quite preliminary character) come across very strong and obviously highly relevant aspects which can be added here, even if I have not had the chance to more than a superficial look at it so far:
1) Even Vermeer seems to have one HI and one LO visual logic. It is seen in e.g. the 'Milkmaid' painting which applies to poem #1 if one assumes that the jar of milk is lifted up to become a wooden flute of poem #7 - in which case the running milk is no longer the light of the eye but the airstream of the mouth and ear. It seems that Vermeer is a harder nut to crack than Caravaggio for this double visual logic - but it can be an interesting puzzle for the interested reader. See the article 'Stillhetens åndedrag' for a mention of the case of the "Girl with pearl earring".
2) The oldest known chinese document, could be one of the oldest in the world, is the socalled 'Yijing' or 'I Ching' = 'Metamorphoses' (?) which contains 64 'hexagrams' - really binary notation of the numbers 1-64 - with annotated fundamental script concepts and some 'oracles'. Each hexagram is analyzed in one concept for the upper half (upper three lines) and one for the lower (lower three lines). The hexagrams are a grid of six parallel horizontal lines - each line either unbroken = 1 or broken = 0 and the full set of combinations takes it to 2 in the power of 6 = 64. One notices the obvious relevance of the poetic function 'linebreak' of TEQ books 16 and 5. The interesting part of this is that if one studies the hexagram relative to the sign or concept assigned to it, there seem to be some fundamental graphic cues to the script-sign in the hexagram. It is likely that this book contains 'the hidden secret of the chinese script' so to speak, and therefore can be considered a foundation of the chinese cultural identity. Of course, I would guess, that would also make it a favoured tumble-place for 'intelligence' people who are out for 'taking China' and things like that. A pity to read it that way. From my viewpoint, there is a clear and obvious relation of the 6 binary features of this work with my own 6 binary features - and, more interestingly, the 'Yijing' seems to provide a basis in its 'upper and lower half' for searching for a correlate to my own HI and LO aspects of the visual logic of Caravaggio and Vermeer. That is a highly interesting theory indeed - I have so far not had the chance to study it more closely but guess that it would be interesting.
3) In addition to this, there seems (on basis of my very rudimentary study at the matter) to be a connection in the work to the egyptian hieroglyphs - possibly related to my 'fundamental theorem of linguistics'. Gardiner's 'Egyptian grammar' is probably the standard work on the topic and he presents on page 27 the socalled 'hieroglyphic alphabet' - the 24 most basic hieroglyphs as these are related to sounds of speech. See the article 'Stillhetens åndedrag' for a mention also of this - the ex nihilo 'horned beetle' that has a correlate in the 'folded cloth' which means an 's'. As told there, there are 64 * 21 = 1344 lines in the work, same number as occurences twice and only twice in TEQ books 13-16, and these divide conveniently on the 24 hieroglyphs with 56 lines for each. Indeed this seems to make sense if one starts with Gardiner's sign #10 = 'n' = the wavy water line sign on line 10 of my book - that is line 10 (title + 9 lines) of the first poem = the line "Jeg elsker en kvinne på jorden" = "I love a woman on the earth". Then it seems that one can add the rest of the alphabet recursively with 56 lines intervals throughout the book - running the alphabet to the end and continueing from the beginning down to sign 9. It means dividing the book into 24 parts of 56 lines each - and it seems that the hieroglyphic interpretation can be attached to line 10 in each of these. At least this looks like a good working hypothesis. The 'folded cloth' or 'bolt' of the horned beetle will then be line 10-11 in poem 17 = 'som hadde sitt utspring i tiden / som ingen kunne forstå' = 'which had their origin in the time / which nobody could understand'. The egyptian hieroglyphs are very interesting and 'magic'.
4) Then only cuneiform remains to be solved, so to speak. I have guessed that the four fundamental cuneiform graphemes could correspond to features 2-3 and 5-6 of mine in the binary enumeration, and that the features 1 and 4 (that is the bottom line in each half of the hexagrams of 'Yijing') control positional aspects of the graphemes. It should expectedly contain info on symmetries and thresholding - but this is guesswork only. The four graphemes 2-3 and 5-6 seem to be the contents of the title "Og lønn vi fikk avstanden fra" while the features 1 and 4 correspond to "Stillhetens åndedrag". The ex nihilo graphics of 'the indian' with his wife and daughter seem to be these two versions of the title - "Stillhetens åndedrag" = "The breathing of silence" for the indian and "Og lønn vi fikk avstanden fra" = "And wages we got the distance from" for his daughter and wife tilted 90 degrees - this graphics tell that these two are 'the same':
Combining the idea that TEQ function 16 (related also to function 5) is the socalled 'linebreak' function which relates to the broken and unbroken lines of the I Ching, one has to pose the question what makes this hexagram form different from a trivial bit-enumeration of 1-64 = 000000-111111. The answer is naturally that the hexagram is a visual bit-map form which could be telling of certain graphic forms - cp. also my '23 photos' from the Danube island (particularly photo 2 with the 'mafioso' with sunglasses who is adjusting his tie-knot, a part of the 'George Best' type - who looks at the 'd' in the air - in the mouth of 'Frau Boldog' at the Hitcotch dentist - notice that the 'cherries' in her mouth is the eyes of the 'mafioso') - typically the chinese or hebrew script. Turning the hexagram 90 degrees could give the hebrew forms, I have guessed, while upright it resembles more the chinese. This turning will make the lines of the hexagrams read as binary features in either left-right or right-left direction.
The story of 'Yosef Alon' and 'Muhamed Boudia' is suggestive: 'Må ha med bud, ja' ('must include bud, yes') can mean the story of the 'bud' who came to sell Gravensten apples on the door in Molde in the late 60's - on that place where the party ladies had put plastic caps under their high thin 'stiletto' heels to prevent that they went into the parquet: Therefore Alon was shot with 'stilettos' (sharp metal things) when he stepped out of his parked car in Maryland. But the same Josef 'Alon' = Gröver/'Mengele' (if Gröver was Mengele, such as this story - and e.g. the name of Golda Meir - could suggest) had also taken me for a trip to Bud at the coast and stopped and shown me the place with a movement of a hand - the flat palm showing the direction like on Krarup 132 - could be like Satan showing the land to Jesus from a high cliff balcony.
My parallelism with I Ching seems to be due to the bit-enumeration at the end of the 2016 edition of my book - this enumeration is reached by taking the mid third - here of 64 / 3 = 21.333 - that is, from poem #21.333 to #42.666 - and bit-converting it - which means that #22 = 010101 turns into 101010 = #43 - hence the beginning of the mid third turns into the end, and generally it means turning the mid upside-down - and moving this mid third up to the beginning and the first third down to the mid. Since 64 divides not so well with 3 the result is only 63 unique numbers - one of them is repeated and for reaching a complete 64 one final digit in one of the two identical numbers had to be turned into its opposite - manually and by free human volition. Why did I follow this procedure? Because I had found the 'three pellets' just around the time when I was to settle this issue while preparing for the edition - and understood that the sense of the single pellet is the turnaround. (It was not because of the phenomenon which I described in the letter to the police about the ripping of the garbage bags in Szolnok - although that, if a political intrigue, clearly could be about the same). I have also guessed that the 'three pellets' can be a high secret in british state metaphysics. These matters clearly could be interrelated, and one finds both of them in Krarup at page 132 - the 'trip L lets' of the 'trip to Bud' in the sign of the flat palm showing the direction and the hihat plate of many 'pellets' looking like eyes. Aha, so that is the 'trip to Bud'. But then you cannot complete this 'Stiletten sondedrag' without including the trip to Bud: 'Må ha med Bud, ja'.
But clearly it is unpleasant to find such 'mafioso' philosophy - it is mafioso (or is it called 'puerile') when this socalled 'intelligence' is installed into historic reality and its collective memory by way of assassinations - of Boudia and Alon - attached to my work. The difference is of essential importance that 'Stiletten sondedrag' (the high heels in the parquet, the bullets into the man stepping out of the parked car - generally an idea of 'biopsy'?) is not the same as 'Stillhetens åndedrag' = 'the breathing of silence', 'Atemzug der Stille'. The conclusion is reached: Those 'intelligence service mafiosos' tried to make me - conceived as an essential 'jewish genetics' in some sense of it - grow up to be an ardent believer in nazism and the secret intelligence service mafia - therefore Josef Mengele (if Gröver were him) should show me these mysteries and then be replaced by a copy - for remaining in my memory as the lost father who held the 'keys to heaven' in his hands - and thereby efficiently should take the place of Paul Celan.
They did not succeed.
Then I look up my book and find the relevant poem #43 'Fallskjerm' = 'Parachute' which starts with "It looks like a mafioso / who is writing his memoir / and gives it to public attention with lock on. / I turn around in footsteps" ('i fotefar', tells the norwegian original). The whole poem is highly relevant to this story. Then the bit-enumeration of 43 = 101010 and its bit-conversion is 010101 - and looking up I Ching it turns out that the hexagram of 010101 is precisely #64. Consulting my book #64 - the last poem - ends with the line (voila!) 'Stillhetens åndedrag'. Now the pearl: I Ching assigns to #43 the concept 'certain' or 'parted, to fork', and it seems that Mathews dictionary also gives to it the meaning 'to make a secret sign with the fingers' - indeed like that 'trip L lets' at Bud. And what is the concept of I Ching #64? It is (voila!) "they did not succeed".
The theory is that the hexagrams of I Ching give a very rough outline of a sign in their black-white mysticism - like looking at the signs with half-closed eyes on a misty day. Then one can turn the hexagram 90 degrees, like the indian with his family, and get the hebrew letters in the same approximative way. That means that if the lower and upper half of the hexagrams correspond to HI and LO of the visual logic of Caravaggio and Vermeer, the hebrew letters should bridge just that HI and LO. It means that Vermeer's 'Girl with pearl earring' should give a hint on a certain hebrew letter - and this is also what I postulated in my 2016 edition - that the book allows for the conclusion, in combination with the blue metre, that the hebrew letters is what humans actually 'see' in a deep level of perception. Vermeer's 'Girl with pearl earring' is his artwork #22, such as I list them in the 2016 edition in accordance with Walter Liedtke. #22 @at = 010101 in normal enumeration, but since it is the first of the mid third the converted enumeration turns it into the first of the first third, that is 000000 in 8-digit ('byte') binary notation of the numbers 1-64. It means I Ching #2. However, since 010101 = I Ching #64, and that is 111111 in normal notation, it means I Ching #1. Hence my poems #1 '#solens pike' = '#the suns girl' and #2 'Identifisere Herrren' (it is spelt with three R's) = 'To identify the Lorrd'. If one has seen the HI version of Vermeer's girl, there are reasons to recognize the hebrew letter ALEF in the HI and LO level combined - and that indeed corresponds to the first egyptian hieroglyph, the 'egyptian vulture'. Cantor used the ALEF for his diagonal concept. But shouldnt the hieroglyphs start with #10 = 'n', the wavy water line? 10 / 24 = 0.41666, or take it to be #42.666 - the end of the mid third. The second third of 24 starts on 9 - and is moved up to the beginning. It seems to make sense all of it.
This seems indeed to be the 'white metre': The blue metre of 2010 specifies in the 366 poems the criteria for the semiotic function assigned to each hebrew letter, and, also in relation to the beginning of Moses 1 (the book which is recognized as 'the same' as Rigveda), it gives the graphic forms of the hebrew letters. The white metre of 2016 is acoustically oriented - it is guessed that it gives the 6 acoustic features needed for recognizing a letter by its phonologic or phonetic form - or assigning such a value to it. This gives the chance to associate a certain acoustic form to a certain graphic form - and the blue metre associates the same graphic form to a certain semiotic function - thereby the two metres in unison provide for a meaningful code - and my guess is that the cuneiform script can be (re)-deciphered with a computerized handling of these two metres of mine. (The red and yellow metres add even more features to this grid of language). But since this white metre also seems to be about a HI and LO version of Vermeer and thereby be visually oriented, the question is how the visual form of the hebrew letter can be recognized. The correlations with I Ching and the egyptian hieroglyphs could be telling.
My TEQ function 10 (!) is called 'A deep ratch' - I have guessed that function 10 is about the relation between the hebrew and the chinese script. It ends with the ten commandments in the parallel hebrew text, in norwegian 'De 10 bud'. Could be the indian plays a deep Bratsch - or his daughter plays a smaller violin.
Clearly there could be many interesting aspects of this book which could be studied relative to such fundamental semiotic and script-related things - and if you are interested in continueing this, you can hopefully find the book in a bookshop within not too long time. I hope so.
It is possible that the proud national history of Norway told in
© John Bjarne Grover
On the web 3 february 2017
Last updated 5 february 2017
