Some notes on text and image in 'The Endmorgan Quartet'

John Bjarne Grover

'The Endmorgan Quartet' (1997-2008) = 'TEQ' consists of 16 books of poetry which I think of as constituting 16 'poetic functions'. In this article I outline what I mean thereby and also why this is not the most important poetic value of the poetry - there is a level above this which is the factual poetic level.

I repeat and sum up some of the material found in this article, in this article and this article - and elsewhere on this homepage.

The magic images

In the spring 2014, while I was writing 'Der Dornenstrauch', I stood in the bathroom of my home and looked down into the white-enamel bathtub when suddenly 4-5 black spots (each of them approximately circular of diametre 1-2 cm or so) took shape as if from 'beyond the maya of apparition', or call it 'projections from the faculty of vision' or something like that. One of them ran up the bathtub wall and it seemed to be a small spider that ran inside an 'astronautic' water bubble. I took an artist's palette tool and rubbed off the ontological substance of one of them (in fact a giant canyon seemed to open up in the enamel under the mechanic rubbing and also since it was not my bathtub I quickly ended it there - luckily the yawning gap closed again) and smeared it out on a microscope glass which I thereafter put under the microscope and photographed - there were several distinct esthetic objects to be observed there and one of them looked like this (used also as cover illustration to my 'Der Dornenstrauch'):

This 'magic illustation' is in fact a very precise representation of the beginning lines of Rilke's first Duino elegy:

Wer, wenn ich schriee, ...

The dog to the left is 'crying', the woman is 'hören' (she seems to play a violin or otherwise 'play with a string', a bowstring or whatever), and one from the 'Engel Ordnungen' suddenly touches her at her heart. There are symmetries - she touches her 'Schöne' symmetric to the angel touch, the distribution of the 'bow' is symmetric with the dog etc.

Even more, the first part of this first Duino elegy of Rilke, down to line 25, can be read as successive reading of the four rotations of this magic image:

Lines 1-7

Lines 8-13

Lines 13-17

Lines 18-25

(The fourth, for lines 18-25, can be seen as an image of 'carnal love and alcoholic beverage consumption' - the waiter comes with more drinks). How come the 'magic image from beyond the maya' and the text of Rilke can be so similar? It is a matter of esthetic logic which guides it down onto this ontology. Rilke's elegy is guided by such transcendent esthetic logic as also guides the formation of this ontological substance on the microscope glass - and clearly the same could have been the case with the exhibition in parallel with Rilke's fourth Duino elegy.

These beginning lines were also famously heard by Rilke as (if I got it right) the voice of an angel from over the sea of Duino. It corresponds to the inner poetic articulations of my TEQ.

This phenomenon of Rilke's first elegy can be observed also for the fourth Duino elegy in another of the 'ex nihilo' images from the same microscope glass - the 'young pianist' under #6 - the previous was the cover to 'Der Dornenstrauch' and it turns out that what is planned to be the cover illustration to 'SNEEFT COEIL' (the synchronic counterpart to the diachronic DDS) exhibits the same qualities for the Duino elegy #4:

Lines 1-8

Lines 9-13

Lines 14-18

Lines 19-29

Notice the 'Löwe' in the first image (as an animal lover on the back of his beloved - could be a Vorbild for the couple on the floor under them), the 'Weite, Jagd und Heimat' for the dreaming indian on the toy horse to the right in the second (on the left, the upright piano turns a music sheet for the young pianist while the greyhounds are listening), in the third the raft up to the left from this study and this. Notice particularly the detail from the fourth rotation:

dann erst kam der Tänzer.
Nicht der. Genug. Und wenn er auch so leicht tut,
er ist verkleidet, und er wird ein Bürger
und geht durch seine Küche in die Wohnung.

The dancer to the right, pale-skin and white-haired, could be rejected by the response 'nicht der', who somehow is transformed into a mirror image to the left who is in a trivial everyday situation of coming home from the supermarket with a white plastic bag - this 'Bürger' is leaning forwards, looking down and somewhat backwards, wears a facemask and a dark winter coat, has just entered the kitchen through the door and is seemingly about to move the plastic bag onto a table or so.

This is the detail of amazing precision relative to Rilke which is the 'Herzens Vorhang' in the fourth rotation (lines 19-29) - the spectator is here a sort of teddy bear sitting 'bang' on his behind with the two legs out on the floor and this 'Herzens Vorhang' is projected (one can even see the 'projection lines') from his chest or THUMOS to a theatre in front of him - like the projection from my own view into the bathtub to the form of the esthetic objects on the microscope glass.

A variant of the same phenomenon is mentioned in my ABC of politics - how a poem of Paul Celan can be seen to describe the elements of the magic photo described in this article - it is from Celan's 1968 book 'Fadensonnen':

Landschaft, nicht ohne Falken

Die windigen Isoglossen, semiotisch
entfärbt und verfärbt;
Syntagmen, Syntagmen;
ein Wander-Code, auf Fixstern-Aschen;
eine Wegweiserkette, wundenbeflügelt;
Zeichenwein, in
schmerzbeschrifteten Kufen;
Marstide, Milchblitz.

This poem of his is a line-by-line description of the 'magic photo' which I took in Vilnius of a tree that fell in a storm at night outside my home in november 2001. I photographed it and it makes for the back page photo to my 'The Endmorgan Quartet'. The photo also seems to be a representation of Sachs' poem 'Mund / saugend am Tod' from her 'Fahrt ins Staublose' (it is also in her letter to Celan of 27 february 1960, a reply to his letter of 20 february 1960). Here is the photo texted with Celan's poem:

It is the B-A-I which is impressive. Why "Marstide" in Celan's last line? There is a tidings scroll in the folded trunk and a 'cork' in the 'm-ars'.

I fancy that this image is an old classic which could have been contained in the idea of "Treblinka", assuming that this name of Hitler's death camp is taken from the name of a jewish-philosophical mystery ('Juden-Buche'?). The storm that felled the tree is also likely to be the theme of Shijing #90 - see discussion in this article.

Balestra as an example of poetic function 2

I pointed out in this article that Antonio Balestra's work seems to be rather exhaustively described by the poetry in my TEQ book 2 ('The slades with the only turn'). That is an interesting observation indeed - if it turns out that all his works are described with high precision by the poems in this book and generally none or only few of the poems in the other books. If this be the case, then one can postulate that Balestra can be considered a function 2 artist and that this is a relevant and interesting concept. The example I mention in the article is Balestra's 'Rest on the flight to Egypt' - which is found in the Scuola Grande (Arciconfraternita di Santa Maria del Carmelo in Venice) - which can be compared with my TEQ poem #81 from book 2 (on page 123 in volume 2) which starts

Five! I consider
increased number of knowledges.

No, I have to take the part.
      The answer is
reading more about Børkeley.
Do you know the number of any thehopper?
Well, I can give you a [...]
some folk want to squeezle in the part of making brensel.
I'm one of the authors saying:
I don't think it's listed here in the geography area.

etc - another 37 lines

See how Josef leaps forwards towards Jesus for showing the mutuality of the cardinal number in their two hands - while what could perhaps be seen as a typical 'Tiepolo character' just behind them has a five-finger display in the space between their two hands (on breast corresponding to Mary's grip on Jesus' breast - 'I have to take the part'). Not to speak of the raccoon or giant panda mask a la Horace - like 'not the right sort of people' visiting. The rest of the poem interprets other aspects of the same artwork. It seems to be this style with Balestra - that his works correspond to poems in my TEQ book 2. (I had not seen Balestra when I wrote my book - other than perhaps occasionally it could have happened if I had been leafing in an artbook or something like that, but I cannot remember that to have happened).

The evidence that this TEQ #81 is a 'function 2' phenomenon in this Schuolagrande artwork of Balestra emerges from the relevance of TEQ #82 with the 'Dream of Ezekiel'. This poem is a 6-liner which I also quote for completing the simple proof of Balestra 'function 2' according to my concepts and definition:

TEQ #82
Luke 24:22     αλλα και γυναικες τινες εξ ημων εξεστησαν ημας, γενομεναι ορθριαι επι το μνημειον

There is something about eye-grenser.
Spitakel - I don't know who that is.
Synes' twilight.

There's one in deine Gedanken
or Rabbit Rank Funk,
but I read early every morning.

This means that the artwork 'Dream of Ezekiel' probably is created directly for this particular spot in the house, next to the white framework which the knee is pointing to - and if the 'Rest on the flight to Egypt' also is created for this particular location (and is not an independent artwork sold to the house as one among other alternatives), it adds to the idea of a relevance of this 'function 2' (with TEQ #81-82) for Balestra's art.

Tiepolo as an example of poetic function 6

TEQ book 6 = 'Orphan and the angels'. A puzzling reason for the good guess that Tiepolo is a function 6 artist comes from the apparent 'tabulator' relation of 30 years between Balestra and Tiepolo. See his 'education of the virgin' (the 'orphan' among the 'angels', suggestive of the book title) which could be interpreted by TEQ #345 in book 6:

Exodus 14:1     וידבר יהוה אל-משה לאמר

Leadent Singerby Hall
Robert Twins

I had, as though I were a twenty years,
the teacher lies in droopéd four
which it was supposed,
and helped it after the funeral.

- The mirror mixes sea or sea okay.
- Okay.

I'm sorry, that is all we can offer.

            Lucky Fall

The correlation seems to go 'linewise' downwards as in Celan's poem for the magic tree photo (from Vilnius) discussed above: The three top characters are Leadent Singerby Hall, Clay-Jeric and Robert Twins - the 'droopéd four' are the three puttis adding to the teacher, considering what the 'supposed' finger points to. And the helping finger of the teacher is 'supposed' over the funeral including the downstepping character. By my fundamental theorem of linguistics, these could be the two metaphysical 'items' that are recognized as one and the same by the limited human semiotic constitution - one part of this unity falls down into ontological being while the rest, the difference, constitutes the form of the language which the virgin here is learning to read. Those two 'metaphysical items' are probably what is seen as two disks on the floor of Tiepolo - cp. the 4-5 black circular spots in my bathtub described above as the origins of the 'magic image' for Rilke's two elegies. The conclusion from this example is the high degree of linewise reading top-down as in Celan's poem relative to the photo from Vilnius - also an aspect of the virgin's education.

Following this TEQ #345 for Exodus 14:1 in 'Education of the virgin' there follows a natural association of what could have been the two parents to a normal child - held in the marital conjunction that secures a child's judicial rights untill own authority = the 'angels' protecting the 'orphan'. These can be associated as follows, for the female and male sexuality:

TEQ #346 for Exodus 14:2 (first part) = Death_of_Sophonisba (in this source)

TEQ #347 for Exodus 14:2 (second part) = Martyrdom of St.Bartholomew (in this source)

A closer study of the hebrew of Exodus 14:1-2 for these three elements could suggest that the three levels - artwork, poem, exodus - are so independent but yet so closely interrelated that it could be permitted to see in the complex an aspect of a revelational quality.

As yet another highly interesting and convincing example of Tiepolo as 'function 6' I refer to his Apollo and Marsyas (in this source) which is very stongly represented in TEQ #364 - the short poem

Exodus 14:13     ויאמר משה אל-העם

On page 176: We have a word.

It's not the bed. Conquer
their bass flutes...

The 'page' is the boy to the left, the 'WORD' is likely to be the apparent lyre in front of the face of the boy - resembling the mystic object told in this file with this photo as well as this photo of the 'mystic object' here as the 'WORD' (= 'Christ'?). The chinese radical #176 can mean 'to meet face to face'. (See also DDS 111f and 157 in volume 4 p.198 and 279 which are the two poems of absolute enumeration #176).

Tiepolo's 'Dama col tricorno' (from this source) seems to correlate well with TEQ #369 - also as a highly interesting comment on the apparent 'lyre' with mystic and possibly ex nihilo object for 'WORD' possibly of Christ: The lyre or mystic object is in front of the 'page' = boy in TEQ #364 while here it is contained in the 'riff' between the port and the sometimes 'O' of vocalic sounds - the multi-layered end of the fan.

For the question whether there is a linewise reading top-down of my poem also relative to this artwork, I point to the white corner top left of the hat as the potentially 'highest point' and quote from my volume 3 page 589 - about just 'vocalic sounds':

There seems to be reasons to believe that the Fourier transform of the signal is relevant for the perception of speech. At least, this is the transform phonetics has been concerned with, and it also seems as if the neural cortical map is organized in striations which recognize in frequency spectras (Cook 1986). The neural map is obviously more complex than what a simple FFT transform can provide us with, but the transform is still probably relevant for the cortical representation of speech sounds. The fact that the VOWEL SQUARE for a long time was thought of as being a good representation of the HIGHEST POINT OF THE TONGUE during the articulatory formation of the vowels, while it later was discovered that this was not the case, but, rather, these 'highest peaks' consisted in the relationship between the first and the second formants in the FREQUENCY SPECTRUM only (Ladefoged 1975), strongly supports the assumption that the Fourier transform is important for the relationship between the acoustic and the articulatory encoding of phonology. In addition, this interesting fact also points to the FIS PHENOMENON in the sense of concerning the subjective articulatory interpretation of acoustic material - not only for the child, but for the adult phonetician as well.

As concerns the relevance of the 'mystic object' qua WORD for this artwork, I refer once again to the chinese radical #176 in its historic origins - see how the 'oracle bone script' resembles the opening of her face in the black surroundings and the 'small seal script' could be more akin to the 'riff', the multi-layered end of the fan. Hence these historic origins of the chinese radical 176 could be suggestive of a diachronic-synchronic aspect in the relation between the 'port' and the 'sometimes O' in the aesthetic fact.

See also 'Mandelstam in a quarry' - Lenin pronouncing some vocalic sounds.

The angel Abraham has wings of parallels in volume 1 and 3. Cp. volume 3 page 589 (the above quote on the vocalic sounds) with volume 1 page 589.

Could be these examples are strong enough to suggest that Tiepolo looks like a function 6 artist. [8/1-23: See also these remarks].

Caravaggio as an example of poetic function 9

Without entering into a detailed discussion of his works relative to my book 9, I refer to a few obvious correlations. Caravaggio could be more complex in function assignment than Tiepolo but it is interesting to notice the correlation between his 'The Martyrdom of Saint Matthew' and my TEQ #584 (from TEQ book 9) mentioned in this file. Looking this artwork up in the concordance table column 3 for the study of the relevance of Caravaggio for DDS, where it is at #34 in the enumeration in the leftmost column, the theory seems interesting that, at least for some entries before and after, this column 3 seems to follow the order of works before and after TEQ #584 - but apparently skipping 28b, 28a, 28c. For example, the following 'Regretting Mary' is recognized in TEQ #585. The other way it seems to follow one-to-one up to at least 'Peter's denial' for TEQ #579 (in volume 2), a 4-liner + signature which includes the line '(Tlph. 86-22-91-00)' which perhaps can be recognized in this edited quote from this source. Hence there are some reasons to recognize Caravaggio as at least partly a function 9 artist. (It is an interesting guess to see the blue, red, yellow and white metres successively in the four quarters of TEQ).

A distributional function 14: Caravaggio and Tiepolo

Tiepolo's "Time unveiling Truth" can be recognized in TEQ book 14 poem #156 (out of 207 enumerated poems) = TEQ #1403 in volume 2. This poem consists of 3 parts, the second of these having the section title 'Ledged 27.03.03' which was written on 29.12.03 which is 277 days after the date in the title. Hence it 'means' the time interval 277 days in 2003.

277/365 = 0,759 which multiplies with 1403 = 1064,7 - and the interval between these is 1403-1064 = TEQ #339 = Tiepolo's 'Triumph of Flora' which contains the same wheel, the same 'one-legged' woman and the same yellow-golden textile/veil. But the leg is 'twined' - the foot is on her left side but is a righthand foot.

TEQ book 14 poem #156 out of 207 enumerated poems = 156/207 = 0,754

This is therefore the contents of this 'LEDGED' - it is intertwined.

The ratio 0,759 is seen in the upper joint of the wing, the upper joint of the other wing is at appr 0,5 from the top which also is the position of the leg and hand horizontally.

See the quasi-'ledged' sculpture head in the box up right, next to the sun: On a distance it looks like a forearm between a sleeve and a pocket seen also in Caravaggio's Supper in Emmaus (1606) - the man standing next to Christ at the table (the following images are edited quotes from the referred-to internet pages):

In this angle (seen in a mirror, it seems), taking the two forearms exposed between sleeve and pocket to be 'the same', the winged being of Tiepolo will correspond to the man sitting to the right in the artwork of Caravaggio, with his hands holding the 'ledged' table surface, the woman behind him will then be the sum of the two men in front of him, that is, these two are 'twined' from the woman coming with the food behind him. In this way, Tiepolo's woman is Caravaggio's 'ledged' table in the 'twined' sense of the woman serving food. Tiepolo's winged being holds a cloth between his hand and her body - that is the tablecloth of Caravaggio.

My poem #1403 asks "What sort of pocket is this really?" - which could be about that pocket of the two forearms. 'Triumph of Flora' suggests that the pocket is a visionary pocket of metaphysics opening in the physical world.

This means that TEQ #1403 is 'distributional' in the sense of comprising two different artworks by two different artists in such a way that the shared elements seem to recur with 'intervals' that could enter into a distributional semantics a la the typical function 14.

The poetic value of TEQ

The discussion so far has led to a possible conclusion - that TEQ displays poetic functions that can be recognized in e.g. visual artworks. It is well possible that these poetic functions (of which I have made the material for defining 16 global and local poetic functions) can turn out to be of a type which can be suitable for definition of e.g. the connection between phonetic and logical form in Chomsky's minimalism. My theory is that the 16 functions I have described are essentially different all of them. The study of their internal structure could perhaps resemble studies like I have outlined above. However, for the poetic value of these poems of TEQ, I believe that this compositionality is only something which is contained within a yet higher level of immediate acoustic value of the inner poetic articulations. An example can outline this way of thinking. Here it is about a poem in TEQ book 7 ('A sister of Toukhraud') - it is poem TEQ #426:

The hebrew parallel text is helpful - I bring it here with some additional senses from talmudic hebrew - several centuries after Exodus but potentially contained inherently at an early stage, as one could guess. It is noteworthy that the oldest hebrew contained no diacritics - these were added later.

Exodus 15:19     כי בא סוס פרעה ברכבו ובפרשיו בים

כי = rel.pron., brand, mark burnt in, so, thus, here, now, like, so, thus

בא = four variants of בוא = enter, go in, come, go,   father, house, coming, future

סוס = horse, swallow, be bright, glad, horse

פרעה = king; of פרע = free, let go, state of disorder; bare-headed, wild irregular growth, payment, pharaoh

ב = ברכבו = PREP. + nms suff 3psm of רכב = ride; bend (e.g. knee), ברכ = kneel, worship, bless etc, to ride; chariot; רכבא = upper millstone, young inoculated tree

ו = ובפרשיו = COPULA + ב = PREP   + פרשיו = break bread, distribute, spread, divide, decide, declare, dung, rider, horse, divide, depart, pass, cross, speak distinctly, go on voyage, cross ocean, set aside, explain; secretion, excrements; chase, be fast

ב = בים = PREP + ים = sea, great river, west, ים = sea, cosmetic paint bottle, receiver of flour, receptacle in the wine/oil press, the tank, water reservoir in temple

It is noticed that in addition to the received reading, there is a notable additional aura of flours from the mill or a wooden area. "A mark burnt into the glad and wildly irregular growth of the young inoculated tree distributes/declares the fluids of the receptacle of the wine press". It would be about the mystic meeting between script and sound - as in the 'sobibor' mystery - which in the poem could be recognized as a mirror phenomenon bridging across what really are somewhat different things - the script (like the drill going up and down) cannot capture more than a little of the acoustic form (the sobs):

By you... such jairms
= Big Jim

as such single currency,
= over California

but we stay clear of the Americans at Carnaval
= net

and keep clear the busting

What is left could be the single line 'and keep clear the busting' which resembles the example from the beginning of this article - the 'theatre of the heart' that displays on the chest of the one sitting on the floor. In this example the 'busting' seems to be the SIGN or PLAQUE containing the three lines of script in it.

Notice also the four variants of בא - the pressing of the symbolic script into the surface, like the pressing of the fruits in the wine press - for the idea of past (preterite) and future (imperative), finite (participle) and infinite. If past and future are in the unidirectionality of the script with its dependencies of distribution, the fundamental theorem of logic assigns to this distribution a symbolic value of the script symbols only for the case when the symbol means the same each and every time, which is the same as an 'infinite' equiprobability in distribution - which is when the information flux measured in the entropy straddles the border between the finite (historic time) and the infinite. It corresponds to the diachronic-synchronic aspect in the Tiepolo discussed above - the 'Dama col tricorno'.

Combining this with Rilke's theatre, one can see how the script of a PLAQUE or white sheet of paper can come to co-refer to the scene of events of the theatre - and hence how the magic images can come to find such precise references in poetry - cp. also Celan's poem above, or, say, my poem to Tiepolo's 'education of the virgin'.

This could also contribute to an understanding of how the trees of the grove of the Danube island in their arbitrarity could come to approximate such poetic form as in this study in their enigmatic and precise correlation with this study.

It is understood that the THUMOS of the theatre of the heart is a RED metre phenomenon. The BLUE is comparatively a poetic function phenomenon - see e.g. this study of the 'tabulator' of line 6 or this study of function 14 which compares well with the 'similar/simultaneous discoveries' of Tiepolo and Caravaggio.

Added the following day, 30 december 2022:

Delacroix as an example of poetic function 7

Indeed the matter of a possible difference between the acoustic and visual articulation of the text in TEQ #426 looked difficult to solve. However, the day after I had published the above I went into an antiquariat in Venice for looking at some art books and there was a box of "I maestri del colore" - with Delacroix as the first of a series of books on artists - by Fratelli Fabbri Editori, Milano 1964. I bought it and soon discovered that it was the answer to just this riddle - by the front page text:

I maestri del colore = Dream/Jim Big over
Delacroix = California
Net = the retina of the eye which seems to be the theme of the artwork on the front page (from this source).

It is understood that the relation between audition and vision in the text is not a trivial one - one can guess that the 'currency' of 'California' is the stream of water the horses are rising from etc, could be the humidity of the eye as well. Notice also the foot of the rider and the foot of the horse - like that Tiepolo. Some text is 'missing' in the first and second line of the poem ("By you... / such jairms") - like the excerpt on the front page of the book - the boat, for example, is missing. (If you see the artwork upside-down you can spot the 'WiFi' - the two upright antennae - of Tiepolo's "Apollo and Marsyas" discussed above - see also the quasi 'lyre' on the beach).

It seems, at least from these few telling examples, that Delacroix is a function 7 artist and one can guess that this function is concerned with the context. Indeed my acquisition of the book seems to have been contained in the poem TEQ #397: The hebrew parallel tells of the horses and rider in the sea - and the text tells of the acquisition context: The book was the first in the series of books in the transparent box or holder and I soon got onto the 'train' of looking at those following behind this front book. I got a plastic bag to carry it in - against the rain. This story seems also to be the story of the artwork - the rider who 'roses into dwellings' as he is wrapped in his shirt - etc.

The context can also be spotted in Delacroix's famous portrait of Chopin (from this source) for the next poem TEQ #398 with its apparent relevance for Chopin op.10 no.6.

Delacroix's famous Liberty leading the people is easily recognized in my TEQ #406 (in volume 2) - reading main characters somewhat linewise top-down and left-right.

(2 january 2023:)

One could, on basis of these Delacroix data, speculate that function 7 could be of a context-related kind - which perhaps could be recognized as a 'yugom' (such as animal yoke) - see also TEQ #1505 - or a 'syzygy' kind of relation between artwork and real-world context. (See this article and this on the greek origins). Pope emeritus Benedict XVI died on the last day of the year, and the idea of 'ordinality' could perhaps once again be added to his career. He died at 9:34, told the news. I refer to the red-metre prose work of mine "And hang under the Justcan keys" chapter "11. In the mirror" (volume 1 pages 1109-1112) as being a possible co-reference to Delacroix's artwork Dante's boat (from this source) with possible function 7 reference in TEQ #442 (in volume 2 page 522). If the emeritus pope's death should be recognized in my prose text, it could be about the elderly father who alternates somewhat with Mrs.Svalevik. The interesting observation could then be the role of the doors - in which case I notice - without taking a stance on the potential authenticity of this language - the hypothetical link to Tocharian A. The two doors mentioned could relate in an interesting way to the idea of the two strong impulses in the spiritual space just preceding pope Benedict's announcement of his resignation in 2013. There could also be an interesting connection to the hebrew parallel (the beginning of Exodus 15:26) in the form לְק֣וֹל (= thunder, voice of God) which appears (from Davidson) to have an interesting alphabetic link to לקום = 'fortress' adjacent to the reference to the gesture of 'קום = 'standing upright'' (like Dante in his boat - with the 'fortress' in the background).

(8 january 2023:)

The fundamental theorem of logic

The fundamental theorem of logic means (if I have got the math right) that the equation obtains only by complete equiprobability of occurrences in a corpus. Since that never be the case for language in historic time (or, strictly speaking, for any language), it means that it is the meaning that remains invariant (quasi 'equiprobable') across all occurrences of a symbol. (For example, the symbol '2' must mean the same 'two' throughout a mathematical proof, not 'three' now and then). It can therefore be called the 'symbolic function' - that which assigns meaning to a (graphic) symbol. Considering, among the above examples, Delacroix's 'Liberty leading the people' relative to my TEQ #406 or the assumed 'Treblinka' photo texted with Celan's poem, one could postulate a generalized (?) theory that the poetic text applies linewise top-down and left-right on such artworks. (Other examples could suggest right-left). The finer the approximation, the more will the graphics of the text approach the graphics of the artwork untill the fundamental theorem of logic can be recognized in theoretic equiprobability of text and image dependency - which is when the alphabetic symbols are assigned meaning. If striving for an identity of logic and linguistics, it must be assumed that this meaning is the same as the one which arises when the fundamental theorem of linguistics reduces two metaphysical items to one substantial physics by the near identity - while the integrity of the original difference between the two metaphysical items is retained by the linguistic labelling thereto. In christian symbolism, the two metaphysical items will be the two hand stigmas while the foot stigma will be the substantial terrestrial unity and the linguistic labelling is the INRI sign above. Then what is the spear stigma in the side? That will have to be the logical equiprobability as the basis for meaning in any language - which always are non-equiprobable in distribution.

Christian mysticism tells that the human reality is limited and that these human sinners cannot understand the full truth. What happens when a divine tries to become human is that he will have to be squeezed into the limitations of the human reality - and the story of Jesus tells what those human limitations are. Therefore the stigmas are telling of an aspect of the limited human reality. This makes sense for the christian mysticism of my TEQ such as it can be recognized in e.g. these italian artists - including the aspect of Christ as the 'Word' in the sense of the concatenated 'meaningful' alphabetic symbols. This level of symbolic-poetic functions will, though, be only contained (as goes the philosophy) in the larger metaphysical reality of the acoustic reference in TEQ. That is why it can be seen as a relevant mystic-poetic treatise - since it could open up for an understanding of the realities beyond the human limitations. That is the revelational aspects of the work by the inner poetic articulations.

10/1-23: It is seen that if the equation obtains only by complete equiprobability, that means the same as the equivalence to the silence or white noise described in my PhD dissertation in volume 3 page 598f., which could lend new meaning to this relation between text and image.

27 january 2023:
Some considerations on Mathias Grünewald as a possibly function 12 artist

19 february 2023:
Another two tentative examples: Giovanni Lanfranco as a function 1-2 artist and Albrecht Dürer as a function 8 artist

28 february 2023:
Yet another two tentative examples: Andrea del Sarto as a function 12 artist and Jacopo Bassano as a function 10 artist

8 march 2023:
Rembrandt could be a global function 7 artist.

14 march 2023:
Savoldo could be a global function 12b artist.

13 march 2023:
The discussion of Rembrandt outlines a theory on the global function 7. I quote from this Rembrandt file about the mirror format of the entire work TEQ of 1719 poems: "The [...] enumeration over 1719 poems [...] often allows for studies of the mirror poem (1719-x+1) to poem number x. For this TEQ #395 (= volume 2 page 468), that means mirror poem 1720-395 = TEQ #1325 (= volume 2 page 1445) which seems to be one stanza in #1725 per line in #395 - and maybe even appr. one word of #395 per line of #1325. It is also often possible to study the mirror poem in each half, which hence here means (860-395+1) = TEQ #466 (= volume 2 page 549) in the first half, and (860+395-1) = TEQ #1254 (= volume 2 page 1372) in the second half".

Another theory will suggest that the phenomenon of four mirror poems corresponds to four types of function 12 - that is 12a, 12b, 12c, 12d. Above I have discussed Andrea del Sarto as a function 12a artist and Mathias Grünewald as a function 12d artist. Compare, for example, the following two artworks - del Sarto left and Grünewald right:

from this source

screenshot excerpt from this source

in corresponding mirror poems: = TEQ #867 = volume 2 page 972 = TEQ #1016 = volume 2 page 1116 & TEQ #1028 = volume 2 page 1134 (mentioned in this and that file). A good speculation (!) is that these four variants of function 12 (a,b,c,d) with corresponding mirror poems globally distributed also correspond to the four 'magic image' rotations discussed in the beginning of this article. It is noteworthy that the Grünewald excerpt is from only appr. one quadrant of the full artwork - and correspondingly there is one full stanza (four lines) in TEQ #1325 to each of the lines in TEQ #395. Similarly, from the 'flatus vocis' (= volume 3 page 226) - as in the gesture of the child of del Sarto - around the year 1000 to chomskyan grammar around 2000 the millenial clock would make a full turn in the blue metre.

21 march 2023:
Correggio could be a local and global function 15 artist.

31 december 2022:


I once again emphasize that 'The Endmorgan Quartet' (in volume 2), which perhaps best is understood as a modern variant of a dantean 'climbing of the mount of mystic enlightenment', is a work which is purely poetically conceived - and the theoretic-linguistic aspects that can be drawn from it are very secondary. The poetry is conceived by me as single and undivided inner-acoustic units which I think of as having an arbitrary reference to a space of mystic knowledge - and the relation between the acoustics and the reference can of course later be decribed as poetic functions, but these ideas are formulated afterwards. The mystic reference suggests a reference to a metaphysical space about which it can be hard to make any assessments of relevance - but it could be a fair conclusion to assume that if it is found (as the above discussion suggests) that the works of singular artists tend to cluster around certain books of the quartet, that should be telling of the idea that the mystic poetry is not a failed program.

2 january 2023:The conclusion could perhaps be completed with a remark on the poet's need for better working conditions: It is very possible that this work of mine will have a large importance for the development of the culture and knowledge in coming years and therefore that it also could be hazardous from that point of view to refrain from providing the needed support for the poet's continued work. Put differently, it is very possible that the COVID pandemic was a direct result of the apparently systematic mobbing of me in Austria - e.g. 'Werbung' on huge outdoor posters all over the country apparently (as is my impression from a number of inspections) abusing fresh surveillance material from my workdesk in Zinckgasse, which is when the nearby 'Wermuth Weinkellerei' could come to be misunderstood as the 'Bienenweide' of the socalled 'zidalweidun' crux of the story, possibly (as I guess) assumed to be a driving motor of a 'Black Sea Loop' of 'chemical' horror (creating undereath panic for swinging the eastern european swastika arm down on Italy) while dumping the blame on me - a miserable response to the work I had done. (There could also be extensive plagiarisms of my work in international media - adding punch to this phenomenon). Why not try the other way instead - I mean, if world economy suffers recession because of COVID? I am for the time being in a very desperate need of finding a permanent residence in another country than Austria but have so far not the needed economic resources for that.

Today (2/1-23) I checked my bank account balance in the norwegian bank Nordea and there had been an apparent swindle cash withdrawal of 250 euros on 30 december 2022 (registered in 'amount at disposal' = 'disponibelt') - two withdrawals were registered but I believe I had made only one. It has turned out to be difficult to reach the bank so far (a Nordea Stream disruption?) and their official telephone number answers that one should try another number - which is non-existent on their web page I hope of course that the swindle withdrawal will be annulled. Is the false withdrawal meant to be a 'glove in face'?

The author thanks the birds that contributed to these ideas.


Celan, P.: Die Gedichte. Ed. Barbara Wiedemann. Suhrkamp 2003.

Cook, N.D. (1986): The brain code. Methuen, London

Ladefoged, P. (1975): A course in phonetics. Harcourt Brace Jovanovitch, New York.

Sachs, N.: Fahrt ins Staublose. ('In den Wohnungen des Todes', 'Sternverdunkelung', 'Und niemand weiss weiter', 'Flucht und Verwandlung', 'Fahrt ins Staublose', 'Noch feiert Tod das Leben'). Suhrkamp 1988.

© John Bjarne Grover
On the web 29 december 2022
Last updated 3 may 2023