401. Just
as the Christian civilization arose from out the barbarism of the Dark Ages, so
the Superchristian civilization of the Social
Theocratic future should arise from out the barbarism of the second Dark Ages.
402. The
light of superheathen civilization is now so deeply entrenched
and all-pervasive that there could be no question of the World evolving towards
a Superchristic civilization without the coming of an
intervening darkness, the darkness of a superbarbarism.
403. Film
is a major facet of the superheathen light which
blinds the greater part of mankind to the possibility of the 'light within'.
404. Until the 'light without' is largely eclipsed by a second
darkness, there can be no possibility of the inner light, and thus no hope for
the Holy Spirit of Heaven thereafter.
405. The inner light of hallucinogenic enlightenment would pave
the way, in Supercatholic fashion, for the Holy
Spirit of Heaven, the ultimate salvation of oneness with oxygen.
406. The superheathen devotees of the external light may be
civilized, but they are no better than the pagans of classical antiquity.
407. Only
that man who wants to 'go within' is Superchristic,
and for him the darkness is not something to prevent but an historical wedge
through which one must pass in order to grasp the inner light of true
civilization.
408. Where
the outer is alpha-stemming and false, the inner is omega-orientated and true.
409. To distinguish the evil, or negative, civilization rooted in
the light from the good, or positive, civilization centred in the spirit.
410. Likewise
to distinguish between evil barbarism and good barbarism on the basis of a
republican/socialist dichotomy - the former against Christian civilization and
the latter against the superheathen civilization of
the Anglo-American West.
411. Hence
where evil barbarism is opposed to good civilization, good barbarism opposes
evil civilization.
412. Just
as Republicanism snuffed out Christian civilization, so superheathen
civilization will be/has been extinguished by Socialism.
413. But Socialism will pave the way for Communism, which is to
say, the Superchristic (Social Theocratic)
civilization of the artificial inner light/spirit in the '
414. By
comparison with the Social Theocratic '
415. For monarchism, being autocratic, is a thing of the Devil,
and the Devil glories in strength.
416. God, by
contrast, glories in truth, and truthful will be the Social Theocratic '
417. The Second Coming could not save the British Monarch; for
autocracy, rooted in strength (power) is outside the pale of what can be saved.
418. A
rich man/woman cannot be saved, any more than the Devil could be saved by God
... the Second Coming.
419. That
which is upper class is absolutely outside the pale of what can be saved.
420. That
which is middle class is relatively outside the pale of what can be saved.
421. That
which is working class is relatively inside the pale of what can be saved.
422. That
which is classless is absolutely inside the pale of what can be saved, being,
in truth, that which is of salvation.
423. The
essence of 'God save the King/Queen', the British National Anthem, is not
salvation in the messianic sense (for how can a monarch be saved?), but
preservation, long to reign over his/her subjects.
424. Hence
the British National Anthem is about preservation of the reigning monarch
vis-à-vis the Creator, the cosmic guarantor (Dieu et mon Droit) of monarchic 'right', rather than the salvation
of the reigning monarch, whichever monarch that may happen to be, vis-à-vis the
Second Coming.
425. Christ
said something to the effect that it was easier for a camel to pass through the
eye of a needle than for a rich man to enter the '
426. A
rich man would have to abandon power and wealth before he could hope to be
saved by the Second Coming. Yet, even
then, there would be no guarantee of salvation for him.
427. God
the Second Coming is prepared to save worldly sinners, i.e. sinners of the
World, but this should not be misconstrued as applying to sinners against the
World, whether lunar (and relative) or solar (and absolute).
428. For sinners against the World, there can be only damnation,
the damnation, at the very least, of being refused entry into and/or kicked out
of the '
429. If
Gaelic Football is superior to Association Football because it goes beyond the World
in terms of its upper posts being open to the sky,
then so must Gaelic be superior to English in the degree to which it transcends
the World.
430. When
and where people cannot 'speak their mind' and write freely, there is
invariably some anti-worldly and/or anti-heavenly tyranny which binds them to
lies.
431. To be
bound to lies is to both deny and be denied the truth.
432. Poetry
and fiction are the two main literary lies which bind men to falsity, and thus
prevent their realization of the truth.
433. Ultimately,
truth can only be pursued and captured through philosophy; though it helps if
one has experienced the beauty of drama and opted, thereafter, to deny the
will.
434. Denial
of the will is only possible, ultimately, through the artificial beauty of art,
not through natural beauty, which rather encourages it towards propagation.
435. It is
by contemplating the artificial beauty of art that Man is enabled to transcend
the natural will and acquire an intimation, thereby, of heavenly salvation.
436. But transcendence of the will through art is still a long
way short of heavenly salvation, given its worldly limitations.
437. He
who contemplates the artificial beauty of art sublimates the will along the
mundane lines of the universality of the World.
438. Such
universality, while it may make for a Catholic Heaven, or salvation, is still
at a considerable remove from the universality of Heaven, which is the airy
goal of all moral striving.
439. Broadly,
Schopenhauer was a much wiser philosopher than Nietzsche, whose power-affirming
philistinism bordered on the obscene.
440. Nietzsche
was really the antithesis of a philosopher, a sort of poetic 'wolf in sheep's
[philosophical] clothing' who tore morality to shreds in his insane hatred of
Christianity.
441. Nietzsche's
hatred of Schopenhauer was no less perverse than his hatred of morality, and
stemmed from a similar source.
442. Schopenhauer
taught denial of the will, and Nietzsche taught affirmation of the spirit - the
one was wise after a Catholic fashion and the other foolishly fundamentalist.
443. By
and large, the twentieth century followed Nietzsche rather than Schopenhauer,
with morally catastrophic results (Fascism).
444. Compared
to Schopenhauer, Nietzsche was if not overly barbarous, then certainly less
than truly civilized!
445. Barbarism
rides out on the triumph of the will and perishes with its denial.
446. Civilization
is born when barbarism dies, and it affirms not nature but art, which is
artificial.
447. Just
as nature is the essence of barbarism, so culture is the essence of
civilization; for culture can only develop where nature is not.
448. The cultivated barbarian tames and cultivates nature, but is
unable to transcend it through culture.
449. Without civilization there can be no culture, and thus no
art, but only the natural wilfulness of barbarism.
450. One
can be civilized on a number of levels, but the highest civilization of all is
that which denies the spirit and thus makes possible the art of
self-cultivation through meditation.
451. Such
self-cultivation - which is not to be identified with the personal spiritual
self - brings forward the Holy Spirit of Heaven in the ultimate culture - one
transcending the World, and hence all art.
452. Not
only aesthetic culture, but both ethical and ethnic culture
are also transcended by the theistic culture of the '
453. Whereas
aesthetic culture affirms beauty through art, theistic culture affirms truth
through air.
454. Where
ethical culture affirms goodness through the prayer book, ethnic culture
affirms strength through race.
455. Compared
to aesthetic culture, which is of the World, ethical culture is of Purgatory.
456. Compared
to theistic culture, which is of Heaven, ethnic culture is of Hell.
457. The aesthetic culture of the Mother contrasts with the
ethical culture of the Son, as Humanism with Nonconformism.
458. The ethnic culture of the Father contrasts with the theistic
culture of the Holy Spirit, as Fundamentalism with Transcendentalism.
459. To
contrast the phenomenal subjectivity of aesthetic culture with the phenomenal
objectivity of ethical culture.
460. To
contrast the noumenal objectivity of ethnic culture
with the noumenal subjectivity of theistic culture.
461. Aesthetic
culture, being of the Mother, is mundane, whereas ethical culture, being of the
Son, is purgatorial.
462. Ethnic
culture, being of the Father, is hellish, whereas theistic culture, being of
the Holy Spirit, is heavenly.
463. He
who creates God the Holy Spirit of Heaven by bringing his consciousness into
focus with the air he breathes is beyond belief in a Creator God, such as
Jehovah or the Clear Light of the Void.
464. God
as Creator of the Universe is not only the most primitive and primal concept of
God; it is the most false, because alpha rather than omega.
465. To
regard God from a cosmic viewpoint as Creator of the Universe, is to take what
might be termed a scientist's view of religion, which, because it is rooted in
the given rather than the becoming, is the most spurious of all religious
affiliations.
466. One
has not begun to live religion until one has turned one's
back on the barbarism of cosmic Godhead and thereby denied the spirit of
creation!
467. Denial
of the Clear Light of the Void is a prerequisite of theistic culture in the
Holy Spirit of Heaven.
468. It
could be said of acoustic music that it is a neutron equivalence vis-à-vis the
electron equivalence of electric music.
469. Thus it could broadly be said that acoustic music is
bourgeois and masculine, whereas electric music is proletarian and feminine.
470. This
would not apply, however, to Jazz, which, when acoustic and traditional, is
rather more of a proton than neutron equivalence, given its intensive rhythms
and centrifugal wind.
471. Jazz would therefore stand to, say, classical
acoustic music as the sun to the moon, or protons to neutrons.
472. Thus
it could be argued that the relationship of Jazz to Classical is akin to the
relationship of America to Europe, the 'New World' to the 'Old World', with the
former largely diabolic and the latter largely masculine, e.g. solar and lunar,
or fundamentalist and nonconformist.
473. The
eclipse of Classical by Jazz is equivalent to the eclipse of the '
474. Hence
one could speak of the damnation of Classical by and through Jazz, with the
former broadly middle class and the latter broadly upper class.
475. To contrast the Classical Purgatory with the Jazz Hell, or
intellectual music with soulful music, the former cold and the latter hot.
476. If
Jazz corresponds to a musical Hell and Classical to a musical Purgatory, then
Pop (including Rock) must correspond to the World, being a working-class music.
477. Pop
music is largely electric and therefore electron(ic), which makes it phenomenally subjective
(will-based) where Classical is phenomenally objective (intellect-based) and
Jazz noumenally objective (soul-based).
478. Jazz-Rock
is a sort of 'Bolshevik' paradox whereby Rock is advanced from a Jazz
perspective, contrasting with the 'fascism' of Trad
Jazz and the 'nazism' of Jazz-Classical.
479. If
Rock, as a form of Pop, is of the World, then the only thing which is beyond it
is Folk, conceived as a classless music with noumenally
subjective overtones.
480. Since noumenal subjectivity
correlates with the spirit, it could be said that Folk is the classless music
of a spirit-biased photon equivalence.
481. Hence
one would have an absolute distinction between Jazz and Folk, soul and spirit,
with the former diabolic and the latter divine.
482. By
contrast, the distinction between Classical and Pop would be relative, since
intellect and will are phenomenal, and therefore less extreme than soul and
spirit.
483. Hence
a purgatorial/mundane distinction between Classical (including Romantic) and
Pop (including Rock), with Romantic being a mundane approach to Classical and Rock,
by contrast, a purgatorial approach to Pop.
484. Thus
it could be said that whereas Romantic is 'Catholic' Classical, Rock, by
contrast, is 'Protestant' Pop, since the one is more instinctual than
intellectual, and the other more intellectual than instinctual.
485. Blues is a folksy approach to Jazz, whereas
Gospel is a jazzy approach to Folk.
486. Broadly,
each type of music is divisible into an alpha and an omega pole on the basis of
a vocal/instrumental dichotomy.
487. Of the four main kinds of music, viz. Jazz, Pop, Classical,
and Folk, Classical is the only 'dead' music, since it is affiliated, through
the intellect, with the lunar, and thus is dependent on scores.
488. Jazz,
Pop, and Folk are 'live' kinds of music which, whether extrinsically or
intrinsically, are independent of scores.
489. Jazz,
being affiliated to the solar, is extrinsically emotional, whereas Folk, with
its stellar affiliation, is intrinsically spiritual.
490. Pop,
being affiliated to the worldly (planar), is intrinsically instinctual.
491. Even
though Rock is a 'Protestant', and therefore purgatorial, approach to Pop, it
is still a working-class form of music.
492. Likewise,
Romantic is still middle class even though it is a 'Catholic', and hence
mundane, approach to Classical.
493. To
contrast the aesthetics of Pop (including Rock) with the ethics of Classical
(including Romantic).
494. To
contrast the ethnicity of Jazz (including the Blues) with the theism of Folk
(including Gospel).
495. Because
Folk is arguably the ultimate music, it is likely that only Folk would be given
active encouragement in the (Social Theocratic) '
496. Where there is Folk, as in
497. The
intrinsic pitch of Folk contrasts absolutely with the extrinsic rhythms of
Jazz.
498. The
intrinsic harmonies of Pop contrast relatively with the extrinsic melodies of Classical.
499. The
salvation of the Pop World in and by the Folk Heaven.
500. The
damnation of the Classical Overworld (purgatorial) in
and by the Jazz Hell.
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
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.
