TEQ and the arts

John Bjarne Grover

My TEQ = 'The Endmorgan Quartet' explores the relation between the quasi-eternal poetic reality and the reality of historic time. It does so in terms of 1719 poems over 16 books of poetry (written 1997-2008) each of them exploring certain 'poetic functions' in the formation of the historic reality. This means that each poem gives a certain glimpse into the poetic reality by way of a certain aspect of historic time. The theory goes that this is what esthetic logic generally is about. One important aspect of my work is that it also provides for poems with interesting readings of the great masterworks of visual art - readings which tell of the 'esthetic logic' in the artworks. This clearly can also bring important new light to the theory of art and art history - and there is thereby a potentially large market for my work among students of art all over the world. Therefore I hope that somebody can help me find a publisher. I do not have any illusions about political interests.

See e.g. TEQ #361 "There is Mary Magdalene" relative to Caravaggio's 'Flight to Egypt' or TEQ #348 "You know you must kick that aside" relative to his 'The calling of Matthew'. Does this mean that it is only such golden age of italian arts that is subsumed under my poetic logic? Absolutely not. Some sceptics may perhaps launch the theory that I have peeped at the artworks before I wrote the poetry - that is not right, and it would of course have left a bad bias and limited generality to the poetic work if I had done so. To show that the poetry is principly independent of the arts, and that the correlations are secondary, I bring an example which cover three very different artworks - it is the last poem in book 1 'Hammerfest':


TEQ #60
Luke 23:56
kata ten entolen = 'according to the commandment'

Rieflin Tower and Upper Finch

We may as well say
    that it looked around,
did not respond to my letters
games are typically the chair of.

It's exactly how I planned the departure.

Double 'e'
with laborious and
pushing of trust:
Hammerfest.


This poem can interpret equally well the essentials in 1) van Gogh's famous "Chair", 2) Picasso's "Bottle of Vieux Marc, glass, newspaper", and 3) Rafael's "The wedding of Mary" from 1504. Notice the 'upper Vincent' in van Gogh, his signature up to the left, on the wooden box that seems to contain some 'game'. The number of floortiles is about the number of woodpieces in the chair which is glued, not hammered together.

Furthermore, there can be more than one poem for one artwork. Rafael's 'Wedding of Mary' has also an important reading in TEQ #1313 from book 14. This is a longer poem but I bring the introductory lines bout the area around Rafael's signature on the tower over the wedders. This signature tells RAPHAEL VRBINAS MDIIII which corresponds to the title of TEQ #1313 which is THE ARBITRARY cp. ARPHAEL etc. Under the title there follow some lines with partly incomprehensible words - which, though, on a closer inspection seem to be a rendering of the 'gem-like' arcs and supporting pillars on the tower right under the signature.


TEQ #1313 = Book 14 poem #66

The arbitrary

This is very handable, bud de
sikker mitteryltes
worpie jems:
"On how to... to update texts".
etc


Most impressive (from the following part of this poem) are also the 'crocket seabeds' of the ornaments on the tower and the peanut-looking shoes of the priest.

This fragment from TEQ #1313 shows how 'strange forms' ('sikker mitteryltes worpie jems' etc) in the poetic language of the work can serve the function of describing essentials in arts which hardly can be captured in other ways. Another interesting example can be found in TEQ #342 ('Why does the authority play 'B'?') from book 6 ('Orphan and the angels'), a few lines from the second half of the poem which seem to describe the strange marble-like substance in the lower part of San Francesco's body or clothing as he rests against the angel in Caravaggio's 'San Francesco receives the stigmata' - the 'strange forms' describing these marble curls being "To put it bluntly: Isoverse / pint - litt fact". Recognizing this in that lower part makes it possible to follow a diagonal from lower left to upper right in the artwork in terms of the second half of TEQ #342 and the first half of #343.

Studies of such correlations with the masterworks of art history tell that the poetry is 'right': The poetry is written on immediate poetic intuition which at hindsight can be seen to be constituted by the complex web of 16 poetic functions, each of them with one global and one local scope, interacting on each poem in the work. For example, poem TEQ #1313 is the 66th poem, of 21 lines plus title and signature, in book 14 which contains around 207 poems - and can be seen to define the semantics to the word RING which occurs about 21 times in the whole TEQ work of 1719 poems, and then each occurrence can be seen as having its semantic value defined or updated by the corresponding line in poem 1313. This is function 14 with global scope, and it clearly imposes very strong constraints on the poetry. It means that each poem can be seen as constituted by the complex web of 16 (or 32) such poetic functions - and when the resulting poetry analyses the masterworks of art history in an appropriate way, that means that the conception of the 16 poetic functions must be basically right. This is an important result for the new poetic logic. It can lead to a technology for transmitting information faster than light.

It is important to understand that the new poetic logic must not be developed by the secret power services - but must be developed by the healthy interests of the people with a poetic inclination. Not the least for this reason is it important that my work be published so that it can reach ordinary people. It is extremely important that the work be not informationally encapsulated and limited to a few service people - and when I tell of these results in the studies of art, then it must lead to better chances for a publication and not to more secrecy-cramps from the power-sick services and 'intelligences' who work for constructing intrigues and power-games. But I cannot myself find a publisher - this seems to be something which is very difficult to understand. If I try to contact a publisher it is already rejected before the letter arrives at the addressee due to the service controls. Therefore it is important that somebody helps me find a decent publisher. I do hope my postbox functions. It is very possible that the power-cramp 'services' try to encapsulate me informationally.

It is extremely important that the development of the new knowledge be not left to those who want to work with and keep it secret: Those are only out for power-games and intrigues for suppressing the people and for consolidating their own power. The new knowledge must be developed for the people and not for those who want to suppress them and bring them under total control.



(See this file for another example)




John Bjarne Grover
On the web 24 october 2014