501. God stands behind Folk as the Devil behind Jazz, Man behind Classical, and Woman behind Pop.

502. The Folk of the Holy Spirit (God), as opposed to the Jazz of the Father (Devil).

503. The Classical of the Son (Man), as opposed to the Pop of the Mother (Woman).

504. The older I get, the more convinced I become that there exists a correlation between soil and sex, and that natural sexual relations are only possible on the basis of a harmonious relationship between the two.

505. That man who lives exiled from his ancestral soil is unlikely to have respectful, or indeed any, sexual relations with women.

506. When one is alienated from the soil (if any) on which one lives, the chances of one's sexuality being unaffected will be correspondingly remote.

507. The soil is not just a historicity of blood and toil; it is a feminine parallel (Mother Earth) to woman, and hence the womb.

508. He who does not respect the soil upon which he lives is unlikely to have much sexual respect for its women.

509. The frivolous man who lives exiled from his native soil may be able to 'fuck around' with women, but the serious man is more likely, scorning homosexuality, to remain celibate.

510. Homosexuality is, I think, conditioned more by the artificial essence (antinatural) of the urban environment than by natural proclivities alone.

511. The city, being an intensely artificial phenomenon, has a lunar, and therefore masculine, parallel which conduces towards the growth of homosexuality.

512. Viewed objectively, in connection with its relationship to urban artificiality, homosexuality is a middle-class sexuality with markedly liberal overtones.

513. Homosexuality contrasts with lesbianism as Purgatory with the World, or masculinity with femininity.

514. If homosexuality is purgatorial and lesbianism mundane, then heterosexuality must signify a compromise between the two, as though in strict reflection of a masculine/feminine dualism.

515. Such a dualism would have its political parallel in a Liberal Republic, as a compromise between parliamentary and socialist alternatives, the former effectively homosexual and the latter lesbian.

516. It could also be said that heterosexuality is analogous to a Classical/Pop or Pop/Classical compromise, whereby the intellect and the will (of masculine and feminine genders) seek a sexual accommodation with each other.

517. The only sexuality beyond the World is the airy sexuality of intercourse with plastic inflatables, or the use, for sexual gratification, of so-called 'sex dolls'.

518. Inflatable intercourse, as one might call it, is the ultimate kind of sex, which should correspond to a spiritual bias, given the not inconsiderable part played by air.

519. If inflatable intercourse is the divine mode of sex, then pornography must be the diabolic mode, the mode associated with the noumenal objectivity of masturbation.

520. Photographic light is not in itself diabolic, but pornography easily becomes an inducement to masturbation, particularly in connection with film (the mode of photography most paralleling fire).

521. Pornographic sex contrasts with inflatable sex as Jazz with Folk, or the Devil with God.

522. Homosexuality contrasts with lesbianism as Classical with Pop, or Man with Woman.

523. Because there is a correlation between environment and sexuality, it should largely be possible to equate a given type of sexuality with a given environment, whether or not such an equation invariably bears practical fruit.

524. The town stands between the village and the city as heterosexuality between lesbianism and homosexuality.

525. The town is thus the environment most correlative with a heterosexual compromise between masculine and feminine extremes, since the town exists, in scale and environment, between the city and the village.

526. To contrast the 'homosexuality' of city environments with the 'lesbianism' of village environments, as one would contrast the masculine with the feminine, or Purgatory with the World.

527. The city is an intensely artificial and materialistic environment which contrasts with the naturalism of village life.

528. Compared to the village, the city is a dead thing, wherein the intellect erects its throne.

529. The town is less a compromise between city and village than an environment at one remove from the village which has the (negative) potential to become a city.

530. The town is in touch with nature, as the Catholic Christ with the Mother, whereas the city is transcendentally aloof from it in a kind of nonconformist Purgatory.

531. Beyond the village is the commune, which brings the People to God.

532. Behind the city is the urban wasteland, which brings the Devil to people.

533. The urban wasteland is the contemporary abode of Hell for those who inhabit it.

534. The commune is the contemporary abode of Heaven for those who inhabit it.

535. The garden-city concept is effectively a Nazi delusion, which seeks to save the city.

536. One can no more save the city than damn the village.

537. The universality of the artist contrasts, as the World to Purgatory, with the universality of the scholar.

538. The universality of the genius contrasts, as Hell to Heaven, with the universality of the saint.

539. The artist denies the will through the artificial beauty of art.

540. The scholar denies the intellect through the artificial goodness of politics.

541. The genius denies the soul through the artificial strength of science.

542. The saint denies the spirit through the artificial truth of religion.

543. The genius and the saint are as antithetical as the Devil and God, whereas the artist and the scholar are only as antithetical as Woman and Man.

544. The artist-saint is the paradoxical equivalent of the political-genius.

545. One can no more save the scholar than damn the artist; the scholar can only be damned and the artist saved.

546. Salvation for the artist is in the saint, including the philosopher.

547. Damnation for the scholar is in the genius, including the inventor.

548. Traditionally, the artist is a phenomenon of the village and the scholar a phenomenon of the town, though, these days, the former is more apt to live in a town and the latter in a city.

549. By contrast, the saint is a noumenon of the religious commune (monastery) and the genius a noumenon of the castle (country house).

550. The phenomenal subjectivity of the artist contrasts relatively with the phenomenal objectivity of the scholar.

551. The noumenal subjectivity of the saint contrasts absolutely with the noumenal objectivity of the genius.

552. Genius is even more abhorrent to the saint than scholarship to the artist.

553. It is because they are both subjective that the artist and the saint are feminine/divine ideals.

554. By contrast, the scholar and the genius are masculine/diabolic ideals.

555. It could be argued that whereas the ideal of a nonconformist society will be the scholar, the ideal of a humanist society, by contrast, will be the artist.

556. Likewise, the ideal of a fundamentalist society will be the genius, in contrast to the saintly ideal of a transcendentalist society.

557. The Pop artist stands in a phenomenally antithetical relationship to the Classical scholar.

558. The Folk saint stands in a noumenally antithetical relationship to the Jazz genius.

559. Because music is essentially a heavenly art form, it follows that the most musical kind of music will be that which most approximates to the divine, viz. pitch, while the least musical kind of music will be that, by contrast, which most approximates to the diabolic, viz. rhythm.

560. Since the above distinction is one between the musical and the unmusical, it could be argued that whereas Folk is, in its bias towards pitch, an absolutely musical kind of music, Jazz, in its rhythmic basis (swing), is absolutely unmusical.

561. A similar, albeit more relative, distinction could be drawn between Classical and Pop - the former relatively musical in its melodic bias, the latter relatively unmusical in its bias for harmony.

562. Thus whereas Folk and Classical are musical kinds of music, the former absolutely and the latter relatively, Pop and Jazz are comparatively unmusical kinds of music, the former relatively and the latter absolutely.

563. Put metaphysically, we are distinguishing between the absolute musicality of pitch (the divine element in music) and the relative musicality of melody (the masculine element in music).

564. Likewise, where Pop and Jazz are concerned, we are distinguishing between the relative unmusicality, so to speak, of harmony (the feminine element in music) and the absolute unmusicality of rhythm (the diabolic element in music).

565. Whereas Folk, Jazz, Classical, and Pop are primary musical art forms, Blues, Soul, Romantic, and Rock are secondary musical art forms.

566. The primary musical art forms stand to the secondary ones as the psychological to the physiological, or as elements to molecules.

567. Hence whereas Folk, the heavenly kind of music, is of the superconscious, Blues is of the forebrain.

568. Hence whereas Jazz, the hellish kind of music, is of the subconscious, Soul is of the backbrain.

569. Hence whereas Classical, the purgatorial kind of music, is of the conscious, Romantic is of the right midbrain.

570. Hence whereas Pop, the mundane kind of music, is of the unconscious, Rock is of the left midbrain.

571. Such distinctions, as between the primary and the secondary, apply equally well to the alpha or to the omega, particles or wavicles, within any given musical spectrum.

572. Hence a particle/wavicle distinction between vocal Folk and instrumental Folk with regard to the photon elements of the superconscious, but a particle/wavicle distinction between vocal Blues and instrumental Blues with regard to the photon molecules of the forebrain.

573. Hence a particle/wavicle distinction between vocal Jazz and instrumental Jazz with regard to the proton elements of the subconscious, but a particle/wavicle distinction between vocal Soul and instrumental Soul with regard to the proton molecules of the backbrain.

574. Hence a particle/wavicle distinction between vocal Classical and instrumental Classical with regard to the neutron elements of the conscious, but a particle/wavicle distinction between vocal Romantic and instrumental Romantic with regard to the neutron molecules of the right midbrain.

575. Hence a particle/wavicle distinction between vocal Pop and instrumental Pop with regard to the electron elements of the unconscious, but a particle/wavicle distinction between vocal Rock and instrumental Rock with regard to the electron molecules of the left midbrain.

576. Folk, being pitch-orientated, is the music of space, as, from a cruder standpoint, is the Blues.

577. Jazz, being rhythmic, is the music of time, as, from a cruder standpoint, is Soul.

578. Classical, being melodic, is the music of volume, as, from a cruder standpoint, is Romantic.

579. Pop, being harmonic, is the music of mass, as, from a cruder standpoint, is Rock.

580. Since space can be either spatial or spaced, alpha or omega, we should distinguish Folk space from Blues space on the basis of a spaced/spatial dichotomy.

581. Since time can be either sequential or repetitive, alpha or omega, we should distinguish Jazz time from Soul time on the basis of a repetitive/sequential dichotomy.

582. Since volume can be either volumetric or voluminous, alpha or omega, we should distinguish Classical volume from Romantic volume on the basis of a voluminous/volumetric dichotomy.

583. Since mass can be either massed or massive, alpha or omega, we should distinguish Pop mass from Rock mass on the basis of a massive/massed dichotomy.

584. Vocal Blues is alpha spatial space, whereas instrumental Blues is alpha-in-the-omega spatial space.

585. Vocal Folk is omega-in-the-alpha spaced space, whereas instrumental Folk is omega spaced space.

586. Vocal Jazz is alpha sequential time, whereas instrumental Jazz is alpha-in-the-omega sequential time.

587. Vocal Soul is omega-in-the-alpha repetitive time, whereas instrumental Soul is omega repetitive time.

588. Vocal Classical is alpha volumetric volume, whereas instrumental Classical is alpha-in-the-omega volumetric volume.

589. Vocal Romantic is omega-in-the-alpha voluminous volume, whereas instrumental Romantic is omega voluminous volume.

590. Vocal Rock is alpha massed mass, whereas instrumental Rock is alpha-in-the-omega massed mass.

591. Vocal Pop is omega-in-the-alpha massive mass, whereas instrumental Pop is omega massive mass.

592. From the foregoing maxims, it can be deduced that whereas the physiological parallel precedes the psychological parallel in the cases of Blues/Folk and Rock/Pop, the converse happens in the cases of Jazz/Soul and Classical/Romantic.

593. This is because both Blues/Folk and Rock/Pop appertain to spectra which, being subjective, are by definition evolutionary, whereas Jazz/Soul and Classical/Romantic appertain to spectra which, being objective, are by definition devolutionary.

594. Hence where subjective spectra are concerned, we have an evolution from the physiological to the psychological, as from molecules to elements.

595. Where objective spectra are concerned, however, we have devolution from the psychological to the physiological, as from elements to molecules.

596. Hence the evolution of the space spectrum from Blues to Folk, as from the forebrain to the superconscious.

597. Hence, too, the evolution of the mass spectrum from Rock to Pop, as from the left midbrain to the unconscious.

598. But the devolution of the time spectrum from Jazz to Soul, as from the subconscious to the backbrain.

599. And the devolution of the volume spectrum from Classical to Romantic, as from the conscious to the right midbrain.

600. The evolution of heavenly subjectivity from the spatial space of vocal Blues to the spaced space of instrumental Folk via the spaced space of vocal Folk and the spatial space of instrumental Blues.