Some formal aspects of the sunflower matrix

John Bjarne Grover

The two articles 'The revelation of the revelation' and 'The sunflower matrix' converged on the concept of a 'sunflower matrix' attested in the rock tombs of Meir for the conclusion that it contained the essentials of the concluding part 5 of my PhD dissertation 'A waist of time' from 1998 - the theoretic basis for the white metre poetry in 'Stillhetens åndedrag'.

However, both articles were (for mainly pratical reasons) published a little prematurely and with only a very brief touch upon some very important aspects which could have deserved a far more extensive discussion - indeed there is material for rather lengthy studies if one wants. In this article I take up some of those for a slightly more detailed articulation of the themes - without going into the deeper studies which are possible.

The formal principles are contained in the articles on this page: The fundamental theorems of linguistics and logic (defined by me after the completion of my white metre poetry book 'Stillhetens åndedrag' in 2016) as well as the ideas associated with the Catalan constant - plus mainly the chapter of 30 pages (p.584-612) in 'A waist of time'.


Formal aspects of the tomb wall of Meir

The socalled 'sunflower matrix' was identified by its articulation in the following rock tomb illustration from Meir against the concluding parts of poem #50 in my 'Stillhetens åndedrag' (3.3 MB resolution here - source Blackman):

Searching for comparable themes on the web under e.g. the tombs of Thebes reveals a good number of rather identical themes - characterized by two boats with one standing male in each, one of them reaching his spear out over the sea with two fish on it, the other holding 2 or 3 small birds in the one hand and the other is reached up for a rod which generally seems to find its origins in a series of hieroglyphic signs. In the present case, 'Senbi' seems to have just wriggled it off from the series of formal signs for grasping it in his hand. Some examples of comparable images:

1) Tomb of Khnumhotep II (source is https://egiptologia.com)
2) Tomb of Menna (source is https://www.osirisnet.net)
3) Tomb of Sennefer (source is https://www.osirisnet.net TT100)
4) Tomb of Userhat (source is https://www.osirisnet.net TT56)
5) Tomb of Hekaib (source is https://www.bridgemanimages.com
6) Tomb of Nakht (source is https://www.osirisnet.net)
7) Elissa Jane Ferguson's master study on the theme of 'fishing and fowling' - see figures 1-25

The interpretation as far as the formal aspects are concerned is that 1) the one with the two fish on one spear embodies my fundamental theorem of linguistics while 2) the other embodies the fundamental theorem of logic. The fundamental theorem of linguistics tells that "two and only two items can be the same across different realities": Here the two items are the very similar fish which hence are conceived as one and the same and the two boats signify the two different realities. The two fish are inbetween these. The fundamental theorem of logic tells that the equation of information flux contained in the entropy definition in its two forms (with either categories or elements in the denominator) is logically satisfied only for the case of complete equiprobability. That is when the three birds held in his hand are 'equiprobable' - here when they are fed by 'one categorial caretaking bird':

But, as we know, complete equiprobability has only theoretic value and never occurs in natural language - the three bird offsprings are, after all, a little different - and that is when the principle has to be moved from expectational dependent probability (the bird young waiting hungrily for the expected food) to a new principle of semantics which is that rod in his other hand - as it is just about to be wriggled off the series of graphic symbols, thus far meaningless, for being assigned the 'meaning' which the caretaking bird is coming with in the other hand.

See also the below discussion of the wall of Tutankhamun - how the hieroglyphic script on the wall steps down on the\ characters under it for attaining 'meaning' thereby.

It seems that these principles are present in most of the tomb arts which deal with this theme - and indeed one can speculate that the articulation of these principles has been constrained as far as was possible and therefore it remained as the technological definition of the innate human predispositions (for the human reality) for a rather invariant semiotic format through many centuries (egyptian dynasties) - comparable (in this sense of it) to the semiotic principles that must be contained in the cuneiform script which likewise stayed invariant throughout a couple of millenia in spite of it being used apparently across quite different language types.

The reason for the birds (in the scene of 'fishing and fowling - see Ferguson's study' - here 'Senbi' and 'Moses') in the logical theorem finds its explanation in the phenomenon that humans observe that small birds can fly across big oceans without eating, and the little body cannot contain enough energy for such a long journey - unless the birds live in a different reality (like the two realities across the two boats). Small sparrows fly around in winter cold - on wings that constitute a hyper efficient cooling system - and how can they keep the body temperature up through a long winter with very little nourishment? If you try to heat some water up to 20 degrees on a cold winter day, it takes some grams of animal fat for getting it up but it soon cools down again - and a small bird cannot carry too many grams of fat if it shall be able to fly across a big ocean. This is the proof which humans can use for the formal statement that other realities exist and therefore the human reality is but a redundancy in the ocean of eternity - and therefore angels have wings - because the birds are the proof of their existence. It is the border to this which is the theme of the 'fishing-and-fowling' format of this information technology - which also probably articulates important aspects of their religious conception.

The 'fishing' (the two fish on the one spear) for the fundamental theorem of linguistics has its comparable rationale in the border between articulation and audition contained in 'A waist of time' - the example called 'the fis[h] phenomenon' - meaning that the articulatory and auditive aspects coincide for the subjective mind of the child. Groups of fish and birds can apparently turn in the same moment and the shoal of fish can shield off a ship when a lightbeam in return turns the elements - could be it is something like that - the fish are proof of phonetic form where birds are of logical form.

It seems that the entire wall of the calibration point of Moses and Senbi serves to install the formalities of the theorems of linguistics and logic. The formal principle is the collapse of phonetic and logical form - around the mid of the sunflower matrix. As the following discussion will show, comparable tomb art displays the principles contained in the relation between cardinal and ordinal numbers in the Catalan number - and one could speculate that the essential relation between phonetic and logical form contained in the two theorems corresponds to a comparable relation between cardinality and ordinality in the Catalan constant.

I discuss these principles in some more detail (630 kB resolution here):

The upper row of this excerpt constitutes the linguistic and the lower the logical theorems. The sistrum is a tool which apparently serves to imitate the vocalic spectrum with the formants (for the phonetic form) while the menat (by a strap held over the shoulder to an object hanging over the scapula) apparently serves to imitate the mystery how the body can suck air into the lungs - and hence be concerned with what could be a consonantal feature: Is there a muscle pulling the rib cage outwards? Where is that muscle? (Inhalation is explained with the ribs slanting slightly upwards and when the muscles between the ribs contract, the cage is lifted outwards).

The menat seems to constitute this mystery: It is a loop held in the hand which extends beyond the shoulder and down onto a sort of double 'phallus' hanging on the scapula - potentially lifted and lowered with the strap in what could be in imitation of the 'anti-muscle' of the male erection. This symbol seems to have been everywhere in ancient Egypt along with the vocalic-formant sistrum. Together they may have constituted the principles of featural signification or articulation - consonantal and vocalic, or articulation in general. In my 'A waist of time', the vocalic feature is recorded when the two halves of the acoustic window of analysis are 'the same' (that is when the chances for a periodicity of vocalic type is present), and this resembles the idea of 'Senbi' and 'Moses' being 'the same' across the two halves of the matrix window. Similarly, the consonantal feature would be recorded when the energy in the mid point of the window of analysis is 'the same' as the average energy, which here means the two fish being 'the same' as the water level (in hieroglyphic symbolizing the articulation 'n' which in modern analysis is both consonantal and vocalic). It is when these samenesses allow for recording of a feature that the phonetic pattern arises which can allow for sameness with logical form. Could be the quest for these samenesses would be understood as that bent 'sausage' in the upper row near the big character. This 'sausage' could look like an early battery of some sort - containing 'energy valuations' as in a horse-shoe formed magnet. Could be it is a variant of the strap of the 'menat'.

The row ('register') below this seems to constitute the principles of the fundamental theorem of logic. Each male carries two interdependent 'probabilities' which enter into the entropy summation which allows for sums larger or smaller than unity and hence is the basis for the harp with notable logic tension in the strings. This tension arises not the least from the fact that the theorem is proven only by way of expansion with the unity which allows for the equation since even this unity could come to be less or larger than 1 (in a sort of 'respiration' around the unity), but since the human reality normally can endure metaphysics only for a very short time and throws the 'ichneumon' out rather quickly, it falls back on unity - but some historic time has in the mean time run through the hourglass nevertheless.

On this second row there are two males with 'dependent probabilities' in their hands and one in front of these with two subset ('category') probabilities (looks like 'military artillery missiles'?): These could mean the associative and commutative laws of dependent probability subsets. It would imply the principle of subset and element summation on either side of the equation sign in the theorem of logic - the two sides being held in identity with the tension in the strings of the harp.

In the middle of the wall above 'Senbi and Moses' there is a 4x5 matrix, like four fingers plus the thumb (1.5 MB resolution here):

The elements on the righthand side of this 4x5 matrix tell of how logical and phonetic form can be 'the same', as in the world of linguistics to the left of the matrix. There are three object carriers in the upper row to the right of the matrix: The first carries a CONTAINer which is the word that was included due to halted incrementation in the computer glitsch #1, when 1966 failed to increment to 1967. The second person carries a sistrum and menat which can mean the second computer glitsch by the word ZUM which was moved to the word CULTURE - that is, across 296 elements in the doubleword matrix. 1967 divided with 6,66 gives 296 by roundoff. The third person carries what here probably can be recognized as the doubleword matrix - and it is seen that an 'å' has fallen out when the 1344 doublewords were expanded to 1345 with the inclusion of the CONTAINer in the doublewords for #47. (If the incrementation had not failed, the CONTAIN would not have been included and then the final 'å' would not have fallen beyond the number of entries in the doubleword list which corresponds to the number of lines in the book). These are from 'Stillhetens åndedrag'. Hence the top row to the right of the 4x5 matrix shows 1) this CONTAINer glitsch, 2) the ZUM → CULTURE glitsch of 2/3 and 3) the doublewords of TEQ (= 'The Endmorgan Quartet') as they apply to 'Stillhetens åndedrag'. If so, this also suggests that my TEQ and white metre have articulated the poetic logic quite well in harmony with the ancient egyptian reality - it should mean that these would be principles of semiotics of a general and universal character. (There are probably also reasons to assume that the basic phonological = 'phonetic-form' features relate by elementary 'logical-form' ratios of type 1/2, 2/3, 3/4, 4/5).

The row below this top register seems to interpret 'Rosens triangel' = the counterpoint to the harmonies of 'Stillhetens åndedrag' - and hence it is the corresponding counterpointal principles which for this case which interpret the doublewords listed at the end of that book. However, these doublewords of the white-metre 'Rosens triangel' are not from TEQ but from the blue-metre PEB. See volume 4 pages 1141-1146 for a listing of these - and the relevant counterpoint is found by consulting the enumeration in volume 4 pages 767-897 = 'Rosens triangel' - for example, the counterpoint to 'Stillheten' #47 is this poem 18 on page 804-805. Since the counterpoint runs counter to the harmony, one must look up entry #5 from the beginning of the poem, not from the end ('CONTAIN' is #5 from the end of #47 in the doubleword listing), which here means the doubleword 'electric' as #5 from the end of poem #18. This 'electric' could mean a certain 'battery effect' of the bent 'sausages' in the upper 4x5 matrix - and which pehaps is felt somehow in the lifted palms of the three people. Hence the 'electric' is the first man to the right of the matrix in the second row. The other two words - for the following two people in the second row - will be the 5th (from top) doubleword for #28 = 'information' in the ZUM sense of 'moving over onto' the 5th doubleword for #42 = 'portions': These are the two characters to the right of the matrix in the second row - the kneeler and the one who lifts a foot. The meaning is that the electricity arises from the movement of 'information' from one entropy subset = 'portion' to the other - hence the electric cords in the bent 'sausages'. The norwegian basic text correlate to 'electric' is in #18 'Hun hadde båret tøyskoene opp' = 'she had carried the flexible/textile shoes up' (translated 'tennis shoes' in the published edition - while 'tøy[e]-sko' can mean 'flexible shoe'), which could be the person in counterpoint to the one who lifts her one foot up. The norwegian correlate to #28 is 'De vet ikke hvorfor det ikke er lett' = 'They dont know why it isnt easy/light-weight' which could apply to the same, and the third doubleword 'portions' finds its norwegian correlate in #42 'Hun sitter og vender' = 'she sits and turns' which probably is that mid person. (For these, compare also the below discussion of the elements 2-4 in the wall of the 'Djeserkaseneb' tomb).

This makes for the white-metre counterpoint to the interval-harmonies in the upper row - and hence the mid scene under the 4x5 electric matrix is constituted by 1 + 2 persons sitting under a table of hieroglyphic signs - showing each other the palms or hands probably. The 2 to the right are perhaps relevant to the cardinal+ordinal of the Catalan functionality and the one to the left of these could be the 'recursive principle' (see the below discussion of the tomb of 'Djeserkaseneb').

Why the 5th doubleword? It can be observed that the relevant doublewords for the calibration point itself in #50 of 'Stillhetens åndedrag' are the impressive 'file, fire, five' - and the corresponding place in the counterpoint of 'Rosen' is the words of #15 'della, dem, demonstrates - that is probably what they are doing in this lower row: Italian 'della' tells that 'dem' is a subset of 'demonstrates'. What are the norwegian correlates? That is the whole story here: "når noen forsøkte å si noe / med forventninger og leste / slik fuglene flyr på vinger" = "when somebody tried to say something / with expectations and read / such as the birds fly on wings". These are the dependent probability-expectancies and all that.

The interesting observation here is that the 'bent sausage' under the 4x5 matrix should mean that the bent logical electricity to the right is 'the same' as in the linguistic one to the left. What does that mean? It could mean two things:

1) that the two computer glitsches are the same: The failed incrementation of 1967 should then be the same as the movement from ZUM to CULTURE. This movement crosses over 296 elements: 1967/296 = 6,66 (if the ratio 295,3 means 'into element 296') which then suggests the appr 6,66 hippopotamuses under the sunflower matrix at the bottom of the same wall. One of the smaller hippos is leaning 'over the shoulder' (like a menat) of another and hence is perhaps only 0,66 present. There are also appr 6,66 plants to the right of the hippos.

2) It could also mean the phonetic principles of sistrum and menat discussed above for the possibility of phonetic and logical form to coincide.

There is this little tricky thing here - it must count as a joke but I am not entirely convinced about that either. It is the role of number theory - integers and naturals are in the sistrum and menat (see discussion of number types below). Transcendental and algebraic number types are contained in the square-angled triangle with unity of the 'catheti' (which here means that the two computer glitsches are 'the same') and with the root of 2 as the length of the 'hypotenuse'. This root of 2 is then in the definition an algebraic number - which need not mean rational in the sense of cyclic (while e.g. 'e' = base of natural logarithms or 'π' are non-algebraic = transcendental). That is probably due to these catheti and hypotenuse. Now for the tricky observation which probably must count as a joke only: That the hippopotamuses (under the sunflower matrix) are the hypotenuses and the 'crocodilos' = italian 'coccodrillo's are the catheti - or maybe the plants on both sides of the hippos.

However, even if it should be a joke only, it is noticed that the big person to the upper left wears a strange 'extra triangular' form in front of the normal hip or 'waist' clothes - as if it were about a urinal 'catheter' of some sort. It looks like the archetypal pyramids which the egyptians built - and which has its articulation in the theory of my 'A waist of time'. Here it is probably the pyramid of the 'waist/hip of the body'.

There are 3-4 plants to the left and 6-7 to the right - and the 'pyramid' of this 'waist of time' is not right-angled. (3,581769 and 6,66?)

I wrote my poetic works and the formal theoretic principles entirely independently of any of these egyptian things, and the formal principles could count as somewhat impressive in the precision relative to the egyptian data. It is then important to observe that these principles of poetic logic define themselves from the properties inherent in the human semiotic constitution - and the ancient egyptians probably lived in such a poetic world and with their tombs and pyramids constructed in such a way that they contributed to the form of the poetic elysium. Judaism probably sprang out of this culture and christendom thereafter.

A notice on the assumed universals of these things: The egyptian word for 'breathe' seems to be 't-p-y' + 'nose' (the 'nose' sign resembles the 'hill' sign). I guess that when Juan Diego met the Madonna of Guadalupe on Tepeyak Hill in Mexico in 1531, it could have been just this egyptian 'breathing' - as in my book title ('Breathing of silence' = 'Stillhetens åndedrag'). She asked him to collect flowers, which he searched for and surprisingly found blooming roses in that cold december - and she decorated his tilma with these roses and later with the 'ex nihilo' icon on this tilma cloak, the famous icon. One could guess that this ex nihilo phenomenon of revelational character (the image on the tilma would have been a revelation of the revelation) was what the ancient egyptians were concerned with in their construction of a poetic elysium. The mystic flower symbolism (apparently commonly identified as 'papyrus' or 'lotus' flowers) is everywhere in these significant illustrations of the principles of poetic logic found on the tomb walls.


Further examples of the fundamental theorems

Another tomb wall, Theban tomb TT38 = Djeserkaseneb's tomb, is only partly retained today but seems (by 'Osirisnet' on the web) to have been documented by a french expedition towards the end of the 1800's and it received a line drawing by Garis Davies before parts of it went lost (see political comment at the end of the article). It is likely that these line drawings by Garis Davies count as reliable and probably were based on immediate inspection of the tomb wall before apparently plaster could have been smeared over it (for creating 'secrets' reserved for political intrigue?).

The tomb wall of Djeserkaseneb contains a scene with musicians that seem to encode a variant of the sunflower matrix. Before I return to this I point to the tomb of Nebamun where one finds a fragment which exhibits similar principles:

What sort of instrument is it? The semiotic aspect of it seems to be that the two pipes - the two straight vertical airstreams - are significant of the two dancing girls. This aspect emerges also from the musicians in the tomb of Nakht (line drawing plus photo of original on 'Osirisnet):

The leftmost plays the same sort of double pipe - which seems to signify the two musicians to the right. The mid musician plays a sort of long-necked 'guitar' which goes like the spear of 'Moses' that went through the two fish (for the fundamental theorem of linguistics) - but here it goes via her two breasts: The 'breast phenomenon' it could mean. A closer look at her hand (at least in the modern drawing extracted from the ancient art) seems to show that she holds around a fish with which she plucks the string (it apparently 'bites' the string). Or is it a bird? It could be her thumb - like in the 4x5 matrix above. Here there is one long guitar-neck but maybe two strings - there are at least two tassels or bells at the end of the neck. There are two airstreams from the pipe-blower - like the respiration of the nostrils.

The long wooden spear of 'Moses' could be really a lightbeam - cp. photo 7 from the Danube Island - resulting from the metaphysical collapse of 'two and only two' fish. If there are four wheels on the wagon under man-on-wagon, why do we see only two? That is because the other two are hidden on the other side - hence women have four breasts but you see only two - the other two are on the man and these are much smaller because of the central perspective. Also, the man-on-wagon could rest like a 'bust' inside the female 'thumos' like a human head on a lion body in the sphinx (hieroglyphic egyptian for 'lion' seems to be transcribed 'my'). I notice the relevant photo 3 from Danube Island upside down - as a relevant comment (including even a 90 degrees angle) to this fragment - even the two 'airstreams' are present like two birds on my photo. The curved form of the two 'wheels' which one can see on the wagon under man-on-wagon is seen in the harp which the third musician is playing: This is curved or 'bent' because the sum of probabilities in the entropy rod of 'Senbi' (the fundamental theorem of logic) must stretch out to 1 for the sum to reach its definitorial unity - hence the 'semantic' rod of Moses in the old testament twists and turns like a viper on the ground before it stretches out to the straight rod again.

See also these comments as far as concerns the mirror photo to #3 - that is photo #21 - how they dance in ring or 'turning wheel' around the sickle-and-hammer symbol on the ground. Hence if photo #3 tells the theorem of linguistics the photo #21 tells the theorem of logic.

Hence the two leftmost players on the egyptian wall seem to encode aspects of the fundamental theorem of linguistics - the two airstreams from the leftmost player (as from a nose) are perhaps wooden while they have turned metallic for the second player where the wood is turned into the resonance chamber of the 'guitar' body that covers the one of the two breasts - while the third plays on the 'bent' or 'curved' probabilities in the theorem of logic (where the probabilities bend to more or less than 1.0 but therefore stretch out again to give a tension to the strings between 0 and 1). There are two breasts but the double pipe divides between the two righthand musicians and these pipes are the same as the long neck of the 'guitar'. I notice the mystery object of Rekvika - that was apparently grown into the decayed timber found on the beach - with metal strings and mechanisms resembling the sunflower cups.

The musicians in the tomb of 'Djeserkaseneb' (discussed below) exhibit some similarities compared with this:


What is left of the original image tells that it is the same instruments - a longnecked 'guitar' as #2 and a double pipe as #4 - and a sort of 'Apollo lyre' like the mystery object from Rekvika to the right. The conclusion to these similarities with Nakht and Nebamun is that the orchestra looks as if it is composed on basis of general semiotic principles.


Poetic numerality

My theory of poetic numerality is derived from a study of chapter 7 called "20 Gedichte - in Oktober und November" in my 'SNEEFT COEIL' on the synchronic aspects of language. (This book is the synchronic competence in the yellow metre while 'Der Dornenstrauch' is the diachronic). The theory of poetic numerality tells that the 20 poems in this chapter describe the poetic basis for the human intuition on the nature of the numbers from 1 to 20 and the humanoid logic associated with these as a potential basis for the regularities (of the meaning assigned to the numerical symbols by the theorem of logic) that are constrained and streamlined into normal mathematical concepts. For example, the integer or rather natural number 11 is described by this poem in its entirety, and the number π is described by poem 3,1415... - that is 2,26 lines = 0,26 into line 3 of the 16 line poem: As a natural number (if that can carry decimals) it is line 3 in poem 3 ("wie fiel ein Stein von einem Turm" - as the 'poetic' or 'intuitive' definition of π) - cp. the idea of a part of the handle to a sistrum falling out like 'decimal', as integer it is line 3 in poem 4 (lines 2-3 are "Wie gehts rückwärts im Gehirn? / Geht es schnell über den Ort"). 'Schnell' sounds like 'snelle' = 'reel'. The theory tells that a real number is defined by the continuous progress of the poetic reasoning or rationality in these poems. These definitions of number are poetic and not normal mathematics - but the theory tells that it should be possible to recognize the numbers in their poetic reality. For some examples, see this file.

It seems that the first four numbers 1-2-3-4 of these 20 poems are contained in poetic format in the sunflower matrix itself: There is 1 spear through 2 fish in the linguistics theorem, and there must be at least 3 small birds for making for a dependent probability distribution in the entropy formula. The number 4 is the 'arbata' (hebrew for '4') which is wriggled loose (by Senbi's lifted hand) from the series of hieroglyphic signs. Comparing these with the poems 1-4 in my "20 Gedichte" in 'SNEEFT COEIL' shows that the 'poetic numerality' in these poems of mine are relevant - but they run in the opposite order: Poem 4 describes the lightbeam rod of 'Moses' that goes through the 2 fish of poem 3 ('zweimal griff ein Wundersweh') etc. That means that logical and semantic form runs either way. This is also shown in some tomb illustrations - such as the tomb of Menna, the tomb of Khnumhotep II or the tomb of Nakht - where 'Moses' with the spear is to the right and 'Senbi' is to the left, although at least in the present case 'Moses' with the spear is to the left and 'Senbi' is to the right. The beginning of poem 1 tells of this idea of the spear of 'Moses' being a wooden lightbeam which receives its conversion (via #4) from light to wood to metal by the musicians of 'Nebamun' via the significational principles in the human brain:

Allein ist niemand auf der Welt:
Die Bäume vor dem Glas
der Fensterscheibe die erzählt
was morgen kommt und was

verändert sich in deiner Zeit
wie unter Regenschirm
und was vergeht and was verbleibt
in deinem eignen Hirn.

Most of the tomb illustrations which are concerned with these formal aspects of the numerality are also equipped with the puzzling symbolism of an apparent 'sunflower' or 'lotus' flower held up in front of a face - it looks like a shower handle - or a champagne glass or something like that. In my poetic system, these 'sunflowers' mean that the subject has been shifted over into a poetic signification and understanding of the world - and that is why certain specifically significant formations occur in the circumstances of the subject. "... was / verändert sich in deiner Zeit / wie unter Regenschirm" tells of this function of the 'glass' flower: The equiprobability is 'elementally' shifted over onto 'equisymbolistic valuation' in the other hand. This poem #1 is significant of the spear of 'Moses' but it also tells of the hand of 'Senbi'. Likewise, the poem #2 should have been about the numeral 2 of the fish on the spear - but is telling of the principle of equiprobability and the first little deviation from it: "Dreihundert Frühlinge. Dreihundertein" - and thereby starts the shift from this psychological expectancy over onto the meaning of speech sound: "...ihr stille Gehör in meinem Ohr / hat milde Wohnung um sich selbst erkannt".

Poem #3 thereby tells of the numeral 2 of the fish and the metaphysical collapse into 1: "...und zweimal griff ein Wundersweh / gegen die Arme von dem Gott // der sich in steifem Marmor hielt. / Dann fiel ich auf den Bodenstein / und rief es wie ihr alle fielt / dass jeder Gott war ewig mein" - as would cover also the meaning of the base 'e' for the natural logarithm.

Poem #4 tells of the lightbeam that thereby goes through the 2 fish collapsed into 1: "Wie geht Licht von hier nach dort? / Wie gehts rückwärts im Gehirn? / Geht es schnell über den Ort / von den Ohren zu der Stirn" - cp. 'from the oars to the stern'. But clearly this is 'poetic logic' which concerns physical matter in a sort of 'pre-semantic' stage - just before both symbols and referents were imbued with recognizable meaning.

The poem #5 - "Sprechen Jahrtausende Lesern / wenn sie zählen sich zu vier, / kommen Menschen zu den Gläsern, / kommen Münder zu dem Bier". After the fourth numeral there is the wife of Senbi who in many of the comparable illustrations holds such a 'glass' up towards her face.

Poem #6 could be telling of the small female often seen sitting underneath 'Senbi' holding a hand around his calf - and when there often is an additional female present, that makes for a variant of the three young birds in Senbi's hand.

Poem #7: See the main wall image of the tomb of Nakht - which is a copy in Garis Davies' documentation made from the original tomb wall on the left - see this web original. The image on the tomb wall shows the 'Säule die die Sterne tragen' in the lower righthand quadrant - and most of the poem can be understood in terms of the overall theme of this wall.

Poem #11: This is well represented by another fragment from the tomb of Nakht. The poem reads from right to left. It is possible to see the first line as being the inquiry of the rightmost character into the 'flower crystal'. Of course I considered 'vergähnt' for the last word in the poem but found not enough reason - however, here one can see it as the flower crystal itself which at the end of the poem at the leftmost group loops back to the flower in the rightmost part - and then it is the flower which 'vergähnt' itself. In fact the image contains even an additional character to the right - a harpist who can be seen to play on the instrument which 'vergähnt' itself - it would be this which turns around and articulates itself in the 'glass'.

Poem #12: A fragment from the tomb of 'Djeserkaseneb' shows some aspects of this poem. I notice that even the laughter in stanza 4 seems to be present - (un-annotated).

This should suffice for showing the principle of 'poetic numerality' - in particular such as it is shown in this ancient art from Egypt - as they seem to have been concerned with constructing the 'poetic elysium': Digging these poetic-semiotic essentials into the earth and adding the extreme force to it in the massive pyramids, the minds of the egyptians will have been formed into conceiving that elysium with probably impressive effects.


The Catalan number

It seems that it is possible to install this poetic numerality into the 'cartoons' and other aspects of egyptian art - and analyzing this and the cultural-constructive intentions by way of the Catalan constant G = 0,915....

Before I return to a discussion of this, I show how it is possible to find a rationale for this constant in the art of the tomb of Tutankhamun.

Here is a better resolution photo of the artwork in the tomb at the sarcophagus of Tutankhamun (source in this article).

I point to certain similarities with the theme from Nakht for poetic numeral #11 - either without (source) or with harpist (source). It is possible to see the 'resurrected' Lazarus sort of man to the left as receiving an interpretation in the harpist.

It seems that the righthand half of this wall painting is phonetic form and the lefthand is logical form. The logical imitates the hieroglyphic form of his name - in the lefthand cartouche (which is hieroglyphic signs, typically name, typically a pharao name - contained inside a quasi-elliptic form) - the righthand seems to be a version of his name which is seen in the glyphs on the wall:

The female in the mid of the wall image has 'water' curls in her palms - like that wave or comb form on top of his name with a water form underneath - those are for the two palms. To the left of her a man with a sistrum in hand (probably for vocalic articulations with marked formants) and a semicircle around the neck and a curve of the outstretched hand that resembles the chicken glyph. The 'brolly' signs in the lower part of his name is probably the leftmost characters, including the 'X' on the chest, plus a 'hook' or 'crook' which often seems to be used as 'formant' in the sistrum.

The black stripes on the righthand side of the wall image can be formants in the name of 'Tuth ankh amon'. The mid one holds a sistrum which means vocalic sounds and the white-dressed one apparently a menat which means consonantals.

See also this account (photo here) with 'tangens-shaped' curves.

The deep secret is perhaps that the two righthand black stripes contitute the curve of the Catalan number G = 0,915... which can be computed in many ways, but perhaps the one with the most explanatory value is the one of the integral from 0 to 1 of the curve 'arcustangens x' divided with 'x'. The integral is the same as the area under this curve - between the x-axis and the curve. It is close to 1 since the area would have been 1 on the x-axis and 1 on the y-axis as well - but it is slanting a little downwards towards x=1 and the integral value lands on 0,915... = 'nearly 1'. See the small figure down to the left on the tomb wall - behind the man with the X on his chest - it resembles the integral area under the graph from 0 to 1 of the Catalan constant turned 90 degrees - as if the lefthand character with X on the chest has resurrected from this springboard.

One could speculate that the probability sums in the logical theorem could be pressed from 1,0 down to the Catalan number 0,915... before they jump up to 1,0 again unless they be held fast with the tension in the harp (which hence plays music from eternity) - but this is sheer guesswork.

If the righthand side of the wall art is turned 90 degrees and the black formants are coinciding with the black belts (of 'pyramidal' format) on the two persons to the left, Tut himself (assuming him to be the white-dressed phonetic one to the right and the resurrected logical one to the left) will be the script on the wall above, from which he resurrects by the X, including the two water 'n' signs in the palms of the woman on the mid of the image.

One can guess that it is when the phonetic and logical form can coincide without 90 degrees turn that the resurrection is possible.

The script on the wall above to the left is (probably) a transform of the phonetic form to the right - which probably are the formants of the name of Tutankhamun - and the characters to the left are logical forms for the hieroglyphic signs in the same name.

This is the reason why the Catalan number probably is relevant for understanding the egyptian tomb art - and, of course, it would mean that it is relevant to the human semiotic constitution generally.

It is possible that the Catalan curve must be mirrored for making such sense of these formants. See my TEQ #576 - the five globes could be the ones of the doublewords for the white metre discussed elsewhere in this article. The celluanswerer would be the cartouche name. A dagger with a broad blade made from meterorite iron - still unrusted after 3300 years - was found among the mummy gauze at Tutankhamun's thigh. The parallel greek text to my TEQ #576 tells that this is when Herod understood that he had been cheated by the maguses. Were the iron really uncorroded after 3300 years - or did they have to sandpaper it a little? See the four 'mirror poems' to #576 ( - including #284, #1144, #1436).

See this article to understand what the Catalan constant could be about.

In the following I outline how the complexes of egyptian art - displaying their poetic logic for constructing a poetic elysium - can have been functioning on basis of precisely a concept of poetic numerality such as I have described in my synchronic german poetry:

Given the sort of 'poetic numerality' in my poems for the scenes depicted on the tomb walls discussed above, it should be possible to read a series of numbers out of such a wall - and one could postulate that scanning the Catalan number for this series should give interesting results. The Catalan number is supposed to contain the essential of the human semiotic constitution in its probably infinite series of unperiodic decimals - modern computers are running constantly for computing as many of these as possible and have certainly come to many trillion decimals since long. Are those uninteresting? I mean, if the decimal series is totally unperiodic one will find almost any number series - and with a canonical procedure for converting alphabetic letters into numbers almost any text should be found there. If, say, one takes my poem on the poetic number '1' and search for it among the many trillion decimals - if it should be found on decimal #1111111111 it would be a grandiose finding. Then the poem on #2 came on decimal #222222222 - voila, what a sensation! Such findings are not likely to come about - but the principle is telling - that the human semiotic constitution can be studied by way of comparing a cardinal number with the ordinal number of its location in the Catalan constant. That is the reason why one tries to find out of this number - and it seems that even the tomb art for Tutankhamun was aware of this form of the limitations of the human existence - those which perhaps or probably dissolve by death. Would the form of the series of decimals be uninteresting after a few million decimals? It may be that any part of it is equally interesting - like counting the genes in the body, the ones you count first is not more interesting than the one you count last. It is likely that humans can discern among very fine differences of sound in the frequency range of 20000 cycles per second - and so it is possible that this ratio of cardinals vs ordinals will be equally interesting wherever it is - in particular if it is telling of what is for humans and what is not.

But is it possible to compute the integral (from 0 to 1)? That depends on the confidence one has in paperflat symbol manipulation. If the numbers in question are poetic numbers, it is perhaps not so interesting - but an interesting working tool it could be anyhow. However, it is of course possible that the manipulation of symbols on flat paper - for computing the integral in the form of a series which a computer can work with - is not really a relevant or even precise approximation to the real value of the integral. Cauchy probably did not answer the letter from Grassmann but seems to have plagiarized him instead. Could be that is what a computer does instead of finding the real integral value.

Mathematics can perhaps be considered the art of reducing 3 dimensions to 2 (the paper for moving symbols around in 2 dimensions) without being discovered. If one succeeds in this reduction without being discovered, that is, without the 'scissoring edge' becoming visible, it is considered a valid mathematical proof or symbol manipulation. The reduction from 3 to 2 dimensions amounts to a derivation in differential calculus.

I consider material from the tombs of Nakht and Djeserkaseneb for showing some simple principles.

The tomb of Nakht: In the following wall part from the tomb of Nakht, I have classified the scenes according to the poetic number of mine which they can be recognized as:

The first scene as poem #11 was discussed above. The second as poem #9 is reasonably easy to agree with, like the musicians on the lower row. Poem #8 is perhaps less obvious but possible - the accept of this as #8 can be motivated also by the need for finding a suitable series of digits which can be found in the Catalan number. Two of the scenes are difficult to decipher and are left with '?' or wildcards.

Considering this as a series of digits from my SNEEFT COEIL, one could read e.g. 11-9-8-7-4-9 and search for 1198749 which occurs on decimal #7527 - a division 1198749/7527 = 159,259864.... which is close to 160. Dividing 1198749 with 160 gives 7493 (rounding upwards) - which is only 34 from 7527. The difference is only 34. See below for a possible explanation.


The tomb of Djeserkaseneb:
Here is the line drawing of Garis Davies
Here is the line drawing divided in parts
Here is the line drawing with parts enumerated

(Better resolution here). Upper row first square shows 3 'lamps' (or water containers) and 4 basic units. The second square is the same as the last in row 2 - there is a delay between them. How big is that? The mid element tells 3 - as in the musician group where there is 5. There are also 3 groups of 2 on the bottom line - plus a singular.

The conclusion seems to be that the delay is 3-4 - or 34. This conclusion I reach after having observed the difference 34 in the first example discussed above.

The distance in question would be what the two women on the top left scene shows to the 'divine' - it could have been appr 34 elements in the shown 'distance' (but the factual number is probably closer to 24 or so):

However, more precise is the number of curvatures on the row of symbols just under the ceiling: There seems to be 32-34 such curvatures. See also my TEQ #447 (signed by 'jugs', like in the 3-4 square).

Added on 22 november 2023: I point also to this detail from the tomb KV57 of Tutankhamun's contemporary Horemheb (source this Osirisnet page): The lefthand character has 34 golden stripes in his headgear, the one to the right has 38 white stripes in the upper and 30 in the lower side of his headgear.

Equally or even more interesting is the number of elements in the top row of the main image of the tomb of Nakht: Even the colours are the same as in the row which is shown in the Djeserkaseneb detail: White, blue and red - as for the poetic metres. (See the original tomb wall on the left). The series of such elements slants a little downwards towards the end - like the Catalan curve from 0 to 1.

"And wages we got the distance from" - this is the wages for faith, as shown to the divine. It is heaven that grants the wages for the faith, and this is what spells out the distances in the historical world. Here the distance is shown in terms of the interval needed for making an integer factor between the cardinal and the ordinal in the Catalan decimal series.

The row of 'transcendent textile' which these two women show to the divine (cp. the two black textiles which I found under circumstances that were very similar both times) shows the colours white, blue and red - could be for these metres of mine. Is there an interval of 34? Subtracting 34 from the essential 'calibration point' takes it to poem #16 which is perhaps not so very interesting but #17 is: That is a poem which seems to tell all the essential concepts associated with the cuneiform sign MASh in sumerian - here for 'Moses', the lefthand character in the 'sunflower matrix' of Meir.

The 'divine' has a crystal flower before the face - like the rightmost woman on the upper row - hence this seems to be the faith received in the first scene in the upper row.

Upper row 1-4 in red shows poem #17
Lefthand big #5 shows poem #18 stanzas 1-2
Mid row 6-8 shows poem #18 third stanza
Lower leftmost scene #9 + 10-11 = poem #19
Lower row second half 12-14 = poem #8

Hence taking the whole wall to tell 18-17-19-8. I search the Catalan number for 1817198 which is not in my data, but 1817193 is - on decimal #507345 (this is the number of the last digit):

1817193 / 507345 = 3,5817698

The decimals 5817698 clearly are close to 1817193

58 17 69 8
18 17 19 3

Hence by reconsidering the poetic meaning of the graphics of this wall, one can reach a reasonable re-evaluation which matches this 5817698:

The image for poem #18 can be read as poems #5 and #8 = 5-8
The image for poem #19 can be read as poems #6 and #9 = 6-9
The image for poem #3 can be read as poem #8

Thereby the number 3,5817698 can be read as 3,1817198 - which means 3 plus the cardinal number I was searching for.

It means that the ratio is recursive - by applying the three rewrite rules you can run it over again and get the same result.

It is possible that this means reaches in culture the socalled 'phrase structure technology level' mentioned in this article - and hence a definite high goal for a culture to strive after. All cultures and languages change - that means that if they can no longer understand 18 as 5-8 they have to give up this solution and search for another one.

There are two loops to observe in the graphics of the tomb wall:

1) In 4, the two women with one flower crystal are 'the same' as the two women plus one 'divine' with flower crystal in 5

2) The scene in 8 is the same as the scene in 2 - they are 'the same'

Because of 1) it goes naturally from 4 to 5, while the initial starts from 5 = 0 to 1 in the upper row because the 'textile' which the woman holds up - instead of the flower crystal in 4 - is 'the same' as in 1. The series is naturally 0-1-2-3-4-5-6-7-8-2-3-4...

An altenative enumeration of the scenes in the wall could start with '1' in the big square to the left and continue to '5' in the top right scene: This would leave the scene 8 as 'the same' as scene 3 - and hence satisfy the second 'loop' in a way which solves one of the three problems - 18 = 5-8, 19 = 6-9 and here that 8 = 3.

In the following I discuss the basis for recognizing the three rewrites 18 = 5-8, 19 = 6-9, 8 = 3.


The conversion from 18 to 5-8

18.
Ganz plötzlich schien es durch die Wand                
so wie Lichterwellen scheinen = the crystal flower form from 4 to 5
von einer Lampe in der Hand, = the one woman in 5 holds a lamp in her hand
von Quellen in den Beinen. = the other woman in 5 holds the row of textile elements up

Von rechter Seite schien es her, = see glyphs below
von linker flog der Schatten
so wie die Vögel von dem Meer,
von dem Schiff die Ratten.

Es war auf einem Feiertag = the musical procession in 6 with 4 musicians
und alle waren froh = 'alle' includes the child, hence 4-5 of stanza 1
wie Jesus auf den Wellen mag = 7
sich wiederspiegeln so. = 8 with its mirroring of 2


It is seen that stanzas 1 and 3 are rather perfect for the wall art and the progression from 4 to 5.

The mid stanza seems to describe the writing on the wall between the 'divine' (the big character seated left in 5) and the two women:

The signs for 'right' and 'left' (really 'west' and 'east' in hieroglyphic) are very similar to the first two signs here - the third is trivially a bird ('wie die Vögel von dem Meer') and the fourth resembles the sign for 'ship' with three strokes underneath:



Removing the forearm sign and its doublestroke in the left-hand and right-hand leaves it rather perfect for describing with this poem the shift from 4 to 5 on the wall.

Now how does this divide into 5-8? I start with interpreting my poem #5 from this viewpoint:


5.
Viele Tausenden von Jahren
unterscheiden hier und dann = 4 vs 5
wenn das Wissen von den Paaren = pair of women in 4 = pair of women in 5
unterscheidet hier und wann. = crystal flower lifted to divine in 5

Sprechen Jahrtausende Lesern = developmental series 2-4
wenn sie zählen sich zu vier, = box 4
kommen Menschen zu den Gläsern,               = crystal flower in 4-5
kommen Münder zu dem Bier. = stem or cord to the crystal flower

Menschen Name ist das eine
das durch tausend Jahre geht
zu erzählen es alleine
zu dem leuchtenden Prophet. = the name 'Djeserkaseneb' in poem 8

Geht der Mensch durch enge Gassen
in dem schönen Babylon
sind die tausendjährigen Phasen
in des Wissens Rotation. = lower register, 2 halves


It seems that poem 5 means that the humans are constituted by what comes up through the stem in the crystal flower, as it they go through 'enge Gassen', and this crystal flower turns with rotation symmetry through the millenia like the blue metre (one of the three colours in the textile strip held up in 5). This prophetic person could be named by stanza 3 - which thereby points to poem 8 as the link in 5-8.

The poem 8 seems to tell the hieroglyphs of the name of just 'Djeserkaseneb' which (by this source) is:

The glyphs are the following:

1. the sun, a day = RA, RE etc
2. hand, arm = [r] = pharyngeal constriction
3. soul, spirit ('embrace') = k3
4. folded cloth = 's', same as 'bolt'
5. water = 'n'
6. foot = 'b'

This reads '[d]Re?ek[a]3seneb'. Now these elements seem to follow in poem 8, emerging in the formula as by a pointer in stanza 3 in poem 5, but folded for 'wrapover' along the middle so that the reading starts here on stanza 3:


8.
In meinem Anfang ist das Schloß
was durch Materien geht.
Was diese Tür erschließt ist bloß
was schließt sich und versteht. = the bolt = folded cloth

Was durch die Weltenräume fuhr = water
wandert auf Erde um: = foot
Auf beiden Seiten stehen nur
die eine Seite stumm. = foot - really a foot stigma

Die Hände greifen nach der Hand,               = hand
die Arme nach dem Arm. = arm
Was unter Sternen kreiset kann = sun
erinnern sich daran. = day

Was sich verdoppelt wird zum Laut
der sich vereinfacht nur = spirit
wenn dein Ende sich erbaut
aus einer einzgen Schnur. = soul


The last mysterious 'Schnur' is perhaps the puzzling curve from the mouth to the container in the last element 14. (Cp. the word 'contain' that was counted twice instead of one in the computer glitsch #1).

As is seen, the name 'Djeserkaseneb' reads from this poem 8 in the form that it starts on the middle and folds over half way and reads the second half of the name in the first half of the poem - like the lower row ('register') on the wall - elements 9-14 - which seems to mirror along the middle - between the boy in 11 holding up a hand and the lefthand man in 12 doing the same the other way.

The conclusion is that poem 8 encodes the concepts that receive an interpretation in the written name, with a pointer to this poem 8 in the third stanza of poem 5 (for the link 5-8), while poem 18 contains a description of the graphics in the script on the wall - between the crystal flower and the two women. Cp. the relation between the script on the wall and the logical form of Tutankhamun discussed above. Hence 08 relates to 18 like 0 to 1 in the relation between the strip of textile held up in wall element 5 against the row of comparable symbols in 1?

It is seen that this problem also concerns the question whether the enumeration in the upper part of the wall should rather start with '1' in the big square followed by 2 in the 'lamp-and-flower' element followed by the first scene in 3 - for an easy 3-8 rewrite relative to element 8 - this problem can hence be seen to concern the phenomenon of natural vs integer numbers.

See the above mention under poem #3 in 'Poetic numerality' and the below discussion of 'Number types' the difference between natural and integer numbers as the basic enumeration of the poems 1-20 - whether the constant e = 2,71828... should be understood from poem #2 or poem #3 - that is line 11-12 in either of them - as the basis for understanding the 'loop' from element 4 to 5 on the wall art. This would concern the status of the natural logarithmic constant 'e' which is addressed by this complex wall art - and that constant is exactly what probably is the secret key to a mathematical modelling of the phenomenon of 'ex nihilo matter'.

Conclusion is that there are very strong reasons for recognizing an alternative to poem 18 in poems 5-8 as far as this tomb wall art themes are concerned and hence that this part of the reading of 3,5817698 for 3,1817193 can be well justified on basis of my definition of the poetic numbers. It is added that a wrapover along the middle of poem #8 seems somewhat essential.


A conversion from 19 to 6-9

Now for the question whether a 6-9 in the decimals of the Catalan number can contain the 19 of the poetic interpretation of the tomb wall. This 19 should then apply to the lower row (or 'register') - by '19=6-9' in the first half of the lower row (the second half is the '8=3' conversion).

The four persons (to the right) who seem to carry food and things to the 'divines' (seated to the left) have a certain interesting correlation with the four rotations of the magic images that apply to the beginning 25 lines of Rilke's Duino elegy, as described in this file. I have here extracted the four persons' line drawing from the illustration given in Garis Davies' report as reproduced in this 'Osirisnet' web page. I have here matched these four rudimentary line-drawn characters against the four rotations (photos are negated black-white) in this file:

(Better resolution here). In poem 19, the four stanzas apply in the order 4-1-2-3 (the waiter needs a rest now and then), and this order applies also to poem 6. For poem 9 the order is 1-2-3-4 (Rilke's first line is the poet hearing voices and indeed the angel is obvious, the dog in 2 is obvious etc). This adds reason to a replacement of 19 with 69 - and it introduces an element of 'movement' (= 'wrapover') as in the two upper rows. It is the outcome of the wrapover that is seen in the scene to the left - the two 'divines' in their workshop (to the left in this part) watching a construction of a series of adjacent wrapovers.


The conversion of 8 and 3

Is there a basis for the poetic identity of 3 and 8? That would be the righthand side of the bottow row ('register') - interpreting the relation between poems 3 and 8:

The series can be read as related to the rightmost 'container' - if one can trust Garis Davies' line drawing interpretation from the early 1900's, which one probably can - here is a photo from the same wall in this 'Osirisnet' source which probably is a new photo while the basis for Garis Davies' drawing probably was better:


The 'vomit' (cp. 'einzgen Schnur' from the end of poem 8) is perhaps uncertain but the 'container' looks reasonably safe. Hence if 'contain' is the issue, it invokes the function of computer glitsch #1 - the series 1966,1966,1968 wherein the failed incrementation of the second 1966 up to 1967 is what included the 'contain' in the set of double occurrences, while there really only is one. It is therefore possible to read the line drawing as 1 = 1966, 2 = 1966 including the 'sunflower' wrapover phenomenon, 3-4 = 1968, whereby the '8' has been moved over to the beginning, in 0. It seems to be a child to the left - cp. the 'man-on-wagon'.

If one takes the rightmost part of the lower row to be properly reproduced or interpreted in the line drawing of Garis Davies, it seems to show a 'vomit' going from the mouth down to the CONTAINer. If the latter is computer glitsch #1 of poem #8, the former can be glitsch #2 (from ZUM to CULTURE) recognized in poem #3. That is probably the easiest 3-8 conversion one can see here.

I add that glitsch #1 failed incrementation on 1967 and glitsch #2 moved ZUM across 296 lines (or doublewords) to land on CULTURE. 1967 divided with 6,66 gives just 295,3 = 296 lines. That 6,66 seems to be the number of hippopotamuses and flowers in the lower part of the sunflower matrix of Meir - could be with a reflex in the pyramidal 'waist-cloth' of the big character standing up left on the same Meir wall.


It is concluded that it is possible to find a poetic basis for a rewrite from 5817698 to 1817193 in such a way that a recursion can be made to function on the relation between cardinal and ordinal in the Catalan constant.

If the Catalan constant is the form of the redundancies of the human reality, it is interesting to observe that the base of the natural logarithm 'e' divided with the Catalan constant 'G' makes for 2,9676680496... - which is not so far from the '3' in the above examples. The Catalan constant is 1/8 (cp. the above example) of the volume of the complement (the hyperbolic volume) of the socalled 'Borromean rings', tells this source: The Borromean rings are 3 intertwined rings of a historically somewhat 'trinitarian' status - these three rings are tightly intertwined and interlocking but 2 of any of them are not interlocking at any point.

One can guess that aspects like these are present in the egyptological data from the tomb walls and that their aim is to maximize the human-reality definition of the borders to the human semiotic constitution enough to try and reach a level of phrase structure technology (say, the pyramids have been created ex nihilo from the signfication in the pharao tomb construction - but even before the tomb was made). However, this would likely rather mean that the egyptian project was to make a poetic elysium in the valley of the Nile.


Number types

The question of 0-1 concerns the matter of number type: Natural or integer number. If one reads integers, the first poem #1 goes from 0 to 1 and then the natural logarithm's base constant 'e' is found appr. on line 11,5 in poem 3, but if one reads natural numbers then the first poem #1 goes from 1 up to 2 etc - and then the same constant is appr on line 11,5 in poem 2.

I could intuit that line 11,0-12,0 = line 12 in poem 2 tells of the instrument called 'sistrum' in egyptian art, while line 12 in poem 3 tells of the 'menat'. The combination 'menat' activated by left hand plus 'sistrum' in right hand seems to be found in several tomb illustrations - see e.g. top row of north wall west end in the tomb of Senbi in Meir, above the sunflower matrix itself:

A 'sistrum' looks (handle up) 'so wie ein Turm auf einem hohen Tor' = line 12 in poem 2. It resembles the tool which a bookbinder uses for printing title and author name on the spine of a book. The 'menat' seems to be a 'loop' which hangs from over the shoulder and goes around the left hand - on the scapula a sort of 'keyhole-shaped amuletic counterweight' ('wiktonary') is hanging to be lifted up and down - could be that means line 12 in poem 3 "dass jeder Gott war ewig mein". It functions like a tool which 'prints' on the spine of a person - cp. the three stanzas of my translation of Shijing #145.

The shift from 0 to 1 in the elements 5 to 1 is seen in the form of the isomorphy of the textiles (and lamp) with the elements of 1.

This suggests that these instruments sistrum and menat tell of a potential shift one up or down by number type. The recursive ratio is a rational number and the Catalan constant itself is a real with some further epithets.

Evidence of this function of the two ancient utensils is found in the tomb of Nakht - here two photos from the tomb wall showing Nakht lifting down an end container from a row of similars on a shelf while his wife watches with menat and sistrum in hands:


(Better resolution here and here). This suggests that the sistrum and menat means not only number type conversion - as for the concept of 'reality change' in the tomb - it could also mean quite simply 'unity' - see also chinese signs for this concept with some vague resemblence to these ancient instruments. That could mean that the three women depicted with such instruments on the top register above the 'sunflower matrix' of 'Moses' and 'Senbi' could mean quite simply the integer number '3' - after which follows the recursive decimal expansion discussed here. This is a possible albeit of course not necessary connection between the tomb decorations.

The base 'e' for the natural logarithms can be defined - by this article - as 'the unique function f that equals its own derivative'.

In reality, this means that since derivation is to shift one dimension down, such that x3 = a cube with side x, x2 = a square with side x, x1 = x = a line with length x, a derivation actually shifts the expression one dimension down. And when the base 'e' for natural logarithms remains unaltered throughout these dropdowns, the constant really tells of how an object in a high-level dimension (say, up there among the angels or so) suddenly can fall down as through a shaft down into the time-space of humans - like an ex nihilo materialization of a certain form. Those who claim that Jesus is such a 'lapis philosophorum' do probably not enjoy much status among christian theologists, but one easily understands the logic - it is probably used for 'explaining' the holy communion - that eating the holy bread means eating a piece of matter that has come directly from heaven.

This is why 'e' is telling of ex nihilo formation of matter.

On basis of the theory that the egyptian tombs were a technology for forming ex nihilo matter, with the Kheops pyramid or the great sphinx as the historic peak of their performance, it is natural to believe that the 'e' would have a special status.

e = 2,7 1828 1828 4590 4523 53 6028 7471...

The constant is believed to be 'transcendent' and infinite - which also means 'irrational' - there is no end to its decimals and there is no systematic periodicity to be detected anywhere (such as any rational number will exhibit, being a ratio between two integer numbers) - even if the cyclic repeat of 1828 is the first thing that happens, no sooner has one crossed the threshold of the comma! The 1823 seems to enjoy a certain status in political intrigue - the reason could be this simple 1828 (see the above discussion of 8 relative to 3).

In addition to these essential constants 0, 1 and e, there is the famous π which could perhaps be addressed by these triadic complexes in the tomb art, and there is the imaginary unit i defined by i2 = -1. Are there traces of this? Could be this article gives some reason to assume that even the imaginary unit had to be introduced in some way or other (although 'homo' certainly is not the right understanding of these). If the complex number is not simply e.g. Nakht taking down containers from the end of a shelf while his wife stands next to him with sistrum and menat in hand. The sum of these essential constants could be observed in Euler's identity - known for its 'mathematical beauty' - which tells

eiπ + 1 = 0

It means that the constants are in balance if they are defined sensibly - hence 'Khnumhotep and Niankhkhnum' could be telling of the need for this.

The above examples of this and its counterpoint this are both dealing with 0 and 1 - and hence it could be said that they sort of deal also with the idea of a square root of minus 1 (= 1 subtracted from the shelves)?

The conclusion on number types can be - with the example of natural and integer numbers in the sistrum and menat which seem to encode the vocalic and consonantal features - be that they constitute the logical form which the poetic system tries to make identical with the phonetic form - possibly even to the extent that 0 and 1 of these types can provide for a formal variant of the fundamental theorem of linguistics with the reduction from 2 to 1 in the recognition of 'sameness'.

Finally, it is arguably interesting to observe that when Nakht takes CONTAINers down from a shelf, it could be taken to be about computer glitsch #1, and when his wife watches with sistrum and menat in hands, it could be taken to be about computer glitsch #2.


A waist of time

A close reading of the fifth part of my 1997 dissertation called 'A waist of time' will conclude on some aspects and concepts which are particularly convenient for understanding the tomb art discussed in this article. More interesting it is that it also can contribute to an understanding of the pyramids.

The fifth part tentatively defines some acoustic features in the most condensed and general form. One reads a part of the acoustic measurements and studies these in the 'window' it constitutes. The vocalic feature is defined by the condition that the lefthand half of this window contains the same amount of energy as the righthand half - that is when the chances for periodicity (presence of formants) is at the average best. The consonantal feature is defined by the mid measurement point in this window being the same amount of energy as the average for the whole window. This being in the time domain, two similar 'theoretic' features (called 'grave/acute' and 'diffuse/compact') can be defined for the frequency domain in 90 degree angle to the time domain - and assuming that logic is not so abstract but rather a down-to-earth variant of causality which again is a function of constraints on the human semiotic constitution, that is, that logic is in the time domain, and that the phonetic form generally is more in the frequency domain that in the time domain, the idea that phonetic and logical form coincide will find its counterpoint in the 90 degrees of the time and frequency domains.

This 90 degrees coordinate system will constitute a square like the ground under a pyramid.

On page 590 of 'A waist of time' I quote the comparison of Hyman (1975:46) between the acoustically orientated feature inventories of Jakobson/Halle and the articulatorily orientated feature inventories of Chomsky/Halle - a comparison which lands on the essential systematic difference being found between high and non-high vocalics. Combining this with the consonantal feature, the result will probably look like a pyramid over the square ground.

The difference between the two feature inventories amounts to an understanding of where the two systems can coincide and that amounts to the socalled 'fish phenomenon' - which could explain the 'fishing and fowling' theme of many tomb walls observing two fish on one spear.

Assuming that the 'fowling' of the other boat ('Senbi') is about semantics, when non-equiprobability invokes the need for imposing 'equi-probability' onto the meaning of the symbols (instead of their probability of occurrence), the combination in the sunflower matrix will come out like a grammar + semantics/lexicon principle. If, therefore, the pyramids served to install the overt grammatical system above the ground and the tombs constituted the metaphysical counterpart dug down into the earth, the combination could come to look like an hourglass with an inverted metaphysical pyramid on top of the historic pyramid underneath - meeting in a waist of time.

I quote once again from this file the fragment from Rilke - towards the end of the 9th Duino elegy - of high relevance for understanding this function of the underground tombs against the pyramids above:

Erde, ist es nicht dies, was du willst: unsichtbar
in uns erstehn? - Ist es dein Traum nicht,
einmal unsichtbar zu sein? - Erde! unsichtbar!
Was, wenn Verwandlung nicht, ist dein drängender Auftrag?

If so, the conclusion will be that the ancient egyptian culture could have been concerned with the inner poetic articulation in such a way that it led to changes in the outer poetic articulation - that is, a poetic elysium based on a revelation of a revelation.





A political comment

The following comment could conveniently be moved to another article - but since it concerns the question of reliability in the Djeserkaseneb data, it could be mentioned at least temporarily.

It is not impossible that some modern philosophy sees advantages in the possibility of rebuilding people to completely new identities - could be for the purpose of a program of rewriting 19 to 69, 18 to 58 etc - in order to obtain a recursive format of the human existence as it is contained in the universal semiotic constraints of the Catalan constant for a new 3rd millenium program of largescaled ex nihilo constructions and space travels. It is this program which could lend even renewed support to nazism. However, it cannot be emphasized strongly enough that this program would be exactly the opposite of what I have in mind with the present studies. The big difference is what is called 'terror' - which consists in scaring metaphysics off rather than understanding it.

It was shown that the recursion on Djeserkaseneb's tomb wall - the loop going from element 8 to element 2 (or 3) in integer notation - included the phenomenon of the two women on the upper row with the flower before the face loop back onto the main square on the lefthand side in such a way that the cardinality-ordinality in the two women can be seen to give their flower over to the throne to the left. Naturally one sees how a socalled 'Black Sea Loop' of horror type could have been designed for the purpose of converting this poetic beauty into a terror which destroys or coups the cardinal-ordinal structure of catholicism - thinking of the pope as the ordinality among the cardinals - and thereby forces the flower out of their hands for landing them on the 'throne' to the left. It seems thereby that some anglican-protestant interests could see political interests of the formal aspects of the egyptian tomb wall arts.

Evidence of this assumption can be found in the Djeserkaseneb tomb - the illustration on the wall was documented by Garis Davies but has since evidently been smeared over - could be for covering such political projects:


The 'loop' will be found from the lower righthand scene (up to the very similar upper lefthand one) while the 'ordinal-cardinal' element is in the two women seated rightmost in the upper row. The plaster that has been smeared over makes it a 'black see loop'.

It is clear that Hitler is everything the opposite of what I am into since terror is the opposite of poetic logic. Nazism sniffed up the best parts of human spirituality for turning it into terror - which was to destroy a lot and hence they created power for themselves thereby. It is seen how the 'cardinal-ordinal' conversion could have extended this to a play on protestant interests.

If Hitler's strategy were based on these data, it was a grandiose attack on the egyptian logic and of course nothing in support of it. It is clear that if Holm's poetry was abused for the Lenin assassination (if that is what it was), it could have been for precisely the same purposes - a Hitler coup of Lenin's revolution - which could have been on behalf of the protestantism. Tutankhamun's writing on the wall, discovered around january 1923, could have been used for an attempt to coup the russian revolution.

If this were the history, it could have been based on the trivial association of 'Djeserkaseneb' with 'Jesus-nazi-coup' for the idea of Hitler being Jesus on basis of e.g. this phenomenon, in which case the intrigue could have been boiled down to K = N for 'KiNa' as well as 'Nakht': There are reasons to assume a comparable logic for 'Nakht' (cp. Himmler's 'Kristall-Nakht') as for 'Djeserkaseneb'. See also this idea.

On background of the 'Buttonhand' with the 'Peer' behind in the upper left, it may be noticed that there was apparently a norwegian air commander called 'Per Bøthun' on duty as apparent responsible for NATO on the day when the chinese embassy in Belgrade was hit by a NATO bomb in 1999.

That there could be political interests in the tomb of 'Djeserkaseneb' emerges also from the hit pop song 'Yes, sir, I can boogie' followed a few years later with the Challenger disaster - the space shuttle which exploded during send-up and jolted the poor astronauts into the endless universe. This sausage symbolism has its echo in the twin bombing of the US embassies in Dar-es-Salaam and Nairobi in 1998, with a further echo in the fall of the twin towers of Manhattan in 2001.

I notice the relevance of this 'ketchup and senap' with the 'Moses and Senbi' of the present articlee.

It was shown that the number 34 has a particularly convincing force in the context of this Djeserkaseneb relative to the Catalan number. 34 is the chemical element in the periodic system called 'selen'. However, it is not probable that political interests had the logic of my poetic numerality and therefore it is not probable that they could construct the 181719...

Historically, if the Catalan number contains the secrets of human limitations by the cardinality-ordinality conversion, it is seen that the protestants lost this aspect when they exited from catholicism - but they may have tried to re-introduce the Catalan number in the form of Hitler and e.g. the assassination of Lenin (if that were the story) - only one year after the tomb of Tutankhamun was opened and the 'writing on the wall' had been discovered.

Judaism is apparently 'acoustic' in the sense described here and one can see how jewish philosophy could be in harmony with egyptian logic. Hitler's antisemitism is then a proof that if hitlerish interests try to make use of the egyptian philosophy for their activities, that is not in support of these egyptian interests but rather the opposite - an exploitation of them for purposes of power.

These matters are clearly of rather massive importance if the story is that the cardinality-ordinality conversion, which could have been a part of the egyptian attempts to construct a poetic elysium (with judaism and catholicism extending from it) and which was lost with protestant exit from catholicism, should have been tentatively re-introduced in the form of terror - which is a tragic alternative to the poetic elysium. Therefore it is important to understand that terror is not poetic logic even if its structure could be comparable somehow.




I published 'The sunflower matrix' on 23 october 2023 and a series of earthquakes soon started near Grindavik on Iceland (not far from the Geldingadalur volcano of 2021) and these have increased in frequency while I have worked out the present article. As I have now come close to its completion, the number of quakes per day is so high that the inhabitants of Grindavik have been evacuated in fear of a volcanic eruption one of the first days. Yesterday Etna also erupted on Sicily - so I think maybe it is time to get it out on the web. See the above comment on the mystery object in 'Rekvika'.








Sources:

Blackman, A.M.: "The rock tombs of Meir", part I. London 1914.

Davies, N. de G.: The tomb of Nakht at Thebes / by Norman de Garis Davies ; with plates in color by L. Crane, Norman de G. Davies, and F.S. Unwin, of the Egyptian expedition, and Nina de Garis Davies. The Metropolitan Museum of Art. New York 1917. (Source https://libmma.contentdm.oclc.org/digital/collection/p15324coll10/id/174565)

https://www.osirisnet.net/tombes/nobles/djeserkareseneb38/e_djeserkareseneb_04.htm

Ferguson, E.J.: Time and Meaning: The Use of the Fishing and Fowling Scene through Time in Ancient Egyptian Non-Royal Tombs. (2012). Electronic Theses and Dissertations. 430. https://digitalcommons.memphis.edu/etd/430

Gardiner, A.: Egyptian grammar. Griffith Institute, Oxford 2012

Nebamun tomb, decoration

Nervi, L.: Nostra Signora di Guadalupe. Libreria Elledici, Torino 2017.

Rilke, R.M.: Sämtliche Werke (12 Bänden), Insel 1955.

Wallis Budge, E.A.: Egyptian hieroglyphic dictionary. A hieroglyphic vocabulary to the theban recension of the book of the dead. Kegan, Trench, Trübner, London 1911. Printed by Adolf Holzhausen, 19-21 Kandlgasse, Vienna. Issued by Book Jungle, PO Box 2226, Champaign, IL 61825. Reprinted by Lightning Source UK Ltd, Milton Keynes UK on 02 December 2010.





© John Bjarne Grover
On the web 13 november 2023
Last updated 22 november 2023