General theoretic background for the article on Palma il Vecchio

General theoretic background for the article on Palma il Vecchio

John Bjarne Grover

I wrote "The Endmorgan Quartet" (= 'TEQ') in the years 1997-2008. It is found on the internet as volume 2 in my collected works. It is a work of 1719 poems over 16 books, written on basis of 'inner poetic articulations' which I heard pronounced in my inner mind and which I believe had a 'transcendent' source or origin, in some sense of it. I consider each of the 16 books to constitute what I call a 'poetic function' which interacts with the other 15 functions in such a way that these constitute the human reality - which is a semiotically redundant and limited reality (describable by way of human-conceived causalities and laws of nature) outside of which is a larger reality which humans consider a form of 'chaos' and explore as well as possible through the study of religion and mystic inquiry. Experience has converged on a small number of received world religions which share much of the same conceptual apparatus for the mystic inquiry. My TEQ is, I believe, articulated from outside the main limitations of the human reality and thereby could be considered a variant of 'prophetic language' - which some could consider a format of 'poetic language'. I consider each of the 16 books to constitute one local and one global function - the local function has its scope inside the book itself while the global function has a scope of the 16 books - the entire work in total. The 16 functions of my TEQ are probably not yet seriously described (even if computer-based analyses certainly could exist). I use function 14 as a proof that the work could not have been written on inspiration from administration-controlled intrigue - the function defines a time-based distributional semantics for (in principle) each of the words used in the total work - function 14 is described briefly here. Each of the lines in the work is one single 'inner poetic articulation' (articulated as an acoustic impression in my inner mind) - it had also the general character of being an 'arbitrary unit' in the sense of having to be written down immediately after the inner articulation was experienced, otherwise it would be irretrievably lost after very few seconds (often, say, 2-5 second or so). Each of the lines, written the one after the other, therefore is annotated for date of writing - the handwritten manuscripts are published on this page. It means that each word in the work has a date annotation which can be used for its temporal distribution. I have studied function 14 in some detail - the distribution of at least 50 words - and found that the theory of this distributional semantics has a very good basis for this particular work. The function interacts with the other 15 'poetic functions' and the total work is therefore, from this theoretic viewpoint, to be considered a dense web of interacting 'semiotic functions' which in total constitute the human (semiotic) reality. I use function 14 as a formal proof that the inspiration to this cannot have come from administrative intrigue - but, as I consider a valid inference, must have its origins in a 'transcendent realm'. (There could be dubious administrative interests - such as forms of secret intelligence - out for making claims that my work should have been written on basis of their manipulative intrigues and therefore that they should have some 'copyrights' to it and can use it for example as a template for terror or business or both - such ideas are of course nonsense and can be formally refuted by this function 14).

There seem to be some such 'administrative interests' that could be trying to interfere with my work - an example could be what happened after I had published this article on the relation between Emily Dickinson's work relative to my TEQ - when it seems that somebody has put the source poems of Dickinson out of use on the web - all the links opened the relevant poems when I published it. Another and related story is what I discovered after I had published a study of some works of Ferrari relative to my TEQ that the links to my references to Jastrow's talmudic hebrew dictionary were disrupted by probably removal of the source from the web.

I have made some studies of a correlation of these 16 'poetic functions' with some central works from art history - some examples can be found under the page 'Art relative to my The Endmorgan Quartet' and some discussion of the principle can be found in the article 'Some notes on text and image in 'The Endmorgan Quartet''. I have collected some of my articles on related topics under the page 'Articles on linguistic and semiotic matters'.

The present article discusses the issue whether a part of the work of the important italian 16th century artist Jacopo Negreti Palma il Vecchio can be considered a function of the last fourth (22 poems) of the 116-poem TEQ book 9 ('...to be an emperor...'). I have made some similar considerations on the art of Giusto de' Menabuoi in terms of 35 of the 199 poems in TEQ book 16, as well as on Grünewald in the article 'Mathias Grünewald and a global function 12' - wherein it seems that his extant work can be found as relevant to 25 of the 187 poems in TEQ book 12. The general theory on art relative to my 'poetic functions' would be that artists seem to concentrate on one particular function (equivalent to one of my 16 TEQ books) in their total work. Of some interest is my suggestions on the nature of the work of Rembrandt - which would be a special case in view of the idea that as a hypothetical 'function 7' artist his work seems to converge on an enumeration in terms of base 13 in contrast to the normal base 10 - that is, in accordance with the enumeration of the 1719 poems of my TEQ - an enumeration which I made in the summer 2012 (it could be done in many different ways). But the study of these aspects of Rembrandt's work is still somewhat superficial in its treatment of this interesting theory.