MAXIMUM INFORMALITY
Aphoristic Philosophy
Copyright © 2009 John
O'Loughlin
_____________
1. No two writers are
further apart than the poet and the philosopher - the former as Devil and the
latter as God.
2. The poet is a writer of
time and the philosopher, by contrast, a writer of space.
3. Musically speaking, the
poet is rooted in rhythm, while the philosopher aspires, through thought,
towards pitch.
4. The negative, or
alpha-stemming, poet is a writer of weakness, whose time (metre) is sequential.
5. The positive, or
omega-oriented, poet is a writer of strength, whose time (metre) is repetitive.
6. The Satanic poet is
rooted in fire, while the fundamentalist poet is centred in the blood.
7. The negative, or
alpha-stemming, philosopher is a writer of illusion, whose space (aphoristic)
is spatial.
8. The positive, or
omega-oriented, philosopher (theosopher) is a writer
of truth, whose space (aphoristic) is spaced.
9. The Creatoresque
philosopher is rooted in light, while the transcendentalist philosopher is
centred in air.
10. A man is destined to be
either a poet or a philosopher, diabolic or divine, rather than both.
11. The paradoxical
phenomenon of the philosophical poet owes not a little to the debasement and
even eradication of the Divine through the so-called space-time continuum of
modern science.
12. In reality, the
decadent vagaries of modern science notwithstanding, no two absolutes could be
less reconcilable than space and time, the Devil and God.
13. The true philosopher
may occasionally dabble in literature, or even drama, but he will never be a
poet.
14. For poets and
philosophers stand at opposite noumenal extremes -
the former objective and the latter subjective.
15. Novelists and
dramatists also stand in a contrary relationship, albeit one that is phenomenal
rather than noumenal.
16. To contrast the
phenomenal objectivity of the novelist with the phenomenal subjectivity of the
dramatist, the former effectively masculine and the latter feminine.
17. The dramatist is a doer
of mass and the novelist, by contrast, a knower of volume.
18. Musically speaking, the
dramatist is rooted in harmony while the novelist aspires, through narrative,
towards melody.
19. The negative, or
alpha-stemming, dramatist is a writer of ugliness, whose mass is massed.
20. The positive, or
omega-oriented, dramatist is a writer of beauty, whose mass is massive.
21. The antivirginal
dramatist is rooted in earth, while the humanistic dramatist is centred in the
flesh.
22. The negative, or
alpha-stemming, novelist is a writer of evil, whose volume is volumetric.
23. The positive, or
omega-oriented, novelist is a writer of good, whose volume is voluminous.
24. The antichristic
novelist is rooted in water, while the nonconformistic
novelist is centred in the brain.
25. A man is generally
destined to be either a dramatist or a novelist, mundane or purgatorial, rather
than both.
26. The paradoxical
phenomenon of the dramatic novelist owes not a little to the debasement and
even eradication of the mundane through what might be called the mass-volume
continuum of contemporary liberal civilization.
27. In reality, the
hegemonic predominance of liberal civilization notwithstanding, no two
relativities could be less reconcilable than volume and mass, or man and woman.
28. The real dramatist may
occasionally dabble in poetry, but he will never be a novelist.
29. If the novelist, to
speak rather colloquially, is a 'prick' and the dramatist a 'cunt', then the philosopher is a 'superprick'
and the poet a 'supercunt'.
30. If the novelist is nonconformistic and the dramatist, by contrast, humanistic,
then the philosopher is transcendentalistic and the
poet, by contrast, fundamentalistic.
31. Despite the late
twentieth-century collapse of so-called Communism in
32. The so-called
Communism, for example, of Eastern Europe was really quasi-fascist, and thus
hardly Communism by Marxist criteria!
33. True Communism, by
which is meant Social Transcendentalism, has yet to come about; but when it
does, it will be infinitely superior to the quasi-fascist tradition of false
Communism.
34. Unlike false Communism,
which was allegedly scientific, true Communism will be religious, and thus the
inevitable precondition of millennial salvation.
35. Thus true Communism
will stem from real Socialism, as Social Democracy is superseded by Social
Theocracy.
36. Where Socialism is
republican, Democratic Socialism is parliamentary, and thus an accommodation of
Socialism to Capital Democracy.
37. Democratic Socialism is
the 'socialism' of a proletariat who are less affiliated to the World than to
the Purgatorial Overworld, so to speak, of
Parliamentary Democracy.
38. Such a proletariat are
necessarily Protestant and industrial/urban, aligned with the Protestant bourgeoisie
against the World and its Catholic humanism.
39. The struggle for
genuine Socialism follows from a sort of Catholic premise; for only Catholic
peoples are sufficiently of the World to be in favour of bureaucratic as
opposed to democratic Socialism.
40. Yet Socialism is a
'sin' from which the People must be delivered, if they are to experience the
spiritual salvation of true Communism.
41. Such deliverance can
only happen democratically, with the express consent of the People themselves.
42. For to be delivered
from 'sins of the World' is to enter into the heavenly Beyond, with the transvaluated criteria that such an entry presupposes.
43. Only a deluded fool
would imagine that, in any ultimate sense, the heavenly Beyond comes after
death. In reality, it comes within life
beyond the World, since it is an ultimate social system and not an imaginary
posthumous realm.
44. Yet it is an afterlife
to the extent that it implies a type of life, necessarily eternal, beyond life
as we know it in the World, as it is today and has been for several centuries.
45. The failure of
Liberalism is its tolerance of evil.
46. Liberalism sits on the
fence between the Devil and God, content to remain in an amoral position which
enables it to have 'the best of both worlds'.
47. Not to go against the
Devil to the extent that one has sided with God, but to be worldly or, more
specifically, purgatorial - such is the liberal 'ideal'.
48. He who is against the
Devil cannot be for Liberalism, with its hypocritical tolerance of evil.
49. The Liberal is a
morally weak creature who, because of his acquiescence in evil, does no real
good.
50. When Social Theocracy,
the ideology of God, comes democratically to pass, both Liberalism and Fascism
will be cast down upon the 'rubbish heap of history'.
51. Most Western countries
are liberal and republican, capitalist and socialist, in different degrees.
52. Countries balanced
between Liberalism and Republicanism are effectively heterosexual.
53. Countries biased on the
side of Liberalism are effectively homosexual.
54. Countries biased on the
side of Republicanism are effectively lesbian.
55. A country biased on the
side of Republicanism, like Eire, has a greater chance of achieving Social Theocracy
than one balanced, like France, between Liberalism and Republicanism.
56. A country biased on the
side of Liberalism, like
57. Ultimately, Social
Theocracy can only be achieved through the Second Coming, who would not waste
his time on countries with an overly liberal, or parliamentary, bias.
58. A country must, like
59. Provided that
Liberalism and/or Republicanism are not the ruling trends, there is a fair
chance that Humanism will be free enough to democratically opt for
Transcendentalism, and thus salvation from the World.
60. For the World may be
feminine, and phenomenally subjective, but the Social Theocratic Beyond is
divine, and hence noumenally subjective - focused,
through spirit, on air rather than, through will, on the flesh.
61. To abandon the feminine
'fleshpot' of the Holy Will of the World for the divine 'airhead' of the Holy
Spirit of Heaven - such is the nature of salvation.
62. No man, or country,
attains to salvation (from the World) except through the Second Coming, who is
the bridge to the Beyond.
63. Noumenal
subjectivity (subjectivism) is the absolute introversion of the heavenly.
64. Noumenal
objectivity (objectivism) is the absolute extroversion of the hellish.
65. Phenomenal objectivity
is the relative extroversion of the purgatorial.
66. Phenomenal subjectivity
is the relative introversion of the mundane.
67. The noumenal
subjectivity (wind) of Jazz contrasts with the noumenal
objectivity (singing) of Soul.
68. The phenomenal
subjectivity (dance) of Pop contrasts with the phenomenal objectivity
(instrument-based song) of Rock.
69. Jazz, being noumenally subjective, is divine, whereas Soul, being noumenally objective, is diabolic.
70. Pop, being phenomenally
subjective, is feminine, whereas Rock, being phenomenally objective, is
masculine.
71. Since salvation is from
the World to Heaven, one might speak of the salvation of Pop by Jazz, or of
phenomenal subjectivity (dance) by noumenal
subjectivity (wind).
72. Since damnation is from
Purgatory to Hell, one might speak of the damnation of Rock by Soul, or of
phenomenal objectivity (instrument-based song) by noumenal
objectivity (free singing).
73. The purgatorial 'First'
shall be hellishly Last, and the mundane 'Last' shall be heavenly First.
74. Jazz is the music of
spirit, and could alternatively be termed spirit music.
75. Soul is indeed the
music of soul, and is rightly termed soul music.
76. Rock is the music of
intellect, and could alternatively be termed intellect music.
77. Pop is the music of
will, and could alternatively be termed will music.
78. Broadly, Jazz, Soul, Rock,
and Pop are all modern, and therefore electric, forms of music.
79. Classical music stands
to popular music as a kind of bourgeois omega to a proletarian alpha, the
former acoustic and the latter electric.
80. Classical music is
'contemporary' only in the sense that Christian bourgeois criteria co-exist
with and often overlap the more-or-less heathen proletarian criteria of the
modern age.
81. In this sense, a more
naturalistic omega co-exists with an artificial alpha, the essence of which is
cruder, albeit more evolved.
82. Suits and ties
co-exist, on the above basis, with jeans and T-shirts.
83. Books co-exist, on the
above basis, with films.
84. Classical music
co-exists, on the above basis, with popular music.
85. The concerto is the
classical equivalent of Jazz, that most idealistic of the popular art forms.
86. Opera is the classical
equivalent of Soul, that most naturalistic of the popular art forms.
87. The symphony is the
classical equivalent of Rock, that most materialistic of the popular art forms.
88. Ballet is the classical
equivalent of Pop, that most realistic of the popular art forms.
89. The fulcrum of
classical music, which is a bourgeois art form, is the symphony.
90. The fulcrum of popular
music, which is a proletarian art form, is Pop.
91. Classical music is the
civilized music of a materialistic class, the middle class.
92. Popular music is the
barbarous music of a realistic class, the working class.
93. The future lies not in
the barbarism of working-class music, but in the culture of classless music.
94. Classless music will be
like Jazz, but more electronic.
95. To distinguish, on an
alpha/omega basis, between the 'republicanism' of Hard Pop and the 'humanism'
of Soft Pop.
96. Similarly, to
distinguish between the 'parliamentarianism' of Hard Rock and the 'nonconformism' of Soft Rock.
97. Likewise, to
distinguish between the 'fascism' of Hard Soul and the 'fundamentalism' of Soft
Soul.
98. To distinguish,
finally, between the 'communism' of Hard Jazz and the 'transcendentalism' of
Soft Jazz.
99. Hard music differs from
soft music by being both more reactive and aggressive.
100. Soft music differs from
hard music by being both more attractive and passive.