Luigi Nono and the syrian crisis

Luigi Nono and the syrian crisis

John Bjarne Grover

The article tells the basics of the correlational study I have made of a work of Luigi Nono and my new poetry book 'Stillhetens åndedrag' - and I find that the results of this study suffice for a probable theory on the character of the syrian crisis since 2011.

My new book is 'Stillhetens åndedrag' ('The breathing of silence') with 64 poems (of 21 lines each) aligned against Luigi Nono's 'Fragmente - Stille, an Diotima' in the 1983 recording of LaSalle Quartet published on Deutsche Grammophon in 1986. It contains a discussion of the principled reason for the form of the poems - the procedure I used for reducing them from 105 poems to 64 poems and the poetic justification I could present for that. What reasons could be found why it was not just any scramble of the lines but a reorganization of them which told of something essential for human reality? I present reasons from I Ching, the oldest known chinese document, as well as the alphabet of egyptian hieroglyphs and the work of Vermeer - in addition to the alignment of Luigi Nono's work from 1980. My view is that the best reason is in the phenomenon of the reorganization or 'packing' of the 105 lines reduced to 64 allowing for a comparison with the structure of the human skeleton. When the poems from 65 to 105 were reorganized and appended to the 64 first, a certain wrapover from 105 to 65 landed on poem 50 - on the place (at part 2 around 1:40-1:45 in the recording) which contains the only notable tonal harmony in the work - and this can be used to define tonal harmony. It must be observed that this applies to the alignment of Nono's music to my work only when the alignment is displaced with one quarter exactly - that is, the beginning of part 1 in his work starts on my poem #17 out of the total of 64 poems. This quarter's displacement seems essential.

Now the book 'Stillhetens åndedrag' with 64 poems of 21 lines each, that is 1344 lines, runs in quite precise parallel with the 1345 = 1344+1 words that occur twice and only twice in each of the four last books of 'The Endmorgan Quartet': Book 13 has 413 such words that occur twice and only twice, book 14 has 359 word pairs, book 15 has 141 word pairs and book 16 has 432 word pairs. When these are listed in succession from 1 to 1344, it follows that the 1344 lines of the book define the corresponding words quite well. The example is the first line (after the title) of poem 35 Savonarolas tanke which is 'Humans travel in space' - a line which then can be taken to define word 303 of the 359 word pairs in book 14, which is the word 'step'. When this principle of logical order (here alphabetic order) obtains with convincing regularity throughout the 1344 words and lines, it can be used to give substance to my 'fundamental theorem of linguistics' which tells that two and only two acoustic elements from two different realities can be recognized as 'the same' by the human semiotic constitution - if three occurrences are concerned there is already the inclusion of categories and hence a grammar arises from the symbolic level therein. Therefore the 'fundamental theorem of linguistics' applies to occurrences that are recorded twice and only twice.

In TEQ all lines are annotated with day of writing throughout the 11 years it took to write the work, and it is easy to compute the number of days in the interval between two occurrences of a word. Now my TEQ book 14 contains a linguistic function called distributional semantics over the 'rainbow' in such a way that it applies to occurrences that are recorded at least thrice in the corpus - that means at least two intervals (counted in days between the writing ofr them) which can be used to establish a ratio - such as the ratio of the interval A between the first and second occurrence divided with the interval B between the first and the third occurrence - this ratio A/B can be multiplied with the number 207 of poems in book 14 for finding the poem A/B which defines the distibutional semantics to this word of occurrence. It seems to be an empirical fact of my TEQ that the number of lines in this poem tends to be the same as the number of occurrences of the word in the corpus of the full TEQ books 1-16 - and each line in the poem seems to define the corresponding occurrence in its context. The full poem thereby gives the full semantic definition to the word - when only it occurs at least three times. What is interesting is that the mirror poem symmetric on the other side of book 14, that is poem #(207-A/B), seems to give a description of the phonetics to the same word, typically by having the number of lines in the poem #(207-A/B) as there are phones (sounds) in the word of occurrence. The phonetic definition tends to be concerned with oral articulations and typical featural associations to sounds.

The conclusion is that function 14 gives the semantic definition of a word in one half of the 'rainbow' of 207 poems while it gives the phonetic definition to the same word mirror-symmetrically in the other half of the same 'rainbow'. This is the most general distributional semantics for a certain corpus (here the corpus of words in the entire TEQ books 1-16) one can find.

Now the question is what happens if the phonetic definition of a certain word X is found to be the semantic definition to another word Y: Will these two words be 'the same'?

The definition tells that they will have different distributions and hence be very different words, but the intuition on the matter of natural language tells that if meaning and sound are supposed to have anything to do with each other in a language, then the two words must necessarily count as 'the same' in some sense of it. Otherwise it would be difficult to assign any meaning to any sound, isnt that a natural idea?

What is the solution to this enigma, this 'paradox'?

The solution is what I call 'function 13' in TEQ book 13. If one takes the point of wrapover (in 'Stillhetens åndedrag') of poem 105 to poem 65 in the reorganization and uses this as a test on the relevance of my 'scramble', the exact place where the 105th attaches to the 65th is found in lines 18-19 in poem #50, that is line (49*21)+17 = line 1046 - out of a total of 1344 lines. It means the ratio 1046/1344 = 0,78. In book 13 there are (according to the most simple count by way of a normal text editor) a total number of 2554 lines, and that means that the wrapover attachment point comes on 1046/1344 * 2554 = line 1987,7. Line 1987-88 are these:

guilty with two,
guilty with five

which looks rather perfect for a 'wrapover' - and indeed Nono's music is almost even more perfect when one listens to the 'calibration' of the tonal harmony at this point of 01:40-45 in part 2 when the alignment is displaced with the essential one quarter (and starts on my #17).

What is the corresponding place in function 14? It would be at 1046/1344 * 207 = #161,1 = poem #162:

TEQ #1409 = book 14:162

For joining the American interpilote

A pair of [good intentions]:
Keep me from islands here
from more than I hear them.

Aston Blue

which likewise is rather perfect for the 'pair of good intentions' where 2 meets 5 in the wrapover.

For finding the mirror correlate to this in function 14 one takes 207-161.1 = 45.9 = #46

TEQ #1293 = book 14:46

Bucharest

Into the neighbour house,
[...etc - 9 lines inbetween here...]
for semester,
or seeking their God and forgiveness with much greater intensity.

Dr.Net

which again applies with much perfection to the problem of 'guilt' in the 2 and the 5 of book 13 - the need for forgiveness.

Now comes the test of the whole thing: Since the alignment with Nono's music rests essentially on a displacement of one quarter relative to my book, what happens if one subtracts this one quarter in book 13? One quarter of the 2554 lines is 638,5 lines - and subtracting these from the 'guilty with 2/5' of line 1988 takes it to line 1988-638,5 = line 1349:

- had an early night and was written.

Now while the 'guilt' of 2/5 applies with semantic perfection to the need for forgiveness from the God they are seeking, this line 1349 of function 13 applies with equal phonetic perfection to the mirror poem of function 14:

[Keep me from] islands here = [Keep me from] early night
from more than I hear them = and was written

and indeed this 'more than hearing' for the 'writing' is what obtains for the twice and only twice in acoustic format - which extends to a symbolic and categorial format when the two occurrences become three.

This means that the quarter's displacement is handled by function 13 in the way that it responds to the enigma or 'paradox' of function 14 by swapping the order of the semantic and phonetic definitions - with convincing precision indeed.

It means that if the question be raised whether one semantic item in the first half of the rainbow of function 14, with a phonetic mirror in the other half, can be considered 'the same' as another semantic item in the other half of the rainbow of function 14 precisely where the phonetic mirror to the first item is, and vice versa, that is, even if these two semantic items clearly have different distributions - then the question can be answered by way of function 13 which serves to turn these two around semantically and phonetically in a way which thereby can allow for the answer that, yes, these are 'the same' - and that is what the semiotic mystery of 'semantic assignment', the glue between form and meaning, is about. But it is a paradox nevertheless - and when it appears as if solved, that only means that human rationality and understanding of reality must be considered 'limited'. But that is just what language is.

Clearly this also looks like the 'bottom' of the socalled 'keys to heaven' from 'Acts 10' - where the last unsolvables are rooted in verses 2 and 5. This is where the Nono tonal harmonies are found in the 'wrapover' with that one quarter displacement.

What is the word in the list of twice and only twice occurrences for this wrapover point? Believe it or not - it is the word 'five'.

This tells that 'harmony' can be defined by this wrapover because of the one quarter displacement in the alignment. 90 degrees, 25% etc.

I take another example: I wanted to test the hypothesis that if one quarter is essential to function 13, which it need not be, then there should be something highly significant found for the two occurrences one eighth each on either side of the mid point. These two occurrences are i) line 957 "Now it's getting spicy" and ii) line 1597 "Have you ever heard of a more beautiful palasso?" It happened while I wrote the last poem #64 that I walked in a street and a boy passed me and used the word 'mushroom' - and I wrote in my notebook (poem 64):

Det er menneskesansningens lover
som taler om soppens palass.

Tingene får sin betydning
i dagenes symmetri. It is the human sensation's laws
that talk of the mushroom's palace.

The things get their meaning
in the days' symmetry.

What is the corresponding word in the list of twice and only twice occurences? That is, believe it or not, the word 'voice' - which is what made me 'spicy' enough to write down the word I had spied on in the passing.

It may be hard to find an empirical example that can compare with the evidence from Nono's work - which allows for the conclusion that there exists in the human semiotic constitution a function 13 prior to a distributional semantics of function 14 which serves to provide for the phenomenon of semantic assignment in such a way that semantic assignment and logical order reduce to one and the same thing: That is what the fundamental theorem of linguistics is about.

It is this which makes the 'semiotic glue' between form and meaning in a sign the new field of inquiry for a new science which can make it possible to explore realities beyond the border of the normal 'symmetric crystal' of human cognition. Normal science describes the physicalist reality we know in terms of natural laws - but a new science can by this be established which explores relations between things which fall outside these natural laws on natural occurrences. It means that two occurrences or 'items' can be very different things with comparable distributions in their respective realities - and this is what the human semiotic constitution recognizes as 'the same' and put them up on comparable positions on the 'rainbow'. However, their real nature can be quite different on the other side of that border to reality.

It is this which is the syrian crisis.

It is I who have written The Endmorgan Quartet 1997-2008 and the blue metre 'POLAKK English Bloggi' 2008-2010 - the latter in the years of Obama's presidency in USA. It is likely that this 'international control' with the articulation of the blue metre through my authorship was planned since probably the 1960's - and it was installed into non-forgettable format by way of the Yom Kippur war between Egypt and Israel in 1973. Jom Kippur means 'John Slippers' in norwegian - the days of the slippers (heavy control with the blue metre) under 'Yombjarna'.

'Egypt' in hebrew means 'shut border' - and hence it means what lies beyond the border to the known world of humans That is the theme of the story.

In the course of the summer and autumn 2010 (could be around the time when the cover to my sofa emitted a strong smell), I discovered that books in my bookshelf of latin, greek, hebrew (in particular those of etymological relevance) - generally books on themes of relevance for historical linguistics - or mathematical contents attracted a strange sort of dust or 'schimmel' down the spine, while other books did not. Here are some photos of the 'spines in dust' - they have been on the internet earlier in a former version of my article on my authorship:

Homer's Odyssey
Calvert Watkin's 'Indogermanische Grammatik' Band III/1
Watkin's 'Indogermanische' - another detail of the same book
Tom M.Apostol's Calculus vol.1 on Xerox
Apostol's Calculus seen from another angle
Frisk's greek etymological dictionary
Walde-Hofmann's latin etymological dictionary
Georges' 'Lateinisch-Deutsch Lexicon'
Talmud tractate 'Berachos', Mesorah edition vol.2
Gesenius' Hebrew dictionary
Weinberger's "Partial differential equations"

It has remained a mystery which I found somewhat interesting. It seemed that the dust settled on the books in accordance with the contents of the books - as if the dust could read. What sort of 'dust' is that? This sort of 'rime' must probably be ordinary house-dust of some sort but I found it hard to explain anyhow.

I later studied the hebrew to Exodus and came across the story with pharaoh and the escaping jews: Pharaoh discovered that they were fleeing and followed after them with his army - the jews came to the ocean of the Red Sea which retracted to let them walk on dry shoes across the strait and when pharaoh's army reached the place and started to cross in order to do 'the same', the ocean closed itself over them and they drowned, as the jews could perhaps see from the shore on the other side. It was considered highly contrary to normal behaviour of the ocean.

I studied this hebrew because I was to use it as parallel text to my 'The Endmorgan Quartet' book 6 "Orphan and the angels" - which I had to make myself - laser printing in folders of eventually 32 pages each of 50 grams paper in the 2013 edition of vol.2 (in the 3-volume set). The folders I sewed together with bookbinder's thread - and glued on the spine with bookbinder's glue before I bound the volumes in a cover of thick cardboard and bookbinder's covering.

It was in Exodus 14:7 that I recognized the similarity of the hebrew text with the story of pharaoh's army - and the principles of bookbinding. The verse contains the mention of 600 chariots in pharaoh's army - the word can also mean 600 folders ('bent' things) of choice quality, the border to each such bent thing (folder or chariot) and the 30 that is exposed over onto it. I understood that it could mean many folders with a book spine over it - and 'thirty' dust over that. It could mean that the dust on the bookspines was related directly with the ancient story of the pharaoh's army following the jews to the Red Sea.

I add that in the course of my stay in Zinckgasse I have developed a slight quasi 'arthritis' in my righthand shoulder - to the arm I use when sewing books together. This could be called my 'suffering syr-i-en arm-y' ('syr' = 'sews') - and indeed that could be the very background for the syrian crisis - the intended imitation of the suffering egyptian army on the other side of Israel.

That is for the political imitation of my function 13 - for solving the apparent enigma or 'paradox' of the semiotic constitution of the limited human reality.

The syrian crisis could have been planned as a part of the Obama administration since 1973, or even since the 60's. The Yom Kippur war of 1973 could have told the story - the attack was from Egypt - who set across the Red Sea with probably at least 600 chariots. The theme is likely to have been just this Exodus 14.7 - wherein the 600 chariots of the pharaoh (the many folded leaflets which the 'oakman' sewed together when he was not allowed to have his books published in ordinary ways) are called 600 'rekev' - with deep e's - 'rækævs' which were taken by the sea - that is the story from 'Rekustad' in 1978 when the kitchen was immersed in waters from the kitchen tap while I was away. This seems to have been somewhat pre-heralded in Modern Language Review october 1977: "Were there two meetings between Keats and Coleridge?" Whose 'Tat' was it to open the tap - for that 'rækævs'-Tat? This adds to the theory of my role in the articulation of a blue metre under heavy international control.

The art of bookbinding knows that it is all and only in that experienced skill of putting right the hole in the spine of the folded leaflet which makes the book: If you put it right, the book opens and closes like a dream, if you put it wrong it squeaks of formal error and opens on the wrong place - and little error is needed for that. 'Bakhur' is it - that skill - of Ex.14:7? 'Rækævs' backwards, so to speak? It could mean partly the arm of the skilled bookbinder - and in the political intrigue of the transplanted penises (such as in the possible story of Paul Celan and the 'magic flesh') it could rather mean the arm of the sewing surgeon who puts another penis 'arm' onto the original = the 'syrian army'. But that is the 'army' of the 'surgeon', not of the owner of the penis organ - which could be the whole 'service coup'. Now the phenomenon is my quasi 'arthritis' in the righthand shoulder which is felt when I sew the book leaflets together - and that makes for the 'suffering syrian army' - partly it means the coup which is the surgeon's coup when the 'suffering syrian army' thereby is taken by the public to be the suffering penis organ of e.g. the poet - but in actual fact, and that is where they hope to gain their historic justification, it is the surgeon who is credited for the story - and hence by this mismatch misunderstanding of the suffering army for the creative authorship of the poet who originally owned the penis.

'Aufgestellt in tiefem Staube' (subtitle to DDS part 3 - for which the main title is 'Linien die prägen die Sterne über uns') is that phenomenon of dust on the spines of the books in my bookshelf - the 30 above the finish of Ex.14:7 - and the mystery is that the dust could find out what the books were about since it settled only on certain themes. However, clearly the explanation is that it was my semiotic mind who knew what the books were about and which thereby found a symmetric reality to be in balance with that dust.

The 'suffering syrian army' could have been prepared already since the moon landings in 1969 - with the Zimmermen jumping around up there - before Robert Zimmermann threw me with my head ducked down to hip height out the school door. The 'Simmering syrian army', the 'Zimmermann syrian army'. 2 and 5. I personally have nourished the hypothesis that technology was not really ripe for such advanced trips to the moon in those days, when the computers needed for that were still as big as houses. Do you think my authorship to The Endmorgan Quartet is a bunch of lies? It is not.

The first moon expedition: 'Neil Alden Armstrong' could be the 'needle not-so armstong' - the 'suffering syrian army' - of the sewing bookbinder and surgeon. 'Edwin Eugen Aldrin' was second man on moon - something about Wien? Michael Collins sounds perhaps more like some 'services'.

What did they think? They knew that a sort of blue metre for a higher level of time would have to exist - but what would it lead to? Could it be the spark which made the whole Existence explode all over the universe? Better be careful and not take chances, was perhaps the logic and semantics of NASA and CIA and all those. But I dont know if there ever were anybody on the moon - could be this question could find an answer one day.

Egypt on the one side of Israel (with the hebrew script) and Syria on the other side would be like the semantic and phonetic mirror poems on either side of the 'rainbow' of function 14 - and the syrian crisis would be an attempt under Obama (perhaps planned since the socalled moon landings) to reach an understanding of the even more difficult function 13.

It is the fundamental theorem of linguistics that is the pretext - the need for finding a way to explore the realities that lie beyond the border (hebrew for 'Egypt') of what is known to the human semiotics.

But that is pretext. Come down to earth: The real reason for the syrian crisis as a political and not semiotic or 'poetic' phenomenon is in the need for the west to gain and maintain an upper hand relative to the east with their enormous economic potential - and hence the political reality of the syrian crisis is possibly the wish of the west to run cynical terror-and-monkey-business in order to maintain an upper hand politically.

Pretext: The justified and decent need for finding the new science via the fundamental theorem of linguistics - reducing 'semantic assignment' and 'logical order' to one and the same thing. It is by this that we can find a way to the stars beyond the limits to the speed of light.

Fact: The destruction of Syria could have been for terror and monkey business as a driving motor for western economy and political control. Could be even the abusive misinterpretation of the 'pretext' when punishing a weak and poor nation (Kosovo?) for the sins of a strong and rich western country - under the pretext that they are 'the same'.

It is the problem of running the factual terror and monkey business while making the people believe that they are running the ideal and justified pretext which could be the reason for the IS's and ISIS's ('services') need for a HOMO program - in order to let the world remain with its back side front and vice versa. What a pity! Marriage is an institution in all cultures for protecting the rights of the children against abuse up to the age of 18 by way of the matrimonial conjunction as the natural way of procreation - and homo marriage only means a disrespect of the children's rights. To see it as needed for 'Jung Röver' is a tragic misunderstanding. (John Gröver/'Mengele' was a surgeon - while John Bjarne Grover is not- but could need the doctorate degree anyhow. It was John Gröver/'Mengele' who used to make dinners in the family, even if his wife was a more advanced cook. Was he afraid of losing his rights 'under eatin'?) "It is a part of human nature and we cannot get around it..."? Well swindle is so as well - but we cannot legalize swindle!

Clearly to destroy Syria has nothing to do with decent science or exploration of the realities beyond the limits to the human reality. The pretext is abuse of decent and justified motivations.

See also my article on the poetic computer. This article has been on the internet since 2008. It seems to contain the conceptual apparatus needed for solving the 'paradox' of functions 13-14 - where also the solution to Cantor's famous continuum hypothesis could be found.

The whole world watched when Armstrong put his foot on the moon - and they believed. Do they still believe? You dont mean to tell that it was a big lie? It is since long in all the schoolbooks! Or what do you think - has Johnbjarne really 'sucked this work from own breast', as it is called in norwegian - meaning that he has made it on basis of his own creative impulses and ideas - that it is his own true work which he has not got from anybody else and not got with the mother's milk. Own breast? Do you mean own penis?

The plan with the syrian crisis could be for the IS and ISIS (international secret intelligence service level of administration) to coup the whole thing by way of the trick of the 'suffering/simmering surgeon arm-y' who had put on a new penis on his body without he even discovering it! What a 'prince'!

(For the political relevance of the concept, see also the cabinet of Syse, Jan P. in Norway).

I add that when I lived on Simmering in Ehamgasse in 2005-2008, the neighbour next door across the street was Hörbiger hydraulic pump factories which probably in principle could have had the technology needed to make 'rockpedos', that is for artificial earthquakes - trembling on places with telling names etc - as if the Lord were speaking with trembling voice to the human species. That does not mean that Hörbiger did but it may be that they in theory could have had the technology needed to make such 'rockpedos'.

I add that the dust on the bookspines occurred just at the time when the blue metre PEB was completed - and when I suffered some lung deficit with much coughing and fluids: Could be the work should have started going but this career of mine was couped by 'interesters'. Or I simply had to stop the progress of the blue metre for turning to the work on the red. Or I could even have been overworked already then.

This is probably the most urgent political matter of these times - to stop the spread of the power and influence of these 'international secret intelligence services' and reduce them to the journalists and archivists that they really should be - like that wife of the fisherman in the german tale of the flounder.

I add yet another example from Nono's relative to my work:

At 05:12,1 in part 1 there is the line "Revolusjonens harpe er stemt" "The revolution's harp is tuned" - and at 05:12,1 in part 2 there is

05:08,8
05:10,4
05:12,1 og tømmer fra Libanon.
Der lever de kanskje siden
av himmelens tid på lån. and timbers from Lebanon.
There they perhaps later live
on the heaven's time by borrowing.

Libanon der lever de
revolusjonens harpe er ste[mt]

where a strong crescendo in the strings run up to a sharp 'onset' at the end of 'Libanon der lever de' - as if the harp's strong chord were played backwards in the mirror of function 13!

I gave my new book with Nono alignment to legal deposit in Austria on 30 june 2017 and some international libraries could come to get it from me. I hope the post will not allow the 'services' to stop letters from me. It is forbidden to collaborate with terrorists! - so just drop all that 1:40 hype and all that.

On 5 july 2017 I personally gave a copy of my new book with Nono alignment to the 'Archivio Luigi Nono' on Giudecca in Venice.

Added on 12 july 2017: After the book was completed and printed in a couple of dozen copies, I discovered 4-5 typing errors in the postscript - the comments at the end of the book - which were not intended however much they could look 'meaningful'. None of them can be misunderstood - there is a discussion of three lines A-B-C, and I refer to 'line sA' which of course is a typing error which escaped my notice as I read over it before the printing. There are two occurrences of an open space before a comma - the first was even in the list of Vermeer's works in the 2016 edition - and by the mid of poem 50 there could be some philosophy possible due to this 'comma' peculiarity. There is one occurrence of 'jusdt' instead of 'just' and once of 'coicidental' instead of 'coincidental'. None of these can be misunderstood - but it seems that it could be possible to make quite tough 'service intrigues' on basis of them: Please pack down all those (on the 'LaSalte Quartet' and things like that - including Adam's end words in poem 47 before Eve's poem). It is true that the fifth poem originally was entitled 'Jeg er død' (= 'I am dead') - but since I did not like the idea of possible misunderstandings of it I chose another title, a line from the poem. However, after the work is completed I see what could have been the reason for the originally intended title - in the sense that there is a virtual duration of an inner poetic articulation in this work which corresponds to 1 second relative to the music of Nono - in contrast to the same duration which was 2 seconds in the case of Midori's recording. The simple explanation could be that this be about heartbeats - and for the case of Nono, who is dead, the duration must be understood relative to the recording which exists of the music since 1986. This is of course interesting and could in principle have been a possible background for the 4-5 typing errors - but that is not the format I would have made in any case: The typing errors would of course have been corrected (if I had seen them in time) and will be in the copies I make of the book later - but I am probably still so exhausted from all the years of intensive work that these errors slipped my attention. It is true that my faithful laser printer seems to have broken down just before I was about to print out the first copies - and I could not find out of the 'magic' since an identical printer refused to work and even a new computer did not help (could be this added to a certain confusion of mine in the last moments before the print - if the laser printers broke down by sabotage), so I had to print the first copies in a copyshop and then there is always the danger that the manuscript could have slipped out before the books were finished. I have checked the earlier versions of the manuscript on my computer and can tell that the typing errors are from my hand - I remember the correction of 'A' to 'Line A' where the 's' could have slipped in, and the other corrections are probably also from me (all of them are in quite early versions) and not from the copyshop or from 'magic' magnetism or resonance influencing the information state of the computer and its surroundings. But they do not mean anything - I have never communicated anything by such means and will never communicate anything by such means. In particular, I do not by those typing errors intend anybody dead. It is well possible that the 'services' are tapping my most silent whispers in my throat for turning them around to intrigues against me - and in this case they could have abused another of the lines in the book by such ways. These and my other books I have published on 'Selbst-Verlag' - which means that I am the poet but also the 'publisher'. But even if I am the publisher thereby, that does not mean that I am not the poet!

I do hope the books I sent in the post have reached the libraries.

In 2016 I was in Venice when there was a coup attempt in Turkey and the news reported later that Erdogan saw a connection to Gulen, if I remember right. Now there have been news telling that Erdogan thinks that even Austria could have been involved.

Wildfires have broken out around Vesuv in southern Italy.

Vesuv-smeltedigel
Vesuv-eld-digel

with S/T conversion

VETUV-ELDIG-GODT
vet du veldig godt = that you know perfectly well

There is a 'Brandstätte' street in central Vienna - and I notice the possible LaSalte Quartet or even 'Selzergasse' at the 'lapis philosophorum' quadrant near Johnstrasse, including Hütteldorferstrasse with connotations to Adolf Hitler Strasse.

I am not an agent and I am not 'perfectly well' informed about the intrigue. I am the poet, the author of the book, and this cannot be swapped away by smart intrigues on a 'lapis philosophorum' quadrant or anything the like.

Some outdoor ads in Vienna on 12 july 2017, near my PO Box.