The transfiguration of Venice

John Bjarne Grover

This article describes what I believe were some occurrences of spontaneous music in the air in Venice in the days around 10-15 october 2020. It seems that this 'magic music in the air' was generated by my two poetry books 'Stillhetens åndedrag' (2016) and 'Rosens triangel' (2018), for musical harmony and counterpoint. A few attempts to explain it are presented here. I would guess that these are recorded by 'general surveillance' but I do not have access to it, at least not so far. The only independent evidence I can present is in the two cases of terror in Nice and Vienna that occurred soon after I had presented a first version of this article on the internet on 26 october 2020: If these index the occurrences, they would not have been organized if the occurrences were only from hidden loudspeakers.

There were a few days of great beauty with music in the air here in Venice some time ago.

I can explain a little of it with some details from my two white-metre books (in norwegian language) 'Stillhetens åndedrag' (harmony) = 'SÅ' and 'Rosens triangel' (counterpoint) = 'RT'. These two combine to sweet music in the air.

On 10 october 2020 I put these two photos out on my internet page. The potato peel filter is described in the article on 'Revelation in matter' from 2006: It fell with a rumbling sound ex nihilo down into my bathtub one morning and landed on the line between light and shadow. (This is probably also described in Ouyang Xiu's poem #6 - which follows after #5 which is a miracle of 'universal poetry' - the english sound in my bold translation is almost the same as the chinese pinyin sounds but is nevertheless a reasonably good translation of the old chinese! - that is what #5 is about - probably even in the current story from Venice - see also #4). The other photo I took near Guglie in Venice one afternoon. One can conceptualize these two as 'the same', albeit possibly with opposite feature valuations, and the interesting observation is in the strong relevance of mid poem #8 in the 16-poem part 4 of my poetry book Der Dornenstrauch called 'Die Schönheit der Welt'. This poem #8 seems to be about the beauty of music in the air - while the other poems are about different aspects of 'worldly beauty'.

It may have been a day or two after I put these two photos out on the web that I came walking in the same direction and area as the photo was taken - and I passed a man with upright hairdo a la the cartoon 'Tintin' - he was just in the process of meeting another man - and then some 50-100 metres later I saw the same man again with another man. It is probable that these were two different people but my spirit immediately conceived of them as one and the same - and I wondered how he could have spurted around the block of houses but concluded that he could not. Was it a sort of 'historic discontinuity' - which perhaps 'service mysticism' could have called 'Tintin'? It probably were two different people with the same hairdo, though. Then a day or two later there occurred a xylophonist in the street just next to the location of the light in my photo - probably (if I remember right) just outside a shopwindow which was closed and overglued with paper on the inside - with a notice in the window: CERCASI / MAGAZZINO / NELLE VICINANZE - plus two telephone numbers. (I dont know when this note came up there). The xylophonist played there I think for two days - on what seemed to be an 'aboriginal' instrument - not the sort of thing used by orchestras - and quite different from a temperate scale. The resonance in the woodbars was quite brief and damped quickly away.

The potato peel filter will then be the beginning of DDS - poem #1 or #8 - while the photo from Guglie is 8 poems from the end - poem #432 in absolute enumeration. Hence a theory arises of such a mirror symmetry in the work. The last part of The Endmorgan Quartet also has 16 poems - the 8th of these ends 'They don't miss anything. / They have a total control' which is the exact opposite of the first lines in the work: 'Me and the Leotad girl / on the slippery slope'. Some time before the Guglie photos I was having some potatos near the Guglie bridge and had fun with a gull who caught in the beak every potato I threw - untill suddenly it seemed to catch sight of police and ran away.

It must have been on probably 12 or 13 october 2020 that I first time was into the Giardino di Ca'Bembo - the garden behind the linguistics institute in Venice. I stayed there for a short time in the afternoon, looked at the beautiful wisteria climbing up on the roof of the building, and was on my way out the corridor between this house and the neighbour house when I suddenly heard a xylophone playing - or maybe it started playing before I went into the corridor. It was a scale of strange and somewhat 'wooden' natural tonality, I think it started with intervals of two tones with one repeat, climbing successively the scale up like the wisteria. For each turn of the scale it seemed to enter into a new tonality space - a misteria, a histeria. I naturally believed it was a musician rehearsing on a higher floor but believed it was permitted to listen for a while nevertheless. The repeated tones were of a different quality compared with the one at Guglie but it is interesting to observe that each tone or interval seemed (in the beginning) to be repeated - like a 're-sonance' with a brief interval. The very natural scale reminded me of some of the tonality in Nono's quartet which goes in parallel with my 'Stillhetens åndedrag'.

I returned the next day for photographing the wisteria and try and verify whether it was magic or more normal music I had heard. I took some photos and was about to move out again when I heard what sounded as if it were instruments of an orchestra preparing for a rehearsal: The instruments were warming up like the minutes before a concert starts. (See below for further discussion).

Then some days later I was in for a coffee in a pasticceria nearby. Just when I arrived I had to wait for a few seconds while a photographing tourist or could be local photographed in through the entrance door with his camera very low at the ground outside, at the foot of the door opening - like I had done when I took the 23 photos in the grove on the Danube Island. While I was drinking the coffee, I suddenly became aware of a small white dog on the floor - something between a small poodle and a pekingese (or is it 'bolognese') - it barked a few times as if for calling for attention. I had not noticed it coming in, though. It stood on the point approximately where the photographer had his lens directed.

Was it 'Tintin's dog? I believe it was not necessarily a 'Tintin' related dog - but I naturally associated it with the 'border to white noise'. In my PhD dissertation 'A waist of time' I define acoustic features on the border to silence and on the border to white noise. The 'border to silence' is exemplified in the 'poltergeist'-similar knockings in Zinckgasse in january 2020: For some days these could be recorded - these are recorded on 20 january 2020 at 11:00 o'clock - but towards the end of the month they could no longer, even if other sounds were recorded as normal. That is 'the border to silence'. I believe that 'the border to white noise' is exemplified in the 23 thresholded black-and-white photos that I took in a grove on the Danube Island - and then I held the camera in precisely the same way as the photographer outside the pasticceria in Venice: Very low, almost down on the ground. The white pekingese-poodle-sized dog occurred now just where the camera had been pointing and it produced some barking 'noise'. This adds reason to notice its peculiar occurrence - it seemed to be there quite suddenly and I had not seen it arrive. (This is probably verified on 'general surveillance' - I guess the dog could have come in without me seeing it).

If one stands on the place of this photographer, just outside the door, one can see in to the place where the dog stood and one is then also seen by a surveillance camera up on a corner outside. I then thought: But this series of cameras should mean that there should be yet another step beyond the nearest surveillance camera - and that should be up on the next corner at the canal. There was a dove sitting there. This is the beginning of poem 50 in SÅ - called 'Tabitha (Dorcas)': 'Ringduen er min beste venn. / Hun sitter på svenskeantennen' = 'The ringdove is my best friend. / She sits in the Sweden-antenna'. (The 'Sweden'-antenna is the old word for antennae taking in broadcasting from outside Norway). The end of this poem is the 'calibration point' in Nono's quartet around 01:40 (or, say, seconds 100-105) in part 2 - and where my principle of reducing the 105 poems to 64 turn around - in what corresponds to the 'tethering rope' of egyptian hieroglyphs: It is the point of historic discontinuity whereby the travel around the globe has given an extra day in Verne's novel - or where different realities meet in a point which culture strives towards unifying. A natural idea is that ex nihilo phenomena are of this type.

The dove is also in poem 45: 'Det sitter en due i en avlyttingsmast - / at hvilen er sølibat' = 'There sits a dove in a surveillance mast - / that the rest is celibacy' with mirror point in the same poem 'og det som er nedenfor dette lover / ingenting arbitrært' = 'and that which is below this promises / nothing arbitrary'.

Now looking up the counterpoint to this harmony, 'Rosens triangel' can be read as a true mirror-counterpoint, not a parallel - which means that #45 in SÅ = #20 in RT (there are 64 poems in each book). The poems in RT are three stanzas in each of the 64 poems, but the last quarter ('Benedictine') distributes its 16 poems = 48 stanzas over the 48 first poems which then each has 4 stanzas (and the resulting 48 poems follow the 'keys to heaven' reasonably well). To this #20 there corresponds the mid stanza in #58 (the 'benedictine' stanza assigned to the 'franciscan' #20):

Datteren føres til hushjørnets kant
av en hund som trekker i taket.
Der stanser de ikke opp en instant
men snur og kommer tilbake.

The daughter is led to the end of the house/curb
by a dog who pulls in the lead/grip.
There they do not stop for a single instant
but turn and come back.

But this benedictine stanza is just the 'steps' in the scale of the cameras (and the xylophone?) - ending in the dog on the floor - where they turn and go back again.

Harmony stanza to this mid point of counterpoint stanza #58 is then the mid stanza in #7 in SÅ:

Da gir du henne en fordel
og hører en stemme som sa
at hvis du ser kattens formel
da er den vel foran, da.

Then you give her an advantage
and hear a voice that said
that if you see the cat's formula
then it is in the front, probably.

But this is just the voice that spoke in the air above the heads of the people (under the ceiling, apparently) in another pasticceria in Venice some years ago - it said 'è un ragazzo':

at hvis du ser kattens formel
a tvistus     ra-gatt- SO
è un           ragazzo

This is when one has to consult the 'doublewords' listed in the end of SÅ - each line in the book is aligned with a word that occurs twice and only twice in TEQ books 13-16. The words for this mid stanza of #7 are 'fat, feet, fft, field'.

This means that the doubleword for the voice spoken in the air some years ago is 'FFT' = 'Fast Fourier Transform' (converting time into frequency) - precisely the cornered steps of the scales of the FFT butterfly flowgraph diagram - which I derive from Acts 10 in the form of the 'keys to heaven'. The perfect explanation to that voice some years ago - and to the dog now. A formal FFT version of the informal wisteria - like a temperate scale relates to a natural one.

This is also why PTRSIM PIK must be brought out of the shadows of political intrigue and be subjected to serious scholarly attention.

The 'formula' mentioned as 'the cat's formula' is in the mid stanza of poem 50 (between the ringdove and the calibration point):

Det var plankevann, det, ved husfoten, tidlig.
SÅ komma Savnet omkring.
Is there a forskjell, really?
Nå er det ingenting.

That was plankwater, that, at the housefoot, early.
SAW comma Yearning/Sawnet around.
Is there a difference, really?
Now there is nothing.

SO is the formula, or SÅ the ragatt-SO. I have guessed that the dog was called Adesso. The yearning was around the corner, the steps up the cameras - from the housefoot and up. Norwegian 'komma' is translated 'comma' but 'kom a[v]' = 'came from', 'was caused by'.

The doubleword for the title 'Tabitha (Dorcas)' of #50 is 'eternal'.

The doublewords to RT are not from TEQ but from PEB, which have a more temporal character. For the mid stanza of #7 the doublewords are 'bred, brick, brief, brightness'.

Some observations on 'Stillhetens åndedrag' relative to 'lapis philosophorum'

The third part of 'Der Dornenstrauch' which led to the formation of a lapis philosophorum exhibits strong symmetries along the mid - and along the mid of the two halves. Even this is 64 poems. Here is discussed the same phenomenon for SÅ: The theory is that the xylophone is in poem #5 from the mid - that is poem #37 in 'Stillhetens åndedrag'.

I det kalde nord er sneen
hvit som pudder på din karm
når du åpner vindusveden
med din overjordiske arm.

In the cold north the snow is
white as powder on your sill
when you open the window wood              
with your supernatural arm.

= white poodle
= the wisteria, the xylophone
= mallet strikes on wood

The counterpoint in 'Rosens triangel' is in mirror poem #28 which tells why people have to be brought up to their cultural psychosis which defines their reality. 'Plastic ambiguity' is the philosophical concept in the mid stanza. The last line is "Smellføre angst og smellføre kroppen" = the mallet striking on the woodbar of the xylophone + the vibrating body of the woodbar, or the white dog surfing along the lenses into the pasticceria. The sudden occurrence of the dog = the sudden occurrence of the sound. The fourth and 'benedictine' stanza to this is in #55:

til månens fase ne
i bronsealdrens tall
når kakene er tre
i montrets klare kall.

untill the moon's phase wane
in the bronze age time's number
when the cakes are three
in the show-/glasscase's clear call.              

= 'tall' is swedish 'pine', the conifer tree

= in the moon-tree's clear call (swedish)

When it happened, the moon's phase was waxing - but it is noticed that the genders seem perhaps swapped. The cakes in the pasticceria were in a glasscase and could have been the clear call that led the dog in there ('en hund etter kaker'?). Appetite is the phenomenon, and the cake is probably a placenta - as the egyptian hieroglyph - called 'mor-kake' = 'mother-cake' in norwegian.

There is a cake also in SÅ #23 'Language'. It can be said that linguistic performance consists of

1) plasticism = the constant updating of the distributional semantics
2) ambiguity = the branching grammatical forms

SÅ #23 'Language' can be aligned with the senses listed for the sumerian cuneiform sign ME = one vertical and one horizontal wedge, the head of the horizontal at the mid of the vertical wedge. This allows for a tentative 'explanation' to the xylophonic phenomenon:

til månens fase ne = untill the moon's waning fase
til Nonens fase ME = untill Nono's fase ME

In my vol.4 p.1265-1266 the meanings of sumerian 'ME' are listed for poem 23 (title + lines 1-20). The line with the 'cake' is then 18 'kreisen, reinigen' - which then should mean the lenses through which the dog was surfing - could be for a general 'catharsis' function. Or through which the newborn child arrives. For moon/Nono the corresponding M/N suggests a swap a la an FFT butterfly. I look up the doublewords for SÅ and find that the doubleword for 'cake' in #23 is 'd' - immediately preceded by one of the two sensational computer glitches I reported in vol.4: This is the one where the word which should have been 'CULTURE' was replaced (by a computer glitsch) by the word 'ZUM' here perhaps suggesting 'sumerian' or 'zoom' of the lenses. It is that point of calibration wherein culture's normal smoothing is replaced with a historic discontinuity which lets the white dog/noise through.

Where did this 'ZUM' come from? 'ZUM' is otherwise normally the last doubleword of TEQ book 14 just before the first of book 15 = 'across'. This is aligned with poem #37, just below the 'pudder' (white poodle) and 'vindusveden' (wisteria): The line is

som åpner seg mot     et hulrom i den
which opens against/towards a hollow space in it

This hollow space - see also my theories on 'the opening door' in the cyclic interpretation of the sanskrit beginning of the Rigveda vs. the hebrew beginning of 'Genesis' - can be observed in RT #55 just before the moon's phase - 'folds her hands hollowly'.

The 'psychosis' is here understood as that aspect of culture which smooths the historic discontinuities out.

'Smellføre' in "Smellføre angst og smellføre kroppen" is an intranslatable norwegian word which I made when writing the book - could be comparable to an example of the same in TEQ - the word 'mårhet', the essence of the little animal 'mår' = 'marten'. The recordable border to silence / white noise is then the theme.

If the dog is from dog's paradox then the wisteria is the tree which also is recorded in the Chu silk. The fence is inbetween. The low camera is then the rope.

I add, also as a comment on the swedish overtones to the norwegian poetic lines, the two first stanzas from the last poem #64 ('Schnell fahren wir auf den Schienen') of 'Der Dornenstrauch' part 3 with its white stone - cp also the 'plastic ambiguity':

Als wir uns die Grenze anneigen
verlierts uns das goldene Sein
für einer neuen Welt Steigen
als ziehn wir das neue Land ein.

Es spricht eine neue Sprache
im Wind wie das grüne Laub
bewegt sich in neuem Fache
das unterteilt sich in Staub.

For an explanatory format

1) The churches on the map of Venice - these are filled with high-quality art and constitute alphabetic letters on the map of centro storico (outlined briefly in my ABC - search for 'tobacco'): It is not impossible that the poet's words are interpreted as sound in the city-space via these church-letters

2) 'Stillhetens åndedrag' also has a characteristic in register/stylistic level going up and down like the water in the canals - from the lowest cliches like 'over det ganske land' to more advanced observations such as the stray dog in the last stanza or the opening of the window wood - and it is not impossible that these socio-linguistic aspects (sine curves of ups and downs) are a part of the interpretation as sound in the city-space

3) Finally, the relation to the double-words of TEQ could be of some relevance - such as this 'FFT' for the dog in the pasticceria - including the computer glitch (discussed in vol.4) that moved the ZUM across 14 poems - from the 6th last line of poem #37 unto the 4th last in #23 - there should have been 'culture' there (in the list of doublewords) but it says 'zum' instead. The two machine glitsches followed strangely humanoid lines of logic. This could be the commutation of the sudden dog - if the nominalism is taken to be not only on speech sounds but on material objects as well. That doubleword phenomenon could make for a new vs old testament function and hence apply to the churches on the map of Venice centro storico.

4) Furthermore, these register (stylistic level) cycles going up and down could well run in parallel with the hieroglyphic aspects of the book - see the list of 56 * 24 = 1344 lines. That could explain how the hieroglyphs could 'mean' anything: They were speaking in the air to those who saw them.

How can I know that the xylophone and the other sounds were from my poetry (or took form in relation to it) and were not engineered by smart technology from e.g. the 'intelligence services'? I got a little proof the second day I was there to the Giardino di Ca'Bembo - for listening to more of the xylophone and take the photo of the wisteria: This time there was no xylophone but it sounded like an orchestra warming up before a concert - that moment of freedom wherein the flute and clarinet run up and down and the cello adjusts its intonation: I have earlier noticed the joy of true music in such moments and thought 'isnt this what the concert is for? is this why they are musicians?' Of course, no sooner has one made this thought, the space of freedom that had been generously opened closes again. I have speculated that the phenomenon of aleatorics in 'contemporary music' originally was inspired by this and that is what is intended when the composer writes 'aleatoric variation' in the score - but it is probably seldom that the true freedom comes through when it is performed. However, the second time I was to the giardino there were the sounds of such apparent pre-concert 'aleatorics' - when suddenly I heard a brief excerpt from Dave Brubeck's 'Take five' (jazz is perhaps supposed to be aleatorics) - and I thought: Ah, this is to me - I had been contemplating this phenomenon of '5' before I left - the bottom of the zifferblatt - and took the brief passage as a whispering tip that this was to me. The xylophone and the dog are in poem #5 from the mid - that is #37, the mid stanza: 'White as poodle' and the 'window wood' ('wind of wood'?) - with the counterpoint in #28 = 5 from the mid the other way. In fact this #28 mid stanza tells probably the whole story - of how the ex nihilo were 'manouvered' into the 'plastic ambiguity' of the region - after somebody had invoked it: That would have been the xylophonist with his instrument resembling the last poem #64 in 'Rosen': In this poem the narrow passage between the institute of linguistics (Ca'Bembo) and the neighbouring house - when coming from the giardino - is described in the first stanza of #64 while the xylophone is in the third and last stanza. In the second is the door and the green water in the canal outside. This is the counterpoint to the first poem in 'Stillheten' - called '#solens pike' - see the nail and the nail in the shoesole - this nail occurred in my shoe sole soon after I had completed 'Stillheten' in 2016.

              [...] Green like the grass
is the water, as in a river,

in the water mirror's tranquil surface.
A stepladder (as from some garage)
like a springboard thereover with rusty iron plate
slantingly on the outermost tip: Budapest massage.

The xylophonist would have been like the dog 'manouvering' in the air, the xylophone with gradually smaller crossbars is the stepladder (in front of the window sign calling for 'magazzino nelle vicinanze'): The poem tells of this invisible scale of natural intonation that unfolds over the green water in the canal outside - with a counterpoint in the invisible sound on the inside of the gate to the giardino. This gradually diminishing stepladder will be the crossbars a la the joints on the FFT butterfly flowgraph that leads down onto the dog in the pasticceria through the channel of surveillance lenses. The clue to this story is that it is the FFT that joins the xylophone and the animal/human when the mallet strikes the woodbar. This FFT is probably in the 'rusty iron plate' (quasi neural network) on the tip of the stepladder. This is the function of the doubleword 'FFT' - that it joins the two realms into one.

Budapest massage = Bembo-Ca-di Giardino - or rather the 'passage' in to the giardino. It was in this passage that the music was heard. In the poem, the stepladder extends out over 'the water mirror's tranquil surface' - could be associating with the name of 'Dave Brubeck' ('bru' = 'bridge').

The phenomenon of music spontaneously in the air can be seen as a general format of music and speech - and the humans when they speak try to hang on as well as they can by moving jaws and tongues to make it look as if it is they who are the ventriloquists and not the other way round: If this is the nature of speech performance (including goosy 'snadder' or human 'sladder') it could be the nature of performed music as well - the musicians try to hang on as well as they can to the universal or cosmic inaudible music that exists eternally but becomes audible to the senses by way of the skill of the musicians on the musical instruments. If the performance is good, that opens the way to an understanding of the eternity wherein the music exists. This could be called a 'generative' approach: It is the universal ('innate') language that 'generates' the human performance of speech.

One can postulate that the story is about the holy trinity of christian dogma and hence also the churches of Venice. The trinity will be an extension of the fundamental theorem: For humans there is the option of two and only two items being the same across different realities. If three are involved, that means for human cognition the involvement of historical categories and classes - and the sensational coincidence that even three could be the same is so exceptional (like drawing a straight line or a circle through 3 points) that it belongs not to the human reality but to the divine. The music that occurred spontaneously in the air can be seen to be a piece of 'generative music' in this sense of it.

Were even the xylophonist (near Guglie around 12-13 october - could be even when also the xylophone was heard at Ca'Bembo) a 'revelation'? He could anyhow be seen to be a part of a generative anthropological explanation to the 'cultural' phenomenon.

There are a few places in 'Stillhetens åndedrag' which call for interest as far as concepts of the divine is concerned - when this is aligned with Nono's quartet (I do not have the recording present), I have found a few places where the quarter-tone intervals and harmonies of Nono generate a high-dimensional harmonic space - and it is in these that the strangely archaic scale of the xylophone can be heard 'inside' the harmonic space. Cp. the strangely archaic nail that occurred (probably ex nihilo) in my shoesole soon after I had completed 'Stillhetens åndedrag' in 2016.

One can speculate that the combination of Nono's quartet with these 'invocations' of concepts of divinity in the churches of Venice can have contributed to the occurrence of the music formed spontaneously in the air. If, that is, they really were formed spontaneously in the air and were not generated by loudspeaker or other form of technical ventriloquism. This article tells some reasons for believing that the music was ex nihilo. I personally believe that the music was a 'new music' form in extension from my poetry in the intersection between harmony and counterpoint.

Some could also comment that there is an indian swastika on the map in the canals from Ca'Bembo to the Nono archives and in the Giudecca canal. I dont know how interesting this is.

The terror in Nice and Vienna

The empirical data I have for the assumption that the phenomena I have presented here - about the ex nihilo sounds in the air (and possibly even a dog) - have any rooting in reality is in the two newspieces of terror that occurred soon after I had published a first version of this article on 26 october 2020 - including the notice of the xylophonist in the street. On 29 october there was a terror attack in the Notre-Dame de Nice in Nice in France, the city is called 'Nizza' in italian. I looked at the place where the xylophonist (according to my memory) had been standing and a notice in a shopwindow there:


+ two telephone numbers. A day or two before the news from Nice, I had swallowed a 'kreker' which was not well enough masticated so it was stuck for a while in the gullet could be as a comment on the transubstantiation dogma. Nearly just across the street - that is 'nelle vicinanze' - an ad for 'Lindt' chocolate with what looks like Ben Stiller handling what in principle could have been a xylophone mallet. Stiller was the front page of John F.Kennedy jr's last issue of his magazine 'George'. It is seen that the terror in Nice ('Nizza') could have interpreted the window-notice backwards: 'Is a kreker of Nizza-games...' in such a way that the note can be read 'Church as in magazine on the work in hand-see' = the cartoon of The New Yorker 8 february 1999 for the 'Sebastian Kurz' factor when the Sri Lankan bombing of Easter 2019 started in 'Sebastian Church'. One of the telephone numbers contained in similar backwards reading the house number visavis the entrance to the Giardino di Ca'Bembo plus the time point ca 8:30 when the terror in Nice started. (Plus a 3-digit number sequence which then could be used for 'intelligence').

Then on 2 november 2020 there was another terror attack in Vienna starting at 20:00 outside the main jewish synagogue in Seitenstettengasse. The shooter was identified as Fejzullai Kujtim - which sounds like 'face you like uj-tin' ('uj' is hungarian for 'new') hence a possible reference to the 'Tin-tin' I had described in my article of 26 october. The shooter was shot dead - and had himself shot 4 victims dead and some 23 wounded. Other attacks in Vienna around the same time were, according to the first version in Wikipedia on the web, in

Graben - where I once met president Heinz Fischer on its side = Seiten-Stetten
Fleischmarkt = 'Heinz Fischer', so to speak
Bauernmark = mauern-barkt = the barking dog, white noise
Salzgries = 'glicine', the italian word for the wisteria
Morzinplatz = mother's place, the Madonna lap = 'Ben Stiller' (see also this article for the name of 'Morthen Sørlie')

Hence the two cases of terror (on 29 october and 2 november) could be seen to have been intended to influence the US presidential election on 3 november in favour of the US democrat party - if the analysis makes sense of the socalled 'Bermuda triangle', which also is the local name for the region where the terror took place - see this article. However, it is doubtful whether this would have had any impact on the election unless the story I reported had any value of significance - just a poet who had 'heard something' in the air would not be enough. I guess that there had been searches in the data of 'general surveillance' in Venice that could have confirmed the recordability of the xylophone sounds at Ca'Bembo but not the presence of the instrument itself. It is of course a great pity if terrorism is supposed to be the only reliable source of information for the sort of study I have presented here.

The Giardino di Ca'Bembo closed on 15 october 2020.

I could add also that the Nono archives had announced the fourth 'Luigi Nono Festival' (including a concert with Nono's string quartet) on dates of november which could be telling of the second telephone number. However, these now seem to be cancelled (postponed) due to the covid-19 epidemic.

A biologist once told me in Oslo that he could recommend Vienna: The women were very 'willing' ('villi[g]') there.

Added later in the day: I checked the environments to Ca'Bembo once again and found the 3-digit number sequence (which could be used for 'intelligence') from the telephone number in the adjacent house number - with the graffiti '1312' nearly under it (it looks like this). This makes the redundancy (in particular on the notice in the shopwindow) a little heavy - but that does not have to mean that the xylophone at Guglie (probably around 13 october or so) was organized along with the xylophone sounds at Ca'Bembo. Of course, if the xylophone sound were engineered spontaneously from my poetry, if the organizers of the terror had discovered this by 'general surveillance' and managed to make it look as if the xylophone sound was engineered by them, then I would be credited with the terror.

An article in the israeli newspaper Haaretz after the shooting at the synagogue in Vienna.

Dave Brubeck's 'Take Five': It happened once that I waited for green lights at an accordean street player when it seemed that a 5-euro banknote suddenly took shape ex nihilo at my shoe, as if it had fallen out of my trouser leg. The accordeonist took the donation happily. Another time I bought a pack of candy from a beneditine monk, paid and left - when another man came running after me with a 5-euro banknote: 'You lost this on the ground'. I said no it isnt mine but he insisted that he had seen it fall down from me.

Two interesting observations on the correlate to the 'foldover' in the 2-dimensional schimmel image in the 3-dimensional (assumed) lapis philosophorum - whether that be a relevant observation to this phenomenon of new nominalism or not: The articles 'Lapis philosophorum as the articulatory oral space' and 'The turning of the lapis philosophorum'. For those who have access to 'Rosens triangel' (or Vol.4 p.1219-1222), the discussion of Schoenberg's principles of 1) prime theme, 2) retrograde (theme backwards), 3) inversion (intervals upside-down) and 4) retrograde inversion - as a musical 'coordinate system' for solving the unsolvable meetingplace of harmony and counterpoint by thinking backwards and upside down, the example discussed in this article lends interesting empirical support to the theory discussed in 'RT' by way of the stanzas 13a, 32c and 45b (a-b-c=stanzas 1-2-3) assigned to poem 58 - or counterpointing the mid stanza in SÅ #7 - relative to the material in the article The christmas present. The stanza 13a goes: "Når fargen rød er et mystisk objekt / spredd ut på tilværelsens lerret, / da spiller det lys på en mystisk knekt / i et vindu som lydene flerret" = "When the colour red is a mystic object / spread out on existence's canvas, / then plays the light on a mystic fellow / in a window the sounds tore apart". It is of course possible that this 12-tone philosophy makes for a coordinate system of real interest which a political 'screwdriver' coordinate system could be imitating.

See also these comments.

There are some further political comments in 'Some further data'.

Added on 14 december 2020: I have not yet had it verified whether the xylophone sounds really were ex nihilo or could be recorded. Could be 'everybody else' have the recording only I do not. The sound was in an apparent exact north-south axis relative to the xylophonist near Guglie and it was just across the Giudecca canal relative to the Archivio Luigi Nono centre. It is important to notice that the sounds could be the result of my work through many decades up to the white-metre 'Stillhetens åndedrag' (harmony) and 'Rosens triangel' (counterpoint) - and it could be a breakthrough for a most important role of the new music in the development of the new knowledge in the metaphysical space-beyond-space. But it is then important to notice that this work is mine and not of the 'intelligence' or some intrigue from Norway. Could be that means that these have to give up the control with the 'curve'. The sounds were heard between the institute of linguistics and the Ginnasio Liceo Marco Polo where professor Giandomenico Porto, who recently died (on this photo vaguely similar to my uncle Arthur), in principle could have heard the xylophone from his window. 'Jante' is the norwegian concept for a repressive society who tries to discredit progress in knowledge. I dont know if this could suggest that the xylophone sounds could have been recorded by 'general surveillance'. It is noticed that the knocking sounds which I could record on 20 january 2020 continued for still another week or so but towards the end of their appearance they would no longer attach to the recording gear although other sounds would. This is what I in my PhD dissertation ('A waist of time') called 'the border to silence' - as one of two important feature valuations - the other being the 'white noise' which perhaps could be the phenomenon of the 23 black-and-white photos from the Danube island.

Added on 10 january 2021:

It seems that Bai Juyi's poem which could be translated with title "Re-cording in the south of Canal Grande" is the answer to the xylophone - and the dog (whether that dog was well known from the district or not). The poem suggests that the complex was released by or at least related to the email from the Luigi Nono centre - his widow Nuria Schönberg Nono probably still running it. The translation can go appr like this:

Recording in the south of Canal Grande

South in Canal Grande is the female-seven-fold (hao = 'good')
News tell of an expert of the past
The sun makes of the canal a (victorious) firework
Amorous desire in the canal water is green like the wisteria
unlike the dog who is not just south in the Canal Grande.

The sign 'yi' (looks like 'IZ') in the last line looks like the north-south axis in Venice (it seems to have been on the metre or so a north-south line from the xylophone near Guglie in the north to the xylophone sounds at the linguistics institute with Giardino di Ca'Bembo in the south) with a slant on top where the xylophonist stood in front of the 7-fold telephone number in the exhibition window - it ended with '7777', as far as I remember - plus the 'Z'-looking curl which looks like Canal Grande from there down to the linguistics institute with the wisteria. This sign means (according to the chinese-italian dictionary by Zhang Shihua) normally '100 million', which here is the 'Hund-red million' = the dog at the end of the series of camera lenses. The xylophone sound was exactly north-south from the xylophone in the north, in front of the 7-series, but the dog was offset compared to this.

The sign 'hao' (in the second line of Bai Juyi's poem) means 'good' but is composed of the sign for 'woman' and the sign which looks like '7'.

The 'news' was then probably the email from the Nono centre telling of the planned arrangements on 1, 7, 21 and 28 november, including the concert in the cathedral with Nono's quartet. I had heard in this string quartet - in a context of my parallel poetry on some part that concerned concepts of the divine - a harmonic space opening up in a quarter-tone chord which resembled the harmonic space in the xylophone I heard - and which could associate with the look of the wisteria.

The wisteria is then in the sign 'lan' (end of second last line) which looks like the numeral '3' with some ears on top - it means normally 'orchid' or a 'lily magnolia'. It could be recognized in the last poem in my 'Rosens triangel'.

The email from the Nono centre with the 'news' of the program came on 17 october 2020 at 10:44 AM and included on 1 november a lecture by Gianmario Borio and Veniero Rizzardi plus two works by Bruno Maderna, thereafter on 7 november the Diotima quartet of Nono performed by the 'Quatuor Diotima' in the church on Giudecca. Next on 21 november with works by Nono, Maderna, Schönberg and finally on 28 november another concert with works by Nono. It could have been this 'news' in email plus the 7-fold paper announcement in the window outside of which the xylophone was playing that released the xylophone sound by my imagination on basis of the counterpoint of the last poem in 'Rosens triangel' against the first poem in 'Stillhetens åndedrag' after I had seen the wisteria climb up on the roof of the linguistics institute in a manner resembling the harmonic space I had heard in a brief moment of Nono's quartet when I heard it through on places where my poetry commented on divine matters.

However, the program by email on 17 october was some 2-3 days after I had been in the Giardino di Ca'Bembo and heard the xylophone: It is true that most of the festival had to be cancelled due to Covid-19 (as it later emerged from their internet page) but if the program were not just something that had been cooked up by 'intelligence' who had tapped the xylophone sounds - I mean, if the program really had been set up and people had been contacted etc - it would have been a matter of more than 2-3 days and then the correlation with my story would have been a matter of 'platonic' communication or connection in the course of the work. This xylophone 'ex nihilo' - made from spiritual imagination out of the air (and probably it even would have been classified as my intellectual property) - would probably have been the dream for a modernistic composer such as Nono. I sent (in 2016 and 2018, I think it was) my two white-metre books ('Rosens triangel' and 'Stillhetens åndedrag') to the centre - and this is likely to be the possible background of the xylophone phenomenon (unless, of course, there really were some xylophonist rehearsing in a window there - but I would believe the scales were a little too archaic and 'changing' - while the music progressed - for that).

In fact it could be that Bai Juyi's poem is just about that phenomenon of 'recordability' of the sound - here the xylophone of Giardino di Ca'Bembo - like those knocking sounds I recorded in Vienna and which could on 20 january 2020 be recorded but some days later the same sounds could not, even if the recording equipment registered other sounds like normal. (Hence an angst-ridden society could call these sounds 'hallucinations' - such dinosaurs! - but they could be registered in recorded format). In my theoretic framework, this is the aspect of an acoustic feature I call 'border to silence' - which could be a part of the new acoustic logic which I probably have shown the existence of by my The Endmorgan Quartet. 'Stillhetens åndedrag' is written by the principle of 'faith' (in relation to the collective historic consciousness) as a principle for constructing the form of the historic reality ('faith' is then a precondition for at least consciousness) and this new acoustic logic could have just 'recordability' or not (by faith) as a logical parametre where the traditional aristotelian logic has 'negation' as its main logical principle (see this photo series).

Therefore these data of the xylophone could be of extraordinarily large value.

Will this lead to any improvement - I mean, for me, quite simply? Will it e.g. lead to me getting the recording of the xylophone sounds sent to me by email? Could be they are afraid of 'Giar'-dinosaurs and therefore prof.Porto (who could have had his office in the 'jing' of line 3 and overheard the xylophone) suddenly died and terrible bangs from bombs in christmas could have been an attempt to scare the dinosaurs off. A pity that is.

Added on 16 january 2021:

The xylophone as 'lapis philosophorum' in Venice

The study so far has focussed on the socalled 'white metre' - my two poetry books 'Stillhetens åndedrag' (2016) and 'Rosens triangel' (2018), for musical harmony and counterpoint. However, it is when one considers these as a derivation from the yellow-metre 'Der Dornenstrauch' - in particular part 3 "Linien die prägen die Sternen über uns" with undertitle "Aufgestellt in tiefem Staube" (even this of 64 poems) which led to the formation of a 'lapis philosophorum' when I wrote it in 2014 - that one gets an explanatory format for the elements involved in the 'xylophone'. I found the 'lapis philosophorum' in the drainhole to the kitchen sink - just where the potato peel filter normally is found. In fact it seems that the two xylophones constitute the beginning and end of this part 3 - the first xylophone north in the first lines and xylophone south in the last. The first lines in poem #1 describe the xylophonist playing on his archaic (or 'ethnic'?) instrument constituted by woodbars arranged on a metre-high rack - which here will be understood as the 'Kleiderschrank' outside the window with the call for 'magazzino': It will here be the telephone numbers which look out the window to the xylophonist outside, playing with mallets striking on the woodbars like clappers inside the churchbells - here the two first stanzas of poem #1:

Aufgehängt wie ein Kleiderschrank

Als ich durch diese offne Fenster schaue
fangen die Kirchenglocken zu schlagen an
dieselbe tiefe rot und graue Mauer
als was durch offne Fenster neulich rann.

Die roten, gelben Sonnenstrahlen scheinen
ohne Wärme auf die Menschen und das Land
und drängen in die Wände und die Beine
Linien wie das Wasser auf dem Sand.

The 'Sonnenstrahlen' are then the factual contents of the initial photo I made - from just this area near Guglie. The last poem #64 is called 'Schnell fahren wir auf den Schienen' which ends:

Wir werden einst nach dem Hause ziehn.
Wir leben für fernere Ziele
auf großer Nachrichten Tausend-Schienen.
Wir stehn auf der trockenen Diele.

The xylophone south - the probably ex nihilo but still probably recordable impression of xylophone sounds in the air - would then be the contents of the last line: It is the mallet that has just struck on the woodbar, in the moment of being "Aufgestellt in tiefem Staube" when it is impressed into the wood, so to speak, and sets the vibrations going, which is when 'Wir stehn auf der trockenen Diele'. This plural pronoun for WE is then the same as the mallet that has struck a little into the woodbar - but more properly it would then probably be the 'malleus' of the bone in the air that creates this impression of 'ex nihilo' sound.

The theory can therefore be articulated that from the first xylophone in the north to the last xylophone in the south there is the progression of poems from #1 to #64 in DDS part 3 = the 'lapis philosophorum'. Poem #1 ends with the last line 'in den menschlichen Sieben' - that is the photo with the potato peel filter of 10 october 2020.

What would then be the pasticceria with the dog? If geographic distance on the map is the measure, it would mean probably poem #62 "Schaf nennt man es, Schaf und Schaf" - with last line "Die Menschen sind wie die Tiere".

Argument in favour of the view that the measure is the map of Venice: While I was walking from the north at Guglie towards the south at San Trovaso I passed a place (in fact where I had photographed this brick some days earlier and where I suddenly heard a few bars of piano music 'in the air' - the music was coming from behind and near to the 'Scuola Grande' of Tintoretto - and the next time I went the same way there were the 'campanelli' sounds from the house (maybe a hundred metres away) with the number 3075C - I first thought these were 'ex nihilo' but it is probable that they could have been some doorbell chimes hung up outside, being activated by the wind. Anyhow, when I now look up in DDS part 3 poem #30, the fourth stanza (75%) the third line ('C') it tells of 'Gottes Behagen' - here is the end of that poem:

's ist Gold des Sonnenlichtes
das blitzt aus tausend Jahrn.

Und ist es in des Tieres Magen
glänzt es unter Leinenzwang.
Dann ist es zum Gottes Behagen
unter Erden-Rang.

which could be about the dog in the pasticceria. What is interesting is that the brief piano sounds I heard is situated in a ratio between the north and south xylophone on the map which corresponds to this poem #30 stanza 75% line C - that is, the ratio 30,75/64.

Corresponding line in 'Stillhetens åndedrag' has the doubleword 'painting' (cp. 'Tintoretto') while the counterpointing doubleword in 'Rosens triangel' is 'measure'.

See also the above quote of two stanzas from DDS part 3 #64 (on 'Grenze anneigen') - with its high relevance for the ex nihilo formation I made on 20 december 2020 - the lonely rider on his little horse in the sunlight (looks mandarin - 'sun' = 'ri' which in norwegian means 'to ride') - with a sundial clock on his saddle showing the time point appr. 11:20.

It seems that the two last lines of Bai Juyi's poem is of large value for understanding the role of the dog (notice the differences between traditional and simplified notation):


I here reproduce these sign with links to the web pages of each sign - and add the spacing on the last line which highlights the potential logical function of the dog for understanding the parametre 'white noise':


When I arrived to the pasticceria, a man was holding his camera low at the ground just outside the door, photographing something inside - probably something low. In principle the camera could have been directed towards the place where the dog was standing a little later. I waited a few seconds untill he was finished. A female companion of his was standing next to him, waiting - they soon left. Thereafter I went in (door opened leftwards) and took up position at the counter next to the door - to the left of me there were already two women, I think. Could be it was a couple (man+woman) who stood there - I do not remember these details - but I think there were two people. They probably were there before I arrived. These two people inside constitute a natural counterpoint to the photographer and his companion just outside the door. After I had started drinking my cappuccino, suddenly there appeared a dog on the ground to the left - it was either to the left of the two women or it was inbetween them - I think one of them could have withdrawn a little and the dog appeared between them. It barked a couple of times.

This is the story in the second last line: The door ('saloon' style in the traditional chinese LAN sign 蘭) with the low camera is to the right (this LAN sign meaning the wisteria here, normally an orchid or magnolia tree), next the rectangular counter and me leaning at it, plus the two women in the following signs. The dog was then in the SHUI sign 水 - and the logical 'principle' can be seen in the change from the second last to the last line - the dog is then the NEGATION sign of the 'thresholding' of white noise.

水 (SHUI) + 來 (LAI) = 不 (BU), the negation. It is the 來 (LAI) which means 'to take place' in the TEMPUS + TOPOS functionality. 來 (LAI) = come, arrive, happen, occur, since, next, coming, future - and is traced etymologically to two sources: 1) proto-sino-tibetan 'la-j-ra' = 'to come', cognate with 迨 = 'until', 'by the time', and 2) traditional sign 豇 = 'cowpea'. This sign resembles a smaller table - and there was in the pasticceria a narrow shelf behind us which could be used for a cup of coffee by the standing customers. The sign 水 (SHUI) means 'water', 'waterway'.

The 'acoustic logic' of the dog will now be visible in the 2nd, 3rd and 4th sign 來 江 水 in the second last line, converting into the second sign 不 (BU = the negation) in the last line. It is clear that the concepts involved come close to my poem TEQ #1477 about water, could be as a definition of water: It means that the strange leans after. 'Have a ku' will then refer to the 'cowpea' etymological origin of 江 (JIANG) = 'river'. 'Leans after' will then partly refer to my leaning on the counter with the cappuccino just inside the door, after the photographer had left, partly it could refer to the 'next' or 'future' time = 'AFTER', the 'leaning' is then 'until'. It means a mix of tempus and topos. This TEQ #1477 is in support of the theory that these signs release the logical function. 'Før de[t]' is norwegian for 'before that' (in time).

The 水 (SHUI) water is the one in the 江 (JIANG') canal just outside the wisteria, described in the last poem of 'Rosens triangel'.

The sign for 100 million or 100.000 = yi is in two forms - simplified and traditional. (Cp. also the theme of 'Tausend-Schienen' or 'Tausend-Scheinen'). The simplified form is
which looks like the north-south axis to the left plus the canal grande which in its Z form is winding through the city from the xylophone in the north down to the wisteria and xylophone sounds at the canal in the south. The traditional form is

which looks not like this canal grande but on the contrary it looks like the scene with the dog in the pasticceria: The dog seemed to have come in the door (following a course of the below curved stroke) and taken up position between the two to the left of me - it would then, tells this sign, have come from appr the place of the initial camera. The three people and the dog stand at the counter (the box with three horizontal strokes) behind which is the coffee machine and other things. Looking out the door one sees the wisteria beyond the fence

- but the axis from the xylophone in thee north is probably not totally north-south - it may be a little slanting.

Now when this second half of Bai Juyi's poem seemingly can account for the logic in the scene of the pasticceria, is there in the first half of the poem something similar for the xylophone? The clapper in the churchbell, the mallet striking on the woodbars of the xylophonist, or the malleus moving in the inner ear, could perhaps for a tree be its leaves falling on the ground in the autumn and decaying there through the winter. It will be the withered leaf of the probably 'ex nihilo' rider on his little horse with the sunshine clock on his saddle. Now it seems that a detail of this image can be turned for showing the isomorphy with a fragment of the chinese poem, for the recognition of the 'pointers' on the saddle-clock being the same as the sign 女 = 'woman' (showing the 'pointers') and 日 = 'sun':


Hence the xylophone in october 2020 really talked poetically about the leaves falling from the trees, onto the ground where they would be withering for a 'slow-mallet' xylophonic sound like a clapper in a churchbell.

See also my translation of four chinese poems on the seasons.

This interpretation of the xylophone sound as being recognizable in the last line of the last poem #64 of DDS part 3 - 'wir stehn auf der trockenen Diele' - and the potato peel filter being in the last line of the first poem #1 - 'in der menschlichen Sieben' - is a puzzling phenomenon when considering the relevance of the last line in the remaining poems of that part 3 - example poem #9 last line 'unter deinem Zeigefinger'. It could be that this simply is the meaning of the undertitle to part 3 - 'Aufgestellt in tiefem Staube' - which then could be the story told under a tree.

See also the above considerations on poem #37 and its computer-glitsch doubleword 'ZUM' (cp. also the lenses zooming in on the dog) - which in DDS part 3 poem #37 corresponds to the lines

wo andre Welten gibt es
in der Buchstaben Satz,
wo Zeitlichkeit verschiebt es
in Heiligtümer Platz.

To the 'explanatory format' discussed above, one can now add the fifth - in the sense of the yellow-metre 'lapis philosophorum' from 'Der Dornenstrauch' part 3. The 'aleatorics' before the orchestra's concert contained a brief fragment of 'Take 5'. I mention DDS part 3 poem #5 - which I wrote after having seen the original Caravaggio 'St.Francis receives the stigmata' in Udine: DDS part 3 poem #62 "Schaf nennt man es, Schaf und Schaf" (mentioned above) contains mention of Picasso and Botticelli - and here Caravaggio. The lowest point on the 'zifferblatt' (my definition) is '5'.

For this story of the tree in the 'Gehör' and dog in the pasticceria, see the first poem in Rilke's Orpheus sonnets.

It can be added that the banknotes seem to be rather small in Italy for the time being - it seems that there are no bigger banknotes in circulation than 50 euros - at least I have never seen bigger here since the summer. It could mean that 'there is a lot of money in Italy' - and 'großer Nachrichten Tausend-Scheinen' still await realization or 'materialization'.

17 january 2021:

Tempus & Topos

I made two white stones: The first I found in the kitchen sink drain in 2014, the second I found on 10 august 2016. It is probable that 10 august is 64 days before the date of the xylophone - and it took me about 256 days to complete the book in 2016. On 10 august 2016 I went for fetching water in the garden tap in Szolnok - having filled the can, or even while the water was running into it, I observed the white stone lying on the concrete slab in front of the main entrance door. I would probably have seen it when I crossed the spot a minute or so 'before that' - if it had been there then. There is one garden path to the left of this spot and one to the right In actual fact the place looked rather exactly like the chinese sign YAN =

燕 =

which means

1) the swallow (bird)
2) an ancient marsh, duchy, kingdom
3) to feast

Some, but not all, tells the internet source, recognize it as related to another YAN =

咽 =

which means

1) to swallow
2) throat, pharynx
3) to make a hoarse sound

In fact this second white stone seemed to contain two notable patterns from the 5th poem of the book ('Stillhetens åndedrag') which I was writing just then: The yawn and the lisp. These could be the two aspects of YAN = 燕 / 咽 mentioned here.

See also Ouyang Xiu's fourth part of my 'lapis philosophorum' translation of his 10 poems - the sign YAN like just outside the threshold to my door is in the last line (second sign) of these: 'Two is a place returning drizzle at your door'.

Conclusion is that the 2nd stone could in actual fact arise in the interface between TEMPUS & TOPOS.

It is noticed how well the two possible etymologies of this YAN resemble the classic anglican brexit from the catholic church - with disagreement on the issue of transubstantiation. If USA blames China of matters which really could concern the british kingdom, this mixmax could have its rooting in just that phenomenon.

In my poem TEQ #1477 there is only one word which seems to be unaccounted for by the poem of Bai Juyi - that is the word 'strange' cp. the issue of the throat. Furthermore, the word 'Førde' is a placename = TOPOS in Norway - while 'før de[t]' = 'before that' = TEMPUS.

'Strange' - what is that? In the early days of the covid-19 epidemic I read an interview on internet with former swedish state epidemiologist Johann Giesecke who said that 'all members of the society have the virus in their bodies after only a few days of a virus epidemic'. And yet, only some develop the disease. How come? It seems to be an empirical fact that those tend to develop the disease who have been in temporal and spatial continuity and contiguity relative to others who have developed the disease. But this means that a virus epidemic is the condition when there is something strange about the causality. That probably means in periods when the border between physics and metaphysics is not as usual.

It is an appealing idea that the two white stones could be contained in the two photos I put out on internet on 10 october 2020.

Added 20 january 2021: Voila, there is even yet another element that must be told: In the file 'Kar-kar-kar' there is towards the end of the file - under 'Added on 1 june 2020' - a quote from a statistics page in 'La Repubblica' on the web for that day: It is the following illustration:

This map of the infected regions of Italy seems to show the outlines of the xylophonist or marimba player near Guglie and the dog ('Adesso'?) watching near 'San Marino': In fact the dog in the pasticceria wore a winter coat, like this dog on the map. San Marino, a micro state of nearly 34000 inhabitants, holds currently the world's record of number of deaths by covid-19 per inhabitant (nearly two per thousand inhabitants), followed by Belgium. 'San Marimba' seems to be the idea in this illustration from La Repubblica. The map illustration could suggest that the marimba player really plays on a 'dog'-looking instrument, and it could provide suggestive ideas to a philosophy which recognizes audition as the art of understanding the bones of the arms as equivalent to the bones in the ear - but here about this 'acoustic logic' taking the place of a corresponding theory on the bones in the legs being the counterpart to vision - since it is possible to see something at a distance without having to walk over to it to touch it, like patting/petting the San Marino dog. When I quoted this on 1 june 2020, the interest was in the 'humanoid logic' in the spread of the epidemic - seemingly approaching a human semantics contained in the borders of the regions affected by the disease - relative to the prose part ('And hang under the Justcan keys') of my red metre book 'My mention e Anna'. It is indeed interesting to observe how the semantic logic in these infected regions on the map of Italy could resemble a 'white noise' logic (a la the 23 black-and-white photos) of the dog in the pasticceria relative to the sound of the xylophone not far from it.

Observing the two 'dogs' above the head of the xylophone/marimba player on the regions map of Italy, there are also some interesting similarities with the ex nihilo graphics called 'Young pianist': This occurs also in some interesting comparisons with the chinese Chu silk, such as the comparable images

wherein the dog with the winter frock occurs appr where there are extensions above a body on the Chu silk - in the region which could be compared with 'dog's paradox'. This adds explanatory value to the idea that the prose work on the archetype 'dog's paradox' is the theme of covid-19, at least in the spring 2019.

22 january 2021:

The complex I have described here is an example of how poetry can provide real progress for the society, and in the present case this runs in parallel with the drop-down of the mortality rate of Covid-19 from 16,4% to 2,8% - which could mean that 2-300.000 italian lives were saved. It is probable, tells my analysis, that this is because of the presence of my person. However, it seems that administration launched a counter-attack apparently for the purpose of 'hijacking' the values in the poetic complex - could be also in an attempt to gain authority to the role of 'Redeemer' who rescues many italian lives. Alas, such a counter-attack cannot be anything but unfortunate and lead to a downdrift for the society: It is only by understanding that this positive chance for the society is because of my single individual private person that real progress is made. But why then? It seems that the reason for the misunderstood apparent 'counter-attack' in the hope of gaining authority to the 'updrift' is because of the old PTRSIM PIK story - which could be nothing but an anglican 'warfare' against italian catholicism. It seems that the italian society, when it sees the progress for the society which the arrival of my person seems to entail, leaps to the conclusion that this is because of the political PTRSIM PIK program from England/USA - and therefore they want to try and wrestle the authority to this out of my hands.

I have said this explicitly many times: The 'british power sausage' has nothing to do in my work and life and it is not the 'british power sausage' that creates poetic progress and health upswing for the society - on the contrary, that is because of my poetic work. Where is the error? It is probably in the administration who thinks in political ways and naturally associates my person with 'the PTRSIM PIK program from England'. The reason for these cramps of thought is probably that they are secret - and as soon as one can get the problems up in daylight, these crampy ideas disappear.

But if professor Porto (who resembled my uncle Arthur) were murdered and the thermometres in the post offices served to install a 'third man' symbolism - could be even as a 'punishment' if Nelly Sachs could have contacted me in 1964? - that could have been due to the 'services' trying to retain the 'intrigue' control with society. But Nelly Sachs contacting me should be precisely the italian interests, so it looks rather paradoxical - it looks as if it be the way of thought of the international PTRSIM PIK program.

Were Brigate Rosse such a 'paradoxical' italian security program? An attempt to turn the british PTRSIM PIK program into an italian flagship? But that would be like converting Italy into anglicanism. Jaja. The story told here tells why that cannot be anything but a downdrift for the society - culturally and in health and economic matters.

There seems to exist a political myth that my younger sister shot Indira Gandhi. This could partly derive from an incidence when she lived in Ribstonveien in Oslo and my friend Petter and I visited her there - we were drinking coffee in her kitchen when she suddenly pulled her jumper off and was exposed on her upper body before she reached for another jumper to put on. It was when she was on her way to an interview with Peter Ustinov that Indira Gandhi was shot. My younger sister ('Tone Grøver') met her later husband in 1981 or 1982 and then he was stuttering quite a lot (this problem lasted only for a while - untill he seemed to have overcome it). These two stories in combination could make for the illustration on the Chu silk - 'stammet' = 'tree-trunked', 'descended from', 'stuttered' while 'ribs-tone' could be just that 'naked upper body' which turns into an ear (on a dancer) when turned 90 degrees. It is true that the xylo-phone (there is a tree below the 'upper body' on the Chu silk) or was it marimba I heard played an archaic scale which perhaps could be associated with the chinese signs (in two columns) beyond the 'dancer'. This cluster is essentially what I call 'dogs paradox'. This story could be suggestive of the idea that the xylophone sounds could have been engineered technically as part of an 'intelligence project' - but, if so, how did they get the dog into the pasticceria?

The story could be telling of 'hitlerish' strategies of finding the deepest and most beautiful mysteries of human nature (Sobibor, Treblinka etc) for turning them into terror.

The present xylophone mystery is perhaps Belcez? The bell-jets of the mallets in the wood or the clapper in the bell bronze?

The wisteria climbs up on the wall of the linguistics institute, a place which could have been a little sympathetic to my thoughts - if professor Porto had not died so suddenly in the high school house on the other side of the corridor between the two houses where I heard the xylophone. But, of course, I do not know what Porto died from so I cannot have strong opinions on that.

There is also a 'prof.Porto' in the story of Michael Noonan, later professor in english: It was at the Oklahoma bombing that prof.Noonan (could be he wasnt professor then) wrote to me in 1995 when he rejected my 'Submorphemic signification' that I 'had not addressed enough of his reservations'. Now I see from the internet that Noonan died from a sudden brain haemorrhage on 23 february 2009. The letter he sent reached me (as far as I remember) via an old address and the manuscript arrived under separate cover - but without stamps, I think it was. From 23 february 2009 (Noonan's brain haemorrhage) to 23 february 2002 (my brain haemorrhage [24/1: it numbed/paralyzed my left hand]) there are 7 years. If 1-4-4-1 is the code, then what happened 7 years before 1999? In 1992 I wrote my MA exam on the psycholinguistic fact of Chomsky's 'Syntactic structures' that one must always find back to the address in the brain for finding the righthand context (i.e., the 'reservation', so to speak). In the original version of my diary novel 'The Dreamer' I reproduced the letter I got from Noonan and showed its mirror symmetry, but I omitted this part of the manuscript when I made a book out of it.

Added 24 january 2021:

Here is a quote from the file Summary of the corona epidemic theory from 27 march 2020 - here about the isomorphy of 1) Wuhan in Hubei like Wien in Austria and 2) Austria in EU like Hubei in China:

The identity transcends the Steiermark border for reaching the borders of Austria and thereby spreads likewise in the global space - 'isomorphically', so to speak: It started out on 17 november 2019 from a place in southern China (a la Steiermark) and thereafter developed quickly in Wuhan in Hubei in China (see map) - which is 'isomorphic' with Wien (see map) in Austria in EU (see map).

'Wu-han' = 武:漢 = means a 'military man', 'footstep-man'.

In Szolnok I have a PO Box which is very high up on the wall - I have to lift myself up on my toes for seeing into it sufficiently to verify whether a letter rests on the lower plank of it.

Pose-toe-fis - cp. footstepper, infanterist
Box[er] = the man of such kind
Box-switch --> pose-toe = toe-pose
Switzerland used to be famed for its chocolate, clocks and banks.

Topos & Tempus
A deep ratch

A 'ratch' is an indentation in a clockwork cogwheel. 'Topo' is italian for 'mouse', 'rat'. This TEQ book 10 title 'A deep ratch' was the first line I wrote in 2000 - not long after midnight on 1.1.2000 - thereby seems to be the secret link between the outbreak of Covid-19 in Wuhan in China and my PO Box in Vienna.

The first poem in that book 10 'A deep ratch' is this poem, which has been on my page for some years. It is TEQ #606. I notice the 'nails' going onto (or into?) the 'plank' leaving it 'ghostly manteled'. Soon after I had completed 'Stillhetens åndedrag' in 2016, the archaic nail (#14 in this list) appeared in my shoesole.

I add that the 'pose-toe' could be read 'på-stå' which is norwegian for 'to allege', 'to claim', but it could tend to be claims on a weak basis. I refer to the rest of that article 'Summary of the corona epidemic theory' - such as:

The spread of the epidemic in the metaphysical space (rather than by direct physical contact) could therefore be simply because my work is abused (such as apparently in that Billa ad) - while I have not even the needed resources to move to another country and thereby escape that ÖVP phenomenon - and then the election in Steiermark was too bad.

Could be, therefore, my poetry book 'A deep ratch' (TEQ book 10) should have been published and studied rather than potentially abused. It is the book which I associate with judaism and jewish philosophy. The complex I have studied in this article could therefore perhaps be summed up into how the world would have been - and how it will come to be - if the aftereffect of Hitler's 'Belcez' (and Sobibor and Treblinka) death camp comes to an end. Put differently, it is possible that Covid-19 is a direct aftereffect of Hitler's death camp program.

I refer also to poem #2 in chapter 3 'Schwarze Blätter' in my 'SNEEFT COEIL' with its title graphics which looks like the white dotted lines between the upper (lions) and lower parts of this graphics - and the text 'STR BLACK' which seems to be the black part (just under and to the right of the columns of chinese script signs) of this part of the Chu silk. If so, the STR could have its counterpoint in the arabic script for STR or S = TR but in left-right order. This could have its further background in the story in my volume 3 ('Poetic semiosis') page 1175 the story of 'the ball-point thunderbolt'. Today it is more natural to recognize the sign written by a thunderbolt going back and forth on the sky (like a ball-point pen repeatedly drawing for emphasis a certain sign, for 'a deep [sc]ratch'?) as the chinese sign 厶 which is radical #28 in the Kangxi system of 214 radicals - but mirrored, as if written in heaven, seen from underneath the 'paper' of clouds above. Cp. also this political structure. In my 'Der Dornenstrauch', the Kangxi radical #28 corresponds to part 1 poem #16 "Sonnenschein in Wartehalle" (including mention of 'Füßenballe' which could tell of electric impulses shooting from a heel down into the ground - cp. also the 'footstep' of 'Wu-han'), with a mirror poem in part 3 poem #41 "Mit Zusammenhängen wohl" (it starts 'Ferner sind Buchstaben / schimmernd in dem Aug').

I wrote the derivation onto 'Tempus & Topos' and 'A deep ratch' on my computer before I went to bed last evening, around 20:00 italian time or thereabout (on 23 january 2021). Indian Express reports two major earthquakes last night: One magnitude 6.9 at 9.6 km at South Shetlands Islands (here in a larger view) at 23:36:52.1 o'clock and one 5.8 in Chile, ENE of Santiago near the border to Argentine at 00:07:43.9 o'clock. (The satellite photos are quoted from 'Interactive map' to the quakes on the EMSC-CSEM web page). (Cp. also this comment of mine). It is interesting to compare a fragment of the latter quake also with an aspect of my own photo #2 from the 23 black-and-white photos from the Danube Island, where what 'hangs under the Justcan keys' of the cancan dancer (a little penis-looking item from breast location) could resemble the 'deep rat[ch]' that is seen hanging like a military decoration from the breast-pocket of the face-masked character in the mountainous regions of Chile:


Nono, L.: "Fragmente - Stille, An Diotima". LaSalle Quartet. Deutsche Grammophon 1986. 437 720-2.

Dizionario di cinese. A cura di Zhang Shihua, Milano 2019.

© John Bjarne Grover
First version on the web 26 october 2020
Last updated 24 january 2021