101. Where hard music is generally reactive and aggressive, soft music, by contrast, is generally attractive and passive (gentle).

 

102. Not only Hard Rock, but Hard Pop, Hard Soul, and Hard Jazz are all more aggressive than their soft-pole counterparts.

 

103. Most people alternate between hard and soft options, as between particles and wavicles, the former secular and the latter religious.

 

104. Some people are more biased towards hard music, others towards soft music, but they tend to be a minority overall.

 

105. A hard-line Communist, whose musical equivalence is Hard Jazz, may be identified with a leading-class status.

 

106. A hard-line Transcendentalist, whose musical equivalence is Soft Jazz, may be identified with a classless status.

 

107. Hence a leading-class/classless distinction between the alpha and omega of the Jazz spectrum.

 

108. A hard-line Fascist, whose musical equivalence is Hard Soul, may be identified with a ruling-class status.

 

109. A hard-line Fundamentalist, whose musical equivalence is Soft Soul, may be identified with an upper-class status.

 

110. Hence a ruling-class/upper-class distinction between the alpha and omega of the Soul spectrum.

 

111. A hard-line Parliamentarian, whose musical equivalence is Hard Rock, may be identified with a governmental and/or managerial class status.

 

112. A hard-line Nonconformist, whose musical equivalence is Soft Rock, may be identified with a middle-class status.

 

113. Hence a governing-class/middle-class distinction between the alpha and omega of the Rock spectrum.

 

114. A hard-line Republican, whose musical equivalence is Hard Pop, may be identified with a working-class status.

 

115. A hard-line Humanist, whose musical equivalence is Soft Pop, may be identified with a lower-class status.

 

116. Hence a working-class/lower-class distinction between the alpha and omega of the Pop spectrum.

 

117. The lower class, including soft-line lower-class people, are the only class that can be saved to hard-line Transcendentalism, which is classless.

 

118. This is because the lower class are of the humanist World (as against the republican World or, more correctly, Antiworld), and are therefore in a moral position to be saved by and in the transcendentalist Heaven.

 

119. Their moral position is one of wavicle-biased (attractive) phenomenal subjectivity, which is an effective denial of the will through the Blessed Virgin, and which can therefore be transcended, via the Second Coming, in the wavicle-biased (attractive) noumenal subjectivity of the transcendental Beyond.

 

120. To distinguish the positively relative morality of denial of the will from the negatively relative morality of affirmation of the will, thereby effectively distinguishing Humanism from its republican antithesis.

 

121. To distinguish the positively relative immorality of denial of the intellect from the negatively relative immorality of affirmation of the intellect, thereby effectively distinguishing Nonconformism from its parliamentary antithesis.

 

122. To distinguish the positively absolute immorality of denial of the soul from the negatively absolute immorality of affirmation of the soul, thereby effectively distinguishing Fundamentalism from its fascist antithesis.

 

123. To distinguish the positively absolute morality of denial of the spirit from the negatively absolute morality of affirmation of the spirit, thereby effectively distinguishing Transcendentalism from its communist antithesis.

 

124. Denial of the will through the Blessed Virgin, as opposed to affirmation of the will through the Cursed Whore.

 

125. Denial of the intellect through Christ, as opposed to affirmation of the intellect through the Antichrist.

 

126. Denial of the soul through the Father, as opposed to affirmation of the soul through the Antifather (Satan).

 

127. Denial of the spirit through the Holy Spirit, as opposed to affirmation of the spirit through the Antispirit (Jehovah).

 

128. Flesh is the human equivalent of earth, the denial of which paves the way to Heaven.

 

129. Mind is the human equivalent of water, the denial of which paves the way to Hell.

 

130. Soul is the human equivalent of fire, the denial of which is Hell.

 

131. Spirit is the human equivalent of light, the denial of which is Heaven.

 

132. To deny the flesh is to affirm beauty.

 

133. To deny the mind is to affirm goodness.

 

134. To deny the soul is to affirm strength.

 

135. To deny the spirit is to affirm truth.

 

136. To affirm the flesh is to deny beauty, and thus to revel in ugliness.

 

137. To affirm the mind is to deny goodness, and thus to revel in evil.

 

138. To affirm the soul is to deny strength, and thus to revel in weakness.

 

139. To affirm the spirit is to deny truth, and thus to revel in illusion.

 

140. Ugliness, being planar (planetary), is of earth.

 

141. Evil, being lunar, is of water.

 

142. Weakness, being solar, is of fire.

 

143. Illusion, being stellar, is of light.

 

144. Beauty, being mundane, is of the World.

 

145. Goodness, being purgatorial, is of the Overworld.

 

146. Strength, being diabolic, is of Hell.

 

147. Truth, being divine, is of Heaven.

 

148. To deny the alpha, which is apparent, is to affirm the omega, which is essential.

 

149. To deny light (spirit) in order to affirm truth (air).

 

150. To deny fire (soul) in order to affirm strength (race).

 

151. To deny water (intellect) in order to affirm goodness (the Bible).

 

152. To deny earth (flesh) in order to affirm beauty (art).

 

153. Truth is affirmed through the sublimated spirit of air.

 

154. Strength is affirmed through the sublimated soul of blood.

 

155. Goodness is affirmed through the sublimated intellect of the Word (New Testament).

 

156. Beauty is affirmed through the sublimated flesh of art.

 

157. To deny the personal spirit of light (optics) in order to affirm the universal spirit of air, thereby passing from illusion (the Clear Light of the Void) to truth (the Holy Spirit of Heaven).

 

158. To deny the personal soul of fire (emotions) in order to affirm the universal soul of blood (race), thereby passing from weakness (the Clear Heat of Time) to strength (the Holy Soul of Hell).

 

159. To deny the personal mind of water (thoughts) in order to affirm the universal mind of the Bible (New Testament), thereby passing from evil (the Clear Coldness of Volume) to goodness (the Holy Mind of Purgatory).

 

160. To deny the personal will of earth (fleshy sensations) in order to affirm the universal will of art (paintings), thereby passing from ugliness (the Clear Darkness of Mass) to beauty (the Holy Will of the World).

 

161. That which is universal, on whichever spectrum, is shared by all, and brings people together.

 

162. That which is personal, on whichever spectrum, is germane to the person, and tends to drive people apart.

 

163. The universal enhances collectivity/collectivism, whereas the personal enhances individuality/individualism.

 

164. Whether one's universality is phenomenal or noumenal, the end result can only be virtuous.

 

165. Whether one's personality is phenomenal or noumenal, the consequence can only be vicious.

 

166. Phenomenal universality, being positive, is relatively immoral in the context of goodness, and relatively moral in the context of beauty.

 

167. Noumenal universality, being positive, is absolutely immoral in the context of strength, and absolutely moral in the context of truth.

 

168. Phenomenal personality, being negative, is relatively immoral in the context of evil, and relatively moral in the context of ugliness.

 

169. Noumenal personality, being negative, is absolutely immoral in the context of weakness, and absolutely moral in the context of illusion.

 

170. Individuality/individualism is the curse of personality, whereas collectivity/collectivism is the blessing of universality.

 

171. The personality of the Devil, which (being absolutist) is hellish, contrasts absolutely with the universality of God.

 

172. The personality of Man, which (being relativistic) is purgatorial, contrasts relatively with the universality of Woman.

 

173. From the standpoint of subjective universality, objective universality is a damnation - whether relatively vis-à-vis the phenomenal or absolutely vis-à-vis the noumenal.

 

174. Denial of the will (sexuality) through art paves the way for salvation in and through air.

 

175. Denial of the mind (intellectuality) through the Bible (New Testament) paves the way for damnation in and through the blood.

 

176. The noumenal lies in wait to take over from phenomenal denial, since the noumenal is absolute, and hence ultimate.

 

177. Art has no other business than to encourage worldly denial, i.e. denial of the will.

 

178. That which encourages the will is not art but anti-art.

 

179. Traditionally, the Blessed Virgin is the principal symbol of worldly denial, since beauty makes for the finest art.

 

180. From the male standpoint, the Crucifixion remains the most enduring symbol of worldly denial - a denial of the will through love.

 

181. Christian love paves the way for the Resurrection, and hence the attainment of transcendent joy through the affirmation of universal spirit, or air.

 

182. Until a man has died to the flesh, he cannot be reborn into the eternity of the universal self and thereby become the Holy Spirit of Heaven.

 

183. The lightness of air can only deliver that man from the heaviness of the flesh who has already rejected the World and effectively become an artist.

 

184. For the artist is the quintessential embodiment of worldly rejection, who both rejects and is rejected by the World.

 

185. Those who are of the World, and hence the flesh, cannot be saved; for they are too sunk in heaviness to appreciate art.

 

186. It is not the Blessed Virgin but the Cursed Whore who presides over the wilful affirmations of these sinners, the ugliness of whose anti-art is rooted in pain.

 

187. Traditionally, the Christian West has known two Heavens and two Hells - the Heaven and Hell of the Old Testament on the one hand, and the Heaven and Hell of the New Testament on the other hand.

 

188. The Heaven of the Old Testament is the cosmic abode of Jehovah, whereas its Hell is the solar (fiery) abode of Satan.

 

189. The Heaven of the New Testament is the airy abode of Christ, whereas its Hell is effectively the fleshy abode of the Magdalene.

 

190. Hence Western civilization was torn between the cosmic dichotomy of Old-Testament Judaism and its own rather more worldly dichotomy of New-Testament Christianity - superimposing upon oriental tradition an occidental modernism which, for most Western people, is still the touchstone of damnation and salvation.

 

191. The ultimate Christian Hell is of course the fiery core of the Earth which, as the centre of earthly gravity, contrasts with the airy lightness of the stratosphere.

 

192. Between the Christian absolutes of fiery Hell and airy Heaven, Western man runs his diurnal course, torn rather more between the breath of 'Heaven on Earth' and the flesh (sex) of 'Hell on Earth'.

 

193. The Romantic may affirm the fleshy 'Hell on Earth' of sexual will, but the Classicist denies it in the name of beauty, and hence art.

 

194. Classicism remains on the aesthetic surface, whereas Romanticism delves beneath the surface in pursuit of fiery depths, thereby disinterring Hell.

 

195. The Romanticist, who is an anti-artist, can never be saved; for he is sunk too deeply in the heaviness of fleshy and/or fiery pain to have any inkling of worldly rejection.

 

196. The Romanticist is a republican phenomenon whose hellish activity contrasts with the will-less passivity of the (Catholic) Classicist.

 

197. Both Romanticism and Classicism are New Testament phenomena, with particular reference to the World.

 

198. Expressionism and Impressionism, by contrast, are effectively Old Testament noumena, since they are rooted in the emotions (heat) and in the spirit (light) respectively.

 

199. There is thus something Neo-Oriental or Neo-Judaic about Expressionism and Impressionism, albeit relative to the decadence of Western civilization.

 

200. The Expressionist is aligned with the Romanticist, and the Impressionist with the Classicist.