1. Woman: nature, realism. Man: free to be either antinatural
or supernatural.
2. Woman is of the world; her kingdom is the
world.
3. True art: supernatural. Worldly art: natural. False art: antinatural.
4. World: ancient
5. God and the Devil have this much in common:
neither of them much likes 'the world'.
6. God (the Father) did not create nature: it
grew out of the world as a sort of middle ground in between the subnatural and the supernatural.
7. Atheism is a philosophy of the Devil; only
the Devil denies God.
8. Sense in which blue-collar workers are
communistic and white-collar workers fascistic.
A particle/wavicle dichotomy
of manual/intellectual work which, in each case, lies beyond the bourgeois
managerial pale.
9. Grand bourgeois - bourgeois - petty
bourgeois: three stages and/or degrees of owner/manager exploitation of the
working class, whether the latter be industrial and proletarian or commercial
and folksy or, rather, folkish. What lies beyond the parliamentary tradition
effectively transcends it, whether of the Communist Far Left or of the Fascist
Far Right. You cannot speak of
Communists in the Labour Party or of Fascists in the Conservative Party, for
the simple reason that genuine Communists and Fascists would never deign to
compromise with parliamentarianism, being external to it. Thus there is no such thing as a Labour
Communist or a Tory Fascist; though each of the parties will harbour their own
respective extremes.
10. What parliament is to political tradition,
painterly art is to aesthetic tradition: a bourgeois genre standing in-between
the evolutionary extremes of sculpture and holography. Thus no more than a parliamentarian can be
described as a Communist or a Fascist (even if by chance or design he
erroneously thinks of himself in either of these extreme terms), can a painting
be so described. For, with the
paradoxical exception of Socialist Realism, canvas art is by definition
bourgeois and incapable of extending beyond a petty-bourgeois level of
abstraction, whether of the Abstract Impressionist Extreme Right (a Radical
Conservative equivalent), or of the Abstract Expressionist Extreme Left (a
Radical Labour equivalent). As in
parliament, so also on canvas: work within an atomic tradition is constrained
and defined by the nature of that tradition.
If you want proletarian or folkish levels of
art you must either turn to sculptural light art on the Far Left, or to free
light art on the Far Right. An abstract
painter who considers himself to be either a Communist
or a Fascist, depending on his particular creative bent, is no less
self-deluded than a parliamentarian of like opinion! So far as the genuine Communists and Fascists
are concerned, such a man is no more than a petty-bourgeois painterly
traditionalist, his work equivalent to one or other of the contemporary Western
manifestations of parliamentary extremism.
As modern history adequately attests, the Communist authorities of the
(former)
11. If light sculpture, or sculptural light art,
is Marxist, then light art, as implying the use of slender neon tubing, could
be described as Marxist-Leninist, i.e. less materialistic because of the
infusion of a pseudo-theocratic element deriving from Lenin. A distinction, then,
between the proletarian and the pseudo-proletarian, the Marxist Far Left and
the Marxist-Leninist Right. By
contrast, free light art, meaning spotlights trained on the night sky and/or
laser shows, would be Fascist, since idealistic rather than materialistic, and
we need not doubt that holography, or the projection of images into space
through the refraction of light, lies beyond this as a kind of Social
Transcendentalist equivalent indicative of a superfolkish
status capable of leading, in due course, to a classless absolutism of pure
idealism, once computer graphics become the accepted norm.
12. Novel writing: no less pertinent to a
bourgeois democratic tradition than painterly art. The realistic novel, that artful combination
of materialistic and idealistic elements, the literary mean, one now slighted
and spurned by the (extremist) practitioners of the petty-bourgeois antinovel
and supernovel respectively: the former given to a
philosophical bias, which finds its parliamentary analogue in the Labour Party,
the latter given to a poetical bias, which finds its parliamentary analogue in
the Conservatives, each type of novelist contemptuous of the realistic
tradition and, consciously or unconsciously, determined to extend literary
decadence to the utmost materialistic and idealistic extents, depending on
his particular bias, while the realistic
novelist, clinging to bourgeois tradition as a matter of life-and-death, sits
stranded on the rocks of his literary obsolescence as the conflicting currents of
literary extremism rage all around and beyond him, threatening to submerge him
beneath their all-pervasive decadence, to sweep away the entire literary
tradition in the name of absolutist revolutions, albeit revolutions which,
whether of the extreme left or right, remain intrinsically
petty-bourgeois. For the true
revolutionaries, the class partisans of either a proletarian or a superfolkish absolutism, avoid the novel genre altogether,
content to leave its disintegration to petty-bourgeois extremists, while
concentrating on their respective philosophical and poetical frameworks. No less than the philosophic Communist looks
down on the literary materialist, so the poetic Fascist despises the literary
idealist. For even the most
materialistic or idealistic of novelists are still relative to a degree.
13. In music, the symphony holds the place of the
novel and, for that matter, canvas art ... as the quintessentially democratic
genre coming in-between autocratic dancing and theocratic concertos, i.e. materialistic
and idealistic extremes which respectively focus on rhythm and pitch. Unlike those, the classical symphony
signifies a realistic balance in regard to rhythm and pitch which takes the
uniquely atomic form of a compromise between harmony and melody, the former
subordinate to the latter, as is befitting in a materialistic/idealistic
compromise. Hence the bourgeois symphony
is a Liberal phenomenon reflecting an atomic realism. Not so, however, the petty-bourgeois
symphony, which is divisible into preponderantly materialistic, i.e. rhythmic,
and preponderantly idealistic, i.e. pitch-oriented, distinctions, depending on
the composer's ideological bias. Here
the symphony attains to its post-Liberal decadence, as it parts company with
realism in the name of either materialistic or idealistic extremes, a
Labour/Conservative dichotomy opening up that forces the symphony apart, breaks
it up, in the musical equivalent of nuclear fission, with ballet-like
rhythmical abstractions on the extreme left, and concerto-like pitch-oriented
abstractions on the extreme right - an avant-garde dichotomy which parallels
the splits in literature and art, the symphony no longer recognizable as such
but assuming absolutist dimensions. And
yet, no matter how radically rhythmic or pitch-orientated the avant-garde work
may happen to be, it is still connected to the symphonic tradition - orchestral
works being by definition bourgeois and therefore incapable of either a
Communist or a Fascist status. Like the
experimental painter or novelist, the avant-garde symphonist is a
petty-bourgeois artist whose work will approximate to either a Labour or a
Conservative political equivalence but never, under any circumstances, to what
lies beyond the parliamentary tradition and ultimately transcends it! The radical symphonist who considers himself to be either a Communist or a Fascist is deceiving
himself, no less than the painter or novelist of similar extremist
predilection. At the very least he is
hyping himself up. Of course, the symphony-proper,
as a harmonic/melodic Liberal compromise, continues to exist and to be composed
and performed throughout the duration of a petty-bourgeois epoch. Bourgeois composers have no less of a right
to existence in an extreme open society than their revolutionary
detractors. But, as a rule, even their
works, conventional by contemporary standards, will be decadent by traditional
classical standards, i.e. given to too much harmony and too little melody, or
vice versa, with certain 'modernist' ingredients or tendencies thrown-in for
good measure. Where there is no longer a
kind of simultaneous balance between harmony and melody, but an oscillatory
balance favouring now harmony or, more often, disharmony, now melody or, more
usually, atonality, we can talk, I believe, of a Liberal Democratic equivalent,
which will adhere to an extreme realistic framework, now veering towards Labour
materialism, now veering in the opposite direction ... towards a Conservative
idealism, the bourgeois in a petty-bourgeois epoch, his relativity stretched in
an absolutist direction.
14. Clearly, since Communism and Fascism are
People's ideologies lying beyond the democratic pale, the only music worthy of
being termed Communist or Fascist will likewise lie beyond the symphonic pale,
transcending acoustic naturalism in either an antinatural
or a supernatural electronic direction, depending, as a rule, on whether the
music in question is predominantly rhythmic, like rock, or predominantly
pitch-orientated, like jazz. If the former,
then we can speak of a Communist equivalent - the reduction of electric music
to the lowest-common-denominator of rhythmic materialism, which will be
all-the-more absolutist the purer the rock, i.e. the less it is diluted by
pitch-oriented jazz tendencies that suggest not so much a Marxist as a
Marxist-Leninist equivalent, symptomatic of jazz-rock. If the latter, however, then we can speak of
a Fascist equivalent - the elevation of electric music to the highest level of
a pitch-oriented idealism, a kind of musical superidealism
that will be all-the-more absolutist the purer the jazz, i.e. the less it is
diluted by rhythmical rock tendencies, which suggest not so much a Fascist as a
Social Transcendentalist equivalent, symptomatic of rock-jazz. Whatever the case, whether
we are dealing with rock and jazz-rock on the one hand or with jazz and
rock-jazz on the other, we have music that transcends the symphonic pale. Thus true People's music or, more exactly,
music of the intellectual/revolutionary elites who in one way or another aspire
to leading the People (with their more popular tastes), being symptomatic of a
Communist/Fascist dichotomy, is also, on that account, indicative of a
distinction between the Devil and God on the proletarian and folkish levels of evolutionary extremism. Whether the Devil be diluted by God or God by
the Devil, as in Transcendental Socialism and Social Transcendentalism
respectively, this distinction still holds true and is the key to the intrinsic
nature of the two types of music - the one 'evil' because rhythmic and antinatural, the other 'good' because pitch-orientated and
supernatural.
15. We live in an age of plonking, particularly
with regard to string and electric bases.
Compared to traditional bowing techniques for double bass, the regular
plonking of jazz-bass performers testifies to a 'fall', a degeneration from wavicle continuity to particle discontinuity, from the
ideal to the material, from an artificial technique in the use of bow to a
natural technique of fingers to strings.
Where, as in rock, an electric bass is concerned, the same factors
apply, except that the medium is different, corresponding, one could argue, to
a new genre, as light art to painting, which transcends the traditional medium
of the double bass and therefore constitutes a 'fall' (forwards) into
electronics. Inherently an extreme
left-wing medium of musical expression, the electric bass serves a
predominantly rhythmic capacity in contemporary proletarian music, all the more
efficaciously on account of the plonking finger techniques. The redemption of the bass or, rather, of
bass playing ... can only come through synthesizers, in the form of synthesized
bass, a new genre suggestive of transmuted particles, as though Socialism had
become social, in subordination to a supertheocratic wavicle continuity of pitch-oriented tone.
16. Of all traditional
instruments, the violin has long held the place of honour as the one most able
to sustain, through various bowing techniques, a wavicle
continuity in the service of pitch-oriented or, at any rate, melodic
notation. Even the piano seems a
plonking instrument by comparison, the sounds arising from depressed keys
which, in turn, activate padded hammers that are concealed within the body
casing in a percussive process of particle discontinuity or separateness. Thus the piano stands in a rather left-wing
Liberal light compared to the violin, and we may take it as axiomatic that
people who wish to maintain or cultivate a right-wing Liberal bias will
necessarily be partial to the violin, with its bowing smoothness. Of all traditional instruments, the violin is
arguably the one most qualified to render a transcendently pitch-oriented
sound, and we may be sure that what applies to the acoustic violin applies even
more to the electric one, as certain modern jazzmen, including Jean-Luc Ponty, have amply demonstrated. And particularly when the instrument in
question is made from synthetic materials like perspex,
which enhance its transcendent capacity, bringing a physical supernaturalism to
the service of the spiritual supernaturalism that arises from its playing. Only the synthesizer, it seems, can transcend
this, much as holography transcends light art, in testimony to a classless
transformation of the ultimate genre.
17. Heterosexuality can be
divided into three categories, corresponding to the division within
parliamentary liberalism between the real, the material, and the ideal (or
Liberalism, Socialism, and Conservatism). For heterosexuality is, after all, a kind of
Liberal equivalent, sexually speaking, to parliamentarianism or, for that
matter, to painterly art, novels, and symphonies - in other words, a
naturalistic sexuality standing in-between lesbian and homosexual extremes. Thus if the bourgeois mean is realism, or a
combination of materialism and idealism in a uniquely atomic naturalism, then
we need not doubt that realistic sex implies sex with love, the physical with
the spiritual in a matrimonial balance corresponding to the Liberal ideal. Such an ideal, like everything appertaining
to Liberalism, is less prevalent or pervasive these days than formerly, because
the age is too decadent to be partial to bourgeois criteria, which, though
still extant, tend to hang-on in the background, so to speak, of a provincial,
Liberal past. What we generally find now
is, by contrast, a materialistic/idealistic heterosexual dichotomy
corresponding, in political terms, to a Labour/Conservative parliamentary
extremism, in which decadent Liberal sex becomes the norm. On the Left, this takes the form of
heterosexual promiscuity, which is nothing less than the reduction of relations
between the sexes to the lowest-common-denominator of physical satisfaction,
with or without cunnilingus. Sex without emotional strings - a kind of Democratic Socialist
ideal. On the Right, by contrast,
it takes the form of fellatio, or the elevation of
heterosexuality to the highest-common-denominator, so to speak, of voyeuristic
mental satisfaction, which may or may not be accompanied by love. Certainly there is a strong likelihood that
unrequited love will be a norm - if not the ideal - of
the heterosexual extreme right, as though the body were a superfluity or
anachronistic dimension scarcely to be countenanced! Now if this may be deemed symptomatic of an
extreme right-wing position corresponding to the most radical Conservatism,
then, certainly, we have grounds for speculating that unorthodox coital
relations between the sexes would be symptomatic of an extreme left-wing
position corresponding to the most radical Democratic Socialism. However, exceptions to the rule
notwithstanding, we need be in little doubt that promiscuity and voyeurism are
the antithetical poles within a decadent heterosexual framework, each proclivity
independent of the other and tending further apart, towards more absolute
sexual extremes which transcend the heterosexual tradition altogether.
18. Such more absolute sexual extremes are, of
course, homosexuality on the Far Left, corresponding to a Marxist orientation,
and pornography or, at any rate, erotica on the Far Right, corresponding to a
Fascist orientation. In the one case, a
particle antinaturalism; in the other case, a wavicle supernaturalism - promiscuity and voyeurism taken
to more radical extremes, the physical more material, if anything, than on the
materialistic heterosexual level; the mental more spiritual than on the
idealistic heterosexual level. In each
case, new genres of sexual activity, attesting to proletarian and classless
allegiances, all heterosexual activity, by contrast, implicated in the
bourgeois relativistic framework, even if in one that, in its decadence,
stretches towards petty-bourgeois extremes.
So, paradoxically, rock and homosexuality are alike proletarian, whereas
jazz and erotica are both classless.
However, if a distinction is to be made between left- and right-wing
trends in Communist and Fascist sex respectively, then I think that we would be
justified in placing homosexuality on the left and pornographic homosexuality
on the right of the former, as though indicative of a Marxist/Communist
dichotomy, with erotica on the right and pornography on the left of the
latter. In the case of Communist sex,
pornography involving male models would entail a transcendental bias suggestive
of a Leninist dimension, hence the right-wing implication. In the case of Fascist sex, on the other
hand, the distinction between erotica and pornography is really a question of
degree and treatment, erotica usually implying an overall or comprehensive view
of the model, pornography tending, by contrast, to focus attention on the
sexual organ, as though reducing the photo to sexual materialism and thus
excluding the element of beauty, which must be deemed essential to any idealistic
appreciation of the model. So whereas
erotica may be defined as idealistic supernaturalism, heterosexual pornography
is suggestive of a materialistic supernaturalism and, accordingly, must be of a
left-wing bias. Probably as good a view
as any is that which regards erotica as suitable to a Fascist elite and
pornography, by contrast, as appealing to the broad fascistic masses. Similarly, one could define homosexual
pornography, or more usually erotica, in terms of its suitability to a Communist elite, whereas ordinary physical
homosexuality would appeal to the broad communistic masses, with their crude
proletarian materialism.
19. Yet if erotica and pornography are two kinds
and degrees of Fascist supernaturalism, corresponding to light art, then there
must surely be two kinds and degrees of Social Transcendentalist
supernaturalism beyond these, which would correspond to holography and computer
graphics. So what could these be if not
inflatable (sex-doll) heterosexuality on the one hand and computerized
late-teenage erotica on the other, the former corresponding to a transmuted
Socialism (not Marxism or Communism but heterosexual materialism transferred
from the flesh to plastic and thus, in a sense, redeemed), and the latter corresponding to the transcendentalism
of a supertheocratic voyeuristic supernaturalism or,
rather supra-naturalism, which places the viewer above and beyond all natural
reference? Certainly adult erotica and
pornography must be outgrown and cast-off in the Social Transcendentalist
future, else women will continue to be regarded as sexual objects when such a
view is no longer acceptable, society presumably being arranged in such a
fashion that no coupling or matrimonial cohabitation takes place between
adults, since indicative of atomic relativity.
When men are effectively Supermen and women, in effect, quasi-Supermen,
there will be no place for sexist discrimination and, consequently, no room for
sexual commerce. People will live
singly, in small flats, and such sexual activity as remains will be purely
artificial, either physically so ... with regard to plastic inflatables
and/or vibrators (depending on one's literal gender) or spiritually so ... in
terms of the use or appreciation of mature juvenile erotica, as applying to
young women of between, say, sixteen and twenty-one. By then, propagation will have become a
no-less transcendental matter, with sperm banks and artificial insemination of
prospective mothers pretty much the norm.
The offspring arising from these inseminations will be raised in special
institutions well away from the adult world in general, an open-society
toleration or acceptance of child/adult cohabitation no longer being
applicable, the adult world too transcendental for its members to be exposed to
the crude, noisy, and often over-energetic behaviour of 'kids', which more
approximates to alpha than to omega.
When you are in an extreme stage of evolution, there can be no
middle-of-the-road toleration of all-and-sundry! That which is low will be beneath the
closed-society pale, either temporarily, i.e. until, reaching adulthood, it
becomes high, or permanently, following judgemental rejection. Only the supernatural will prevail within
this pale!
20. Which, of course, also implies the absence of
animals, all pets and working beasts, from the adult world - dogs, cats, and
other unnecessary animals having been gradually phased-out of society in the
process of its supertheocratic transformation. No more than a man will own a child or a wife ... will he own a cat or a dog. A free-electron society must be above all
forms and degrees of atomic constraint.
It must also be above all forms and degrees of media noise and
open-society intrusion of artificially-produced sound reproduction from one
neighbour to another. With people living
closer together in ever-more transcendental contexts, the importance of peace
and quiet cannot be overstated!
Consequently the use of headphones will be obligatory, and no-one need
suffer from anyone else's audible bombardments.
The shared appreciation of music will be reserved for the transcendental
centres, those successors to the Christian churches, where a wavicle continuity will be in order - indeed,
obligatory. Particle privacy, however,
must become the rule at home!
21. Trousers are to sartorial tradition what
parliament is to political tradition or canvas painting to the tradition of
atomic art: namely a bourgeois democratic norm coming in-between the
evolutionary extremes of autocratic dresses on the one hand and theocratic
one-piece zipper suits on the other, trousers usually worn in conjunction with
a thigh-length jacket, thereby testifying to an atomic relativity. In contrast to trousers, jeans indicate a new
genre, above and beyond the democratic pale, and, like light art, they are
divisible into Communist and Fascist equivalents, according to whether the
jeans in question be denims or cords, i.e. rough or smooth, horizontally
stitched or vertically stitched, light or dark, etc., with proletarian and superfolkish implications respectively. Probably boiler suits, usually in denim, are
Marxist-Leninist equivalents, more absolutist (since one-piece) than jeans or
jean suits, and if there is anything beyond Fascist cords it can only be
plastic pants and/or one-piece PVC-type zipper suits, which suggest a more
radically supernatural status commensurate, so I believe, with Social
Transcendentalist criteria, as much beyond cords as holography is beyond laser
art. Of course, it could be argued,
contrary to the above, that cords and denims are decadent idealistic and
materialistic manifestations of a democratic split, paralleling modern art,
which stem from a realistic tradition employing cotton and therefore nothing
more than petty-bourgeois extremes corresponding to Conservative and Labour
distinctions. Yet while this may appear feasible,
it should also be remembered that there are jean-like trousers, trousers with
vertical side-pockets and frontal pleats that are made in cord or denim but
nevertheless are not jeans. Ah! so here we would find our
extremist trouser equivalents corresponding to radical Conservative and Labour
extremes, not simply decadent Liberalism, which, by contrast, would more likely
take the form of smooth-looking cotton trousers with slanting jean-like front
pockets. And yet even now I confess to a
certain misgiving with regard to this particular issue!
22. Similarly with footwear, it would seem that
whereas shoes, in leather or otherwise, appertain to bourgeois tradition, boots
and sneakers are proletarian and folkish respectively
or, at any rate, lie beyond the realistic pale.
Doubtless boots can be divided into Communist and Fascist equivalents,
depending on whether they are low and heavy or high and sleek, horizontally
biased or vertically biased, indicative of a particle discontinuity or,
conversely, of a wavicle continuity, utilitarian or
stylistic, etc., etc. Obviously there is
an ideological distinction between boots worn by 'skinheads' and boots favoured
by 'freaks'. We may accredit the former
a nominal Fascist status, but they are really communistic Fascists, as though
SA (Sturmabeitlung) equivalents, or what I would
prefer to categorize as pertaining to the 'social' aspect of Social
Transcendentalism - the 'Devil' in the service of God, shock troops of the
revolution. Unlikely, then, that such
'boot boys' would favour the use of high boots, still less sneakers, which may
well be the superfolkish footwear lying beyond
Fascist connotations.
23. 'Skinheads' - 'freaks' - 'hell's angels': SA
equivalents - cultural masses - SS (Schutzstaffel)
equivalents? Revolutionary
army - people - revolutionary police?
Possibly; though, to judge by the preponderance of rock over jazz, of
rhythm over pitch in majority 'freak' tastes, it could also and more convincingly
be argued that, while the same structure of an alternative society certainly
applies, it is more of a communistic than a fascistic one, with the police role
consequently entailing the dubious status of 'hell's angels'. However, it has to be admitted that both
'skinheads' and 'hell's angels' look upon themselves in a Fascist light. So, incidentally, do some 'freaks', although
most of them tend to approximate to a Communist equivalent, wearing blue denims
in preference to black cords.
24. 'Beatniks' - 'freaks' - 'punks'; 'teds' - 'mods' - 'skinheads';
'rockers' - 'greasers' - 'hell's angels'.
Parallel trends from one decade to another? Far Left - Centre - Far
Right? Doubtless
approximately so; though overlappings and ideological
exceptions, whether chimerical or otherwise, certainly do occur.
25. Whatever their
provenance, alternative societies have this much in common: they loathe and
despise the bourgeois world and strive, as far as possible, to live apart from
it, whether in the name of the Devil or God. They have abandoned the world, like
Communists and Fascists, in the sure knowledge that one day it will be
overcome. They have already died to the
world - gratefully - and now live for one or other of the contending
absolutes. But the world is always ready
to reclaim those whom it has lost, and they must beware of its
allurements. For as soon as you fall in
line with the world, you 'Kiss the bourgeois' arse' (Goebbels). Better dead in freedom than alive in
bondage! Yet better than the Living
Death is the Eternal Life, and only God can offer that ... through the agency
of the Second Coming, the 'Second Messiah', whose Supertruth,
embracing the Way to Heaven via a global civilization and post-Human
Millennium, stretches beyond Christian truth, as the absolute stretches beyond
the relative. Eternal Life is the life
of the spirit, life lived in and for the spirit, and the society that the
Second Coming wishes to establish, through the political agency of Social
Transcendentalism and in the name of Centrism, will further such a life,
replacing the truthful Church with the supertruthful
Centre, where the People will either trip or meditate, depending on the stage
of Centrist evolution, in fidelity to their new-found religious sovereignty, a
sovereignty only made possible by the Second Coming, who will take their
political sovereignty upon himself, as Christ bore the 'sins of the world', and
thus free them for self-realization. How
will he do this? Simply
by appealing to them, under the banner of Social Transcendentalism, to further
their own deepest interests, social as well as spiritual, by using their
political sovereignty to transfer power to him in the name of a supertheocratic transformation. For once he has acquired a majority mandate
for the setting-up of his 'reign', he will use it to abolish the democratic status quo
and usher in the '
26. Anti-elitism: the Marxist tendency that
opposes spiritual excellence, leaderism, genius,
etc., in the name of a reduction of humanity to the lowest-common-denominator
of equalitarian mediocrity, a 'mobocracy' of
proletarian exclusivity, socialist materialism the be-all-and-end-all of
evolution. No leaders and no police; the
People free to be themselves in their own anarchic fashion. Imagine, if you can, a flock of sheep without
shepherds or sheepdogs. Would not the
sheep all-too-quickly cease to be a flock and instead become a variety of
different groups and individuals wandering everywhichway
in search of fresh pastures? Now if an
average sheep could talk and you asked it whether it preferred freedom from
shepherds and sheepdogs to bondage under their control, would not the answer
be: Yes? Just so, the average 'man of
the People' would prefer, deep down, to be free from leaders and police in
order to please himself in his own particular fashion. Fortunately, however, shepherds know what's
best for sheep and, likewise, leaders know what is best for the People! Preferring order to chaos, they seek to lead
the People upwards ... along a path leading to superior social and spiritual
pastures. For, like sheep, the masses
have to be led in a specific direction rather than left to their own anarchic
devices. Social Transcendentalism has
nothing against elites, provided the elites in question are Social
Transcendentalist and thus aligned with the Will of the Second Coming, who is
alone entitled, though his divine knowledge, to lead the Peoples of his
choosing towards the 'promised land' ... of the heavenly Kingdom. Leading from above, as a kind of embodiment
of the Holy Ghost, he decrees what shall or shall not be, the People having
abandoned political sovereignty in the interests of their spiritual advancement
under the aegis of a religious sovereignty accorded them by the Second
Coming. For it is in religious
sovereignty that the People will realize their selves to the full, becoming
divine in the process. Social
Transcendentalism desires nothing less than the elevation of the People to
divine salvation, not their reduction, as with Marxism, to demonic damnation!
27. For the artist, a
work of art is a test of the will, the finished product ... a triumph of the
will. The supreme artist will triumph
most conclusively, providing the People with an opportunity to witness his
triumph and to perceive in it a metaphor for and microcosmic reflection of
Divine Will. Thus true art will ever
lead man upwards, like true leaders, towards God.
28. Since education and
politics are aligned in most countries, so they are aligned in Britain, where
the following parallels should be noted:-
Public
School Conservatives
Grammar
School Liberals
High
School Labour
Comprehensives
Liberal Democrats
Traditionally,
public schools are for children of the upper class, grammar schools for
children of the middle class, and high schools for children of the working
class. To a large extent this is still
the case, though we now have the addition of comprehensives which, as an
amalgamation of grammar and high schools, signify to this writer a Liberal
Democratic equivalent - a kind of superliberalism, if
you will, in which an attempt is made to strike a balance between middle- and
working-class interests. Strictly
speaking, one's type of schooling should condition, in later life, one's
political orientation within the democratic framework, so that people who went
to a public school will have a natural predilection for the Conservative Party,
while those who, by contrast, attended a high school will be inclined towards
the Labour Party, and those who attended a grammar school or a comprehensive
will either tend towards the Liberals or the Liberal Democrats, or both. Fluctuations in people's voting habits do of
course occur; but if one is loyal to one's schooling and no muddlehead,
then one's pattern of voting should be more or less predetermined.
29. It is tempting to see in the basic racial
distinctions on this planet between caucasoid,
mongoloid, and negroid an approximate parallel to the
worldly, diabolic, and divine distinctions already drawn, which correspond to
realism, materialism, and idealism. For
the capitalist West, which has come to be regarded as the First World (not
altogether without justification in view of its worldly standing), is a
predominantly white region of the globe, whereas the socialist East,
corresponding to the Second World, is a predominantly yellow region, with the
non-aligned Third World being a predominantly black or, at any rate, coloured
region embracing the greater part of Africa, South America, the Indian
subcontinent, etc. Thus the West, with
its democratic realism, corresponds to the world, the East, with its democratic
materialism, to the Devil, and the
30. Britain and France traditionally approximate
to the world - indeed, are the heart and soul of atomic civilization, the only
difference being that whereas Britain's realism leans towards materialism,
France's realism, by contrast, leans towards idealism, which, given its
predominantly Catholic rather than Protestant traditions, and its predominantly
Latin rather than Nordic racial configuration, need not greatly surprise us.
31. Make no mistake: race determines religious
allegiance! Religion is not adhered to
independently of ethnic factors, but follows from a fundamental racial
prompting.
32. The evolution of Good in the world is
paralleled by the devolution of Evil. With
the Second Coming, Good attains to the unprecedentedly
pure level of electron wavicles. With the Antichrist, Evil is reduced to the unprecedentedly impure level of electron particles. The distinction is then rather more between
good Good and evil Good than
between an outright opposition of Good and Evil, corresponding to an
electron/proton dichotomy. Consequently
even Communism is a relative evil (not an absolute evil), implying a transmuted
diabolism of electron materialism. But,
even so, a distinction, for political purposes, between the Devil and God when
contrasting Communism with Centrism, or vice versa, is not inappropriate, since
the contraction of Evil in the world and the expansion of Good in it are
inherently separate phenomena. The paradox
with Communism and Centrism, however, is that neither of them can be pure, for
a degree of their respective opposites must cling to each ideology at this
point in time ... if a realistic approach to the world is to be maintained. Thus no less than Communism, or
Transcendental Socialism, is not entirely evil, Centrism, or Social
Transcendentalism, cannot be entirely good.
A wholly divine Centrism can only arise at a later point in evolutionary
time, after Communism has been vanquished from the globe.
33. Small is beautiful, and in more than an
apparent sense! For it should be
accompanied by large truth. In other
words, the contraction of the material should be paralleled by the expansion of
the spiritual, so that books, for example, become smaller and truer the further
the evolution of book-writing proceeds.
The most evolved books will be the shortest and, hence, smallest, while
containing the most radical, progressive, and objectively correct thought. They will almost certainly be in paperback,
and the content will be philosophical and/or poetical, beyond and above
novelistic literature, with its narrative fictions. Small volumes of poetry which I read as a
youth, works like Ginsberg's Howl, Ferlingetti's
Pictures of the Gone World, and Corso's Gasoline,
were highly idealistic productions appropriate, one feels, to a more evolved
literature. Of course, poetry can go a
lot further than the 'Beat Poets' took it, but it's doubtful that the scale of
books could get much smaller. American
idealism was certainly in the vanguard of evolutionary progress as far as that
went!
34. However, we should never forget that a book,
no matter how small or compact, is really a kind of bourgeois production
pertinent to an atomic age, with a proton/electron distinction between hard
cover and soft pages, a distinction which still obtains, in some degree, where
so-called paperbacks are concerned, the smooth cover contrasting, more often
than not, with rough pages, as though the traditional format had been reversed. In contrast to books, magazines bespeak a new
genre, as far removed from books as, say, light art from paintings or rock
groups from symphony orchestras, and if the average magazine is superficially
larger than the average paperback, it is evidently indicative of an
evolutionary 'fall' (forwards), corresponding to a kind of Marxist
materialism. With the small magazine, on
the other hand, we can speak of a Centrist equivalent; for small, remember, is
beautiful, and the smaller the magazine the higher, in evolutionary terms, will
it stand in relation to both larger magazines and books, as though equivalent
to pure light art or to the most transcendental modern jazz. Undoubtedly, a further distinction should be
drawn between flat-spined magazines, whether large or
small, and sharp-spined magazines, so that we are
distinguishing between book-like magazines, or magazines which may be said to
stem from flat-spined books, and magazines that are
transcendently independent of any such Liberal tradition. In the first case, we may speak of a Marxist
equivalent with regard to large flat-spined magazines
and of a Marxist-Leninist equivalent with regard to small ones, while reserving
Fascist and Centrist equivalents, respectively, for large and small sharp-spined magazines. But
even they stem from a tradition of sorts, and what can that
be if not the sharp-spined book, like, for example,
Ginsberg's Howl, which would correspond to a right-wing equivalent.
35. Let us therefore return to books and note
three main trends. First there is what
might be described as the Liberal book, a flat-spined
hard cover that, while still in production at the time of writing, pertains to
bourgeois tradition, a tradition which has been superseded, on two levels, by
different types of paperback, corresponding, in their dissimilar ways, to a
more absolutist approach to book production.
If the average hardback corresponds to realistic canvas art, then these
two kinds of paperback find their painterly equivalents, it seems to me, in
Abstract Expressionism and Abstract Impressionism, and we can distinguish
between them in terms of either a flat-spine/sharp-spine soft cover antithesis
or a smooth cover and coarse pages/coarse cover and smooth pages antithesis,
the former a Labour equivalent, the latter radical Conservative, materialism
and idealism superseding Liberal realism.
So, in terms of appearances, a dichotomy has long existed between left-
and right-wing paperbacks which, as in politics and art, has flanked the
Liberal hardback tradition and, in some sense, superseded it; though a Liberal
Democratic equivalent can be ascertained, I believe, in the contemporary
production of small hardbacks with a paper wrap around the traditional hard
cover, as though in confirmation of a compromise with left-wing trends, the
paper wrap more papery, if anything, than the soft cover of a so-called
paperback. However that may be, the
development of petty-bourgeois softbacks out of and
away from bourgeois hardbacks is paralleled by the development of proletarian
and/or superfolkish magazines away from - if not out
of - petty-bourgeois paperbacks, so that the evolution of the one genre has
inexorably led to the revolution that magazine production unquestionably
signifies vis-à-vis the book tradition, a revolution no less distinctive and
complete in itself than the ones appertaining to light art and to Communism
and/or Fascism vis-à-vis painterly and parliamentary traditions, to take but
two analogous contexts. So the magazine
is inherently, if not actually, a People's phenomenon, and, as already
remarked, it too is divisible into extreme left- and right-wing manifestations,
with the flat-spined types (large and small)
corresponding to the former and, by contrast, the sharp-spined
types (whether large or small) corresponding to the latter, as proletarian and superfolkish equivalents in the People's market.
36. While we should acknowledge that philosophy
and poetry, corresponding to sculpture and drawing in 'art', are distinct from
and more extreme than 'literature', it nevertheless transpires that, in a
decadent age, literature will be split asunder from its realistic tradition and
tend in either a philosophical or a poetical direction, so to speak, just as,
to some extent, 'art' tends, under similar pressures, towards either sculpture
or drawing ... without, however, entirely ceasing to be what it is in itself. In an incipiently absolutist age, everything
is pushed towards the absolute; but it doesn't necessarily follow that it is
ideal for that to happen. When 'art' and
'literature' pose as absolutist, they are simply being untrue to themselves,
like a parliamentarian who gives himself communist or fascist airs.
37. Painting that combines realistic and abstract
tendencies in itself is more likely to correspond to a
Liberal Democratic equivalent than to either a right-wing Labour or a left-wing
Conservative equivalent. Perhaps one
part of the painting will be entirely abstract and the other part entirely
representational, thereby testifying to an alternation between 'Liberal' and
'Democratic' allegiances. 'Partly
abstract' or 'partly representational' are also phrases that could be applied
in this respect. At least a wholly
representational canvas is more likely to correspond to a Liberal than to a
Liberal Democratic equivalent, even if an exception can be made for certain
types of Modern Realism. But how paltry
and inadequate is bourgeois art, of whatever degree, from a proletarian or folkish point-of-view!
How most of the more intelligent, and hence radical, 'men of the People'
must be looking forward to an age when canvas art no longer exists! An age exclusively concerned with
holography. Or, by a
like token, an age when novels and symphonies are no longer written or composed
because bourgeois criteria no longer obtain. In the meantime, how many puffed-up
nincompoops they must endure!
38. Paintings, novels, and symphonies are only
permissible within an approximately Christian age. As soon as post-Christian allegiances arise,
whether in the form of the Antichrist or the Second Coming (not to be
confounded with Christ!), these atomic genres will come increasingly under
attack, to be discarded altogether, following the respective triumphs of
Communism and Centrism on the world stage.
Then all naturalistic productions will be consigned to the 'rubbish heap
of history', from which they will never again arise. The anti-Supernatural and the Supernatural
will divide the globe between them, in a temporary pact between the Devil and
God. Things move towards the absolute, and no less so in an absolutist age than in a
decadent relative one. Eventually the
Supernatural alone will prevail. But, in
the meantime, the Devil will be entitled to oppose the world, while God builds
from God what is God's.
39. Interesting how Simone de Beauvoir
remarks in Force of Circumstance, the third instalment of her extensive
autobiography, how affluence is only a Western phenomenon, not something
endemic to the world in toto, nor has it ever
been.... Which is another way of saying that the West corresponds to the world,
whereas the rest of the planet is either of the Devil or God, and has long been
so - the poverty endemic to Africa and Latin America, for example, being
inseparable from an ideologically extremist predilection, in their cases
arguably divine, though in other cases, like the mongoloid Far East, no less
arguably diabolic. Thus when the West
attempts to westernize the entire world, to make
40. Christianity-proper, meaning Protestantism, is
the religion of the world, the atomic allegiance between the Father and the
Holy Ghost, which favours a realism of materialistic/idealistic compromise, of
'Paying unto Caesar what is Caesar's and unto God what is God's'. Indeed, Protestantism sanctions the
accumulation of wealth as a reward for worldly effort, making the pursuit of
affluence a virtue, so that morality hinges less upon what one is in oneself
than upon what one does.
The harder one works, the greater the material reward to which one is
entitled - a philosophy which makes it possible for its devotees to regard the
wealthiest man as, in some sense, the best or most good, since his wealth evidently
attests to an earnest commitment to worldly criteria.
41. Ethics - the choice between good and evil, or
what is perceived as such - pertains to the world. For only in the world is such a choice
possible. But the genuine Christian, the
Protestant, is not free to be only good, or to choose goodness (assuming he
knew how to recognize it in such a paradoxical society as the one he lives in);
he must alternate, as it were, between good and evil within the ethical
confines of his atomic allegiance. Has it
not been said, with ample justification, that the British are two-faced? Certainly, even the man who wears just one
face most of the time must accept its opposite, as in the democratic system. Only in a society which is beyond good and
evil, whether on a supernatural or an antinatural
basis, is ethics of comparatively small account. For then one must be either good or evil,
given to being without work or to work without being, depending
on the type of post-ethical society in question. Not for nothing that the
42. Antithetical to the materialistic
work-fanatical proletariat we shall find the idealistic being-fanatical superfolk, whose supernaturalism accords with the goodness
of a divine society. Beyond good and
evil in a positive rather than a negative sense, the Superfolk
attribute maximum importance to culture, to religious progress, to
self-realization, and seek, as far as possible, to minimize work or, better
still, have work done for them either by natural slaves or, preferably, by
artificial slaves, i.e. robots and computers.
In this way they are freed from doing for being, from evil for good,
from work for play, from the Father for the Holy Ghost.
43. Interesting how the Nazis, lacking robots and
computers (not altogether unreasonably, since such things hadn't been invented
then), were obliged to exploit slave labour, particularly from among the Soviet
masses. A kind of
neo-pagan expedience, but logical enough within the context of its time. Having become Communist, the Russians,
Ukrainians, Georgians, etc., had effectively put themselves, in Nazi eyes,
beyond the realistic compromise in a kind of materialistic absolutism. They were now, in effect, particle submen vis-à-vis the Nazi Supermen of wavicle
idealism. Communism glorifies work,
especially manual work. Consequently the
conquered Soviet masses were made to work damned hard for the Nazis, as though
in confirmation of their materialistic allegiance and, paradoxically, as a sort
of punishment for it. Culture for these
'submen' would have been irrelevant according to Nazi
doctrine, since appertaining to an idealistic dimension - the very thing
Communism rejects. They were to be
nothing more than slaves.
44. It makes a lot of difference whether one
upholds the cause of the People or the cause of religion, for the two causes are mutually exclusive and he who chooses the one must
forego or reject the other. The cause of
the People entails a Communist or a Socialist allegiance and can only end, if
successful, in a materialistic hell of proletarian humanism - a People's
democracy. The cause of religion, by
contrast, entails a Fascist or a Centrist allegiance and must end, if
successful, in an idealistic heaven of classless Holy Spirit. These antithetical causes reflect the
antipathy between the Devil and God on the Antichristic
and Messianic (Second Coming) levels of electron particles and wavicles respectively, with a gulf, in consequence, between
materialism and idealism.
45. Considered from an evolutionary standpoint it
can be seen that Judaism is autocratic theocracy, Christianity democratic
theocracy, and Centrism theocratic theocracy, with corresponding distinctions
between the Father (or Creator), the Son, and the Holy Ghost, i.e. alpha,
world, and omega. To some extent,
however, Christianity is itself divisible into 'autocratic' and 'democratic'
distinctions, with Roman Catholicism largely corresponding to the former and,
by contrast, Protestantism to the latter.
Only instead of the Father it is the Virgin Mary, the lesser subnatural, which tends to predominate in Roman
Catholicism, with Christ Himself in a subnatural
infantile guise - a baby on His Mother's knee.
With the grown natural Christ, on the other hand, we enter the realm of
Christianity-proper, with its Protestant worldliness, where, in accordance with
atomic criteria, a democratic 'equality of all souls' comes before any
subservience (of man) to the autocratic Father - in the more advanced denominations
to the point of a republican-like independence of Him. Beyond this, we can only speak of the lesser
supernaturalism of the Second Coming, whose Social Transcendentalist ideology
should lead, in due course, to the unequivocal transcendentalism of
Centrism-proper, commensurate with a truly theocratic theocracy - the purist,
or essential, stage of the future Centrist civilization, when hypermeditation will supersede hypercontemplation
(of hallucinogenic images) and man or, rather, his post-human successor comes
to know the Divine directly.
46. Regarded from an evolutionary standpoint, the
gradual shift within the Christian civilization, roughly corresponding to
Catholic and Protestant stages, from rhymed poetry to free verse, can be seen
as a progression from appearances to essences, from the external to the
internal, from femininity to masculinity, from a kind of subnatural
naturalism to a kind of supernatural naturalism of right-wing idealism. Contrasted to which, antinatural
poetry would constitute a decadence of prosaic materialism, at least in
relation to the naturalistic, or realistic, tradition. For, strictly speaking, decadence applies to
left-wing developments within an atomic civilization rather than to those
developments which signify an idealistic progression above the real. Decadence is a bias towards the Devil or, as
we usually prefer to say in an age of transmuted evil, a romantic predilection,
obsessed with antinaturalism. Yet beyond decadence is the Devil purely and
simply, the Devil of an overtly materialistic barbarism, which is less
concerned with prosaic poetry than with prosaic prose, the atomic particles of
an unequivocally Marxist allegiance, upon which even the Soviets were apt to
cast a wary eye!
47. A man with a closed-society attitude to women
will only take a sexual interest in those women who approximate to himself in
sartorial appearance and cultural essence.
If he habitually dresses in black PVC pants and has a supertheocratic bias, he will turn a blind eye to everyone
not on his own transcendental level.
Women with a middle-class appearance, dressed in garish colours and
having long hair, would be irrelevant to him.
He will settle for nothing less than his equal!
48. A democratic society will always have more
cars than motorbikes on the road, whereas a supertheocratic
society will endeavour to reverse the ratio (of cars to motorbikes) in favour
of the latter.
49. My ideal mode of road transportation: being
driven around in a motorcycle sidecar. The taxi or chauffeur of tomorrow? Undoubtedly the ideal mode
of road transportation for a Social Transcendentalist leader, who will not be
disposed to democratic modes.
50. The Leader and his
commissars, rather than the Prime Minister and/or President and his ministers,
in a supertheocratic society. And how will the Leader and his commissars dress?
Certainly not in a bourgeois manner, with cotton suits, ties, button-up
shirts, leather shoes, etc! Bad enough
now, such a mode of dressing would look even worse in decades to come! No, the Leader and his commissars will most
emphatically dress in a classless manner, with black zippersuits,
T-shirts and/or vests, sneakers, etc, and thus set an example to the
People. They cannot look like bourgeois
politicians, for they will not be democrats but supertheocrats. Nor can they be driven around in
limousines. Those who become Social
Transcendentalists must remember that they are there to further and reflect
evolutionary progress, not emulate obsolete criteria! Only those who can further and reflect
evolutionary progress are entitled to become Social Transcendentalists. For such people will have nothing in common
with the democratic world!
