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MAXIMUM
INFORMALITY
Aphoristic
Philosophy
Copyright
©
2011 John O'Loughlin
____________
CONTENTS
1.
Aphs.1–1001
2.
Appendix/Coda
(Aphs.1002–1133)
___________
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.
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.
201. In eclipsing Romanticism and Classicism,
Expressionism and
Impressionism paved the way for the eclipse of Western civilization by
universal barbarism, viz. light art.
202. The modern age is presided over not by the god of
worldly or,
indeed, any other denial, but by the devil of worldly, and other,
affirmations.
203. Everywhere the alpha of immoral folly unashamedly
proclaims itself,
to the detriment of moral wisdom!
204. There are those for whom denial of the will through
art is an
end-in-itself, without reference to the possibility of divine salvation.
205. Generally, those for whom worldly denial is an
end-in-itself are
artists and hard-line Catholics, for whom worldly salvation is
sufficient.
206. Feudalism, Capitalism, and Socialism are simply
different class
approaches to the same goal - namely the pursuit of materialism, and
hence
power.
207. Feudalism is the naturalistic approach to power of
the ruling class.
208. Capitalism is the materialistic approach to power of
the middle
class.
209. Socialism is the realistic approach to power of the
working class.
210. Feudalism, Capitalism, and Socialism can never
provide a solution to
the problem of power, but only perpetuate it according to different
class
interests.
211. The only way that power will ever be overcome is
through the
rejection of class in and by a classless society whose economic base is
communist (with regard to Centre trusteeship).
212. Such a base cannot be maintained without due
reference to a
revolutionary religious or moral superstructure which it is intended to
serve.
213. Such a superstructure can only be transcendentalist,
concerned with
the advancement of the Holy Spirit of Heaven through spiritual
self-denial.
214. The less people own materially, the more eligible
they will be for
divine salvation in and through the Holy Spirit of Heaven.
215. State Socialism, or Bolshevism/Stalinism, is a
quasi-fascist
approach to Socialism, and has little or nothing to do with Marx.
216. State Socialism is simply the proletarian equivalent
of State
Capitalism, or Fascism, as reflecting the economic dictatorship of the
bourgeoisie.
217. Such a dictatorship may well be in alliance with
State Feudalism,
the neo-royalist Fascism of the aristocracy, which was the more genuine
mode of
Fascism in the twentieth century.
218. State tyranny was the twentieth-century equivalent
of monarchic
tyranny, or unbridled Royalism, and it
took the
quasi-fascist form of State Socialism (Bolshevism), the pseudo-fascist
form of
State Capitalism (Nazism), and the genuinely fascist form of State
Feudalism
(Neo-Royalism).
219. Whether dictatorship be of the aristocracy, the
bourgeoisie, or the
proletariat, State tyranny is its inevitable corollary.
220. It is not enough to overcome tyranny; ultimately the
State itself
must be (democratically) overcome in the interests of an expansion of
the
Church towards the absolutist salvation of the (Social Theocratic) '
221. The least objectionable form of the State is a
People's Republic,
because that is the only State which is subjectively of the World.
222. Both the bourgeois (parliamentary) and aristocratic
(royalist) forms
of the State are objective, and therefore ranged against the World from
contrary standpoints - the standpoints, respectively, of Purgatory and
Hell.
223. The tyrannical forms of the State are all, in their
different ways,
fiery (fundamentalist) manifestations of Hell on Earth.
224. Not until the Church triumphs, through the Social
Theocratic
ideology of the Second Coming, over the State ... will the airy
(transcendentalist) manifestation of Heaven on Earth finally come to
pass.
225. Such a Heaven, necessarily communist, will be at the
furthest
possible ideological remove from the fascist hells of State tyranny.
226. Where the fascist State is diabolical in its noumenal
objectivity, the communist Church, or Centre, will be divine in its noumenal subjectivity.
227. Thus true Communism (Centrism, pronounced Center-ism)
has nothing whatsoever to do with either the false (alpha) Communism of
Marx (a
sort of Neo-Jehovahesque idealism) or the
quasi-fascist State Socialism of Lenin, Stalin, et
al,
but is beyond the State in what I have termed a Social Theocratic
Centre.
228. True Communism is the economic support, germane to a
Christ-like
sacrifice on the part of the Second Coming of bearing 'sins of the
World', for
the religious development of Transcendentalism.
229. Such a sacrifice would amount to an acceptance of
economic,
judicial, and political sovereignties by the Second Coming in the
interests of
the People's freedom from such 'sins of the (republican) World'.
230. One could speak of a deal being struck between the
People and the
Second Coming whereby the former receive religious sovereignty from the
latter
(in the event of their voting for it, following his official
recognition as
Messiah), who agrees to take their 'worldly sins' upon his shoulders in
their
own moral interests.
231. Thus the Second Coming offers the People the
opportunity of
deliverance from 'worldly sins' through the agency of religious
sovereignty -
the ultimate sovereignty in the evolution of sovereignties from secular
to
divine levels, and no small aspect of Messianic credibility!
232. Without such an ultimate sovereignty the People not
only remain
enslaved to their own 'worldly sins' within the republican contexts,
but remain
worshipfully subject to the more authoritarian aspects of
ecclesiastical
tradition, including subjection to the Father.
233. It could be said that religious sovereignty confers
the 'right' to
spiritual self-determination within the institutional framework of a
Social
Theocratic Centre.
234. With religious sovereignty, the '
235. The Holy Spirit of Heaven contrasts absolutely with
the Clear Light
of the Void, and is thus at the farthest possible remove from cosmic
mysticism.
236. There is nothing mysterious about the Holy Spirit of
Heaven, which
is consciousness of the (lightness of) air.
237. God the Holy Spirit of Heaven is thus a composite of
two factors -
the factor of consciousness on the one hand, and the factor of the air
of which
it is internally conscious on the other.
238. God the Holy Spirit of Heaven is neither
consciousness nor air, but
internal consciousness of the air.
239. Hence God, in any ultimate sense, is dependent on
the connection of
consciousness with air, and is only possible on the basis that air is
being
consciously inhaled, thereby becoming heavenly.
240. Air is not Heaven by itself, but only in relation to
its conscious
inhalation by a consciousness focused, at the 'crown centre', on the
air that is
being inhaled.
241. Similarly, consciousness is not holy spirit by
itself, but only in
relation to the air of which it is internally conscious.
242. Such holy spirit contrasts with unholy, or profane,
spirit, which is
rooted in the Clear Light of the Void and enters human consciousness in
the
form of light energy.
243. A consciousness given over to optical appreciation
of phenomena
exists more in terms of profane spirit than of holy spirit.
244. That man has not died to the spirit who is overly
curious in regard
to the phenomenal world.
245. To die to the spirit in order to be reborn into the
Holy Spirit,
substituting the inner noumenal for the
outer
phenomenal as, transvaluated, one's
consciousness
becomes focused on the lightness of air.
246. To live in the spirit is to suffer the curse of
Original Sin which,
by making the phenomenal world a focus of (optical) consciousness,
perpetuates
the World.
247. The World, being phenomenal, is merely temporal, and
accordingly
phenomenal life is subject to death.
248. Only by rejecting the World, and hence the Original
Sin which
perpetuates it, can man live the Eternal Life of the Holy Spirit of
Heaven.
249. By contrast to Original Sin, such Eternal Life is an
Ultimate Grace,
for it leads not to suffering, but to bliss.
250. The bliss of being at one with the universal self of
the air is the
bliss of salvation in and through the Holy Spirit of Heaven.
251. What began in the light will end in the air, whether
this air be natural
or, more probably, supernatural, and hence chemically manufactured.
252. Consciousness is a slave to perceptions when
heathen, a slave to
conceptions when Christian, and free from both perceptions and
conceptions when
transcendent, and hence purely receptive of the air.
253. Transcendental consciousness, stretching beyond
things and words,
knows nothing but the bliss of its own joy from being at one with the
lightness
of air.
254. Whatever holds men back from experiencing this
ultimate
consciousness is damnable, and deserves to perish, whether gradually or
presently.
255. Only a Liberal would have God share the world with
the Devil, Man,
and Woman for ever.
256. The will of the Second Coming is to bring the World
to God the Holy
Spirit of Heaven by saving those who can be saved from the Devil, Man,
and
Woman.
257. To be saved from the Devil of upper-class
Fundamentalism, from the
Man of middle-class Nonconformism, and
from the Woman
of lower-class Humanism for the God of classless Transcendentalism.
258. To be saved from the Devil of upper-class poetry,
from the Man of
middle-class fiction, and from the Woman of lower-class drama for the
God of
classless philosophy.
259. To be saved from the Devil of upper-class strength,
from the Man of
middle-class goodness, and from the Woman of lower-class beauty for the
God of
classless truth.
260. To be saved from the Father of upper-class time,
from the Son of
middle-class volume, and from the Mother of lower-class mass for the
Holy
Spirit of classless space.
261. To be saved from the Devil of upper-class fire, from
the Man of
middle-class water, and from the Woman of lower-class earth for the God
of
classless air.
262. To be saved from the naturalism of upper-class soul,
from the
materialism of middle-class intellect, and from the realism of
lower-class will
for the idealism of classless spirit.
263. To be saved from the naturalism of upper-class
science, from the
materialism of middle-class politics, and from the realism of
lower-class
economics for the idealism of classless religion.
264. To be saved from the authoritarianism of upper-class
autocracy, from
the parliamentarianism of middle-class democracy, and from the
republicanism of
lower-class bureaucracy for the totalitarianism of classless theocracy.
265. That man who eats but doesn't defecate soon becomes
physically
constipated. Likewise, he who reads but
doesn't write soon becomes mentally constipated.
266. To write is effectively to excrete one's thoughts,
which would
otherwise pile up and lead to mental constipation.
267. Writing is of no value until it has been recycled in
book and/or
disc format (published) and made available to be read for mental profit.
268. Sculpture is the most realistic (worldly) of the
Arts, whose basis
is the will (earth).
269. Literature is the most materialistic (purgatorial)
of the Arts,
whose basis is the intellect (water).
270. Art is the most naturalistic (hellish) of the Arts,
whose basis is
the soul (fire).
271. Music is the most idealistic (heavenly) of the Arts,
whose basis is
the spirit (air).
272. The eclipse of literature by art (photography) is a
fact of liberal
decadence.
273. Literature is damned to and by art, whether
photographic or
otherwise.
274. Sculpture is saved to and by music, whether
phonographic or
otherwise.
275. To be saved from the naturalism of upper-class art,
from the
materialism of middle-class literature, and from the realism of
lower-class
sculpture for the idealism of classless music.
276. The air is polluted just as much by electronic
emissions as by
chemical or industrial ones.
277. Electronic pollution of the airwaves is simply less
conspicuous than
the cruder, because perceptible, forms of pollution, but potentially no
less
damaging!
278. Sight is the sense through which the negative spirit
of optical
consciousness mediates with the world.
279. Hearing is the sense through which the negative soul
of aural
consciousness mediates with the world.
280. Smell is the sense through which the positive spirit
of nasal
consciousness mediates with the world.
281. Taste is the sense through which the negative will
of dietary
consciousness mediates with the world.
282. Touch is the sense through which the positive will
of tactile
consciousness mediates with the world.
283. Feeling is the sense through which the positive soul
of racial
consciousness mediates with the world.
284. Feeling, the sixth sense, is of the blood, and
contrasts with
hearing, its negative counterpart.
285. Likewise smelling, the third sense, is of the air,
and contrasts
with seeing, its negative counterpart.
286. Similarly, touching, the fifth sense, is of the
flesh, and contrasts
with tasting, its negative counterpart.
287. Thinking is the sense through which the positive
mind of
intellectual consciousness mediates with the world.
288. Talking is the sense through which the negative mind
of social
consciousness mediates with the world.
289. Hence thinking, effectively a seventh sense, is of
the mind, and
contrasts with talking, its negative counterpart.
290. To see, to hear, to talk, to taste on the one hand,
but to smell, to
feel, to think, and to touch on the other - such is the full gamut of
sense
distinctions.
291. To be saved, positively, from touch to smell, but
damned,
positively, from thought to feeling.
292. To be saved, negatively, from taste to sight, but
damned,
negatively, from talk to hearing.
293. The First World War was effectively the War of the
Father (Kaiser
Wilhelm II).
294. The Second World War was effectively the War of the
Son (Hitler).
295. Although there is unlikely to be a Third World War,
logic would suggest
that, were it to happen, it would effectively be a War of the Mother
and/or the
Holy Spirit (the Second Coming), assuming one could have such a thing.
296. To be saved from the supernationalism
of
the Father, the nationalism of the Son, and the internationalism of the
Mother
for the supra-nationalism of the Holy Spirit.
297. Just as, logically, one should think in terms of the
Holy Spirit of
Heaven (rather than of just the Holy Spirit or Heaven), so it would be
logical
to think in terms of the Father of Hell, the Son of Purgatory, and the
Mother
of the World.
298. The deceptions of the flesh contrast, relatively,
with the
conceptions of the mind.
299. Likewise, the receptions of the air (breath)
contrast, absolutely,
with the perceptions of the spirit.
300. Like the spirit, the intellect also makes use of the
sense of sight,
but it does so at a conceptual remove from the purely perceptual realm
of
optical curiosity.
301. The intellect's use of sight resembles the moon,
which shines with a
borrowed, or indirect, light, whereas the spirit's use of sight is akin
to the
sun in its fiery directness.
302. Intellectuals can usually be distinguished from
spirituals (as we
may call those whose use of sight is primary rather than secondary) by
their
dependence on spectacles, which confer an indirect light.
303. Spectacle-wearers are usually, though not
invariably, middle class,
the class, par
excellence, of the intellect.
304. Logic should allow for the establishment of a
correlation between
long-sightedness and perceptual consciousness on the one hand, and
short-sightedness and conceptual consciousness on the other hand - the
former
spiritual and the latter intellectual.
305. A long-sighted intellectual would strike this
thinker (himself
distinctly short-sighted) as being as improbable as a short-sighted
spiritual.
306. Just as there are two ways of being objective, viz.
a perceptual and
a conceptual, so there are two ways of being subjective, viz. a
perceptual and
a conceptual.
307. To contrast the perceptual extroversion of absolute
objective
consciousness with the conceptual introversion of absolute subjective
consciousness.
308. To contrast the conceptual extroversion of relative
objective consciousness
with the perceptual introversion of relative subjective consciousness.
309. Absolute objective consciousness, being perceptual,
is of the Devil,
whereas absolute subjective consciousness, being conceptual, is of God.
310. Relative objective consciousness, being conceptual,
is of Man,
whereas relative subjective consciousness, being perceptual, is of
Woman.
311. Objective consciousness, whether perceptual or
conceptual, absolute
or relative, is free, whereas subjective consciousness, whether
perceptual or
conceptual, relative or absolute, is bound.
312. To contrast the absolute freedom of perceptual
extroversion with the
absolute boundness of conceptual
introversion.
313. To contrast the relative freedom of conceptual
extroversion with the
relative boundness of perceptual
introversion.
314. Perceptual extroversion, being objective, is of the
free star,
whereas conceptual introversion, being subjective, is of the bound
cross.
315. Conceptual extroversion, being objective, is of the
free cross,
whereas perceptual introversion, being subjective, is of the bound star.
316. Considered objectively, freedom is bad, because
objective, and hence
diabolic/masculine.
317. The only freedom that is good is the 'freedom' from
objectivity
which implies a binding to subjectivity, and hence to feminine/divine
criteria.
318. Hence it is freedom from Freedom which makes binding
to perceptual
introversion (the bound star) or conceptual introversion (the bound
cross)
possible.
319. Freedom is a curse of the Western world, which is
dominated by the
twin objectivities of perceptual (solar) extroversion and conceptual
(lunar)
extroversion.
320. Not until Freedom is overcome will the World be safe
for subjective
binding, progressing from the mundane plane of perceptual introversion
to the
transcendent plane of conceptual introversion, as from the Blessed
Virgin to
the Holy Spirit.
321. Freedom is just another word for Heathen/Protestant
anarchy, chaos,
tyranny, oppression, etc., which dresses itself up as autocracy,
democracy,
free enterprise, Liberalism, freedom of the press, free speech, etc.
322. An open, or objective, society is always run by the
Few against the
Many, whether the Few be autocratic (and upper class) or democratic
(and middle
class).
323. A closed, or subjective, society can only be run for
the Many by the
Few, whether the Many be bureaucratic (and lower class) or theocratic
(and
classless).
324. All open societies are conspiracies of upper- and/or
middle-class
self-interest against the Many, who are simply 'kept in their place'
the better
to be exploited.
325. A shepherd is akin to a sun who utilizes the moon
(sheepdog) to keep
the world (of sheep) in their subordinate place.
326. Such an arrangement is rather akin to an open, or
free, society, in
which the masses are governed by an elite of politicians (whether
autocratic or
democratic), whose resemblance to both shepherds and sheepdogs is more
than
superficial.
327. The main distinction between an autocratic and a
democratic society
(apart from the fact that the one is effectively run by shepherds and
the other
by sheepdogs) is that whereas the former utilizes soldiers to protect
upper-class interests, the latter utilizes police primarily in the
protection
of middle-class interests.
328. Soldiers stand to the police pretty much as the sun
to the moon, or
Royals to Parliamentarians.
329. Soldiers are traditionally servants of the upper
class, whereas the
police are effectively servants of the middle class.
330. Hence where soldiers are ideologically extreme
right, the police are
ideologically moderate right.
331. The police are only extreme right in the
pseudo-fascist context
(Nazi) of military police.
332. Thus whereas the police can have, or be seen to
parallel, a Nazi
affinity, soldiers are naturally and more genuinely fascist.
333. 'People's soldiers' are simply quasi-fascist
(Bolshevik) by dint of
their adherence to Marxism-Leninism.
334. Such quasi-fascist soldiers stand in-between fascist
soldiers and
pseudo-fascist military police.
335. Of course, soldiers can be effectively of the World,
but the only
soldiers who are genuinely such tend to be female.
336. Hence a socialist People's army would be
effectively, if not literally,
female, in contrast to a so-called communist People's army.
337. A socialist People's army, being properly of the
World, will be more
disposed to peace-keeping than to war-making, since it is effectively a
policing military.
338. The only thing beyond a socialist People's army is a
communist
(Social Theocratic) People's police.
339. Such a police, necessarily secret, would be
duty-bound to protect
the People from violent subversion.
340. It would be unrealistic to suppose that human
society could manage
without either military or police bodies, although the nature of each
body will
change according to the type of society in existence.
341. In a civil society, the military and the police will
always keep a
low profile, leaving civilians to get on with their lives according to
the
nature of the society in question.
342. This is no less true of a People's civilian society
than of a
bourgeois and/or pluralist society balanced between bourgeois and
proletarian
interests.
343. Guerrillas and vigilantes are unofficial
manifestations of People's
military and police within a context, necessarily open-society,
dominated by
upper-class and/or middle-class powers.
344. To contrast the Fascism of a public army with the
Communism of a
secret police.
345. To contrast the Socialism of a policing military
with the Nazism of
a military police.
346. To contrast the Republicanism of a People's militia
with the
Liberalism of a public police.
347. Broadly, it can be said that whereas soldiers are of
the star, whether
absolute or relative, police are of the cross, whether relative or
absolute.
348. Generally, long hair on women (as on men) affirms
the heaviness of
the World, and thus contrasts with the lightness-affirming significance
of very
short or shaved hair.
349. Beards are fundamentalist, and contrast with the
transcendentalism
of pigtails.
350. Sideboards are nonconformist, and contrast with the
humanism of
moustaches.
351. Beards are absolutely objective in their centrifugal
appearance, whereas
pigtails are absolutely subjective in their centripetal essence.
352. Sideboards are relatively objective in their
centrifugal appearance,
whereas moustaches are relatively subjective in their centripetal
essence.
353. To be damned from sideboards to beards, but saved
from moustaches to
pigtails.
354. Hence it could be said that whereas there is
something extrinsically
diabolical about beards, there is something intrinsically divine about
pigtails.
355. Beards that are trimmed to a point are rather more
intrinsically
diabolical than extrinsically so.
356. Ponytails are less intrinsically divine (like
pigtails) than
intrinsically mundane.
357. The ponytail is the salvation of the World (denial
of the will), but
the pigtail is the salvation of Heaven (denial of the spirit).
358. The ponytail contrasts with the pudding-basin
hairstyle of
World-affirming will.
359. The pigtail contrasts with the Mohawk hairstyle of
space-affirming
spirit.
360. Cropped hair is the 'salvation' of Hell (denial of
the soul), but
back-combed hair is the 'salvation' of Purgatory (denial of the
intellect).
361. Cropped hair contrasts with the (everywhichway)
punk
hair
of Hell-affirming soul.
362. Back-combed hair contrasts with the parted hair of
Purgatory-affirming
intellect.
363. To contrast the naturalism of frizzy hair with the
idealism of
straight hair.
364. To contrast the materialism of curly hair with the
realism of wavy
hair.
365. In football, netted posts (the goal) confirm an
omega orientation,
whereas unnetted posts confirm an alpha
one.
366. To contrast the subjectivity of netted posts with
the objectivity of
unnetted posts.
367. Football is divisible between the subjectivity of
Association
Football/Gaelic Football netted posts, and the objectivity of
368. To contrast the open (unnetted)
posts
of
369. To contrast the alpha-stemming openness of
370. To perceive an immoral/moral distinction between
Rugby (Union and
League) on the one hand (immoral), and Football (Association and
Gaelic) on the
other hand (moral) - the former objective and the latter subjective.
371. Hence whereas Rugby Union and Rugby League are
objective modes of
football, Association Football and Gaelic Football are its subjective
modes.
372. It could be said that whereas Association Football
is of the World
in its phenomenal subjectivity, Gaelic Football tends, in its noumenal subjectivity, to intimate of the
transcendental
Beyond.
373. To contrast the phenomenal subjectivity of the
Association Football
goal, which is limited by its crossbar, with the noumenal
subjectivity of that part of the Gaelic Football goal which is open, in
its
vertical posts, to the sky.
374. The Association Football goal, being phenomenally
subjective, has an
elemental parallel with earth, whereas the Gaelic Football goal, being noumenally subjective, has an elemental parallel
with air.
375. Thus whereas Association Football is essentially a
working-class
game in its earthiness, Gaelic Football stretches towards the classless
in its
elemental affinity with air.
376. It could be said that whereas Rugby League is of the
nonconformist Overworld in its phenomenal
objectivity, Rugby Union tends,
in its noumenal objectivity, towards the
fundamentalist Behind.
377. To contrast the phenomenal objectivity of Rugby
League posts, whose
focus of play (tries) is beneath the bar, with the noumenal
objectivity of
378. Rugby League posts, being phenomenally objective,
have an elemental
parallel with water (mud), whereas Rugby Union posts, being noumenally
objective, have an elemental parallel with fire (spot-kicking into the
sun).
379. Generally speaking,
380. Thus whereas
381. Generally speaking, Gaelic Football is more partial
to scores above
the bar/between the posts, on account of its noumenally
subjective bias, whereas Association Football, being phenomenally
subjective,
is limited to scores beneath the crossbar.
382. To contrast the noumenal
objectivity of
383. To contrast the phenomenal objectivity of
384. To contrast the fundamentalism of upper-class
385. To contrast the nonconformism
of
middle-class
386. The salvation of Association Football is in Gaelic
Football, the
ultimate, because absolute, kind of football.
387. The damnation of Rugby League is in Rugby Union, the
ultimate,
because absolute, kind of rugby.
388. A post-liberal society, centred in
Transcendentalism, would not
encourage the playing of
389. A transcendental society, commensurate with the
Social Theocratic
'Kingdom of Heaven', would maintain a bias for Gaelic Football over
Association
Football, deeming the latter symptomatic of worldly sin.
390. It is debatable whether Association Football would
long continue to
be played in a transcendental society, in which earth had been
transcended by
air, and the Blessed Virgin by the Holy Spirit.
391. American Football (so-called) stands to Gaelic
Football as alpha to
omega, or light to air, on account of the openness of its posts
stemming, on a
horizontal bar, from a single upright confirming a noumenal
objectivity or, more correctly, 'subjectivity' (especially when used in
conjunction with a stand-off containing net) which is nevertheless
higher than
and anterior to the noumenal objectivity
of Rugby
Union posts.
392. Hence American Football is less an upper-class
fundamentalist game
than a leading-class transcendentalist one, in which scores above the
crossbar
confirm an alpha orientation towards the light rather than, like
393. American Football is consequently more cosmic than
solar in its
scoring orientation, although the bias of play tends to favour
earth-affirming
'touch downs' more than space-affirming spot kicks, thereby suggesting
the
possibility that it is less cosmic than worldly, albeit of a hard-line
orientation which reflects republican values.
394. It is not the Blessed Virgin but the Cursed Whore
who is the worldly
parallel which leaps to mind when considering the 'Gridiron' method of
scoring
points through 'touch downs'.
395. Compared to American Football, Association Football
is less
republican than Anglican in its ideological orientation, suggesting a
compromise
between the Son (headed goals) and the Mother (kicked goals) which is
more
specifically of the World than, like Gaelic Football, capable of
transcending
it towards the Holy Ghost.
396. Did Association Football not have nets, we would be
unable to infer an
omega orientation, and thus the probability of an Anglican parallel,
but would
have to settle for a republican parallel, after the fashion of
'Gridiron'.
397. The twentieth century was, by and large, a light
age, a superheathen time dominated by
Anglo-American civilization.
398. The most obvious historical parallel to the
Anglo-American
classicism of the twentieth century would be the Graeco-Roman
classicism
of
pagan antiquity.
399. Just as pagan civilization was eclipsed by the
barbarism of the Dark
Ages, so Anglo-American civilization will be/has been eclipsed by the
barbarism
of a second Dark Ages.
400. Without the darkness to eclipse the light, there
could be no
progress to a Superchristic civilization
focused upon
the inner light of the spirit.
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 'Kingdom of
Heaven' to
come, the United Kingdom of Great Britain and Northern Ireland is a
'Kingdom of
Hell', as are all States rooted in monarchism.
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 'Kingdom of Heaven' that the Second Coming wishes to
establish in
the wake of worldly darkness, viz. Socialism/Feminism.
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.
601. Likewise the evolution of mundane subjectivity from
the massed mass
of vocal Rock to the massive mass of instrumental Pop via the massive
mass of
vocal Pop and the massed mass of instrumental Rock.
602. But the devolution of hellish objectivity from the
sequential time
of vocal Jazz to the repetitive time of instrumental Soul via the
repetitive
time of vocal Soul and the sequential time of instrumental Jazz.
603. And the devolution of purgatorial objectivity from
the volumetric
volume of vocal Classical to the voluminous volume of instrumental
Romantic via
the voluminous volume of vocal Romantic and the volumetric volume of
instrumental Classical.
604. From the molecular photon particles of alpha spatial
space to the
elemental photon wavicles of omega spaced
space via
the elemental photon particles of omega-in-the-alpha spaced space and
the
molecular photon wavicles of
alpha-in-the-omega
spatial space.
605. From the Clear Light of the (vocal Blues) Void to
the Holy Spirit of
(instrumental Folk) Heaven via the Unholy Spirit of the (vocal Folk)
Void and
the Unclear Light of (instrumental Blues) Heaven.
606. Likewise from the molecular electron particles of
alpha massed mass
to the elemental electron wavicles of
omega massive
mass via the elemental electron particles of omega-in-the-alpha massive
mass
and the molecular electron wavicles of
alpha-in-the-omega massed mass.
607. From the Clear Darkness of (vocal Rock) Mass to the
Holy Will of the
(instrumental Pop) World via the Unholy Will of (vocal Pop) Mass and
the
Unclear Darkness of the (instrumental Rock) World.
608. But from the elemental proton particles of alpha
sequential time to
the molecular proton wavicles of omega
repetitive
time via the elemental proton wavicles of
omega-in-the-alpha repetitive time and the molecular proton particles
of
alpha-in-the-omega sequential time.
609. As from the Clear Heat of (vocal Jazz) Time to the
Holy Soul of
(instrumental Soul) Hell via the Unholy Soul of (vocal Soul) Time and
the
Unclear Heat of (instrumental Jazz) Hell.
610. And from the elemental neutron particles of alpha
volumetric volume
to the molecular neutron wavicles of omega
voluminous
volume via the elemental neutron wavicles
of
omega-in-the-alpha voluminous volume and the molecular neutron
particles of
alpha-in-the-omega volumetric volume.
611. From the Clear Coldness of (vocal Classical) Volume
to the Holy
Intellect of (instrumental Romantic) Purgatory via the Unholy Intellect
of
(vocal Romantic) Volume and the Unclear Coldness of (instrumental
Classical)
Purgatory.
612. A heavenly evolution from molecular photon particles
to elemental
photon wavicles, as from the forebrain to
the superconscious.
613. Likewise a mundane evolution from molecular electron
particles to
elemental electron wavicles, as from the
left
midbrain to the unconscious.
614. But a hellish devolution from elemental proton
particles to
molecular proton wavicles, as from the
subconscious
to the backbrain.
615. And a purgatorial devolution from elemental neutron
particles to
molecular neutron wavicles, as from the
conscious to
the right midbrain.
616. The devolutionary objectivity of protons/neutrons
vis-à-vis the
evolutionary subjectivity of electrons/photons.
617. The diabolic/masculine contracts and diverges, while
the
feminine/divine expands and converges.
618. The devolutionary objectivity of time/volume
vis-à-vis the
evolutionary subjectivity of mass/space.
619. Volume contracts into time, whereas mass expands
into space.
620. Volume diverges from mass into the damnation of
time, whereas mass,
freed from volume, converges towards space, wherein it is saved.
621. Saved from massive mass for spaced space, wherein
Heaven has its
airy throne.
622. The strength of time diverges from the truth of
space.
623. The goodness of volume diverges from the beauty of
mass.
624. The beauty of mass converges towards the truth of
space.
625. The truth of space is the Holy Spirit of Heaven,
which transcends
the Holy Will of the World, as air transcends art.
626. The beauty of art is the salvation of the World,
viz. denial of the
will.
627. But the truth of air is the salvation of Heaven,
viz. denial of the
spirit.
628. It is in the truth of air that Heaven is revealed to
the spirit that
is consciously at one with it and accordingly holy - the Holy Spirit of
Heaven.
629. The man of the Holy Spirit of Heaven will loathe the
upper class,
dislike the middle class, like the working class, and love the
classless, who
are the 'children of Heaven'.
630. Art begins where affirmation of the will leaves off,
and ends with
the '
631. There can be no art in the '
632. There can be no true and final peace which is not
that of 'Kingdom
Come'.
633. He who uses the Devil to further peace is deceiving
himself and
paving the way for war, i.e. Hell on Earth.
634. Peace that is true and lasting is not created by
armies or weapons,
but by the Holy Spirit of Heaven, which transcends the World.
635. The peace which is not of God the Holy Spirit of
Heaven is false and
transient.
636. The Devil may give the appearance of maintaining the
peace, but only
God can deliver the essential peace of eternity.
637. Peace through strength is a doctrine of fools and
evil people, whose
pact with the Devil is the surest guarantee of war.
638. It is not the Holy Spirit, nor even the Son, whose
name is evoked by
the false pacifists of strength, but Almighty God the Father, in whose
powerful
name they amass arms.
639. If the Father may be identified with peace through
strength (arms),
then the Son can be identified with peace through goodness (diplomacy).
640. Whereas peace through strength is absolutely false,
peace through
goodness is relatively false, the falsity of politics as opposed to
science.
641. If the Mother may be identified with peace through
beauty, then the
Holy Spirit can be identified with peace through truth.
642. Whereas peace through beauty is relatively genuine,
peace through
truth is absolutely genuine, the genuineness of religion as opposed to
art.
643. The objective man may proclaim his desire for peace,
but only the
subjective man will truly uphold it.
644. Ultimately, peace can only be advanced and secured
on the basis of
subjective pacifism.
645. Peace is not advanced through war; only war advances.
646. Like the State, war can only wither in and through
the people, whose
struggles against oppression are the final form of war.
647. When the People are free from tyrannous or
governmental oppression,
then and only then will war wither to a point where universal peace can
reign
on the basis of truth.
648. The People cannot cease to struggle while they are
yet enslaved by
tyrannous and/or governmental oppressors whose martial essence prevents
the
peace which springs from truth.
649. Even the peace which springs from beauty can be
thwarted by strength-
and/or goodness-affirming 'pacifists'.
650. While superficially appearing peaceful, the essence
of all strength-
and goodness-affirming 'pacifists' is, in reality, martial - whether
absolutely
or, as in the latter case, relatively.
651. Whereas the ancient Greeks had gods, who dwelt on
Olympus, the
modern Americans have 'stars', who dwell in
652. Whereas the ancient Romans had gladiators, who
fought in arenas, the
modern Britons have sportsmen, who compete in stadia.
653. No less than America is in many respects the modern
equivalent of
ancient Greece, so
654. That society which is most democratic will be least
bureaucratic,
while, conversely, the more bureaucratic the society the less
democratic will
it be.
655. Similarly, that society which is most autocratic
will be least
theocratic, while, conversely, the more theocratic the society the less
autocratic will it be.
656. Just as autocracy is the damnation of democratic
societies, so
theocracy is the salvation of bureaucratic ones.
657. Autocracy is the Mr Hyde that lies in wait for Dr Jekyll's democracy, a 'Steppenwolfian'
transformation
from
man to beast (devil).
658. The palace is the focus of autocracy, no less than
the Church the
focus of theocracy.
659. Parliament is the focus of democracy, no less than
the town hall the
focus of bureaucracy.
660. The monarch is the symbol of autocracy, no less than
the pope the
symbol of theocracy.
661. The prime minister/president is the symbol of
democracy, no less
than the mayor the symbol of bureaucracy.
662. From the 'outer darkness' of the hardback comes the
'outer light' of
film.
663. From the 'inner darkness' of the softback
comes the 'inner light' of literature on compact disc.
664. Whereas the hardback corresponds to the 'outer
darkness' of bad
barbarism, the softback, by comparison,
corresponds
to the 'inner darkness' of good barbarism.
665. Whereas bad barbarism is republican and
anti-Christian, good
barbarism is socialist and anti-heathen.
666. The hardback is effectively anterior to film, while
the softback is effectively posterior to
it.
667. That which is effectively anterior to film can be
(and often is)
damned to it.
668. That which is effectively posterior to film can be
saved to compact
disc.
669. The damnation of the bad barbarism of hardback
literature to the bad
civilization of film is a sort of insurrection.
670. The salvation of the good barbarism of softback
literature to the good civilization of CD-Rom literature is a sort of
resurrection.
671. When softbacks become
'packaged' with
CD-Rom options, the resurrection of literature from the death of
'inner-darkness' barbarism to the eternal life of 'inner-light'
civilization will
be manifest.
672. Eventually the compact disc will completely
supersede the softback, as literary Heaven
'eclipses' the World.
673. The unconscious stands to the conscious as the core
of the earth to
the moon, or as the (Western) Devil to the (Western) God.
674. We speak of the subconscious, the conscious, and the
superconscious as though they were entirely
different
minds, but, in reality, they are three degrees of consciousness.
675. The only 'mind' that stands against consciousness,
whether in its
subconscious, conscious, or superconscious
manifestations, is the unconscious.
676. It is the unconscious that dreams and consciousness
which
apperceives the dream.
677. Sleep puts the conscious mind to sleep and awakens
the unconscious,
which is akin to the core of the earth.
678. Consciousness becomes subconscious through sleep,
and thus the
passive witness of dream activity by the unconscious.
679. Consciousness, which is the self, is disposed, as
subconscious, to
witness the dreaming not-self of the unconscious.
680. There is a spectrum of self which stretches from the
subconscious to
the superconscious via the conscious.
681. There is also, it could be said, a spectrum of
not-self, which
stretches from the unconscious in the backbrain
to
the unconscious in the forebrain via the unconscious in both the left
and right
midbrains.
682. As consciousness ascends from the subconscious to
the superconscious it becomes stronger.
683. As the unconscious descends from the backbrain
to the forebrain via the left and right midbrains it becomes weaker.
684. The fulcrum of consciousness is the conscious mind,
situated in the
right midbrain.
685. The fulcrum of unconsciousness is the collective
unconscious,
situated in the left midbrain.
686. The conscious mind and the collective unconscious
constitute a
polarity analogous to that between the moon and the core of the earth.
687. Television is a realistic mode of artificial
unconsciousness which
parallels the rather more naturalistic unconscious of dreams.
688. As a material entity, television corresponds, in its
screen and
casing, to the core and crust of the earth.
689. Similarly, computers correspond, in their screen and
casing, to the
core and crust of the moon.
690. For computers are materialistic modes of
unconsciousness which
parallel the rather more idealistic unconscious of, for example, LSD
trips.
691. If the naturalistic unconscious of dreams exists in
the backbrain, then the realistic
unconscious of television
corresponds to the left midbrain.
692. If the materialistic unconscious of computers
corresponds to the
right midbrain, then the idealistic unconscious of LSD trips exists in
the
forebrain.
693. Both dreams and LSD trips, corresponding to
naturalistic and
idealistic modes of unconscious behaviour, are noumenal.
694. Both televisions and computers, corresponding to
realistic and
materialistic modes of unconscious behaviour, are phenomenal.
695. Our relationship to television is analogous to that
of our
relationship to dreams.
696. Our relationship to computers is analogous to that
of our
relationship to LSD trips.
697. If consciousness is only subconscious in its
relation to dreams,
then we may contend that only in its relation to LSD trips does it
become superconscious.
698. One should distinguish, therefore, between the
genuine superconsciousness of
consciousness vis-à-vis LSD trips and
the quasi-superconsciousness of
consciousness which
has simply suspended thought in the interests of a quasi-meditative
purism.
699. Furthermore, one could distinguish this quasi-superconscious
consciousness from what may be called pseudo-superconsciousness,
as
when
one contemplates holograms in a sort of 'external trip'.
700. If consciousness is most itself when aware of
external phenomena and
given to thought, then it could be argued that consciousness which is
absorbed
in fantasies, day-dreams, and the like is quasi-subconscious.
701. Such quasi-subconscious consciousness would contrast
with the
genuine subconsciousness of consciousness
vis-à-vis
dreams.
702. Analogous to the pseudo-superconsciousness
of external supernatural visionary experience through holograms, we
could speak
of consciousness of apparitions, or external subnatural
visionary experience, as constituting a pseudo-subconsciousness.
703. Consciousness of thoughts, or words, on computer
screens is
antithetical to consciousness of deeds, or actions, on television, and
corresponds to consciousness vis-à-vis thoughts and fantasies
respectively.
704. Beyond the superconscious
consciousness
of, say, LSD trips stands the supra-conscious consciousness of the
universal
self, or air as the focus of meditative attention.
705. Such a supra-consciousness is One with the Holy
Spirit of Heaven,
and contrasts, absolutely, with what may be called the
supra-unconsciousness of
the Clear Light of the Void.
706. Hence where alpha God is supra-unconscious, omega
God is
supra-conscious: all the difference between the creative central star
of the
Galaxy and the coming transcendentalism of the ultimate Creation.
707. By contrast to the central star of the Galaxy, the
sun corresponds
to noumenal unconsciousness, the 'Satanic'
personal
unconscious of absolute Hell.
708. By comparison with the sun, the core of the earth
corresponds to
phenomenal unconsciousness, the collective unconscious of relative Hell.
709. If television corresponds to the collective
unconscious of relative,
or worldly, Hell, then cinema corresponds to the personal unconscious
of
absolute, or cosmic, Hell.
710. Cinema precedes television as the 'Fall of Satan'
precedes the 'Fall
of Man'.
711. Contrasted to cinema, we shall find the
'Jehovah-like' medium of
film slides, which correspond, in their static translucency, to the
supra-unconsciousness of primal Heaven.
712. Video is a sort of omega pole to cinema, a more
centripetal
formatting (through cassettes) of the personal unconscious.
713. Radio is a sort of omega pole to television, a more
centripetal
formatting (through concepts) of the collective unconscious.
714. Compact disc is a sort of omega pole to personal
computers, a more
centripetal formatting (through laser discs) of the personal conscious.
715. Virtual Reality is a sort of omega pole to film
slides, a more
centripetal formatting (through interiorized space) of universal
consciousness.
716. Yet all such materialistic and technological
parallels to the
unconscious/conscious, being phenomenal, are a far cry from the
literal, or noumenal, extremes of the
unconscious and conscious which
constitute the beginnings and endings of life, the universe, evolution,
etc.
717. The unconscious is devolutionary, whereas the
conscious is evolutionary.
718. The unconscious devolves from the supra-unconscious,
whereas the
conscious evolves towards the supra-conscious.
719. Thus between the Clear Light of the Void and the
Holy Spirit of
Heaven are to be found various degrees and kinds of unconscious
devolution and
conscious evolution.
720. That which is unconscious is under the star -
whether absolutely or
relatively, personally or collectively.
721. That which is conscious is on the side of the cross
- whether
relatively or absolutely, personally or universally.
722. That which is unconscious corresponds to the
not-self, whether
absolutely or relatively, noumenally or
phenomenally.
723. That which is conscious corresponds to the self -
whether relatively
or absolutely, phenomenally or noumenally.
724. As in the beginning so in the end - the devolution
(fall) from the
supra-unconscious to the unconscious (both personal and collective)
will be
superseded by the evolution (resurrection) of the conscious (via the superconscious) to the supra-conscious.
725. Just as the unconscious can be spoken of as the
soul, so the
conscious can be regarded as the spirit.
726. Hence the unconscious stands to the conscious as
soul to spirit.
727. The supra-unconscious is a sort of oversoul
(Emerson), which contrasts with the overspirit,
so
to
speak, of the supra-conscious.
728. The essence of the oversoul,
or
supra-unconscious,
is conscience, which is the 'Thou shalt
not' of negative spirit, or light.
729. The essence of the overspirit,
or
supra-conscious,
is joy, which is the 'Thou art that' of positive
spirit, or
air.
730. Just as one must deny the soul in order to achieve
the spirit, so
must the spirit be denied, through the universal self (of air), in
order to
achieve salvation in and by the overspirit,
viz.
the
Holy Spirit of Heaven.
731. The rejection of conscience by the personal
unconscious is the curse
of the Devil.
732. The personal unconscious is without conscience and
is thus purely,
or noumenally, evil.
733. The collective unconscious is impurely, or
phenomenally, evil, being
a thing of the World.
734. The conscious is impurely, or phenomenally, good,
being a thing of
the Overworld.
735. The superconscious is
purely, or noumenally, good, being of the
Beyond.
736. Generally, women are biased towards the unconscious
and men, by
contrast, towards the conscious.
737. Hence whereas women are impurely evil, men are
impurely good - a
distinction between the flesh and the mind.
738. Women are not, with their unconscious dispositions,
morally suited
to spiritual leadership.
739. Women do not generally relate to spiritual
transcendence of the
World, but are of the World in their fleshy dispositions.
740. A creature of the World cannot symbolize rejection
of the World through
Christ (consciousness) and, ultimately, its transcendence in and by the
Holy
Spirit of Heaven.
741. Women keep the World going, while men endeavour, if
moral, to reject
it as a precondition of transcendence.
742. Ultimately, men will have to reject the World
totally, if they
seriously intend to attain to the heavenly Beyond.
743. Such a total rejection may well entail completely
artificial methods
of propagation coupled to selective genetics of a kind intended to
favour
spirit at the expense of soul.
744. In music, wind pitch corresponds to the
supra-unconscious and vocal
pitch to the supra-conscious.
745. Likewise rhythm corresponds to the personal
unconscious and harmony
to the collective unconscious.
746. By contrast, melody corresponds to the conscious and
instrumental
pitch to the superconscious.
747. Whereas drums are the instruments, par
excellence, of the personal unconscious, the collective unconscious
is best
served by guitars and other such stringed instruments.
748. Whereas keyboard instruments like the piano are the
principal means
through which the conscious seeks musical expression, the superconscious
calls for synthesizers, which are the most pitch-orientated of keyboard
instruments.
749. Yet if the superconscious
seeks musical
expression through synthesizers, then it seems not improbable that
xylophones,
vibraphones, and other percussive keyboards are the principal means
through
which the subconscious seeks musical expression.
750. For the subconscious is the lowest manifestation of
the self, and
stands at the farthest psychic remove from the superconscious.
751. Thus from xylophones to synthesizers via pianos - a
range of
keyboard instruments paralleling the ascension of the self from
subconscious to
superconscious via conscious manifestations.
752. Beyond the superconscious,
however,
is the
supra-conscious pitch of pipes, which stand in an antithetical
relationship to
wind.
753. Self does not necessarily lead to supra-self, or
divinity, although it
is of course necessary to have a self before its denial becomes
possible.
754. Thus it is necessary, in religious terms, to affirm
Christ before
the Holy Spirit of Heaven becomes possible.
755. Traditionally, Christ has been affirmed in
subconscious (Catholic)
and conscious (Protestant) terms, though not, as yet, in terms of the superconscious (Social Theocratic), such as
portend a
Second Coming.
756. It is from the superconscious
affirmation
of the Second Coming that the supra-conscious affirmation of the Holy
Spirit of
Heaven will duly come to pass, as the highest manifestation of the self
embraces, through self-denial, the universal self, and is accordingly
saved.
757. Salvation of the self from the unconscious paves the
way for
universal self, and hence the Holy Spirit of Heaven.
758. The highest unconscious from which the highest self,
of the superconscious, can be saved ... is
the forebrain
unconscious of hallucinogenic contemplation, viz. LSD trips.
759. Self does not exist in a vacuum or void, like the
supra-unconscious,
but in relation to unconsciousness of one degree/kind or another.
760. Before the self can be saved from the unconscious,
it must achieve a
superconscious pitch vis-à-vis the
synthetic
unconscious of forebrain visionary experience.
761. Men are generally more selfish, because conscious,
than women, whose
selflessness derives from a bias towards the unconscious.
762. The collective unconscious, corresponding to the
feminine, is rather
more sensational than emotional, whereas the personal unconscious is
primarily
emotional, in accordance with its soulful essence.
763. The supra-unconscious is spiritually rather than
soulfully
emotional, which is to say, given to conscience-based feelings which
stand to
the cruder emotions of the personal unconscious as light to fire.
764. The personal conscious, corresponding to the
masculine, is rather
more intellectual than spiritual, whereas the superconscious
is primarily spiritual, in accordance with its visionary essence.
765. The supra-conscious is transcendentally rather than visionarily spiritual, which is to say, given to
breath-based feelings which stand to the cruder spirituality of the superconscious (the collective conscious) as air
to ice.
766. In air, the spirit is saved from its icy self for
the joyful purity
of the heavenly Beyond.
767. A true and ultimate 'transvaluation'
or
'rebirth'
is not possible without the utmost attenuation of the
unconscious
through evolutionary progress.
768. Such attenuation, centred in the forebrain, is not
only beyond the backbrain but beyond the
left and right midbrains as well.
769. The supra-conscious is as much beyond good and evil,
in regard to
the conscious/unconscious dichotomy, as the supra-unconscious is behind
it.
770. The good and evil dichotomy of the personal
conscious/collective
unconscious is necessarily phenomenal, and contrasts with the
absolutism of
both anterior and posterior noumenal
extremes.
771. If the supra-unconscious is behind good and evil,
then it is neither
good nor evil but negatively divine.
772. If the supra-conscious is beyond good and evil, then
it is neither
good nor evil but positively divine.
773. The negative divinity of conscience contrasts with
the positive
divinity of truth.
774. If good and evil are relative in the phenomenal
modes of the
personal conscious and collective unconscious, then it could be argued
that
only in the noumenal modes of the personal
unconscious and collective conscious (superconscious)
are
they
absolute.
775. Such an absolute dichotomy contrasts with the
relative dichotomy of
phenomenal good and evil, as the Devil (Satan) and God (the Second
Coming) with
Man (the Son) and Woman (the Mother).
776. Absolute good and evil may flank relative
(phenomenal) good and
evil, but do not transcend it for the realms of divinity, which, as we
have
seen, are either behind or beyond good and evil.
777. He who is beyond good and evil, in both its relative
and absolute
manifestations, is no longer Man but God ... the Holy Spirit of Heaven.
778. He who is behind good and evil, in both its absolute
and relative
manifestations, is not yet Man but God ... the Clear Light of the Void.
779. The Clear Light of the Void is no less incapable of
joy, than the
Holy Spirit of Heaven would be incapable of woe.
780. That which is behind good and evil is deaf to truth,
whereas that
which is beyond good and evil is blind to illusion.
781. Conscience calls forth the illusion of light (law),
whereas salvation
brings forth the truth of air (Heaven).
782. The lawyer and the saint stand at opposite poles of
the divine
spectrum, like the Clear Light of the Void and the Holy Spirit of
Heaven - the
one behind good and evil, the other beyond it.
783. That man who is beyond good and evil is yet closer
to good (the
collective conscious) than to evil (the collective unconscious).
784. That man who is behind good and evil is yet closer
to evil (the
personal unconscious) than to good (the personal conscious).
785. Musically speaking, the solo wind-instrumentalist,
who is behind
good and evil, is akin to the lawyer in his identification with the
supra-unconscious.
786. Conversely, the piper, who is beyond good and evil,
is akin to the
saint in his identification with the supra-conscious.
787. In between and lower than the two divine extremes of
solo
wind-instrumentalists and solo pipers come the various grades of
singers/instrumentalists and instrumentalists/synthesists.
788. The man who is musically saved, and therefore given
to piping, can
have no truck with wind instruments, and hence wind compositions.
789. The man who oscillates between wind and pipes is not
saved but torn,
in dynamically amoral fashion, between alpha and omega.
790. Guitar/violin instrumentality is a sort of barbarous
darkness in
between the 'outer light' of wind and the 'inner spirit' of pipes - the
former
appertaining to bad civilization, and the latter to good civilization.
791. Alternatively one could speak of guitar/violin
instrumentality as a
sort of barbarous darkness (particle/wavicle
respectively) in between the 'outer light/heat' of percussion and the
'inner
heat/light' of synthesizer instrumentality - the former appertaining to
a more
devolved phase of bad civilization, and the latter to good civilization
in its
inceptive phase.
792. The twentieth century was, by and large, an age of
'liberal'
compromise between a variety of different instrumental and vocal
combinations,
which conform to its amoral permissiveness.
793. Not until the Last Judgement will such
permissiveness be superseded
by a moral directive relating to the (Social Theocratic) '
794. Whereas the supra-unconscious, rooted in the
negative spirit of what
is behind good and evil (but closer to evil), takes a 'Thou-shalt-not' line in moral judgements, the
supra-conscious,
centred in the positive spirit of what is beyond good and evil
(but
closer to good), takes a 'Thou-shall' line in regard to morally
desirable
objectives.
795. Hence whereas the Mosaic Law focuses its negative
spirit on what is not
morally
desirable,
the
judgements of the Second Coming will focus, through positive
spirit, on what is morally desirable, thereby leading from the front
rather
than prohibiting from the rear.
796. It is the positive spirit of the Second Coming which
says: 'You
shall do this' if you are to be saved.
797. The Mosaic transmutation of the negative spirit of
Jehovah, the
Judaic Clear Light of the Void, could only say: 'You shall not do this'
if you
are to avoid being damned or, rather, cursed.
798. There is no salvation in Jehovah or other variations
on the Clear
Light of the Void, for the simple reason that salvation is from the
World to
the Beyond, not from the World to the Behind.
799. The Behind, rooted in lawful conscience, is simply a
cosmic backdrop
to a succession of falls which, culminating in the World, open out to
the
possibility, following a Christian rebirth, of the Beyond, the heavenly
redemption of sin.
800. The Beyond offers man the benefits of joy in
relation to the
lightness of air, whereas the Behind could offer nothing more than woe
in
relation to the speed of light.
801. Further to my theories of musical parallels to
divine alpha and
omega, viz. wind and pipes, I should like to add the two intermediate
categories of singing and whistle-playing, classifying the former as
commensurate with omega-in-the-alpha and the latter as commensurate
with
alpha-in-the-omega.
802. Hence the distinction between singing and
whistle-playing is less
extreme than that between wind instrumentality and piping.
803. Whereas wind instrumentality is musically equivalent
to the Clear
Light of the Void, singing, by contrast, is musically equivalent to the
Unholy
Spirit of the Void.
804. And whereas piping is musically equivalent to the
Holy Spirit of
Heaven, whistle-playing, by contrast, is musically equivalent to the
Unclear
Light of Heaven.
805. What truly distinguishes alpha from omega in divine
musical terms is
the fact of a vacuum vis-à-vis the truth of a plenum.
806. Because alpha is light and omega spirit, we are
therefore
distinguishing what passes, as wind, through a vacuum from what issues,
as air,
from a plenum.
807. The vacuum is characterized, in instrumental terms,
by wind
instruments like the saxophone and the trumpet, together with tin
whistles and
harmonicas.
808. The plenum is characterized, in musical/instrumental
terms, by what
issues, as air, from either lungs (singing) or the bag of pipes.
809. Where there is a tubular vacuum, as in wind
instruments, one has a
musical parallel with light, and therefore the alpha.
810. Where there is an air-filled plenum, as in the bag
of pipes and in
lungs, one has a musical parallel with spirit, and therefore the omega.
811. The distinction between alpha and
alpha-in-the-omega, the Clear
Light of the Void and the Unclear Light of Heaven, is between the
centrifugal
and the centripetal, outer and inner.
812. Likewise the distinction between omega-in-the-alpha
and omega, the
Unholy Spirit of the Void and the Holy Spirit of Heaven, is between the
centrifugal and the centripetal, outer and inner.
813. Wind instruments, like saxophones, are centrifugal
by comparison
with tin whistles and even harmonicas, and therefore correspond to the
outer as
opposed to the inner light.
814. Singing, rooted in the lungs, is centrifugal by
comparison with
piping, and therefore corresponds to the outer as opposed to the inner
spirit.
815. Hence from the outer light of wind instrumentality
to the inner
spirit of pipes via the outer spirit of songs and the inner light of
whistles/harmonicas.
816. For a civilization centred in the inner, whether in
light or spirit,
that which was outer would be beneath the pale.
817. For a civilization rooted in the outer, whether in
light or spirit,
that which was inner would be beyond the pale.
818. A civilization centred in the inner is a good
civilization.
819. A civilization rooted in the outer is a bad
civilization.
820. Both the outer light of wind and the inner light of
whistles are
rooted in the supra-unconscious.
821. Both the outer spirit of songs and the inner spirit
of pipes are
centred in the supra-conscious.
822. If the conscious is masculine and the unconscious
feminine, then the
supra-conscious is supra-masculine and the supra-unconscious
supra-feminine.
823. The improvisational character of much jazzy
wind-playing confirms
the fundamentalist essence of Jazz as an art form rooted in the
supra-unconscious.
824. To distinguish the 'spatial' essence of wind/whistle
playing from
the 'spaced' essence of singing/piping, as between fundamentalist and
transcendentalist approaches to divinity, the former supra-unconscious
and the
latter supra-conscious, both outer and inner.
825. A woman blows her conscious credibility from the
moment she becomes
pregnant and enters motherhood.
826. Motherhood confirms woman in her femininity, as a
creature for whom
the unconscious takes precedence over the conscious.
827. There are so many aspects of motherhood which are of
the
unconscious, from gestation to lactation, that active mothers can only
be
regarded as conscious in a subordinate and secondary way.
828. A woman who wishes to affirm the conscious self over
the unconscious
not-self has to disavow motherhood and either remain celibate or take
every
precaution against becoming pregnant.
829. It should be the inalienable right of every woman to
avoid pregnancy
and even to terminate pregnancy, if it is her sincere wish to develop
the
conscious self at the expense of the unconscious not-self.
830. Without such a right, women will remain the slaves
of nature,
virtual creatures of nature, with no real prospects of conscious
self-determination.
831. Making a god out of nature and natural processes is
an unchristian
failing which simply enslaves women to the World, making for natural
reproduction world-without-heathen-end.
832. That woman who succumbs, through pregnancy, to the
World parts
company with the Blessed Virgin and effectively damns herself to the
unconscious Hell of the Cursed Whore.
833. The objective of moral progress is to overcome and
transcend the
World, moving, via artificial alternatives, to a supra-natural
salvation in God
... the Holy Spirit of Heaven.
834. Women who wish to defend worldly power can have no
place in building
God's Kingdom, which will only come properly to pass when the World has
been
democratically overcome and mankind elects to substitute, under
religious
sovereignty, artificial for natural methods of reproduction,
increasingly
entering life via science rather than sex.
835. Every gain that consciousness makes at the expense
of the
unconscious hastens the day when the supra-conscious will come to pass,
ushering in the salvation of the self in and by the universal self,
consciousness at one with the air upon which it is internally focused.
836. The divine Father (Creator) is commensurate with the
Clear Light of
the Void.
837. The divine Son, who sits on the right-hand side of
the Father, so to
speak, in the spectrum of divine alternatives, is commensurate with the
Unholy
Spirit of the Void.
838. The divine Mother, who ascended into Heaven, is
commensurate with
the Unclear Light of Heaven.
839. The Divine per
se is commensurate with the Holy Spirit
of Heaven, which is beyond all else and alone the one, true, and
ultimate God,
of which I am but a servant.
840. Those who side with the unconscious tend to a comic
view of life,
which contrasts with the tragic view of those who, following in
Christ's moral
footsteps, side with the conscious.
841. Like Jazz, classical music is generally rooted in
the
supra-unconscious, from which starting-point everything beyond wind
stems.
842. It could generally be said of Jazz and Classical
alike that they are
rooted in wind and are thus, at best, negatively divine.
843. The sun is both supermasculine
and superfeminine - the former when rising
and the latter when
setting.
844. Likewise the moon is both masculine and feminine -
the former in its
waxing and the latter in its waning.
845. If the supra-unconscious is supra-feminine, then the
personal
unconscious is superfeminine, and hence
absolutely
immoral.
846. If the supra-conscious is supra-masculine, then the
collective
conscious (superconscious) is supermasculine,
and hence absolutely moral.
847. In between the absolutely immoral personal
unconscious and the
absolutely moral collective conscious come the relatively immoral
collective
unconscious and the relatively moral personal conscious - the former
feminine
and the latter masculine.
848. The road back leads from the collective unconscious
to the personal
unconscious and, finally, to the supra-unconscious of primal divinity.
849. The road forward leads from the personal conscious
to the collective
conscious and, finally, to the supra-conscious of ultimate divinity.
850. To be relatively damned is to pass from the personal
conscious to
the collective unconscious, which is phenomenally evil.
851. To be relatively saved is to pass from the
collective unconscious to
the personal conscious, which is phenomenally good.
852. To be absolutely damned is to pass from the
collective unconscious
to the personal unconscious, which is noumenally
evil.
853. To be absolutely saved is to pass from the personal
conscious to the
collective conscious, which is noumenally
good.
854. To pass from the personal unconscious to the
supra-unconscious is to
become negatively divine.
855. To pass from the collective conscious to the
supra-conscious is to
become positively divine.
856. Negative divinity is behind good and evil, salvation
and damnation,
and is therefore supra-immoral.
857. Positive divinity is beyond good and evil, salvation
and damnation,
and is therefore supra-moral.
858. There is nothing anterior to the negative divinity
of the
supra-unconscious Clear Light of the Void.
859. There is nothing posterior to the positive divinity
of the
supra-conscious Holy Spirit of Heaven.
860. It is on account of its inherently unsatisfactory,
because woeful,
nature that there were a series of ever-more devolved falls from the
Clear
Light of the Void, viz. spatial illusion.
861. It is on account of its intrinsically satisfactory,
because joyful, nature
that there will be a series of ever-more evolved rises to the Holy
Spirit of
Heaven, viz. spaced truth.
862. The feminine devolves from what is or was
supra-feminine, whereas
the masculine evolves towards what is or will be supra-masculine - the
former
everlastingly woeful and the latter eternally joyful.
863. To distinguish the phenomenal selfishness of the
personal conscious
from the phenomenal selflessness of the collective unconscious.
864. Likewise to distinguish the noumenal
selfishness of the collective conscious (superconscious)
from
the
noumenal selflessness of the personal
unconscious.
865. Finally, to distinguish the supra-selfishness of the
supra-conscious
from the supra-selflessness of the supra-unconscious.
866. The personal conscious does not transcend the
collective
unconscious, but exists in relation to it, as man to woman.
867. Only the superconscious
transcends the
collective unconscious, since there can be no relationship between the
collective conscious and the collective unconscious.
868. The superconscious
paves the way, as
already noted, for the supra-conscious, and hence salvation from the
self in
and through the universal self of airy Heaven.
869. The superconscious
ties-in with all that
is synthetic, including LSD, synthesizers, and computer erotica,
whereas the
supra-conscious transcends the synthetic in and through the air,
whether
manifesting in meditation, uilleann pipes,
or plastic
inflatables.
870. Alpha-stemming people tend to wear duffel coats,
overcoats, and raincoats,
whereas omega-aspiring people favour zipper jackets taken-in at the
waist in a
closed-society opposition to open-society 'untransvaluated'
norms.
871. The man who is 'born again', or 'transvaluated',
will
not
be one to wear duffel coats, overcoats, or raincoats, but may well
prefer short zipper-jackets such that begin in the World and open
towards
Eternity.
872. By contrast to zipper jackets, which are closed
(taken-in) at the
waist and effectively open to Eternity (at the neck), duffel coats,
overcoats,
and raincoats are open at the hem and effectively closed (buttoned-up)
at the
neck, as though open to the Cosmos but closed to the Beyond.
873. Duffel coats precede overcoats as the central star
of the Galaxy
precedes the sun - their hood an indication of alpha-divine allegiance.
874. This contrasts with the omega-oriented allegiance of
hooded
zipper-jackets, whereby a convergence towards ultimate divinity is
symbolized
in and by the hood.
875. Hence where duffel coats may be said, in their
openness, to reflect
a tending away from the hood (of primal divinity), hooded zippers
reflect (in
their closed construction) a convergence towards the hood (of ultimate
divinity).
876. There is thus all the difference in regard to the
Clear Light of the
Void and the Holy Spirit of Heaven between the person who wears a
duffel coat
and the one dressed in a waist-length hooded-zipper: the former open
society
and the latter closed.
877. Whereas short zipper-jackets are 'beyond the pale'
of those who
dress in open-society fashion, duffel coats, overcoats, and raincoats
tend to
be 'beneath the pale', so to speak, of those whose sartorial preference
is
closed society.
878. One might cite a Heathen/Christian or, rather,
Heathen/Superchristian distinction between
the alpha stemming and
the omega orientated, the 'untransvaluated'
and the 'transvaluated'.
879. Such an antithesis as exists, for example, between
duffel coats and
hooded zippers is paralleled, in musical-instrument terms, by that
between,
say, the saxophone and uilleann pipes -
the one alpha
and the other omega, vacuum and plenum of instrumental extremes.
880. One would have to be into duffel coats to take
wind-based music
seriously - at any rate, this is the logical inference that can be made
when we
seek to establish parallels between the contexts in question.
881. From the alpha of chanting to the omega of humming
via the relative
omega (omega-in-the-alpha) of singing and the relative alpha
(alpha-in-the-omega)
of whistling.
882. Belief in a universal Creator, or Creator of the
Universe, is only
credible during an objective age, when the majority of people pay
deference to
authoritarian power.
883. Anyone who is in any degree evolved enough to have a
subjective view
of life will tend to regard the Universe and everything in it as being
self-creating, with God (the Holy Spirit of Heaven) as the ultimate
Creation
rather than, as in the past, primal Creator.
884. In fact, being able to distinguish between the
Universe as alpha and
Heaven as omega will only be possible to a person who is evolved enough
to have
a subjective view of life, so that God (the Holy Spirit of Heaven) is
apperceived as being at the opposite extreme from the Cosmos (the Clear
Light of
the Void).
885. Hence where the Universe is devolutionary because
objective, Heaven
is evolutionary because subjective - all the difference between science
and
religion, or philosophy and theosophy.
886. Whereas science and religion are practical,
philosophy and theosophy
are theoretical, the theoretical bases, respectively, of science and
religion.
887. That man who is saved will be no less beyond
philosophy than beyond
science; he lives for religion (God) based on sound theosophical
speculations
(doctrine).
888. As illogical to speak of philosophy as scientific
theosophy, as to
regard theosophy as religious philosophy.
889. Scientific theosophy is to theosophy-proper what
religious philosophy
is to philosophy-proper: a paradoxical relativity found in-between the
philosophical and theosophical extremes.
890. If philosophy-proper corresponds to the Clear Light
of the Void,
then religious philosophy (theology) corresponds to the Unholy Spirit
of the
Void.
891. If theosophy-proper corresponds to the Holy Spirit
of Heaven, then
scientific theosophy (philology) corresponds to the Unclear Light of
Heaven.
892. Philosophy and philology are two sides of the same
objective coin -
the one corresponding to the outer light, the other to the inner light.
893. Theology and theosophy are two sides of the same
subjective coin -
the one corresponding to the outer spirit, the other to the inner
spirit.
894. From the outer light of philosophy to the inner
spirit of theosophy
via the outer spirit of theology and the inner light of philology.
895. Whereas the outer light (the Clear Light of the
Void) is
centrifugally objective, the inner light (the Unclear Light of Heaven)
is
centripetally objective.
896. Whereas the outer spirit (the Unholy Spirit of the
Void) is
centrifugally subjective, the inner spirit (the Holy Spirit of Heaven)
is
centripetally subjective.
897. The centrifugal objectivity of the outer light is
explosive, while
the centripetal objectivity of the inner light is implosive.
898. The centrifugal subjectivity of the outer spirit is
expressive,
while the centripetal subjectivity of the inner spirit is impressive.
899. Outer light, being explosive, is evil light, whereas
inner light, being
implosive, is good light.
900. Outer spirit, being expressive, is evil spirit,
whereas inner
spirit, being impressive, is good spirit.
901. Hence whereas evil, whether objective or subjective,
is centrifugal,
goodness, whether objective or subjective, is centripetal.
902. The outer light stands to the inner light as the
barbarous to the
civilized, since civilization is implosive whereas barbarism is
explosive.
903. The outer spirit stands to the inner spirit as the
natural to the cultural,
since culture is impressive whereas nature is expressive.
904. Hence science is barbarous when explosive, as in the
outer light,
but civilized when implosive, as in the inner light.
905. Likewise religion is natural when expressive, as in
the outer
spirit, but cultural when impressive, as in the inner spirit.
906. Strictly speaking, religion can no more be barbarous
or civilized
than science natural or cultural.
907. Similarly, theosophy can no more be explosive or
implosive than
philosophy expressive or impressive.
908. Civilization may be the redemption of barbarism, but
it cannot lead
to the cultural; for the light is an end-in-itself, not a means to the
spirit.
909. Light thrives in a vacuum, whether that vacuum is
explosive or
implosive, whereas spirit can only thrive in a plenum, whether that
plenum be
expressive or impressive.
910. Civilization is thus an end-in-itself and not a
means to cultural
salvation, an end that will erect fences around itself to protect the
inner
light from its barbarous and/or natural enemies.
911. Because light and spirit are antithetical, the one
objective and the
other subjective, they must remain forever apart, incapable of being
reconciled
to the same goal.
912. In fact, light is a beginning and spirit an ending,
the outer light
a barbarous beginning and the inner light a civilized
end-of-the-beginning, in
contrast to which the outer spirit is a natural beginning-of-the-end
and the
inner spirit a cultural ending.
913. Only the natural can be redeemed in and by the
cultural, passing
from outer to inner spirit as the plenum evolves from collective
expression to
individual impression.
914. By contrast, the vacuum of light devolves from
public explosion to
private implosion, as it passes from barbarism to civilization.
915. Civilization is thus, paradoxically, the 'salvation'
of the light
from public to private, noumenal to
phenomenal;
culture, by contrast, the salvation of the spirit from collective to
individual, phenomenal to noumenal.
916. Whereas the outer light is superheathen
and the inner light heathen, the outer spirit is Christian and the
inner spirit
Superchristian.
917. Thus from the noumenal
objectivity of the
outer light (explosive) to the phenomenal objectivity of the inner
light
(implosive), as from elemental to molecular photon particles.
918. Thus from the phenomenal subjectivity of the outer
spirit
(expressive) to the noumenal subjectivity
of the
inner spirit (impressive), as from molecular to elemental photon wavicles.
919. To devolve from wind instruments, e.g. saxophones,
to whistles, as
from barbarism to civilization, but to evolve from singing to piping,
e.g. uilleann pipes, as from nature to
culture.
920. Impression is the spirit's quest and ultimate goal,
the journey's
end which will only come fully to pass when the light has been eclipsed
and
spirit can turn from expression to its own impressive Heaven in the
classless
salvation of a centripetal subjectivity, enrapt in the inner
supra-selfish
beatitude of the Holy Spirit of Heaven for all Eternity.
921. Poetry, being a discipline of the spirit, can be
expressionistic or
impressionistic, expressive or impressive, but the best and most
evolved poetry
will always be impressionistic, seeking to create an impression of the
Divine.
922. The highest poetry can only be spiritual, not
emotional,
intellectual, or instinctual, since the spirit is closer to the Divine
than are
the soul, the intellect, or the will.
923. When poetry is truly spiritual it is abstract,
corresponding to the noumenal
subjectivity/subjectivism of Heaven.
924. When abstract poetry is readerly
it is
expressive, and therefore subjective in a relative way, though when
such poetry
is non-readerly, e.g. when it can only be
contemplated (as a patterned entity), it is impressive, and therefore
absolutely subjective.
925. Relative abstract poetry is the poetry of noumenal
individuality, whilst absolute abstract poetry is the poetry of noumenal individualism.
926. When poetry is emotional it is lyrical,
corresponding to the noumenal
objectivity/objectivism of Hell.
927. When lyric poetry is rhymed it is expressive, and
therefore
objective in a relative way, though when such poetry is non-rhymed it
is
impressive, and therefore absolutely objective.
928. Relative lyric poetry is the poetry of noumenal
collectivity, whilst absolute lyric poetry
is the
poetry of noumenal collectivism.
929. When poetry is intellectual it is narrative,
corresponding to the
phenomenal objectivity/objectivism of Purgatory.
930. When narrative poetry is rhymed it is expressive,
and therefore
objective in a relative way, though when such poetry is non-rhymed it
is
impressive, and therefore absolutely objective.
931. Relative narrative poetry is the poetry of
phenomenal individuality,
whilst absolute narrative poetry is the poetry of phenomenal
individualism.
932. When poetry is instinctual it is dramatic,
corresponding to the
phenomenal subjectivity/subjectivism of the World.
933. When dramatic poetry is rhymed it is expressive, and
therefore
subjective in a relative way, though when such poetry is non-rhymed it
is
impressive, and therefore absolutely subjective.
934. Relative dramatic poetry is the poetry of phenomenal
collectivity, whilst absolute dramatic
poetry is the poetry
of phenomenal collectivism.
935. Just as abstract poetry is intended to be
contemplated, so dramatic
poetry is intended to be acted.
936. Just as lyric poetry is intended to be sung, so
narrative poetry is
intended to be narrated.
937. The heavenly poetry of the contemplator/thinker
contrasts with the
hellish poetry of the singer/hearer.
938. The purgatorial poetry of the narrator/reader
contrasts with the
mundane poetry of the actor/speaker.
939. Both dramatic and abstract poetry are, as we have
seen, subjective
kinds of poetry - the former of the World and the latter of Heaven.
940. Both lyric and narrative poetry are, as we have
seen, objective
kinds of poetry - the former of Hell and the latter of Purgatory.
941. When prayer is sung we get hymns.
942. When lyric poetry is sung we get songs.
943. When narrative poetry is sung we get musicals.
944. When dramatic poetry is sung we get operas.
945. Civilization stands to barbarism as a good Devil to
an evil Devil,
or as phenomenal objectivity to noumenal
objectivism.
946. Culture stands to nature as a good God to an evil
God, or as noumenal subjectivism to
phenomenal subjectivity.
947. Better an evil God than a good Devil, since an evil
God can at least
be saved to and by a good God, whereas a good Devil can only be damned
to and
by an evil Devil.
948. The outer spirit of an evil God can only be
superseded by the inner
spirit of a good God, as nature is saved by culture.
949. The inner light of a good Devil can only be eclipsed
by the outer
light of an evil Devil, as civilization is damned by barbarism.
950. Purgatory is a good Hell, which contrasts with the
evil Heaven of
the World.
951. Hell is evil when absolute (noumenal)
but
good
when relative (phenomenal), while Heaven is evil when relative
(phenomenal) but good when absolute (noumenal).
952. Christ contrasts with the Mother as the 'God' of
good Hell
(Purgatory) with the God(dess) of evil
Heaven (the
World).
953. The Holy Spirit contrasts with the Father as the God
of good Heaven
(air) with the 'God' of evil Hell (blood).
954. The only difference between Christ (the Son) and the
Antichrist is
that whereas the former is a positive (neutron-wavicle)
'God'
of
good Hell, the latter is a negative (neutron-particle) 'God' of good
Antihell.
955. The only difference between the Mother (the Blessed
Virgin) and the Antimother (the Cursed
Whore) is that whereas the former is
a positive (electron-wavicle) God(dess)
of evil Heaven, the latter is a negative (electron-particle) God(dess) of evil Antiheaven.
956. The only difference between the Holy Spirit and the Antispirit (Jehovah/Clear Light of the Void) is
that
whereas the former is a positive (photon-wavicle)
God
of
good Heaven, the latter is a negative (photon-particle) God of good Antiheaven.
957. The only difference between the Father and the Antifather
(Satan) is that whereas the former is a positive (proton-wavicle)
'God' of evil Hell, the latter is a negative (proton-particle) 'God' of
evil Antihell.
958. The coldness of water (antimind)
contrasts
with
the dullness of mind (intellect).
959. The darkness of earth (antiwill)
contrasts
with
the heaviness of flesh (will).
960. The light of space (cosmic antispirit)
contrasts
with
the lightness of air (universal spirit).
961. The heat of fire (antisoul)
contrasts
with
the brightness of blood (soul).
962. All spirit, whether outer or inner, is positive,
i.e. subjective,
while all light, whether outer or inner, is negative, i.e. objective.
963. The inner light of classical music contrasts with
the outer spirit
of pop music.
964. The inner spirit of folk music contrasts with the
outer light of
jazz music.
965. The inner light of Classical is damned to and by the
outer light of
Jazz.
966. The outer spirit of Pop is saved to and by the inner
spirit of Folk.
967. The inner light of Classical is confirmed by the use
of
comparatively (in relation to Jazz) centripetal wind instruments like
oboes,
flutes, clarinets, etc.
968. The outer light of Jazz is confirmed by the use of
comparatively (in
relation to Classical) centrifugal wind instruments like saxophones,
trumpets,
trombones, etc.
969. The inner spirit of Folk is confirmed by recourse to
centripetal
instruments like harmoniums, uilleann
pipes,
accordions, etc.
970. The outer spirit of Pop is confirmed by recourse to
the human voice,
in song.
971. The instrumental light is a tubular vacuum and the
instrumental
spirit an air-filled plenum.
972. Classical civilization is damned by Jazz barbarism,
whereas Pop
nature is saved by Folk culture.
973. From the outer light - relative to materialism - of
television to
the inner spirit of computers via the outer spirit of radio and the
inner light
of video.
974. From the outer light - relative to realism - of
magazines to the inner
spirit of books (i.e. paperbacks) via the outer spirit of newspapers
and the
inner light of co-mags (comic books).
975. From the outer light - relative to naturalism - of
cinema to the
inner spirit of games machines via the outer spirit of jukeboxes and
the inner
light of film slides.
976. From the outer light - relative to idealism - of
dreams to the inner
spirit of LSD trips via the outer spirit of visions and the inner light
of
fantasies.
977. Terrestrial television is a sort of realistic outer
light which was
destined to be partially eclipsed by the materialistic inner light of
video -
barbarism, losing ground to civilization.
978. But barbarism fights back in the naturalistic guise
of satellite
television, a more absolute outer light which is the effective
damnation of
video - civilization losing ground to superbarbarism.
979. Were satellite television the end of the story,
there would be no
hope for video; but, inevitably, the emergence of video from the
shadows of
satellite TV presupposes the development of computer-accessed videos,
thereby
bringing video to the idealistic inner light of a multi-option
accessibility - superbarbarism losing
ground, in all probability, to supercivilization.
980. From the realistic barbarism of a natural age to the
idealistic
civilization of a cultural age via the materialistic civilization of a
civilized age and the naturalistic barbarism of a barbarous age - Man
against
Woman, the Devil against Man, and, finally, God against the Devil, with
God
ultimately destined to triumph.
981. The backbrain and the
right midbrain
appertain to the old brain, while the left midbrain and the forebrain
appertain
to the new brain.
982. A humanist society, rooted in the World, is
effectively of the left
midbrain, whereas that which, as a transcendentalist society, goes
beyond the
World is effectively of the forebrain.
983. A nonconformist society, centred in Purgatory, is
effectively of the
right midbrain, whereas that which, as a fundamentalist society, goes
behind Purgatory
is effectively of the backbrain.
984. When 'the subjective' are sovereign, whether
politically
(republican) or religiously (transcendentalist), the new brain is free
of the
old brain.
985. When 'the objective' are sovereign, whether
politically
(parliamentary) or religiously (fundamentalist), the old brain is bound
to
oppress the new brain.
986. The backbrain is akin
to the sun and the
right midbrain to the moon, the former given to the outer light and the
latter
to the inner light.
987. By contrast, the left midbrain is akin to the earth
and the
forebrain to the airy Beyond, the former given to the outer spirit and
the
latter to the inner spirit.
988. The new brain stretches, in its subjectivity, beyond
the old brain
in much the same way that the World and Heaven stretch beyond the
objectivity
of Hell and Purgatory.
989. A secret society is no less the shadow side of a
public lifestyle
than a debating society the bright side of a private lifestyle.
990. Since public lifestyles tend to be upper class and
private ones
middle class, it need not surprise us that secret societies and
debating
societies are especially favoured by the upper and middle classes
respectively.
991. Whereas the public lifestyle is Satanic, the secret
society is
effectively of the Father.
992. Whereas the private lifestyle is Antichristic,
the debating society is effectively of the Son.
993. Hence the fundamentalist nature of Freemasonry, as
compared with the
nonconformist nature of Puritanism.
994. If Freemasonry is an upper-class approach (of the
Father) to
religion, then Puritanism is arguably its middle-class counterpart -
the former
noumenally objective and the latter
phenomenally
objective.
995. A humanist society can only be free of both secret
and debating societies
in the interests of impersonal/transpersonal subjectivity.
996. An impersonal service is no less the converse side
of a collective
lifestyle than a transpersonal service the converse side of an
individual
lifestyle.
997. Since collective lifestyles tend to be working class
and individual
ones classless, it won't surprise us that impersonal services and
transpersonal
services are especially favoured by the working class and the classless
respectively.
998. Whereas the collective lifestyle is of the Antimother,
the impersonal service is effectively of the Mother.
999. Whereas the individual lifestyle is of the Antispirit,
the transpersonal service is effectively of the Holy Spirit.
1000. Hence the humanist nature of Catholicism, as
compared with the
transcendentalist nature of Social Theocracy.
1001. If Catholicism is a working-class approach (of the
Mother) to
religion, then Social Theocracy is its classless counterpart - the
former
phenomenally subjective (the Mass) and the latter noumenally
subjective (meditation).
_______________
APPENDIX/CODA
1002. The artist is of the inner spirit and is, by
definition, classless.
1003. The critic is of the outer spirit and is, by
definition, working
class.
1004. The agent is of the inner light and is, by
definition, middle class.
1005. The publisher is of the outer light and is, by
definition, upper
class.
1006. The artist who submits his work for publication
inevitably falls
prey to the vicious circle of agent - publisher - critic, as
class-bound
humanity read, disseminate, and write about his work from their
respective
open-society points of view.
1007. The free artist is beyond publication by publishers,
being too much
of a God to wish to do business with the Devil.
1008. The true artist is only going to remain true to his
self by
publishing himself, since only thus can the inner spirit be protected
from the
claims and demands of the outer light.
1009. The artist thinks his work into being through inner
spirit, and
then, in the class-bound framework of open-society compromise, it is
handed
over to the agents, publishers, and critics to do with as they consider
best,
irrespective of his original intentions.
1010. In such open-society fashion the inner spirit is
passed through the
filter of the inner light (agent), the outer light (publisher), and the
outer
spirit (critic), and what results bears little resemblance to the
original
conception!
1011. To publishers, the artist is a 'bum' (classless
person) who must be
seduced from his spiritual idealism and brought into the fold of
commercial
respectability.
1012. To this end, the publisher has need of middle men
(agents) who
liaise between artist and publisher, always with a view to selling the
former
down river to the latter.
1013. Thus the artist falls victim to a conspiracy between
publisher and
agent, who war on him from their own necessarily philistine points of
view.
1014. No true artist can survive unscathed the war which
agents and
publishers wage against him in the name of philistine, i.e. commercial,
interests.
1015. All published artists sooner or later - and most
sooner than later -
succumb to commercial pressures and cease being artists in all but name.
1016. If the agent and publisher conspiracy doesn't get to
him, then the
pointed barbs of critics eventually will; for these latter creatures
are
generally in the pay of publishers, their own journalistic ones not
excepted.
1017. Ultimately, the only way that art can survive as a
vehicle for the
truths of inner spirit is by turning its back on the World and the
World's
paymasters, and doing its own thing independently of them.
1018. Thus, liberated from both the lights (inner and
outer) and
the outer
spirit, art can be true to itself and unequivocally serve the inner
spirit, to
the greater glory of God.
1019. In the Social Theocratic '
1020. Neither civilization (agents), barbarism
(publishers), nor nature
(critics) would ever again threaten, dominate, and vitiate culture,
according
to their respective bents.
1021. The victory of culture over civilization, barbarism,
and nature will
only come following its self-publication by the Second Coming.
1022. The Second Coming, who is entirely independent of
the Father (outer
light) and beyond the Mother (outer spirit), will not be one to seek
publication via agents, but one who transcends the class-bound vicious
circle
by publishing himself.
1023. Thus will the Second Coming save culture from the
damnation that
would otherwise befall it, were he indisposed to self-publication.
1024. Being the most classless of artists, he knows,
however, that no
publisher or agent would seriously consider his work anyway; for he was
always
too much 'beyond the pale' of their lights to satisfy their commercial
designs.
1025. It is precisely because he was the most classless of
artists that
the Second Coming feels obliged to save culture from the clutches of
the
uncultured, in order that it may serve as a guide to that ultimate
freedom of
spirit which will only come to pass with the 'Kingdom of Heaven'.
1026. Where the perceptual is objective, the conceptual is
subjective.
1027. To contrast the noumenal
objectivity of
reading with the noumenal subjectivity of
thinking -
the absolute perceptual with the absolute conceptual.
1028. To contrast the phenomenal objectivity of writing
with the
phenomenal subjectivity of speaking - the relative perceptual with the
relative
conceptual.
1029. Both reading and writing are rooted in the
perceptual - the former noumenally and the
latter phenomenally.
1030. Both speaking and thinking are centred in the
conceptual - the
former phenomenally and the latter noumenally.
1031. The poet is the literary artist who most conforms to
the category of
reader.
1032. The novelist is the literary artist who most
conforms to the
category of writer.
1033. The dramatist is the literary artist who most
conforms to the
category of speaker.
1034. The philosopher is the literary artist who most
conforms to the
category of thinker.
1035. The phenomenal objectivity of the novelist can only
be damned by the
noumenal objectivity of the poet, as from
writing to
reading.
1036. The phenomenal subjectivity of the dramatist can
only be saved by
the noumenal subjectivity of the
philosopher, as from
speaking to thinking.
1037. It could be said that whereas the poet is of the
Father, the
novelist, by comparison, is of the Son.
1038. Similarly, it could be said that whereas the
dramatist is of the
Mother, the philosopher, by comparison, is of the Holy Spirit.
1039. In a People's society that was properly of the
World, e.g. humanist,
the reader and the writer, viz. poet and novelist, would be on the
rubbish heap
of history.
1040. In a divine society that was properly beyond the
World, e.g.
transcendentalist, even the dramatist would be on the rubbish heap of
history
or, which amounts to the same, beneath the pale of the philosophical
ideal.
1041. When the 'true philosopher', or theosophist, 'sits
on the throne',
there will be no literary place for readers, writers, or speakers, but
only for
thinkers; for his 'throne' will be part of the 'Kingdom of Heaven', and
in the
'heavenly Kingdom' only contemplatives will prevail - for all Eternity.
1042. The ultimate literary artist, who is a man of the
inner spirit of
thought, is beyond the pale of readers, writers, and speakers in the
'contemplative Heaven' of the ultimate thoughts.
1043. For the absolutely true artist, the
philosopher-king, the 'art' of
the dramatist is a beautiful half-truth, while the 'art' of the
novelist is a
good half-lie, and the 'art' of the poet a strong absolute lie.
1044. The lie must perish if the truth is to live, and
live in the
cultural fullness of the Holy Spirit of Heaven.
1045. By contrast to the true philosopher, the poet, or
reader, is a
literary philistine whose noumenal
objectivity places
him in a completely devilish light - the outer light of his poetic
perceptions.
1046. Whereas the thinker writes after he has thought, the
poet thinks
after he has written.
1047. Because the poet is the most false, i.e. philistine,
of literary
artists, he is also the most sought-after (commissioned) by publishers.
1048. Absolute falsities hang together, and the
outer-light falsity of
publishers and poets corresponds to an upper-class conspiracy against
the
World.
1049. Because the novelist is the least false, i.e. most
civilized, of
literary artists, he is closest in practice to agents.
1050. Relative falsities hang together, and the
inner-light falsity of
agents and novelists corresponds to a middle-class conspiracy against
the
World.
1051. Because the dramatist is the least true (in relation
to
philosophers) i.e. most natural, of literary artists, he is also the
most
keenly watched by critics.
1052. Relative truths hang together, and the outer-spirit
truths of
critics and dramatists correspond to a working-class reflection of the
World.
1053. Beyond the relative truths, however, of critics and
dramatists is
the absolute truth of the philosopher-king, the literary artist who is
most
true and therefore truly cultural in his classless affirmation of the
Divine.
1054. Such a man, knowing only the absolute truth of his noumenal subjectivity, can never be published by
others
(for God and the Devil are incommensurate), but must seek his own
classless
solution to the dilemma of cultural vitiation, and thereby proclaim
himself!
1055. He who proclaims himself or, rather, his self cannot
be published by
others; for he is of the inner spirit, and is thus beyond the outer
light and
everything that stems, in open-society fashion, from the publishing
Hell of the
Father.
1056. Only the Second Coming can be self-proclaiming to
the extent that he
is 'beyond the pale' of what can be published, and therefore an
implicit
refutation of publishers, agents, and critics.
1057. In truth, publishers, agents, and critics (not to
mention
poets/readers, novelists/writers, and dramatists/speakers) are 'beneath
the
pale'; for he is neither of the World nor of that which precedes and
dominates
it, but distinctly beyond the World in the classless Heaven of his
philosophical truth.
1058. The particle is extrinsically centrifugal, while the
wavicle is intrinsically centripetal - the
one stemming from
alpha and the other aspiring towards omega.
1059. Marxism stands to Transcendentalism as alpha divine
to omega divine.
1060. Lenin stands to Marx as Moses to Jehovah - the
law-giving figure of
an alpha-stemming ideology.
1061. As Royalism to the
upper class, so
Liberalism to the middle class - the objective in its noumenal
and phenomenal manifestations.
1062. As Socialism to the working class, so (Social
Theocratic) Communism
to the classless - the subjective in its phenomenal and noumenal
manifestations.
1063. Whereas Royalism is
fundamentalist,
Liberalism is nonconformist - the light in its outer and inner
manifestations.
1064. Whereas Socialism is humanist, Communism is
transcendentalist - the
spirit in its outer and inner manifestations.
1065. Socialism and Communism are not symptomatic of the
Devil and God,
but of the World and God.
1066. Royalism and Liberalism
are not
symptomatic of the World and Purgatory, but of the Devil and Purgatory.
1067. God has his throne in Communism, and the Devil in Royalism.
1068. Man has his throne in Liberalism, and Woman in
Socialism.
1069. Whereas Communism is corporate and Royalism
feudal, Liberalism is capitalist and Socialism syndicalist.
1070. From the feudal public to the corporate individual
via the
capitalist private and the syndicalist
collective.
1071. Royalism strives to
maintain
Fundamentalism (the Father), Liberalism to maintain Nonconformism
(the Son).
1072. Socialism strives to advance Humanism (the Mother),
Communism to advance
Transcendentalism (the Holy Ghost).
1073. The historical struggle between Monarchism/Royalism
and Parliamentarianism/Liberalism was superseded, in the twentieth
century, by
a struggle between Republicanism/Socialism and Millennialism/Communism.
1074. The former struggle is analogous to one between the
Devil and Man
(or the sun and the moon), while the latter struggle is analogous to
one
between Woman and God (or the earth and the Beyond).
1075. Just as Parliamentarianism eventually got the better
of Monarchism,
so Millennialism must eventually triumph over Republicanism, if God is
to save
the World from its collective sin, in the name of individual grace.
1076. To go beyond the corporeal World to the ethereal
Heaven, leaving
socialist Humanism for the blessed pastures of a heavenly future which
leads,
via Social Transcendentalism, to the (post-human) Millennium.
1077. Man is indeed, as Nietzsche taught, 'Something that
should be
overcome', though not merely in terms of the Superman (of the coming
Social
Transcendentalist culture) but, more radically, in terms of the Superbeings, Supra-beings, and, finally,
Ultra-beings of
the millennial Beyond which will follow the Superman, Supra-man, and,
finally,
Ultra-man (cyborg) stages of the culture to
come.
1078. From contemplating Supermen to meditating Supra-men,
with a cyborg transition leading to the hypercontemplative
Superbeings and to the hypermeditative
Supra-beings of the Millennium-proper, followed, thereafter, by the
completely
saved Ultra-beings of the transcendent Beyond.
1079. From brain collectivizations
to new-brain collectivizations, followed,
with the transcendence of the
left midbrain, by the forebrain collectivizations
of
the ultra-beingful Beyond, a true
classlessness set
in space centres.
1080. Transcend the old brain (of backbrain
and
right midbrain) and one has a supra-beingful
context
of relative transcendence.
1081. Transcend the new brain (of left midbrain and
forebrain) and one has
an ultra-beingful context of absolute
transcendence.
1082. This ultra-beingful
context of absolute
transcendence, set in space centres, will signify the maximum 'Christogenesis' (de Chardin)
of
which
evolving post-human life is capable, and thereby bring it to the
Omega
Point - the definitive manifestation of Eternal Life in the forebrain collectivizations of the Holy Spirit of Heaven's
final end.
1083. The 'art' of Royalism,
as of the upper
class, is painting.
1084. The 'art' of Liberalism, as of the middle class, is
literature.
1085. The 'art' of Socialism, as of the working class, is
sculpture.
1086. The 'art' of Communism, as of the classless, is
music.
1087. Where Royalism is
militarist, Liberalism
is imperialist.
1088. Where Socialism is police-ist,
Communism
is
pacifist.
1089. Royalism is the ideology
of doing,
Liberalism the ideology of taking.
1090. Socialism is the ideology of giving, Communism the
ideology of
being.
1091. To contrast the absolute devility
of doing
with the absolute divinity of being, thereby effectively contrasting Royalism with Communism.
1092. To contrast the relative devility
(purgatorial) of taking with the relative divinity (worldly) of giving,
thereby
effectively contrasting Liberalism with Socialism.
1093. Man takes and Woman gives, but the Devil does and
God is.
1094. Taking can only be overcome (damned) by doing, as
Hell eclipses
Purgatory.
1095. Giving can only be overcome (saved) by being, as
Heaven redeems the
World.
1096. When the atom is ripped asunder, the neutron is
damned by the proton
and the electron saved by the photon.
1097. When the phenomenal is ripped asunder, the intellect
is damned to
soul and the will saved to spirit.
1098. The phenomenal First shall be noumenal
Last, and the phenomenal Last shall be noumenal
First, as the relative is claimed by the absolute, and Hell and Heaven
replace
Purgatory and the World.
1099. So long as the Father continues to hog Heaven, the
Holy Spirit (of
Heaven) will remain peripheral to the class-bound dominating God(s) of
Christian tradition.
1100. Only when, through the Second Coming, the Father is
cast upon the
rubbish heap of ecclesiastical history ... will the Holy Spirit of
Heaven reign
supreme.
1101. There is a sense in which Dracula corresponds to the
Father,
inasmuch as he is a blood-sucking diabolic omega rather than a
fire-belching
diabolic alpha, like Satan.
1102. In fact, the strength which Dracula acquires through
sucking blood
is logically vitiated by sunlight, as the weakness of flame detracts
from his
soulful essence, hogging the diabolic 'limelight' at his expense.
1103. When the diabolic alpha is to the fore, then the
diabolic omega must
withdraw, else risk being undermined and even destroyed by that which,
as
flame, is contrary to the blood.
1104. It could therefore be said that, in the mythology of
twentieth-century paganism, the Father walked abroad in the person of
Count
Dracula, personification of emotional strength.
1105. With its Orthodox traditions,
1106. As, from a more hard-line standpoint, is Allah, who
is no more
consanguineous with Jehovah than (is) the Father, since relative to a
diabolic
omega (in strength) rather than to a divine alpha (in illusion) - all
the
difference between the Holy Soul of Hell and the Clear Light of the
Void.
1107. Woman is essentially a critic by nature, whereas Man
is an agent of
civilization.
1108. God, in his cultural richness, is essentially an
artist, while the
Devil is fundamentally a publisher of barbarism.
1109. The being of God can be either positive or negative,
depending
whether we are concerned with God the Holy Spirit of Heaven (the true
spirit of
the omega) or God the Clear Light of the Void (the illusory, or false,
spirit [antispirit] of alpha, viz. Jehovah).
1110. The doing of the Devil can be either positive or
negative, depending
whether we are dealing with Devil the Holy Soul of Hell (the Father) or
Devil
the Clear Heat of Time (the antisoul of
Satan).
1111. The taking of Man can be either positive or
negative, depending
whether we are considering Man the Holy Mind of Purgatory (Christ) or
Man the
Clear Coldness of Volume (Antichrist).
1112. The giving of Woman can be either positive or
negative, depending
whether we are concerned with Woman the Holy Will of the World (the
Blessed
Virgin) or Woman the Clear Darkness of Mass (the Cursed Whore).
1113. What applies to the above-listed alpha/omega
extremes also applies
to the intermediate positions of omega-in-the-alpha and
alpha-in-the-omega.
1114. Hence a distinction between the outer negative being
of the Clear
Light of the Void and the inner negative being of the Unclear Light of
Heaven.
1115. Likewise a distinction between the outer positive
being of the
Unholy Spirit of the Void and the inner positive being of the Holy
Spirit of
Heaven.
1116. Whereas outer negative being is an elemental photon
particle, inner
negative being is its molecular counterpart.
1117. Whereas outer positive being is a molecular photon wavicle, inner positive being is its elemental
counterpart.
1118. To distinguish, similarly, between the outer
negative doing of the Clear
Heat of Time and the inner negative doing of the Unclear Heat of Hell.
1119. Likewise a distinction between the outer positive
doing of the
Unholy Soul of Time and the inner positive doing of the Holy Soul of
Hell.
1120. Whereas outer negative doing is an elemental proton
particle, inner
negative doing is its molecular counterpart.
1121. Whereas outer positive doing is a molecular proton wavicle, inner positive doing is its elemental
counterpart.
1122. Similarly, to distinguish between the outer negative
taking of the
Clear Coldness of Volume and the inner negative taking of the Unclear
Coldness
of Purgatory.
1123. Likewise, a distinction between the outer positive
taking of the
Unholy Mind of Volume and the inner positive taking of the Holy Mind of
Purgatory.
1124. Whereas outer negative taking is an elemental
neutron particle,
inner negative taking is its molecular counterpart.
1125. Whereas outer positive taking is a molecular neutron
wavicle, inner positive taking is its
elemental counterpart.
1126. To distinguish, finally, between the outer negative
giving of the
Clear Darkness of Mass and the inner negative giving of the Unclear
Darkness of
the World.
1127. Likewise a distinction between the outer positive
giving of the Unholy
Will of Mass and the inner positive giving of the Holy Will of the
World.
1128. Whereas outer negative giving is an elemental
electron particle,
inner negative giving is its molecular counterpart.
1129. Whereas outer positive giving is a molecular
electron wavicle, inner positive giving is
its elemental
counterpart.
1130. When both doing and taking are effectively on the
rubbish heap of
history, then and only then will giving be ripe for beingful
salvation.
1131. The salvation of giving by being is the end of the
World and the
true beginning of the '
1132. The being of the Holy Spirit of Heaven, which is
joy, will last for
ever in ever-more refined contexts, becoming progressively purer the
further Eternal
Life evolves.
1133. Such an evolution, from the inceptive level of
Supermen to the final
level of Ultra-beings, will pass through six stages before it
culminates, like
this aphoristic project, in the ultimate purity of the most beingful
essence - the pure essence of ultra-beingful
forebrain collectivizations in the
definitive
salvation of the omega Beyond.
