101. Having dealt with the above in a more or less
satisfactory manner, I now find that I must do the same with regard to the
other context we have been discussing, namely music, and thus broadly divide
music scores into two categories in order to have antithetical alpha poles to
music videos and audio cassettes. These
two categories, corresponding to idealistic and naturalistic parallels, will be
solely treble staff in the case of an antithesis to music videos, and
treble-and-bass staffs combined in the case of an antithesis to audio
cassettes, since it stands to reason that a music score with only treble staff
will be more idealistic and, hence, light equivalent ... than one with bass and
harmony also, the totality of which may well add-up to something more naturalistic
and, hence, heat equivalent - the very equivalent we have reserved for audio
tapes in contrast to video ones.
However, if music scores of one kind or another suffice to cover the
antithetical poles to video and audio tapes of a musical persuasion, then it
seems to me that we are in want of equivalent antithetical poles to compact
discs and LPs, since the latter are no less deserving of something antithetical
which is as much apparent and immoral as they are essential and moral. Now what is this something if not Pianola rolls of one size or another which, unlike music
scores, suggest a more physical and, hence, bodily equation, broadly
antithetical to compact discs and LPs.
Thus if my theories are correct, the antithesis to an LP will be a large
pianola roll, whereas the antithesis to a compact
disc will be a small pianola roll, perhaps even one
dependent upon some relatively superior technology which would elevate it as
far above conventional pianola rolls as ... compact
discs above LPs, not forgetting that neither pianola
rolls nor discs are anywhere near the psychic elevation of scores and tapes
respectively - those subconscious and superconscious
new-brain antitheses divisible, as I have shown, into soulful and spiritual, or
naturalistic and idealistic, alternatives roughly corresponding to hell and to
heaven at both alpha and omega poles.
102. The proper subject of sculpture is will. The proper subject of literature is
intellect. The proper subject of music
is soul. The proper subject of art is spirit. Thus earth-water-fire-air
or, rather, darkness-coldness-heat-light, whether for good or bad, positively
or negatively, alpha or omega, apparent or essential, etc., depending on the
type of sculpture, literature, music, or art in question.
103. Since earth corresponds to the world, water to
purgatory, fire to hell, and air to heaven, it could also be said of the above
that sculpture is the worldly art form par excellence, literature the
purgatorial art form par excellence, music the diabolic art form par
excellence, and art (painting) the divine art form par excellence,
with realistic, materialistic, naturalistic, and idealistic implications
respectively. Of course, each of the
main branches of the arts is subdivisible into
approximately four categories, corresponding to the elements and thus, by
implication, to every one of the above (theological) positions, with, for
example, literature - the purgatorial/materialistic art form par excellence
- subdivisible into dramatic, narrative, poetic, and
philosophic categories, the first of which, viz. drama, corresponds to the
world and is thus the most wilful of the literary arts; the second of which,
viz. fiction, corresponds to purgatory and is thus the most intellectual of the
literary arts; the third of which, viz. poetry, corresponds to hell and is thus
the most emotional of the literary arts; and the fourth of which, viz.
philosophy, corresponds to heaven and is thus the most spiritually aware of the
literary arts. Doubtless the same
divisions, with similar implications, could be applied to music within a
broadly classical framework, so that we would have, say, ballet in the position
of drama as the worldly form of music by dint of its bodily bias; the symphony
in the position of fiction as the purgatorial form of music by dint of its
intellectualized approach to relationships between the various instruments
(analogous, in a way, to literature's reference, via the intellect, to social
relations); opera in the position of poetry as the diabolic form of music by
dint of its strong emotional bias; and, finally, the concerto in the position
of philosophy as the divine form of music by dint of its spiritual idealism,
which, taking the guise of preponderant pitch, appertains to awareness. Of course, what applies to classical music
applies no less to modern electric music, or supermusic
(as I usually prefer to call it), with fourfold divisions between pop, rock,
soul, and jazz, the divisions thereof having worldly, purgatorial, diabolic,
and divine implications respectively, such that likewise pertain to its 'superliterary' counterpart which, taking the forms of
cinema, video, radio, and television, has rather more reference to artificial
visionary and audio experience than to verbal concepts of the sort usually encountered
between the pages of a book.
104. Since we have dealt with literature and music
(not to mention 'superliterature' and 'supermusic') in a fourfold manner deriving from our basic
elemental/theological divisions, it behoves us to do the same with regard to
art and sculpture, the 'divine' and 'worldly' arts par
excellence, and thus to divide art into four basic categories, viz.
ceramics, painting, etching, and drawing, with worldly, purgatorial, diabolic,
and divine implications respectively which, in elemental terms, correspond to
earth, water, fire, and air - the very terms applying no less to the division
of sculpture into figure (the worldly form of sculpture par excellence); busts
(the purgatorial form of sculpture par excellence); relief (the diabolic
form of sculpture par excellence); and, finally, carving (the divine
form of sculpture par excellence).
Obviously there is a realistic parallel, in both elemental and
theological terms, between ceramics and figure sculptures, a materialistic
parallel between paintings and busts, a naturalistic parallel between
engravings and reliefs, and an idealistic parallel
between drawings and carvings. Now what
applies to the division of 'art' and 'sculpture' in this fourfold manner must
surely apply just as much to 'superart' and 'supersculpture', which exist rather more in terms of light
art and holography, respectively, than of any 'naturalistic' distinctions
between, say, clay and paint or stone and wood, although plastics cannot be
ruled out - at any rate, not in the context of 'supersculpture',
where they would take the worldly or, rather, superworldly
position occupied by figure sculptures in sculpture-proper, and thus have a
bodily connotation beneath purgatorial abstract sculpture, the latter of which would
be flanked by 'light' sculpture on the one hand and by holograms on the other,
as between diabolic and divine, fire and air equivalents. As regards 'superart',
one is obviously thinking in terms of light art, though only the alpha and
omega poles of our diabolic and divine equations would truly be of light,
doubtless in the form of a neon-tube/laser-beam divide, while the worldly and
purgatorial equations would suggest the likelihood of Op and Kinetics
respectively, the former standing to the latter as body to brain or, what
amounts to the same, earth to water, and having its 'supersculptural'
parallel in those plastic inventions which stand in an analogous relationship
to abstract sculptures, i.e. the purgatorial middle-ground in between the
'light' sculptural extremes.
105. Of course, I have been generalizing and
sketching far more than particularizing and filling-in the details as to why I
believe such-and-such an art form or subdivision thereof should be regarded in
one or another of our elemental/theological categories, and doubtless this is
desirable if one is to acquire a more wide-ranging perspective and avoid
getting bogged down in pedantic details such as would detract, in any case,
from the reader's use of his own imagination - something by which I have always
set great store! Certainly the T-like
impression created by the fourfold divisions of each of the arts (and 'superarts') does not do justice to the fact that the alpha
and omega poles are divisible into diabolic and divine options in each case, so
that there is an alpha divine/diabolic distinction no less than an omega
divine/diabolic distinction, with wavicle and
particle implications. In consequence of
which, alpha arts, whether literary (poetry), musical (opera), visual
(etching), or sculptural (reliefs), can be divine or
diabolic, Fatheristic or Satanic, depending on the
type of alpha art-form in question, i.e. whether of a wavicle
or a particle bias, as can omega arts, albeit on a diametrically antithetical
basis ... as befitting their Christic/Antichristic
implications. And the same of course
applies to the 'superarts', where the division is
rather more extreme in each case ... as befitting their 'super' status. Even the purgatorial middle-ground is to some
extent divisible in such fashion, as between 'soft' rock and 'hard' rock,
although the latter is often rather more physical, and hence muscular, than
intellectual or cranial, and therefore pertinent not so much to a
divine/diabolic dichotomy as to two types of purgatorial dichotomy, of which it
is the lesser. For the real
divine/diabolic dichotomy in 'supermusic' will be
between 'light' soul and 'heavy' soul on the alpha poles, and between 'light'
jazz and 'heavy' jazz on the omega poles, with rock, whether 'soft' or 'hard',
as a sort of amoral middle-ground in between essentially immoral (emotional)
and moral (spiritual) extremes.
Probably, to further complicate the picture, funk and punk come
in-between soul and rock, whereas blues and rhythm 'n' blues come in-between
rock and jazz, the former type of music in each category pertaining to the
divine spectrum and the latter type to the diabolic one, funk and blues
flanking soft rock, punk and rhythm 'n' blues flanking hard rock, the latter of
which towers above pop as the head (in both its cranial and intellectual
manifestations) above the body, including the muscle body of pop/rock.
106. Here, for the sake of diagrammatic clarity,
are some relevant correlations, necessarily generalized, with regard to the 'T'
design, viz:-
MORAL
IMMORAL/DYNAMIC AMORAL/MORAL
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STATIC AMORAL
IDEOLOGICAL
NATURALISM/MATERIALISM/IDEALISM
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REALISM
ATOMIC
PROTONS/ATOMS/ELECTRONS
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NEUTRONS
ELEMENTAL QUANTITIES
FIRE/WATER/AIR
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EARTH
ELEMENTAL QUALITIES
HEAT/COLDNESS/LIGHT
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DARKNESS
THEOLOGICAL
HELL/PURGATORY/HEAVEN
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THE WORLD
ARTS
MUSIC/LITERATURE/ART
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SCULPTURE
LITERATURE
POETRY/FICTION/PHILOSOPHY
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DRAMA
MUSIC
OPERAS/SYMPHONIES/CONCERTOS
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BALLET
ART
ETCHINGS/PAINTINGS/DRAWINGS
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CERAMICS
SCULPTURE
RELIEFS/BUSTS/CARVINGS
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FIGURE
'SUPERLITERATURE'
RADIO/VIDEO/TELEVISION
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CINEMA
'SUPERMUSIC'
SOUL/ROCK/JAZZ
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POP
'SUPERART'
NEONS/KINETICS/LASERS
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OP ART
'SUPERSCULPTURE'
LIGHT SCULPTURES/BIOMORPHICS/HOLOGRAMS
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PLASTICS
PHYSICAL
SUBCONSCIOUS/BRAIN/SUPERCONSCIOUS
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BODY
METAPHYSICAL
SOUL/INTELLECT/SPIRIT
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WILL
COSMIC
SOLAR/LUNAR/STELLAR
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PLANETARY
HUMAN
SUBMAN/MAN/SUPERMAN
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WOMAN
THE TRINITY
THE FATHER/THE SON/THE HOLY SPIRIT
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THE BLESSED VIRGIN
POLITICAL
ROYALISM/REPUBLICANISM/TOTALITARIANISM
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LIBERALISM
CHRISTIAN
EASTERN ORTHODOXY/PURITANISM/ROMAN CATHOLICISM
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ANGLICANISM
SARTORIAL
LEATHER PANTS/DENIM JEANS/PVC PANTS
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CORD JEANS
RECORDED MUSIC
AUDIO CASSETTES/COMPACT DISCS/VIDEO CASSETTES
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LPs
INSTITUTIONAL
TEMPLE/CHURCH/CENTRE
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STATE
'SUPERPOLITICAL'
FASCISM/ANARCHISM/COMMUNISM
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SOCIALISM
MILITARY
ARTILLERY/MARINES/PARAS
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INFANTRY
LIBERALISM
CONSERVATIVES/LIBERAL DEMOCRATS/LABOUR
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GREENS
‘SUPERLITERARY’ FORMATS
CASSETTES/COMPUTER DISCS/VIDEOS
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PAPERBACKS
FREIGHT
RAIL/SEA/AIR
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ROAD
PEOPLE'S TRANSPORTATION
SCOOTERS/MOPEDS/MOTORBIKES
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CARS
TYPEWRITERS
ELECTRONIC/ELECTRIC/WORD PROCESSORS
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PORTABLES
GUITARS/KEYBOARDS
ELECTRONIC/ELECTRIC/SYNTHESIZED
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ACOUSTIC
SPENGLER
HISTORYLESS CHAOS/CULTURE/SECOND RELIGIOUSNESS
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CIVILIZATION
SENSES
HEARING/SMELL-TASTE/SIGHT
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TOUCH
SELF-INDULGENCE
SMOKING/DRINKING/SNIFFING
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EATING
SELF-TRANSCENDENCE
TRIPPING/SINGING/MEDITATING
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DANCING
SELF-EXPRESSION
DREAMING/TALKING/THINKING
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WRITING
SELF-IMPRESSION
LISTENING/LEARNING/VIEWING
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SYNTHESIS
SELF-EXPRESSION/SELF-IMPRESSION/SELF-TRANSCENDENCE
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SELF-INDULGENCE
107. In relation to man, woman is a neutron
equivalent upon whom man either descends or falls ... if he is of a disposition
to, which is to say if he is of either an autocratic proton bias or a
democratic atomic (proton/electron) bias, and thereby perpetuates the
world. However, in the future there
should be neither descending nor falling upon the world, since only electron
equivalents, viz. supermen, and quasi-electron equivalents, viz.
quasi-supermen, will exist, and in such an omega-oriented 'head' society,
commensurate with the 'Kingdom of Heaven', all propagation will be conducted on
a post-worldly, and hence artificial, basis, with spermbank
facilities and artificial insemination available to the quasi-superhuman
'equals' of the supermen-proper. Saved
from both the neutron world and the proton hell and atomic purgatory alike, the
supermen will partake of the electron heaven in an omega-oriented spirituality
(of self-realization) which will be beyond all such previous realities.
108. Strength is the virtue of the Father
(Almighty); goodness (an ethical choice between good and evil, or truth and
strength) the virtue of the Son; truth the virtue of the Holy Spirit; beauty
the virtue of the Blessed Virgin.
Expressed in terms of our T-like design (diagram 1), we shall find:-
1.
QUANTITATIVE VIRTUES
STRENGTH/GOODNESS/TRUTH
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BEAUTY
Thus
strength is the quantity of the alpha Divine (the Father); goodness the
quantity of the purgatorial Divine (the Son); truth the quantity of the omega
Divine (the Holy Spirit); and beauty the quantity of the worldly Divine (the
Blessed Virgin). Conversely, weakness is
the quantity of the alpha Diabolic (the Antifather,
i.e. Satan); evil the quantity of the purgatorial Diabolic (the Antichrist);
illusion the quantity of the omega Diabolic (the Antispirit);
and ugliness the quantity of the worldly Diabolic (the Antivirgin),
as in diagram 2:-
2.
QUANTITATIVE VICES
WEAKNESS/EVIL/ILLUSION
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UGLINESS
Turning,
however, from quantities to qualities, as from appearance to essence, we shall
find that pride is the quality of the alpha Divine; love the quality of the
purgatorial Divine; joy the quality of the omega Divine; and pleasure the
quality of the worldly Divine (see diagram 3).
3.
QUALITATIVE VIRTUES
PRIDE/LOVE/JOY
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PLEASURE
Conversely,
humiliation is the quality of the alpha Diabolic; hate the quality of the
purgatorial Diabolic; woe the quality of the omega Diabolic; and pain the
quality of the worldly Diabolic (see diagram 4).
4.
QUALITATIVE VICES
HUMILIATION/HATRED/WOE
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PAIN
109. Consequently, whereas strength and pride are
the quantitative and qualitative concomitants of the Father (Almighty), the
quantitative and qualitative concomitants of the Devil (Satan) are weakness and
humiliation. Similarly, whereas goodness
and love are the quantitative and qualitative concomitants of the Son (Christ),
the quantitative and qualitative concomitants of the Antichrist (for which
read: Republicanism in relation to Puritanism) are badness and hate. Likewise, whereas truth and joy are the
quantitative and qualitative concomitants of the Holy Spirit, the quantitative
and qualitative concomitants of the Antispirit (for
which read: Marxism, with its anti-Transcendentalism) are illusion and
woe. And, finally, whereas beauty and
pleasure are the quantitative and qualitative concomitants of the Blessed
Virgin, the quantitative and qualitative concomitants of the Antivirgin (for which read: Liberalism or, in the American
context, the Democrats in relation to Catholicism) are ugliness and pain.
110. Furthermore, it would seem that whereas the
Divine has a wavicle connotation, the Diabolic has a
particle one, and that while wavicles connote with
the individual (especially in an internal, or spiritual, sense), particles
connote with the collectivity, as regards society in
general, so that we have a kind of religious/political distinction between the
two contexts which obliges us to perceive God in the one camp and the Devil in
the other, or, at any rate, to perceive a divine/diabolic dichotomy in regard
to positive and negative alternatives, viz. Judaism and Monarchism, Puritanism
and Republicanism, Transcendentalism and Communism, Catholicism and Liberalism,
the first and third of which are alpha and omega (as of the Trinity), the
second and fourth ... purgatorial and worldly, as befitting their comparatively
middle-ground standings. Thus for the
divine, or wavicle-biased, positions, we shall find
(see diagram 1):-
1.
JUDAISM/PURITANISM/TRANSCENDENTALISM
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CATHOLICISM
Whereas the
diabolic, or particle-biased, positions will be as follows (see diagram 2):-
2.
MONARCHISM/REPUBLICANISM/COMMUNISM
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LIBERALISM
with appropriate quantities and qualities in each
case.
