51. Unlike
the proton autocracy of television and the electron theocracy of computers, the
midi is a composite medium germane to the atomic bureaucracy of a People's
democracy (so-called), and stands to television and computers as the Virgin to
the Father and Holy Spirit, with the neutron democracy of video-recorders,
record-players, and audio-recorders standing above it in the more
sharply-differentiated context of a bourgeois, or parliamentary, democracy,
which has a proton (video-recorder), an atomic (record-player), and a neutron
(cassette-recorder) bias, respectively, to each of its component parts, the
totality of which resembles Christ, in that they correspond to the 'Three in
One' but do not have an electron-biased component, such as would signify
contiguity with the electron theocracy of computers. There is within this bourgeois democracy the
outer light of videos, the outer darkness of LPs, and the inner darkness of
audio tapes, relative to soul, will, and intellect, but not the inner light of
compact discs, relative to spirit, and consequently it pertains to the
purgatorial lunacy of an intellectual dead-end.
Only with the compact-disc aspect of the midi, germane to a theocratic
bureaucracy, is it possible to identify an inner light, and thus extrapolate
the possibility of evolutionary progress from bureaucracy to theocracy in due
spiritual course, the path to eternity stretching beyond the parameters of a
People's democracy towards those of a People's theocracy, such as accords with
a Social Transcendentalist allegiance in deference to the Holy Spirit alone.
52. Unlike
a bourgeois or parliamentary democracy, a People's democracy is made by the
People, stems from the will of the People, and signifies a bureaucratic mean
germane, in large measure, to the outer darkness. It contrasts absolutely with bourgeois
democracy, which is less worldly than purgatorial and therefore germane, in
large measure, to the inner darkness of the intellect. Furthermore, a People's democracy is less
sharply differentiated than a bourgeois democracy, since it is atomic rather
than elemental in the neutron and/or proton sense. But it has every right to pluralistic
divisions, even if they are less marked than those in the bourgeois framework
(and may even, especially in the context emerging from Communist autocracy, be
more factional than party political). In
the 1992 General Election in Britain, the Labour Party, the Liberal Democrats,
and the Conservatives remained the principal parties of what is still an
overwhelmingly bourgeois, or parliamentary, democracy, while the Revolutionary
Communists (analogous to Yeltsinite autocratic
bureaucracy), the Greens, and the Natural Law Party constituted the main
'democratic' alternative to this status quo, the alternative of a People's
democracy which received only a very small number of votes relative to the
total numbers cast. Does this mean to
say that a People's democracy is impossible or unlikely to emerge in
53. In
contrast to bourgeois democracy, Eastern Europe provides us with ample
testimony to the emergence of People's democracy in the wake of Communist
autocracy, since Communism was overthrown by popular unrest and the
mass-movement of the People in general.
Hence a progression, since 1989, from the so-called (in name only)
People's democracies of the Soviet East to the genuine People's democracies of
the present, which are essentially bureaucratic and a testimony, it seems to
me, to the development of bureaucratic socialism out of the ruins of autocratic
socialism. Such socialism, although
necessarily market-orientated, should not be confounded with or mistaken for
capitalism, as understood in the bourgeois West. It is the People, not the bosses, who are in
charge where this socialism is concerned, and it is for them to take much of
the responsibility for managing and developing economic affairs that was
formerly entrusted to the State. Only
from such socialism can there be a progression towards transcendentalism, not
from capitalism, which, like democracy in the Western, or parliamentary, sense,
pertains to a materialistic dead-end germane to the purgatorial lunacy of the
inner darkness of an intellectual hegemony.
54. Better
to be a 'nobody' and someone than a 'somebody' and no-one. Better the omega than the alpha!
55. It
seems to me that whereas, generally speaking, hardbacks are materialistic, and
hence of a purgatorial lunacy commensurate with the inner darkness, softbacks are realistic, and hence of a worldly mundaneness commensurate with the outer darkness. Thus a distinction, furthermore, between
intellect and will, democracy and bureaucracy, which has the ring of a
Protestant/Catholic, Parliamentary/Republican polarity. It would therefore be scant exaggeration to
say, in reverting to popular slang, that whereas hardbacks are for 'pricks', softbacks are for 'cunts',
allowing us to distinguish between 'hardback pricks' and 'softback
cunts', as between bourgeoisie and proletariat. Each of which would be flanked, in this
naturalistic (as opposed to artificial) context, by 'picturebook
supercunts' and 'magazine superpricks',
as germane to autocratic and theocratic extremes within the overall
alpha-stemming, and hence fundamentally centrifugal, context of bourgeois, or
Western, civilization.
56. I
like to generalize the naturalistic context, for example, of books and
magazines as 'bourgeois', and the artificial context, for example, of
television and computers as 'proletarian', but, in point of fact, each context,
as we have seen, is divisible in such fashion, so that the hardback/paperback
dichotomy is no less one between bourgeoisie and proletariat than the, for
example, record-player/midi dichotomy in the more evolved, and hence
artificial, context of contemporary culture, which is electronically
generated. Therefore if we are to
distinguish between bourgeois and proletarian options in the 'naturalistic'
context, we shall have to do the same with regard to the 'artificial' context,
where, as just noted, we find a kind of democratic/bureaucratic polarity, for
example, between record-players, not to mention video-recorders on the Left and
cassette-recorders on the Right, and midi systems, the former effectively
bourgeois on account of their more sharply-differentiated constitutions within
the framework of a lunar intellectuality which ranges from a soulful contiguity
(with television) on the video Left to an intellectual puritanism
on the audio Right, and the latter effectively proletarian on account of its
more composite atomicity within the framework of a worldly mundaneness
which ranges from a wilful purism on the singles Left to a spiritual contiguity
(with compact floppies) on the CD Right, allowing for the wilful liberalism of
radio and the intellectual liberalism of audio in between. Contrasted to which, however, we shall find
the autocratic medium of television on the one hand, and the theocratic medium
of computers on the other, the former analogous to picturebooks
and the latter to magazines, proton and electron extremes which flank the
neutron lunacy of the democratic brain and the atomic mundaneness
of the bureaucratic body, soul and spirit flanking intellect and will.
57. If
audio tapes/recorders correspond to a neutron mean, the former on the level of wavicles and the latter on that of particles, then it seems
not improbable that video tapes/recorders correspond to a proton-biased neutron
intellectuality, the former as wavicles and the
latter as particles, while records/record-players correspond to an
atomic-biased neutron intellectuality within similar wavicle/particle
terms, records/record-players more Centrist than Left or Right on account of
their correlation with the outer darkness in a relatively wilful context in
between the - relative to democracy - outer light of videos/video-recorders and
the inner darkness of audios/cassette-recorders, the former relative to soul
and the latter to intellect, Labour and Conservative parallels flanking a
Liberal middle ground. How unlike the
composite atomicity of the midi-system beneath, which, having a relationship to
spirit through the inner light of compact discs, is not closed to omega in an
inner darkness puritanism, but has a contiguity with
it that leads one to infer a logical progression to computers, and hence the
soft, or essential, inner light of spiritual transcendence! If audio tapes/cassette-recorders are an
intellectual dead-end (and never more so than in the extreme right-wing context
of personal cassette-players), then the compact-disc aspect of the midi is a
spiritual beginning that leads, via the revolution of personal compact-disc
players, to the higher spirituality of computer discs/computers, and thus to
the transcendence of bureaucracy in the ultimate theocracy of the soft inner
light, truly a salvation of the world by Heaven.
58. From
television Hell to computer Heaven via the midi world - a devolution from
autocracy to bureaucracy, and an evolution from bureaucracy to theocracy which
leaves the radio-cassette purgatory isolated in the democratic intellectuality
of its materialistic limbo, out on a neutron limb which fights shy of both
proton and electron extremes as it continues to dominate the mundane atomicity
of the midi world from its lunar heights, scorning both solar and stellar
alternatives but oblivious to the slow currents of evolution which work against
it and must, one day, lead to its total eclipse ... as the world is saved from
purgatory, and hence democracy, by the computer Heaven of an ascendant
theocracy.
59. Fusion
stands to jazz as rap to soul, punk to rock, and funk to pop - that is to say
as a particle (secular) fall from a wavicle
(religious) norm, which smacks of musical and ideological decadence. It is as though, in fusion music, one were
dealing not with the Holy Spirit (jazz) but with the Antispirit,
in rap not with the Father (soul) but with the Antifather,
in punk not with Christ (rock) but with the Antichrist, and in funk not with
the Blessed Virgin (pop) but with the Antivirgin. Thus whereas jazz, soul, rock, and pop could
be described as correlating, in their various ways, with the divine, fusion,
rap, punk, and funk could similarly be described as correlating with the
diabolic, since the diabolic corresponds to the particle as opposed to wavicle aspect of the atom, whether in regard to protons
(soul and rap), neutrons (rock and punk), atoms (pop and funk), or electrons
(jazz and fusion), that is to say whether in regard to elemental naturalism,
materialism, realism, or idealism; fire, water, earth, or air; which,
instrumentally speaking, would amount to a distinction between drums,
keyboards, guitars, and wind.
60i. Music
as the naturalistic art form (fire/emotion); sculpture as the realistic art
form (earth/will); literature as the materialistic art form (water/intellect);
art as the idealistic art form (light/awareness). Hence music as the art form of the Father;
sculpture as the art form of the Blessed Virgin; literature as the art form of
the Son; art as the art form of the Holy Spirit. Subdividing music into soul, pop, rock, and
jazz, we shall find that soul is a naturalistic type of music (fire/emotion);
pop a realistic type of music (earth/will); rock a materialistic type of music
(water/intellect); and jazz an idealistic type of music (air/awareness). Hence one can speak of the naturalistic
naturalism of soul; the realistic naturalism of pop; the materialistic
naturalism of rock; and the idealistic naturalism of jazz. (Opera, ballet,
symphonies, and concertos would constitute a 'Christian' parallel to the
above-mentioned 'transcendental', or electronic, types of music.) Thus because music is the art form of the
Father, soul is the music which is most of the Father and could therefore be
described as of the Father per
se; pop is the music of the Father which could be described as the 'mother'
of the Father; rock is the music of the Father which could be described as the
'son' of the Father; jazz is the music which is least of the Father and could
therefore be described as the 'holy spirit' of the Father. Hence a parallel with television as the
medium of the Father, television being subdivisible
into conventional broadcast television; cable TV; teletext
TV; and satellite TV; that is to say conventional broadcast television as of
the Father per se; cable TV as the 'mother' of the Father; teletext TV as the 'son' of the Father; and satellite TV as
the 'holy spirit' of the Father.
Therefore a specific parallel, based on these subdivisions, can be
inferred to exist between soul and conventional television; pop and cable TV;
rock and teletext TV; and jazz and satellite TV. I would contend that, both television and
music being naturalistic phenomena, a correlation not only exists between music
and television but that, in the modern world, music is most at home on TV,
where it can be seen as well as heard, its emotional essence corresponding to
the outer light ... of the medium in question. (As smoking is a naturalistic
phenomenon in relation to, say, the realism of eating or the materialism of
drinking, there is a like-correlation between smoking and television and/or
music, and where the latter is concerned I would argue for a specific parallel
between roll-ups [the naturalistic mode of smoking] and soul, cigarettes [the
realistic mode of smoking] and pop, cigars [the materialistic mode of smoking]
and rock, and pipes [the idealistic mode of smoking] and jazz, thereby
contending that soul is equivalent to the roll-up mode of smoking, pop ... to
the cigarette mode of smoking, rock ... to the cigar mode of smoking, and jazz
... to the pipe mode of smoking. If
smoking is undesirable from a spiritual standpoint, bearing in mind its
autocratic essence, then so is music and television, since neither the one nor
the other can truly transcend the Father, the soulful alpha of the outer light,
and the Father is ever an antithesis to the Holy Spirit. Uncivilized in music, one cannot be supercivilized in art.)
ii. Having dealt
with music, let us now proceed to sculpture, the realistic art form
(earth/will). Subdividing sculpture into
light sculptures, mobiles, kinetics, and holograms, we shall find that light
sculptures are a naturalistic type of sculpture (fire/emotion); mobiles a
realistic type of sculpture (earth/will); kinetics a
materialistic type of sculpture (water/intellect); and holograms an idealistic
type of sculpture (light/awareness).
Hence one can speak of the naturalistic realism of light sculptures; the
realistic realism of mobiles; the materialistic realism of kinetics; and the
idealistic realism of holograms. (Carvings, figure sculptures, busts, and
relief sculptures would constitute a 'Christian' parallel to the
above-mentioned 'transcendental', or synthetic, types of sculpture.) Thus because sculpture is the art form of the
Mother, light sculptures are the form of sculpture which is least of the Mother
and could therefore be described as the 'father' of the Mother; mobiles are the
form of sculpture which is most of the Mother and could therefore be described
as of the Mother per se;
kinetics are the form of sculpture which could be described as the 'son' of the
Mother; holograms are the form of sculpture which could be described as the
'holy spirit' of the Mother. Hence a
parallel with radio as the medium of the Mother, radio being subdivisible into conventional broadcast radio; community
radio; local radio; and walkie-talkie radio; that is to say, conventional
broadcast radio as the 'father' of the Mother; community radio as of the Mother
per se; local radio as the 'son' of the Mother; and walkie-talkie radio
as the 'holy spirit' of the Mother.
Therefore a specific parallel, based on these subdivisions, can be
inferred to exist between light sculptures and conventional radio; mobiles and
community radio; kinetics and local radio; and holograms and
walkie-talkies. I would contend that,
both radio and sculpture being realistic phenomena, a correlation not only
exists between radio and sculpture, but that sculpture is most at home, in the
modern world, when discussed on radio, its wilful essence corresponding to the
outer darkness of the medium in question.
(As eating is a realistic phenomenon in relation to, say, the
materialism of drinking or the idealism of sniffing, there is a
like-correlation between eating and radio and/or sculpture, and where the
latter is concerned I would argue for a specific parallel between breakfast
[the naturalistic time/mode of eating] and light sculptures, lunch [the
realistic time/mode of eating] and mobiles, tea [the materialistic time/mode of
eating] and kinetics, and supper [the idealistic time/mode of eating] and
holograms, thereby contending that light sculptures are equivalent to
breakfast, mobiles ... to lunch, kinetics ... to tea, and holograms ... to
supper. If excessive eating [gluttony]
is undesirable from a spiritual standpoint, bearing in mind its bureaucratic
essence, then so is sculpture and radio, since neither the one nor the other
can truly transcend the Mother, the wilful mundaneness
of the outer darkness, and the Mother is ever distinct from the Holy
Spirit. Barbaric in sculpture, one
cannot be supercivilized in art.)
iii. We have dealt,
then, with sculpture. Let us now proceed
to literature, the materialistic art form (water/intellect). Subdividing literature into drama, fiction,
debate, and verse, we shall find that drama is a naturalistic kind of
literature (fire/emotion); fiction a realistic kind of literature (earth/will);
debate a materialistic kind of literature (water/intellect); and verse an
idealistic kind of literature (air/awareness).
Hence one can speak of the naturalistic materialism of drama; the
realistic materialism of fiction; the materialistic materialism of debate; and
the idealistic materialism of verse.
(Theatre, novels, philosophy, and poetry would constitute 'Christian'
parallels to the above-mentioned 'transcendental', or synthetic, types of
literature more usually presented in conjunction with electronic media.) Thus because literature is the art form of
the Son, drama is the literature of the 'father' of the Son; fiction is the
literature of the 'mother' of the Son; debate is the literature which is most
of the Son and could therefore be described as of the Son per se; verse is the literature which
is least of the Son and could therefore be described as the 'holy spirit' of
the Son. Hence a parallel with cassettes
as the medium of the Son, cassettes being subdivisible
into video cassettes; audiovisual cassettes; audio cassettes; and microcassettes; that is to say video cassettes as the
'father' of the Son; audiovisual cassettes as the 'mother' of the Son; audio
cassettes as of the Son per se; and microcassettes
as the 'holy spirit' of the Son.
Therefore a specific parallel, based on these subdivisions, can be
inferred to exist between drama and video cassettes; fiction and audiovisual
cassettes; debate and audio cassettes; and verse and microcassettes. I would contend that, both cassettes and
literature being materialistic phenomena, a correlation not only exists between
cassettes and literature, but that literature is most at home, in the modern
world, on cassette, its intellectual essence corresponding to the inner
darkness of the medium in question. (As drinking is a materialistic phenomenon
in relation to, say, the idealism of sniffing or the naturalism of smoking,
there is a like-correlation between drinking and cassettes and/or literature,
and where the latter is concerned I would argue for a specific parallel between
glasses [the naturalistic mode of drinking] and drama; bottles [the realistic
mode of drinking] and fiction; cans [the materialistic mode of drinking] and
debate; and beakers [the idealistic mode of drinking] and verse, thereby
contending that drama is equivalent to glasses, fiction ... to bottles, debate
... to cans, and verse ... to beakers.
If excessive drinking is undesirable from a spiritual standpoint,
bearing in mind its democratic essence, then so are literature and cassettes,
since neither the one nor the other can truly transcend the Son, and the Son is
ever distinct from the Holy Spirit.
Civilized in literature, one cannot be supercivilized
in art.)
iv. We have now dealt with literature. Let us finally deal with art, the idealistic
art form (light/awareness). Subdividing
art into light art, pop art,
photography, and computer graphics, we shall find that light art is the
naturalistic type of art (fire/emotion); pop art the realistic type of art
(earth/will); photography the materialistic type of art water/intellect); and
graphics the idealistic type of art (light/awareness). Hence we can speak of the naturalistic
idealism of light art; the realistic idealism of pop art; the materialistic
idealism of photography; and the idealistic idealism of graphics. (Stained
glass, pottery, painting, and drawing would constitute 'Christian' parallels to
the above-mentioned 'transcendental', or synthetic, types of art.) Thus because art is the art form of the Holy
Spirit, light art is the art which is least of the Holy Spirit and could
therefore be described as the 'father' of the Holy Spirit; pop art is the art
of the 'mother' of the Holy Spirit; photography is the art of the 'son' of the
Holy Spirit; and graphics is the art which is most of the Holy Spirit and could
therefore be described as of the Holy Spirit per se. Hence a
parallel with computers as the medium of the Holy Spirit, computers being subdivisible into games computers; personal computers; word
processors; and microcomputers; that is to say games computers as the 'father'
of the Holy Spirit; personal computers as the 'mother' of the Holy Spirit';
word processors as the 'son' of the Holy Spirit; and microcomputers as of the
Holy Spirit per se.
Therefore a specific parallel, based on these subdivisions, can be
inferred to exist between light art and games computers; pop art and personal computers;
photography and word processors; and graphics and microcomputers. I would contend that, both computers and art
being idealistic phenomena, a correlation not only exists between computers and
art but that, in the modern world, art is most at home on computer, its
spiritual essence corresponding to the inner light of the medium in
question. (As sniffing is an idealistic
phenomenon in relation to, say, the naturalism of smoking or the realism of
eating, there is a like-correlation between sniffing and computers and/or art,
and where the latter is concerned I would argue for a specific parallel between
smoke-basing [the naturalistic mode of sniffing/snorting] and light art;
uncut-basing [the realistic mode of sniffing/snorting] and pop art; water-basing
[the materialistic mode of sniffing/snorting] and photography; and free-basing
[the idealistic mode of sniffing/snorting] and graphics, contending that light
art is equivalent to smoke-basing, pop art ... to uncut-basing, photography ...
to water-basing, and graphics ... to free-basing. If sniffing is desirable from a spiritual
standpoint, bearing in mind its theocratic essence, then so are computers and
art, since both the one and the other pertain to the spiritual omega of the
inner light, and the inner light and the Holy Spirit are forever One. Supercivilized in
art, one has achieved cultural salvation.)
61. To
distinguish between the 'uncivilized', the 'civilized', and the 'supercivilized' in relation to the Trinity (with the
'barbaric' relating to the Blessed Virgin underneath), but between the
'insane', the 'sane', and the 'supersane' in relation
to the Antitrinity (with the 'mad' relating to the Antivirgin beneath).
Hence a distinction, effectively, between wavicles and particles, the religious and the secular, gods
and devils. For it seems to me
that whereas the Creator is uncivilized, Satan is insane; that whereas the
Mother is barbaric, the Antimother is mad; that
whereas the Son is civilized, the Antichrist is sane; and that whereas the Holy
Spirit is supercivilized, the Antispirit
is supersane.
62. Music
as the uncivilized art form; sculpture as the barbarous art form; literature as
the civilized art form; art as the supercivilized art
form. Conversely, antimusic
as the insane art form; antisculpture as the mad art
form; antiliterature as the sane art form; anti-art
as the supersane art form. Hence, to take a single example, in this case
music, uncivilized soul, barbarous pop, civilized rock, supercivilized
jazz. And, in the case of antimusic, insane rap, mad funk, sane punk, supersane fusion.
63. Whereas fine art relates to the wavicle, or noumenal, quality of
any given element, crude art relates to its particle, or phenomenal, quantity.
Hence whereas fine art is heat, darkness, coldness, or light, crude art
is fire, earth, water, or air. This is
effectively a religious/secular distinction, and one might speak of the heat (soulful) essence of fine music, but the
fiery (emotional) essence of crude music (not to be confused with antimusic); of the dark (wilful) essence of fine sculpture,
but the earthy (opaque) essence of crude sculpture; of the cold (intellectual)
essence of fine literature, but the watery (insipid) essence of crude
literature; of the light (spiritual) essence of fine art, but the airy
(mystical) essence of crude art. Fine
art and crude art differ from anti-art (both fine and crude) as the positive
from the negative, i.e. pride from humiliation on the noumenal
plane, and strength from weakness on the phenomenal plane.
64i. Joy
stands to inner light as truth to inner air.
For joy is inner light no less than truth is inner air. In fact, joy is the inner light of airy
truth.
ii. Pride stands to inner heat as strength to
inner fire. For pride is inner heat no
less than strength is inner fire. In
fact, pride is the inner heat of fiery strength.
iii. Love stands to inner coldness as goodness to
inner water. For love is inner coldness
no less than goodness is inner water. In
fact, love is the inner coldness of watery goodness.
iv. Pleasure stands to inner darkness as beauty
to inner earth. For pleasure is inner
darkness no less than beauty is inner earth.
In fact, pleasure is the inner darkness of earthy beauty.
65i. Conversely,
sadness stands to outer light as illusion to outer air. For sadness is outer light no less than
illusion is outer air. In fact, sadness
is the outer light of airy illusion.
ii. Humiliation stands to outer heat as
weakness to outer fire. For humiliation
is outer heat no less than weakness is outer fire. In fact, humiliation is the outer heat of
fiery weakness.
iii. Hate stands to outer coldness as evil to
outer water. For hate is outer coldness
no less than evil is outer water. In
fact, hate is the outer coldness of watery evil.
iv. Pain stands to outer darkness as ugliness to
outer earth. For pain is outer darkness
no less than ugliness is outer earth. In
fact, pain is the outer darkness of earthy ugliness.
66i. As light proceeds from outer to inner, alpha to omega, it
changes from sadness and illusion to joy and truth.
ii. As heat
proceeds from outer to inner, alpha to omega, it changes from humiliation and
weakness to pride and strength.
iii. As coldness
proceeds from outer to inner, alpha to omega, it changes from hate and evil to
love and goodness.
iv. As darkness
proceeds from outer to inner, alpha to omega, it changes from pain and ugliness
to pleasure and beauty.
67. The
'outer' devolves from a negative alpha, and the 'inner' evolves towards a
positive omega. There is alpha and omega
of both the world and purgatory no less than of both Hell and Heaven, albeit on
relative rather than absolute terms.
Both fine (noumenal) and crude (phenomenal)
art deal with the inner, or positive.
Both fine and crude anti-art deal with the outer, or negative. Hence whereas art is evolutionary, anti-art
is devolutionary. Art aims to depict the
omega, anti-art to reflect the alpha. The art form most germane to any given elemental spectrum will best
depict or reflect the alpha or omega of that spectrum.
68i. Light
and air, the noumenal and phenomenal of the
idealistic spectrum, are scientific, or factual terms which acquire a cultural
standing when transmuted into sadness and illusion in regard to the alpha ...
and joy and truth in regard to the omega, thereby passing from the realm of
science to the realm of religion, where they exist in divine polarity.
ii. Likewise, heat and fire, the noumenal and phenomenal of the naturalistic spectrum, are
scientific, or factual terms which acquire a cultural standing when transmuted
into humiliation and weakness in regard to the alpha ... and pride and strength
in regard to the omega, thereby passing from the realm of science to the realm
of religion, where they exist in diabolic polarity.
iii. Similarly, coldness and water, the noumenal and phenomenal of the materialistic spectrum, are
scientific, or factual terms which acquire a cultural standing when transmuted
into hate and evil in regard to the alpha ... and love and goodness in regard
to the omega, thereby passing from the realm of science to the realm of
religion, where they exist in purgatorial polarity.
iv. Finally, darkness and earth, the noumenal and phenomenal of the realistic spectrum, are
scientific, or factual terms which acquire a cultural standing when transmuted
into pain and ugliness in regard to the alpha ... and pleasure and beauty in
regard to the omega, thereby passing from the realm of science to the realm of
religion, where they exist in worldly polarity, noumenal
to noumenal and phenomenal to phenomenal in a
fine/crude distinction which is devolutionary in the case of anti-art and
evolutionary in the case of art.
69. Yet
the anti-art/art dichotomy is only one way of regarding the matter - namely, from
a cultural point-of-view. For where the
scientific factuality is concerned, we have a like-dichotomy between science
and antiscience, i.e. the devolutionary negativity
and the evolutionary positivity, with a
like-fine/crude distinction between, for example, light and air in regard to
the idealistic spectrum, outer light and air relative to science, but inner
light and air relative to antiscience. Hence whereas science and anti-art are
philistine-hand-in-cultural-glove, antiscience and
art are likewise philistine-hand-in-cultural-glove, the secular engaged in
mortal combat with itself no less than the religious, if rather more in terms
of fact and fiction than of illusion and truth.
Yet while science can only grow weaker under the assaults of antiscience, art can only grow stronger as it pulls away
from anti-art and thus advances towards its omega goal. The ultimate victory for art is not the
defeat of science by antiscience, but the
subordination of antiscience to itself, as it strives
to serve the religious ends of the cultural advance.
70. From the golden outer light of alpha divinity to the silver
inner light of omega divinity - a centrifugal to centripetal spectrum of divine
light. Likewise, from
the red outer flame of alpha diabolism to the blue inner flame of omega
diabolism - a centrifugal to centripetal spectrum of diabolic flame.
71. No
less than science is the means of illustrating natural law, art is the means of
illustrating supernatural religion. For
law and religion are no less antithetical than science and art or, for that
matter, nature and culture. In fact,
science mediates between nature and natural law no less than art mediates
between culture and supernatural religion.
For nature is the embodiment of natural law, whereas
culture is the essence of supernatural religion. Science may illustrate natural law, but it
does not stem from it. Similarly, art
may illustrate supernatural religion but it does not lead to it. Without natural laws to illustrate, science
is as meaningless as art would be when bereft of supernatural religion.
72. Communism
is pseudo-atomic ... to the extent that it approaches People's so-called
democracy on a dictatorial (proton) basis.
Only Socialism, or People's democracy, can be genuinely atomic, since it
reflects a bureaucratic will, as germane to the bodily masses. Such a democracy, in reality a People's
bureaucracy, stands to Communism as the world to Hell, or the Blessed Virgin to
the Father, and is thus completely distinct from the bourgeois democracy of a
neutron parliament, which stands above it, albeit in terms of a lunar blind
alley, as Christ to the Virgin, or purgatory to the world. But People's democracy has this advantage
over parliamentary democracy: its atomicity embraces an electron-particle right
wing which, corresponding to the hard inner light, is contiguous with the
electron-wavicle essence of Social Transcendentalism,
and hence with the soft inner light of a
theocratic salvation. Devolving from
Communism (Socialist Fundamentalism) to Socialism, 'the living' evolve from
Socialism to Cent(e)rism
(Social Transcendentalism), while 'the dead' remain out on a Capitalist limb(o)
from which there is no escape. For the
distinction between 'the living' and 'the dead' in this respect is indeed equivalent
to a devolution from solar flame to planetary fire and/or an evolution from
planetary fire to stellar light on the one hand, and a stasis in lunar darkness
on the other hand, 'the living' divisible between naturalism, realism, and
idealism, while 'the dead' remain imprisoned within materialism, the
purgatorial materialism of a neutron limbo which fights shy of the diabolic
naturalism of the proton Hell, the planetary realism of the atomic world, and
the divine idealism of the electron Heaven in its concern with capitalist
self-preservation, the embalmed preservation of the living dead.
73. An
unlikely though plausible parallel to be found between Bunyan (The Pilgrim's Progress) and Spengler (The Decline of the West) in regard to (a)
Vanity Fair/Historyless Chaos; (b) the Slough of
Despond/Culture; (c) the Delectable Mountains/ Civilization; and (d) the
Celestial City/Second Religiousness - a sort of dual parallel, after all, to
the (naturalistic) Father, the (realistic) Mother, the (materialistic) Son, and
the (idealistic) Holy Spirit, viz. fire, earth, water, and air.
74i. The
Father stands to Hell as fire to heat; the Mother stands to the world as earth
to darkness; the Son stands to purgatory as water to coldness; and the Holy
Spirit stands to Heaven as air to light.
Hence a phenomenal quantity to a noumenal
quality, concrete particles to abstract wavicles.
ii. Thus the Father stands to Hell as strength
to pride; the Mother stands to the world as beauty to pleasure; the Son stands
to purgatory as goodness to love; and the Holy Spirit stands to Heaven as truth
to joy.
iii. But the Antifather
(Satan) stands to Antihell as weakness to
humiliation; the Antimother stands to the antiworld as ugliness to pain; the Antison
(Antichrist) stands to antipurgatory as evil to hate;
and the Antispirit stands to Antiheaven
as illusion to woe.
iv. The 'antigods' and
'antirealms' are as alpha to the omega positions of
the gods and realms. Negative and
positive, minus and plus, centrifugal and centripetal, immoral and moral.
75i. Soul
(pride) and antisoul (humiliation); spirit (joy) and antispirit (woe); intellect (love) and anti-intellect
(hate); will (pleasure) and antiwill (pain).
ii. But naturalism (strength) and antinaturalism (weakness); idealism (truth) and
anti-idealism (illusion); materialism (goodness) and antimaterialism
(evil); realism (beauty) and antirealism (ugliness).
iii. Hence naturalism stands to soul as strength
to pride, whereas antinaturalism stands to antisoul as weakness to humiliation; idealism stands to
spirit as truth to joy, whereas anti-idealism stands to antispirit
as illusion to woe; materialism stands to intellect as goodness to love,
whereas antimaterialism stands to anti-intellect as
evil to hate; realism stands to will as beauty to pleasure, whereas antirealism
stands to antiwill as ugliness to pain.
iv. Thus a distinction between phenomenal
quantities (particles) and noumenal qualities
(wavicles), with alpha and omega oppositions between the 'anti' and 'pro'
manifestations thereof.
