MAXIMUM INFORMALITY
Aphoristic Philosophy
Copyright © 2012 John
O'Loughlin
_____________
1. No two
writers are further apart than the poet and the philosopher - the former as Devil
and the latter as God.
2. The
poet is a writer of time and the philosopher, by contrast, a writer of space.
3. Musically
speaking, the poet is rooted in rhythm, while the philosopher aspires, through
thought, towards pitch.
4. The
negative, or alpha-stemming, poet is a writer of weakness, whose time (metre)
is sequential.
5. The
positive, or omega-oriented, poet is a writer of strength, whose time (metre)
is repetitive.
6. The
Satanic poet is rooted in fire, while the fundamentalist poet is centred in the
blood.
7. The
negative, or alpha-stemming, philosopher is a writer of illusion, whose space
(aphoristic) is spatial.
8. The
positive, or omega-oriented, philosopher (theosopher) is a writer of truth,
whose space (aphoristic) is spaced.
9. The Creatoresque
philosopher is rooted in light, while the transcendentalist philosopher is
centred in air.
10. A man
is destined to be either a poet or a philosopher, diabolic or divine, rather
than both.
11. The
paradoxical phenomenon of the philosophical poet owes not a little to the
debasement and even eradication of the Divine through the so-called space-time
continuum of modern science.
12. In
reality, the decadent vagaries of modern science notwithstanding, no two
absolutes could be less reconcilable than space and time, the Devil and God.
13. The
true philosopher may occasionally dabble in literature, or even drama, but he
will never be a poet.
14. For
poets and philosophers stand at opposite noumenal extremes - the former
objective and the latter subjective.
15. Novelists
and dramatists also stand in a contrary relationship, albeit one that is
phenomenal rather than noumenal.
16. To
contrast the phenomenal objectivity of the novelist with the phenomenal
subjectivity of the dramatist, the former effectively masculine and the latter
feminine.
17. The
dramatist is a doer of mass and the novelist, by contrast, a knower of volume.
18. Musically
speaking, the dramatist is rooted in harmony while the novelist aspires,
through narrative, towards melody.
19. The
negative, or alpha-stemming, dramatist is a writer of ugliness, whose mass is
massed.
20. The
positive, or omega-oriented, dramatist is a writer of beauty, whose mass is
massive.
21. The
antivirginal dramatist is rooted in earth, while the humanistic dramatist is
centred in the flesh.
22. The
negative, or alpha-stemming, novelist is a writer of evil, whose volume is
volumetric.
23. The
positive, or omega-oriented, novelist is a writer of good, whose volume is voluminous.
24. The
antichristic novelist is rooted in water, while the nonconformistic novelist is
centred in the brain.
25. A man
is generally destined to be either a dramatist or a novelist, mundane or
purgatorial, rather than both.
26. The
paradoxical phenomenon of the dramatic novelist owes not a little to the
debasement and even eradication of the mundane through what might be called the
mass-volume continuum of contemporary liberal civilization.
27. In
reality, the hegemonic predominance of liberal civilization notwithstanding, no
two relativities could be less reconcilable than volume and mass, or man and
woman.
28. The
real dramatist may occasionally dabble in poetry, but he will never be a
novelist.
29. If
the novelist, to speak rather colloquially, is a 'prick' and the dramatist a
'cunt', then the philosopher is a 'superprick' and the poet a 'supercunt'.
30. If
the novelist is nonconformistic and the dramatist, by contrast, humanistic,
then the philosopher is transcendentalistic and the poet, by contrast,
fundamentalistic.
31. Despite
the late twentieth-century collapse of so-called Communism in
32. The
so-called Communism, for example, of Eastern Europe was really quasi-fascist,
and thus hardly Communism by Marxist criteria!
33. True
Communism, by which is meant Social Transcendentalism, has yet to come about;
but when it does, it will be infinitely superior to the quasi-fascist tradition
of false Communism.
34. Unlike
false Communism, which was allegedly scientific, true Communism will be
religious, and thus the inevitable precondition of millennial salvation.
35. Thus true
Communism will stem from real Socialism, as Social Democracy is superseded by
Social Theocracy.
36. Where
Socialism is republican, Democratic Socialism is parliamentary, and thus an
accommodation of Socialism to Capital Democracy.
37. Democratic
Socialism is the 'socialism' of a proletariat who are less affiliated to the
World than to the Purgatorial Overworld, so to speak, of Parliamentary
Democracy.
38. Such
a proletariat are necessarily Protestant and industrial/urban, aligned with the
Protestant bourgeoisie against the World and its Catholic humanism.
39. The
struggle for genuine Socialism follows from a sort of Catholic premise; for
only Catholic peoples are sufficiently of the World to be in favour of
bureaucratic as opposed to democratic Socialism.
40. Yet
Socialism is a 'sin' from which the People must be delivered, if they are to
experience the spiritual salvation of true Communism.
41. Such
deliverance can only happen democratically, with the express consent of the
People themselves.
42. For
to be delivered from 'sins of the World' is to enter into the heavenly Beyond,
with the transvaluated criteria that such an entry presupposes.
43. Only
a deluded fool would imagine that, in any ultimate sense, the heavenly Beyond
comes after death. In reality, it comes
within life beyond the World, since it is an ultimate social system and not an
imaginary posthumous realm.
44. Yet
it is an afterlife to the extent that it implies a type of life, necessarily
eternal, beyond life as we know it in the World, as it is today and has been
for several centuries.
45. The
failure of Liberalism is its tolerance of evil.
46. Liberalism
sits on the fence between the Devil and God, content to remain in an amoral
position which enables it to have 'the best of both worlds'.
47. Not
to go against the Devil to the extent that one has sided with God, but to be
worldly or, more specifically, purgatorial - such is the liberal 'ideal'.
48. He
who is against the Devil cannot be for Liberalism, with its hypocritical tolerance
of evil.
49. The
Liberal is a morally weak creature who, because of his acquiescence in evil,
does no real good.
50. When
Social Theocracy, the ideology of God, comes democratically to pass, both
Liberalism and Fascism will be cast down upon the 'rubbish heap of history'.
51. Most
Western countries are liberal and republican, capitalist and socialist, in
different degrees.
52. Countries
balanced between Liberalism and Republicanism are effectively heterosexual.
53. Countries
biased on the side of Liberalism are effectively homosexual.
54. Countries
biased on the side of Republicanism are effectively lesbian.
55. A
country biased on the side of Republicanism, like Eire, has a greater chance of
achieving Social Theocracy than one balanced, like France, between Liberalism
and Republicanism.
56. A
country biased on the side of Liberalism, like
57. Ultimately,
Social Theocracy can only be achieved through the Second Coming, who would not
waste his time on countries with an overly liberal, or parliamentary, bias.
58. A
country must, like
59. Provided
that Liberalism and/or Republicanism are not the ruling trends, there is a fair
chance that Humanism will be free enough to democratically opt for
Transcendentalism, and thus salvation from the World.
60. For the
World may be feminine, and phenomenally subjective, but the Social Theocratic
Beyond is divine, and hence noumenally subjective - focused, through spirit, on
air rather than, through will, on the flesh.
61. To
abandon the feminine 'fleshpot' of the Holy Will of the World for the divine
'airhead' of the Holy Spirit of Heaven - such is the nature of salvation.
62. No
man, or country, attains to salvation (from the World) except through the
Second Coming, who is the bridge to the Beyond.
63. Noumenal
subjectivity (subjectivism) is the absolute introversion of the heavenly.
64. Noumenal
objectivity (objectivism) is the absolute extroversion of the hellish.
65. Phenomenal
objectivity is the relative extroversion of the purgatorial.
66. Phenomenal
subjectivity is the relative introversion of the mundane.
67. The
noumenal subjectivity (wind) of Jazz contrasts with the noumenal objectivity
(singing) of Soul.
68. The
phenomenal subjectivity (dance) of Pop contrasts with the phenomenal
objectivity (instrument-based song) of Rock.
69. Jazz,
being noumenally subjective, is divine, whereas Soul, being noumenally
objective, is diabolic.
70. Pop,
being phenomenally subjective, is feminine, whereas Rock, being phenomenally
objective, is masculine.
71. Since
salvation is from the World to Heaven, one might speak of the salvation of Pop
by Jazz, or of phenomenal subjectivity (dance) by noumenal subjectivity (wind).
72. Since
damnation is from Purgatory to Hell, one might speak of the damnation of Rock
by Soul, or of phenomenal objectivity (instrument-based song) by noumenal
objectivity (free singing).
73. The
purgatorial 'First' shall be hellishly Last, and the mundane 'Last' shall be
heavenly First.
74. Jazz is
the music of spirit, and could alternatively be termed spirit music.
75. Soul
is indeed the music of soul, and is rightly termed soul music.
76. Rock
is the music of intellect, and could alternatively be termed intellect music.
77. Pop
is the music of will, and could alternatively be termed will music.
78. Broadly,
Jazz, Soul, Rock, and Pop are all modern, and therefore electric, forms of
music.
79. Classical
music stands to popular music as a kind of bourgeois omega to a proletarian
alpha, the former acoustic and the latter electric.
80. Classical
music is 'contemporary' only in the sense that Christian bourgeois criteria
co-exist with and often overlap the more-or-less heathen proletarian criteria
of the modern age.
81. In
this sense, a more naturalistic omega co-exists with an artificial alpha, the
essence of which is cruder, albeit more evolved.
82. Suits
and ties co-exist, on the above basis, with jeans and T-shirts.
83. Books
co-exist, on the above basis, with films.
84. Classical
music co-exists, on the above basis, with popular music.
85. The
concerto is the classical equivalent of Jazz, that most idealistic of the
popular art forms.
86. Opera
is the classical equivalent of Soul, that most naturalistic of the popular art
forms.
87. The symphony
is the classical equivalent of Rock, that most materialistic of the popular art
forms.
88. Ballet
is the classical equivalent of Pop, that most realistic of the popular art
forms.
89. The
fulcrum of classical music, which is a bourgeois art form, is the symphony.
90. The
fulcrum of popular music, which is a proletarian art form, is Pop.
91. Classical
music is the civilized music of a materialistic class, the middle class.
92. Popular
music is the barbarous music of a realistic class, the working class.
93. The
future lies not in the barbarism of working-class music, but in the culture of
classless music.
94. Classless
music will be like Jazz, but more electronic.
95. To
distinguish, on an alpha/omega basis, between the 'republicanism' of Hard Pop
and the 'humanism' of Soft Pop.
96. Similarly,
to distinguish between the 'parliamentarianism' of Hard Rock and the
'nonconformism' of Soft Rock.
97. Likewise,
to distinguish between the 'fascism' of Hard Soul and the 'fundamentalism' of
Soft Soul.
98. To
distinguish, finally, between the 'communism' of Hard Jazz and the
'transcendentalism' of Soft Jazz.
99. Hard
music differs from soft music by being both more reactive and aggressive.
100. Soft music
differs from hard music by being both more attractive and passive.
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 '
415. For
monarchism, being autocratic, is a thing of the Devil, and the Devil glories in
strength.
416. God,
by contrast, glories in truth, and truthful will be the Social Theocratic '
417. The
Second Coming could not save the British Monarch; for autocracy, rooted in
strength (power) is outside the pale of what can be saved.
418. A
rich man/woman cannot be saved, any more than the Devil could be saved by God
... the Second Coming.
419. That
which is upper class is absolutely outside the pale of what can be saved.
420. That
which is middle class is relatively outside the pale of what can be saved.
421. That which
is working class is relatively inside the pale of what can be saved.
422. That
which is classless is absolutely inside the pale of what can be saved, being,
in truth, that which is of salvation.
423. The
essence of 'God save the King/Queen', the British National Anthem, is not
salvation in the messianic sense (for how can a monarch be saved?), but
preservation, long to reign over his/her subjects.
424. Hence
the British National Anthem is about preservation of the reigning monarch
vis-à-vis the Creator, the cosmic guarantor (Dieu et mon Droit) of monarchic 'right', rather than the
salvation of the reigning monarch, whichever monarch that may happen to be,
vis-à-vis the Second Coming.
425. Christ
said something to the effect that it was easier for a camel to pass through the
eye of a needle than for a rich man to enter the '
426. A
rich man would have to abandon power and wealth before he could hope to be
saved by the Second Coming. Yet, even
then, there would be no guarantee of salvation for him.
427. God
the Second Coming is prepared to save worldly sinners, i.e. sinners of the
World, but this should not be misconstrued as applying to sinners against the
World, whether lunar (and relative) or solar (and absolute).
428. For
sinners against the World, there can be only damnation, the damnation, at the
very least, of being refused entry into and/or kicked out of the '
429. If Gaelic
Football is superior to Association Football because it goes beyond the World
in terms of its upper posts being open to the sky, then so must Gaelic be
superior to English in the degree to which it transcends the World.
430. When
and where people cannot 'speak their mind' and write freely, there is
invariably some anti-worldly and/or anti-heavenly tyranny which binds them to
lies.
431. To be
bound to lies is to both deny and be denied the truth.
432. Poetry
and fiction are the two main literary lies which bind men to falsity, and thus
prevent their realization of the truth.
433. Ultimately,
truth can only be pursued and captured through philosophy; though it helps if
one has experienced the beauty of drama and opted, thereafter, to deny the
will.
434. Denial
of the will is only possible, ultimately, through the artificial beauty of art,
not through natural beauty, which rather encourages it towards propagation.
435. It is
by contemplating the artificial beauty of art that Man is enabled to transcend
the natural will and acquire an intimation, thereby, of heavenly salvation.
436. But
transcendence of the will through art is still a long way short of heavenly
salvation, given its worldly limitations.
437. He
who contemplates the artificial beauty of art sublimates the will along the
mundane lines of the universality of the World.
438. Such
universality, while it may make for a Catholic Heaven, or salvation, is still
at a considerable remove from the universality of Heaven, which is the airy
goal of all moral striving.
439. Broadly,
Schopenhauer was a much wiser philosopher than Nietzsche, whose power-affirming
philistinism bordered on the obscene.
440. Nietzsche
was really the antithesis of a philosopher, a sort of poetic 'wolf in sheep's
[philosophical] clothing' who tore morality to shreds in his insane hatred of
Christianity.
441. Nietzsche's
hatred of Schopenhauer was no less perverse than his hatred of morality, and
stemmed from a similar source.
442. Schopenhauer
taught denial of the will, and Nietzsche taught affirmation of the spirit - the
one was wise after a Catholic fashion and the other foolishly fundamentalist.
443. By
and large, the twentieth century followed Nietzsche rather than Schopenhauer,
with morally catastrophic results (Fascism).
444. Compared
to Schopenhauer, Nietzsche was if not overly barbarous, then certainly less
than truly civilized!
445. Barbarism
rides out on the triumph of the will and perishes with its denial.
446. Civilization
is born when barbarism dies, and it affirms not nature but art, which is
artificial.
447. Just
as nature is the essence of barbarism, so culture is the essence of
civilization; for culture can only develop where nature is not.
448. The cultivated
barbarian tames and cultivates nature, but is unable to transcend it through
culture.
449. Without
civilization there can be no culture, and thus no art, but only the natural
wilfulness of barbarism.
450. One
can be civilized on a number of levels, but the highest civilization of all is
that which denies the spirit and thus makes possible the art of
self-cultivation through meditation.
451. Such
self-cultivation - which is not to be identified with the personal spiritual
self - brings forward the Holy Spirit of Heaven in the ultimate culture - one
transcending the World, and hence all art.
452. Not
only aesthetic culture, but both ethical and ethnic culture are also
transcended by the theistic culture of the '
453. Whereas
aesthetic culture affirms beauty through art, theistic culture affirms truth
through air.
454. Where
ethical culture affirms goodness through the prayer book, ethnic culture
affirms strength through race.
455. Compared
to aesthetic culture, which is of the World, ethical culture is of Purgatory.
456. Compared
to theistic culture, which is of Heaven, ethnic culture is of Hell.
457. The
aesthetic culture of the Mother contrasts with the ethical culture of the Son,
as Humanism with Nonconformism.
458. The
ethnic culture of the Father contrasts with the theistic culture of the Holy
Spirit, as Fundamentalism with Transcendentalism.
459. To
contrast the phenomenal subjectivity of aesthetic culture with the phenomenal
objectivity of ethical culture.
460. To
contrast the noumenal objectivity of ethnic culture with the noumenal
subjectivity of theistic culture.
461. Aesthetic
culture, being of the Mother, is mundane, whereas ethical culture, being of the
Son, is purgatorial.
462. Ethnic
culture, being of the Father, is hellish, whereas theistic culture, being of
the Holy Spirit, is heavenly.
463. He
who creates God the Holy Spirit of Heaven by bringing his consciousness into
focus with the air he breathes is beyond belief in a Creator God, such as
Jehovah or the Clear Light of the Void.
464. God
as Creator of the Universe is not only the most primitive and primal concept of
God; it is the most false, because alpha rather than omega.
465. To
regard God from a cosmic viewpoint as Creator of the Universe, is to take what
might be termed a scientist's view of religion, which, because it is rooted in
the given rather than the becoming, is the most spurious of all religious
affiliations.
466. One
has not begun to live religion until one has turned one's back on the barbarism
of cosmic Godhead and thereby denied the spirit of creation!
467. Denial
of the Clear Light of the Void is a prerequisite of theistic culture in the
Holy Spirit of Heaven.
468. It
could be said of acoustic music that it is a neutron equivalence vis-à-vis the
electron equivalence of electric music.
469. Thus
it could broadly be said that acoustic music is bourgeois and masculine,
whereas electric music is proletarian and feminine.
470. This
would not apply, however, to Jazz, which, when acoustic and traditional, is
rather more of a proton than neutron equivalence, given its intensive rhythms
and centrifugal wind.
471. Jazz
would therefore stand to, say, classical acoustic music as the sun to the moon,
or protons to neutrons.
472. Thus
it could be argued that the relationship of Jazz to Classical is akin to the
relationship of America to Europe, the 'New World' to the 'Old World', with the
former largely diabolic and the latter largely masculine, e.g. solar and lunar,
or fundamentalist and nonconformist.
473. The
eclipse of Classical by Jazz is equivalent to the eclipse of the '
474. Hence
one could speak of the damnation of Classical by and through Jazz, with the
former broadly middle class and the latter broadly upper class.
475. To
contrast the Classical Purgatory with the Jazz Hell, or intellectual music with
soulful music, the former cold and the latter hot.
476. If
Jazz corresponds to a musical Hell and Classical to a musical Purgatory, then
Pop (including Rock) must correspond to the World, being a working-class music.
477. Pop
music is largely electric and therefore electron(ic), which makes it
phenomenally subjective (will-based) where Classical is phenomenally objective
(intellect-based) and Jazz noumenally objective (soul-based).
478. Jazz-Rock
is a sort of 'Bolshevik' paradox whereby Rock is advanced from a Jazz
perspective, contrasting with the 'fascism' of Trad Jazz and the 'nazism' of
Jazz-Classical.
479. If
Rock, as a form of Pop, is of the World, then the only thing which is beyond it
is Folk, conceived as a classless music with noumenally subjective overtones.
480. Since
noumenal subjectivity correlates with the spirit, it could be said that Folk is
the classless music of a spirit-biased photon equivalence.
481. Hence
one would have an absolute distinction between Jazz and Folk, soul and spirit,
with the former diabolic and the latter divine.
482. By
contrast, the distinction between Classical and Pop would be relative, since
intellect and will are phenomenal, and therefore less extreme than soul and
spirit.
483. Hence
a purgatorial/mundane distinction between Classical (including Romantic) and
Pop (including Rock), with Romantic being a mundane approach to Classical and
Rock, by contrast, a purgatorial approach to Pop.
484. Thus
it could be said that whereas Romantic is 'Catholic' Classical, Rock, by
contrast, is 'Protestant' Pop, since the one is more instinctual than
intellectual, and the other more intellectual than instinctual.
485. Blues
is a folksy approach to Jazz, whereas Gospel is a jazzy approach to Folk.
486. Broadly,
each type of music is divisible into an alpha and an omega pole on the basis of
a vocal/instrumental dichotomy.
487. Of
the four main kinds of music, viz. Jazz, Pop, Classical, and Folk, Classical is
the only 'dead' music, since it is affiliated, through the intellect, with the
lunar, and thus is dependent on scores.
488. Jazz,
Pop, and Folk are 'live' kinds of music which, whether extrinsically or
intrinsically, are independent of scores.
489. Jazz,
being affiliated to the solar, is extrinsically emotional, whereas Folk, with its
stellar affiliation, is intrinsically spiritual.
490. Pop,
being affiliated to the worldly (planar), is intrinsically instinctual.
491. Even
though Rock is a 'Protestant', and therefore purgatorial, approach to Pop, it
is still a working-class form of music.
492. Likewise,
Romantic is still middle class even though it is a 'Catholic', and hence
mundane, approach to Classical.
493. To
contrast the aesthetics of Pop (including Rock) with the ethics of Classical
(including Romantic).
494. To
contrast the ethnicity of Jazz (including the Blues) with the theism of Folk
(including Gospel).
495. Because
Folk is arguably the ultimate music, it is likely that only Folk would be given
active encouragement in the (Social Theocratic) '
496. Where
there is Folk, as in
497. The
intrinsic pitch of Folk contrasts absolutely with the extrinsic rhythms of
Jazz.
498. The
intrinsic harmonies of Pop contrast relatively with the extrinsic melodies of
Classical.
499. The
salvation of the Pop World in and by the Folk Heaven.
500. The
damnation of the Classical Overworld (purgatorial) in and by the Jazz Hell.
501. God
stands behind Folk as the Devil behind Jazz, Man behind Classical, and Woman
behind Pop.
502. The
Folk of the Holy Spirit (God), as opposed to the Jazz of the Father (Devil).
503. The
Classical of the Son (Man), as opposed to the Pop of the Mother (Woman).
504. The
older I get, the more convinced I become that there exists a correlation
between soil and sex, and that natural sexual relations are only possible on
the basis of a harmonious relationship between the two.
505. That
man who lives exiled from his ancestral soil is unlikely to have respectful, or
indeed any, sexual relations with women.
506. When
one is alienated from the soil (if any) on which one lives, the chances of
one's sexuality being unaffected will be correspondingly remote.
507. The
soil is not just a historicity of blood and toil; it is a feminine parallel
(Mother Earth) to woman, and hence the womb.
508. He
who does not respect the soil upon which he lives is unlikely to have much
sexual respect for its women.
509. The
frivolous man who lives exiled from his native soil may be able to 'fuck
around' with women, but the serious man is more likely, scorning homosexuality,
to remain celibate.
510. Homosexuality
is, I think, conditioned more by the artificial essence (antinatural) of the
urban environment than by natural proclivities alone.
511. The
city, being an intensely artificial phenomenon, has a lunar, and therefore
masculine, parallel which conduces towards the growth of homosexuality.
512. Viewed
objectively, in connection with its relationship to urban artificiality,
homosexuality is a middle-class sexuality with markedly liberal overtones.
513. Homosexuality
contrasts with lesbianism as Purgatory with the World, or masculinity with
femininity.
514. If
homosexuality is purgatorial and lesbianism mundane, then heterosexuality must
signify a compromise between the two, as though in strict reflection of a
masculine/feminine dualism.
515. Such
a dualism would have its political parallel in a Liberal Republic, as a
compromise between parliamentary and socialist alternatives, the former
effectively homosexual and the latter lesbian.
516. It
could also be said that heterosexuality is analogous to a Classical/Pop or
Pop/Classical compromise, whereby the intellect and the will (of masculine and
feminine genders) seek a sexual accommodation with each other.
517. The
only sexuality beyond the World is the airy sexuality of intercourse with
plastic inflatables, or the use, for sexual gratification, of so-called 'sex
dolls'.
518. Inflatable
intercourse, as one might call it, is the ultimate kind of sex, which should
correspond to a spiritual bias, given the not inconsiderable part played by
air.
519. If
inflatable intercourse is the divine mode of sex, then pornography must be the
diabolic mode, the mode associated with the noumenal objectivity of
masturbation.
520. Photographic
light is not in itself diabolic, but pornography easily becomes an inducement
to masturbation, particularly in connection with film (the mode of photography
most paralleling fire).
521. Pornographic
sex contrasts with inflatable sex as Jazz with Folk, or the Devil with God.
522. Homosexuality
contrasts with lesbianism as Classical with Pop, or Man with Woman.
523. Because
there is a correlation between environment and sexuality, it should largely be
possible to equate a given type of sexuality with a given environment, whether
or not such an equation invariably bears practical fruit.
524. The
town stands between the village and the city as heterosexuality between
lesbianism and homosexuality.
525. The
town is thus the environment most correlative with a heterosexual compromise
between masculine and feminine extremes, since the town exists, in scale and
environment, between the city and the village.
526. To
contrast the 'homosexuality' of city environments with the 'lesbianism' of
village environments, as one would contrast the masculine with the feminine, or
Purgatory with the World.
527. The
city is an intensely artificial and materialistic environment which contrasts
with the naturalism of village life.
528. Compared
to the village, the city is a dead thing, wherein the intellect erects its
throne.
529. The town
is less a compromise between city and village than an environment at one remove
from the village which has the (negative) potential to become a city.
530. The
town is in touch with nature, as the Catholic Christ with the Mother, whereas
the city is transcendentally aloof from it in a kind of nonconformist
Purgatory.
531. Beyond
the village is the commune, which brings the People to God.
532. Behind
the city is the urban wasteland, which brings the Devil to people.
533. The
urban wasteland is the contemporary abode of Hell for those who inhabit it.
534. The
commune is the contemporary abode of Heaven for those who inhabit it.
535. The
garden-city concept is effectively a Nazi delusion, which seeks to save the
city.
536. One
can no more save the city than damn the village.
537. The
universality of the artist contrasts, as the World to Purgatory, with the
universality of the scholar.
538. The
universality of the genius contrasts, as Hell to Heaven, with the universality
of the saint.
539. The
artist denies the will through the artificial beauty of art.
540. The
scholar denies the intellect through the artificial goodness of politics.
541. The
genius denies the soul through the artificial strength of science.
542. The saint
denies the spirit through the artificial truth of religion.
543. The
genius and the saint are as antithetical as the Devil and God, whereas the
artist and the scholar are only as antithetical as Woman and
544. The
artist-saint is the paradoxical equivalent of the political-genius.
545. One
can no more save the scholar than damn the artist; the scholar can only be
damned and the artist saved.
546. Salvation
for the artist is in the saint, including the philosopher.
547. Damnation
for the scholar is in the genius, including the inventor.
548. Traditionally,
the artist is a phenomenon of the village and the scholar a phenomenon of the
town, though, these days, the former is more apt to live in a town and the
latter in a city.
549. By
contrast, the saint is a noumenon of the religious commune (monastery) and the
genius a noumenon of the castle (country house).
550. The
phenomenal subjectivity of the artist contrasts relatively with the phenomenal
objectivity of the scholar.
551. The
noumenal subjectivity of the saint contrasts absolutely with the noumenal
objectivity of the genius.
552. Genius
is even more abhorrent to the saint than scholarship to the artist.
553. It is
because they are both subjective that the artist and the saint are feminine/divine
ideals.
554. By
contrast, the scholar and the genius are masculine/diabolic ideals.
555. It
could be argued that whereas the ideal of a nonconformist society will be the scholar,
the ideal of a humanist society, by contrast, will be the artist.
556. Likewise,
the ideal of a fundamentalist society will be the genius, in contrast to the
saintly ideal of a transcendentalist society.
557. The
Pop artist stands in a phenomenally antithetical relationship to the Classical
scholar.
558. The
Folk saint stands in a noumenally antithetical relationship to the Jazz genius.
559. Because
music is essentially a heavenly art form, it follows that the most musical kind
of music will be that which most approximates to the divine, viz. pitch, while
the least musical kind of music will be that, by contrast, which most
approximates to the diabolic, viz. rhythm.
560. Since
the above distinction is one between the musical and the unmusical, it could be
argued that whereas Folk is, in its bias towards pitch, an absolutely musical
kind of music, Jazz, in its rhythmic basis (swing), is absolutely unmusical.
561. A
similar, albeit more relative, distinction could be drawn between Classical and
Pop - the former relatively musical in its melodic bias, the latter relatively
unmusical in its bias for harmony.
562. Thus
whereas Folk and Classical are musical kinds of music, the former absolutely
and the latter relatively, Pop and Jazz are comparatively unmusical kinds of
music, the former relatively and the latter absolutely.
563. Put
metaphysically, we are distinguishing between the absolute musicality of pitch
(the divine element in music) and the relative musicality of melody (the
masculine element in music).
564. Likewise,
where Pop and Jazz are concerned, we are distinguishing between the relative
unmusicality, so to speak, of harmony (the feminine element in music) and the
absolute unmusicality of rhythm (the diabolic element in music).
565. Whereas
Folk, Jazz, Classical, and Pop are primary musical art forms, Blues, Soul,
Romantic, and Rock are secondary musical art forms.
566. The
primary musical art forms stand to the secondary ones as the psychological to
the physiological, or as elements to molecules.
567. Hence
whereas Folk, the heavenly kind of music, is of the superconscious, Blues is of
the forebrain.
568. Hence
whereas Jazz, the hellish kind of music, is of the subconscious, Soul is of the
backbrain.
569. Hence
whereas Classical, the purgatorial kind of music, is of the conscious, Romantic
is of the right midbrain.
570. Hence
whereas Pop, the mundane kind of music, is of the unconscious, Rock is of the
left midbrain.
571. Such
distinctions, as between the primary and the secondary, apply equally well to
the alpha or to the omega, particles or wavicles, within any given musical
spectrum.
572. Hence
a particle/wavicle distinction between vocal Folk and instrumental Folk with
regard to the photon elements of the superconscious, but a particle/wavicle
distinction between vocal Blues and instrumental Blues with regard to the
photon molecules of the forebrain.
573. Hence
a particle/wavicle distinction between vocal Jazz and instrumental Jazz with
regard to the proton elements of the subconscious, but a particle/wavicle
distinction between vocal Soul and instrumental Soul with regard to the proton
molecules of the backbrain.
574. Hence
a particle/wavicle distinction between vocal Classical and instrumental
Classical with regard to the neutron elements of the conscious, but a
particle/wavicle distinction between vocal Romantic and instrumental Romantic
with regard to the neutron molecules of the right midbrain.
575. Hence
a particle/wavicle distinction between vocal Pop and instrumental Pop with
regard to the electron elements of the unconscious, but a particle/wavicle
distinction between vocal Rock and instrumental Rock with regard to the
electron molecules of the left midbrain.
576. Folk,
being pitch-orientated, is the music of space, as, from a cruder standpoint, is
the Blues.
577. Jazz,
being rhythmic, is the music of time, as, from a cruder standpoint, is Soul.
578. Classical,
being melodic, is the music of volume, as, from a cruder standpoint, is
Romantic.
579. Pop,
being harmonic, is the music of mass, as, from a cruder standpoint, is Rock.
580. Since
space can be either spatial or spaced, alpha or omega, we should distinguish
Folk space from Blues space on the basis of a spaced/spatial dichotomy.
581. Since
time can be either sequential or repetitive, alpha or omega, we should
distinguish Jazz time from Soul time on the basis of a repetitive/sequential
dichotomy.
582. Since
volume can be either volumetric or voluminous, alpha or omega, we should
distinguish Classical volume from Romantic volume on the basis of a
voluminous/volumetric dichotomy.
583. Since
mass can be either massed or massive, alpha or omega, we should distinguish Pop
mass from Rock mass on the basis of a massive/massed dichotomy.
584. Vocal
Blues is alpha spatial space, whereas instrumental Blues is alpha-in-the-omega
spatial space.
585. Vocal
Folk is omega-in-the-alpha spaced space, whereas instrumental Folk is omega
spaced space.
586. Vocal
Jazz is alpha sequential time, whereas instrumental Jazz is alpha-in-the-omega
sequential time.
587. Vocal
Soul is omega-in-the-alpha repetitive time, whereas instrumental Soul is omega
repetitive time.
588. Vocal
Classical is alpha volumetric volume, whereas instrumental Classical is
alpha-in-the-omega volumetric volume.
589. Vocal
Romantic is omega-in-the-alpha voluminous volume, whereas instrumental Romantic
is omega voluminous volume.
590. Vocal
Rock is alpha massed mass, whereas instrumental Rock is alpha-in-the-omega
massed mass.
591. Vocal
Pop is omega-in-the-alpha massive mass, whereas instrumental Pop is omega
massive mass.
592. From
the foregoing maxims, it can be deduced that whereas the physiological parallel
precedes the psychological parallel in the cases of Blues/Folk and Rock/Pop,
the converse happens in the cases of Jazz/Soul and Classical/Romantic.
593. This
is because both Blues/Folk and Rock/Pop appertain to spectra which, being
subjective, are by definition evolutionary, whereas Jazz/Soul and Classical/Romantic
appertain to spectra which, being objective, are by definition devolutionary.
594. Hence
where subjective spectra are concerned, we have an evolution from the
physiological to the psychological, as from molecules to elements.
595. Where
objective spectra are concerned, however, we have devolution from the
psychological to the physiological, as from elements to molecules.
596. Hence
the evolution of the space spectrum from Blues to Folk, as from the forebrain
to the superconscious.
597. Hence,
too, the evolution of the mass spectrum from Rock to Pop, as from the left
midbrain to the unconscious.
598. But
the devolution of the time spectrum from Jazz to Soul, as from the subconscious
to the backbrain.
599. And
the devolution of the volume spectrum from Classical to Romantic, as from the
conscious to the right midbrain.
600. The
evolution of heavenly subjectivity from the spatial space of vocal Blues to the
spaced space of instrumental Folk via the spaced space of vocal Folk and the
spatial space of instrumental Blues.
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 Millenniumism/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 Millenniumism
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.
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