Copyright © 1993-2010 John O'Loughlin
2. Appendix/Coda (Aphs.1002-1133)
1. No two writers are further apart than the poet and the philosopher - the former as Devil and the latter as God.
2. The poet is a writer of time and the philosopher, by contrast, a writer of space.
3. Musically speaking, the poet is rooted in rhythm, while the philosopher aspires, through thought, towards pitch.
4. The negative, or alpha-stemming, poet is a writer of weakness, whose time (metre) is sequential.
5. The positive, or omega-oriented, poet is a writer of strength, whose time (metre) is repetitive.
6. The Satanic poet is rooted in fire, while the fundamentalist poet is centred in the blood.
7. The negative, or alpha-stemming, philosopher is a writer of illusion, whose space (aphoristic) is spatial.
8. The positive, or omega-oriented, philosopher (theosopher) is a writer of truth, whose space (aphoristic) is spaced.
9. The Creatoresque philosopher is rooted in light, while the transcendentalist philosopher is centred in air.
10. A man is destined to be either a poet or a philosopher, diabolic or divine, rather than both.
11. The paradoxical phenomenon of the philosophical poet owes not a little to the debasement and even eradication of the Divine through the so-called space-time continuum of modern science.
12. In reality, the decadent vagaries of modern science notwithstanding, no two absolutes could be less reconcilable than space and time, the Devil and God.
13. The true philosopher may occasionally dabble in literature, or even drama, but he will never be a poet.
14. For poets and philosophers stand at opposite noumenal extremes - the former objective and the latter subjective.
15. Novelists and dramatists also stand in a contrary relationship, albeit one that is phenomenal rather than noumenal.
16. To contrast the phenomenal objectivity of the novelist with the phenomenal subjectivity of the dramatist, the former effectively masculine and the latter feminine.
17. The dramatist is a doer of mass and the novelist, by contrast, a knower of volume.
18. Musically speaking, the dramatist is rooted in harmony while the novelist aspires, through narrative, towards melody.
19. The negative, or alpha-stemming, dramatist is a writer of ugliness, whose mass is massed.
20. The positive, or omega-oriented, dramatist is a writer of beauty, whose mass is massive.
21. The antivirginal dramatist is rooted in earth, while the humanistic dramatist is centred in the flesh.
22. The negative, or alpha-stemming, novelist is a writer of evil, whose volume is volumetric.
23. The positive, or omega-oriented, novelist is a writer of good, whose volume is voluminous.
24. The antichristic novelist is rooted in water, while the nonconformistic novelist is centred in the brain.
25. A man is generally destined to be either a dramatist or a novelist, mundane or purgatorial, rather than both.
26. The paradoxical phenomenon of the dramatic novelist owes not a little to the debasement and even eradication of the mundane through what might be called the mass-volume continuum of contemporary liberal civilization.
27. In reality, the hegemonic predominance of liberal civilization notwithstanding, no two relativities could be less reconcilable than volume and mass, or man and woman.
28. The real dramatist may occasionally dabble in poetry, but he will never be a novelist.
29. If the novelist, to speak rather colloquially, is a 'prick' and the dramatist a 'cunt', then the philosopher is a 'superprick' and the poet a 'supercunt'.
30. If the novelist is nonconformistic and the dramatist, by contrast, humanistic, then the philosopher is transcendentalistic and the poet, by contrast, fundamentalistic.
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.
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.
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
must be (democratically) overcome in the interests of an expansion of
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
Football/Gaelic Football netted posts, and the objectivity of
368. To contrast the open (unnetted)
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
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
383. To contrast the phenomenal objectivity of
384. To contrast the fundamentalism of upper-class
385. To contrast the nonconformism
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
than a leading-class transcendentalist one, in which scores above the
confirm an alpha orientation towards the light rather than, like
393. American Football is consequently more cosmic than solar in its scoring orientation, although the bias of play tends to favour earth-affirming 'touch downs' more than space-affirming spot kicks, thereby suggesting the possibility that it is less cosmic than worldly, albeit of a hard-line orientation which reflects republican values.
394. It is not the Blessed Virgin but the Cursed Whore who is the worldly parallel which leaps to mind when considering the 'Gridiron' method of scoring points through 'touch downs'.
395. Compared to American Football, Association Football is less republican than Anglican in its ideological orientation, suggesting a compromise between the Son (headed goals) and the Mother (kicked goals) which is more specifically of the World than, like Gaelic Football, capable of transcending it towards the Holy Ghost.
396. Did Association Football not have nets, we would be unable to infer an omega orientation, and thus the probability of an Anglican parallel, but would have to settle for a republican parallel, after the fashion of 'Gridiron'.
397. The twentieth century was, by and large, a light age, a superheathen time dominated by Anglo-American civilization.
398. The most obvious historical parallel to the Anglo-American classicism of the twentieth century would be the Graeco-Roman classicism of pagan antiquity.
399. Just as pagan civilization was eclipsed by the barbarism of the Dark Ages, so Anglo-American civilization will be/has been eclipsed by the barbarism of a second Dark Ages.
400. Without the darkness to eclipse the light, there could be no progress to a Superchristic civilization focused upon the inner light of the spirit.
401. Just as the Christian civilization arose from out the barbarism of the Dark Ages, so the Superchristian civilization of the Social Theocratic future should arise from out the barbarism of the second Dark Ages.
402. The light of superheathen civilization is now so deeply entrenched and all-pervasive that there could be no question of the World evolving towards a Superchristic civilization without the coming of an intervening darkness, the darkness of a superbarbarism.
403. Film is a major facet of the superheathen light which blinds the greater part of mankind to the possibility of the 'light within'.
404. Until the 'light without' is largely eclipsed by a second darkness, there can be no possibility of the inner light, and thus no hope for the Holy Spirit of Heaven thereafter.
405. The inner light of hallucinogenic enlightenment would pave the way, in Supercatholic fashion, for the Holy Spirit of Heaven, the ultimate salvation of oneness with oxygen.
406. The superheathen devotees of the external light may be civilized, but they are no better than the pagans of classical antiquity.
407. Only that man who wants to 'go within' is Superchristic, and for him the darkness is not something to prevent but an historical wedge through which one must pass in order to grasp the inner light of true civilization.
408. Where the outer is alpha-stemming and false, the inner is omega-orientated and true.
409. To distinguish the evil, or negative, civilization rooted in the light from the good, or positive, civilization centred in the spirit.
410. Likewise to distinguish between evil barbarism and good barbarism on the basis of a republican/socialist dichotomy - the former against Christian civilization and the latter against the superheathen civilization of the Anglo-American West.
411. Hence where evil barbarism is opposed to good civilization, good barbarism opposes evil civilization.
412. Just as Republicanism snuffed out Christian civilization, so superheathen civilization will be/has been extinguished by Socialism.
413. But Socialism will pave the way for Communism, which
is to say, the Superchristic (Social
Theocratic) civilization of the
artificial inner light/spirit in the '
414. By comparison with the Social Theocratic 'Kingdom of Heaven' to come, the United Kingdom of Great Britain and Northern Ireland is a 'Kingdom of Hell', as are all States rooted in monarchism.
415. For monarchism, being autocratic, is a thing of the Devil, and the Devil glories in strength.
416. God, by contrast, glories in truth, and truthful will be the Social Theocratic 'Kingdom of Heaven' that the Second Coming wishes to establish in the wake of worldly darkness, viz. Socialism/Feminism.
417. The Second Coming could not save the British Monarch; for autocracy, rooted in strength (power) is outside the pale of what can be saved.
418. A rich man/woman cannot be saved, any more than the Devil could be saved by God ... the Second Coming.
419. That which is upper class is absolutely outside the pale of what can be saved.
420. That which is middle class is relatively outside the pale of what can be saved.
421. That which is working class is relatively inside the pale of what can be saved.
422. That which is classless is absolutely inside the pale of what can be saved, being, in truth, that which is of salvation.
423. The essence of 'God save the King/Queen', the British National Anthem, is not salvation in the messianic sense (for how can a monarch be saved?), but preservation, long to reign over his/her subjects.
424. Hence the British National Anthem is about preservation of the reigning monarch vis-à-vis the Creator, the cosmic guarantor (Dieu et mon Droit) of monarchic 'right', rather than the salvation of the reigning monarch, whichever monarch that may happen to be, vis-à-vis the Second Coming.
425. Christ said something to the effect that it was
easier for a camel
to pass through the eye of a needle than for a rich man to enter the '
426. A rich man would have to abandon power and wealth before he could hope to be saved by the Second Coming. Yet, even then, there would be no guarantee of salvation for him.
427. God the Second Coming is prepared to save worldly sinners, i.e. sinners of the World, but this should not be misconstrued as applying to sinners against the World, whether lunar (and relative) or solar (and absolute).
428. For sinners against the World, there can be only
damnation, at the very least, of being refused entry into and/or kicked
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
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
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
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
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).
1002. The artist is of the inner spirit and is, by definition, classless.
1003. The critic is of the outer spirit and is, by definition, working class.
1004. The agent is of the inner light and is, by definition, middle class.
1005. The publisher is of the outer light and is, by definition, upper class.
1006. The artist who submits his work for publication inevitably falls prey to the vicious circle of agent - publisher - critic, as class-bound humanity read, disseminate, and write about his work from their respective open-society points of view.
1007. The free artist is beyond publication by publishers, being too much of a God to wish to do business with the Devil.
1008. The true artist is only going to remain true to his self by publishing himself, since only thus can the inner spirit be protected from the claims and demands of the outer light.
1009. The artist thinks his work into being through inner spirit, and then, in the class-bound framework of open-society compromise, it is handed over to the agents, publishers, and critics to do with as they consider best, irrespective of his original intentions.
1010. In such open-society fashion the inner spirit is passed through the filter of the inner light (agent), the outer light (publisher), and the outer spirit (critic), and what results bears little resemblance to the original conception!
1011. To publishers, the artist is a 'bum' (classless person) who must be seduced from his spiritual idealism and brought into the fold of commercial respectability.
1012. To this end, the publisher has need of middle men (agents) who liaise between artist and publisher, always with a view to selling the former down river to the latter.
1013. Thus the artist falls victim to a conspiracy between publisher and agent, who war on him from their own necessarily philistine points of view.
1014. No true artist can survive unscathed the war which agents and publishers wage against him in the name of philistine, i.e. commercial, interests.
1015. All published artists sooner or later - and most sooner than later - succumb to commercial pressures and cease being artists in all but name.
1016. If the agent and publisher conspiracy doesn't get to him, then the pointed barbs of critics eventually will; for these latter creatures are generally in the pay of publishers, their own journalistic ones not excepted.
1017. Ultimately, the only way that art can survive as a vehicle for the truths of inner spirit is by turning its back on the World and the World's paymasters, and doing its own thing independently of them.
1018. Thus, liberated from both the lights (inner and outer) and the outer spirit, art can be true to itself and unequivocally serve the inner spirit, to the greater glory of God.
1019. In the Social Theocratic '
1020. Neither civilization (agents), barbarism (publishers), nor nature (critics) would ever again threaten, dominate, and vitiate culture, according to their respective bents.
1021. The victory of culture over civilization, barbarism, and nature will only come following its self-publication by the Second Coming.
1022. The Second Coming, who is entirely independent of the Father (outer light) and beyond the Mother (outer spirit), will not be one to seek publication via agents, but one who transcends the class-bound vicious circle by publishing himself.
1023. Thus will the Second Coming save culture from the damnation that would otherwise befall it, were he indisposed to self-publication.
1024. Being the most classless of artists, he knows, however, that no publisher or agent would seriously consider his work anyway; for he was always too much 'beyond the pale' of their lights to satisfy their commercial designs.
1025. It is precisely because he was the most classless of artists that the Second Coming feels obliged to save culture from the clutches of the uncultured, in order that it may serve as a guide to that ultimate freedom of spirit which will only come to pass with the 'Kingdom of Heaven'.
1026. Where the perceptual is objective, the conceptual is subjective.
1027. To contrast the noumenal objectivity of reading with the noumenal subjectivity of thinking - the absolute perceptual with the absolute conceptual.
1028. To contrast the phenomenal objectivity of writing with the phenomenal subjectivity of speaking - the relative perceptual with the relative conceptual.
1029. Both reading and writing are rooted in the perceptual - the former noumenally and the latter phenomenally.
1030. Both speaking and thinking are centred in the conceptual - the former phenomenally and the latter noumenally.
1031. The poet is the literary artist who most conforms to the category of reader.
1032. The novelist is the literary artist who most conforms to the category of writer.
1033. The dramatist is the literary artist who most conforms to the category of speaker.
1034. The philosopher is the literary artist who most conforms to the category of thinker.
1035. The phenomenal objectivity of the novelist can only be damned by the noumenal objectivity of the poet, as from writing to reading.
1036. The phenomenal subjectivity of the dramatist can only be saved by the noumenal subjectivity of the philosopher, as from speaking to thinking.
1037. It could be said that whereas the poet is of the Father, the novelist, by comparison, is of the Son.
1038. Similarly, it could be said that whereas the dramatist is of the Mother, the philosopher, by comparison, is of the Holy Spirit.
1039. In a People's society that was properly of the World, e.g. humanist, the reader and the writer, viz. poet and novelist, would be on the rubbish heap of history.
1040. In a divine society that was properly beyond the World, e.g. transcendentalist, even the dramatist would be on the rubbish heap of history or, which amounts to the same, beneath the pale of the philosophical ideal.
1041. When the 'true philosopher', or theosophist, 'sits on the throne', there will be no literary place for readers, writers, or speakers, but only for thinkers; for his 'throne' will be part of the 'Kingdom of Heaven', and in the 'heavenly Kingdom' only contemplatives will prevail - for all Eternity.
1042. The ultimate literary artist, who is a man of the inner spirit of thought, is beyond the pale of readers, writers, and speakers in the 'contemplative Heaven' of the ultimate thoughts.
1043. For the absolutely true artist, the philosopher-king, the 'art' of the dramatist is a beautiful half-truth, while the 'art' of the novelist is a good half-lie, and the 'art' of the poet a strong absolute lie.
1044. The lie must perish if the truth is to live, and live in the cultural fullness of the Holy Spirit of Heaven.
1045. By contrast to the true philosopher, the poet, or reader, is a literary philistine whose noumenal objectivity places him in a completely devilish light - the outer light of his poetic perceptions.
1046. Whereas the thinker writes after he has thought, the poet thinks after he has written.
1047. Because the poet is the most false, i.e. philistine, of literary artists, he is also the most sought-after (commissioned) by publishers.
1048. Absolute falsities hang together, and the outer-light falsity of publishers and poets corresponds to an upper-class conspiracy against the World.
1049. Because the novelist is the least false, i.e. most civilized, of literary artists, he is closest in practice to agents.
1050. Relative falsities hang together, and the inner-light falsity of agents and novelists corresponds to a middle-class conspiracy against the World.
1051. Because the dramatist is the least true (in relation to philosophers) i.e. most natural, of literary artists, he is also the most keenly watched by critics.
1052. Relative truths hang together, and the outer-spirit truths of critics and dramatists correspond to a working-class reflection of the World.
1053. Beyond the relative truths, however, of critics and dramatists is the absolute truth of the philosopher-king, the literary artist who is most true and therefore truly cultural in his classless affirmation of the Divine.
1054. Such a man, knowing only the absolute truth of his noumenal subjectivity, can never be published by others (for God and the Devil are incommensurate), but must seek his own classless solution to the dilemma of cultural vitiation, and thereby proclaim himself!
1055. He who proclaims himself or, rather, his self cannot be published by others; for he is of the inner spirit, and is thus beyond the outer light and everything that stems, in open-society fashion, from the publishing Hell of the Father.
1056. Only the Second Coming can be self-proclaiming to the extent that he is 'beyond the pale' of what can be published, and therefore an implicit refutation of publishers, agents, and critics.
1057. In truth, publishers, agents, and critics (not to mention poets/readers, novelists/writers, and dramatists/speakers) are 'beneath the pale'; for he is neither of the World nor of that which precedes and dominates it, but distinctly beyond the World in the classless Heaven of his philosophical truth.
1058. The particle is extrinsically centrifugal, while the wavicle is intrinsically centripetal - the one stemming from alpha and the other aspiring towards omega.
1059. Marxism stands to Transcendentalism as alpha divine to omega divine.
1060. Lenin stands to Marx as Moses to Jehovah - the law-giving figure of an alpha-stemming ideology.
1061. As Royalism to the upper class, so Liberalism to the middle class - the objective in its noumenal and phenomenal manifestations.
1062. As Socialism to the working class, so (Social Theocratic) Communism to the classless - the subjective in its phenomenal and noumenal manifestations.
1063. Whereas Royalism is fundamentalist, Liberalism is nonconformist - the light in its outer and inner manifestations.
1064. Whereas Socialism is humanist, Communism is transcendentalist - the spirit in its outer and inner manifestations.
1065. Socialism and Communism are not symptomatic of the Devil and God, but of the World and God.
1066. Royalism and Liberalism are not symptomatic of the World and Purgatory, but of the Devil and Purgatory.
1067. God has his throne in Communism, and the Devil in Royalism.
1068. Man has his throne in Liberalism, and Woman in Socialism.
1069. Whereas Communism is corporate and Royalism feudal, Liberalism is capitalist and Socialism syndicalist.
1070. From the feudal public to the corporate individual via the capitalist private and the syndicalist collective.
1071. Royalism strives to maintain Fundamentalism (the Father), Liberalism to maintain Nonconformism (the Son).
1072. Socialism strives to advance Humanism (the Mother), Communism to advance Transcendentalism (the Holy Ghost).
1073. The historical struggle between Monarchism/Royalism and Parliamentarianism/Liberalism was superseded, in the twentieth century, by a struggle between Republicanism/Socialism and Millennialism/Communism.
1074. The former struggle is analogous to one between the Devil and Man (or the sun and the moon), while the latter struggle is analogous to one between Woman and God (or the earth and the Beyond).
1075. Just as Parliamentarianism eventually got the better of Monarchism, so Millennialism must eventually triumph over Republicanism, if God is to save the World from its collective sin, in the name of individual grace.
1076. To go beyond the corporeal World to the ethereal Heaven, leaving socialist Humanism for the blessed pastures of a heavenly future which leads, via Social Transcendentalism, to the (post-human) Millennium.
1077. Man is indeed, as Nietzsche taught, 'Something that should be overcome', though not merely in terms of the Superman (of the coming Social Transcendentalist culture) but, more radically, in terms of the Superbeings, Supra-beings, and, finally, Ultra-beings of the millennial Beyond which will follow the Superman, Supra-man, and, finally, Ultra-man (cyborg) stages of the culture to come.
1078. From contemplating Supermen to meditating Supra-men, with a cyborg transition leading to the hypercontemplative Superbeings and to the hypermeditative Supra-beings of the Millennium-proper, followed, thereafter, by the completely saved Ultra-beings of the transcendent Beyond.
1079. From brain collectivizations to new-brain collectivizations, followed, with the transcendence of the left midbrain, by the forebrain collectivizations of the ultra-beingful Beyond, a true classlessness set in space centres.
1080. Transcend the old brain (of backbrain and right midbrain) and one has a supra-beingful context of relative transcendence.
1081. Transcend the new brain (of left midbrain and forebrain) and one has an ultra-beingful context of absolute transcendence.
1082. This ultra-beingful context of absolute transcendence, set in space centres, will signify the maximum 'Christogenesis' (de Chardin) of which evolving post-human life is capable, and thereby bring it to the Omega Point - the definitive manifestation of Eternal Life in the forebrain collectivizations of the Holy Spirit of Heaven's final end.
1083. The 'art' of Royalism, as of the upper class, is painting.
1084. The 'art' of Liberalism, as of the middle class, is literature.
1085. The 'art' of Socialism, as of the working class, is sculpture.
1086. The 'art' of Communism, as of the classless, is music.
1087. Where Royalism is militarist, Liberalism is imperialist.
1088. Where Socialism is police-ist, Communism is pacifist.
1089. Royalism is the ideology of doing, Liberalism the ideology of taking.
1090. Socialism is the ideology of giving, Communism the ideology of being.
1091. To contrast the absolute devility of doing with the absolute divinity of being, thereby effectively contrasting Royalism with Communism.
1092. To contrast the relative devility (purgatorial) of taking with the relative divinity (worldly) of giving, thereby effectively contrasting Liberalism with Socialism.
1093. Man takes and Woman gives, but the Devil does and God is.
1094. Taking can only be overcome (damned) by doing, as Hell eclipses Purgatory.
1095. Giving can only be overcome (saved) by being, as Heaven redeems the World.
1096. When the atom is ripped asunder, the neutron is damned by the proton and the electron saved by the photon.
1097. When the phenomenal is ripped asunder, the intellect is damned to soul and the will saved to spirit.
1098. The phenomenal First shall be noumenal Last, and the phenomenal Last shall be noumenal First, as the relative is claimed by the absolute, and Hell and Heaven replace Purgatory and the World.
1099. So long as the Father continues to hog Heaven, the Holy Spirit (of Heaven) will remain peripheral to the class-bound dominating God(s) of Christian tradition.
1100. Only when, through the Second Coming, the Father is cast upon the rubbish heap of ecclesiastical history ... will the Holy Spirit of Heaven reign supreme.
1101. There is a sense in which Dracula corresponds to the Father, inasmuch as he is a blood-sucking diabolic omega rather than a fire-belching diabolic alpha, like Satan.
1102. In fact, the strength which Dracula acquires through sucking blood is logically vitiated by sunlight, as the weakness of flame detracts from his soulful essence, hogging the diabolic 'limelight' at his expense.
1103. When the diabolic alpha is to the fore, then the diabolic omega must withdraw, else risk being undermined and even destroyed by that which, as flame, is contrary to the blood.
1104. It could therefore be said that, in the mythology of twentieth-century paganism, the Father walked abroad in the person of Count Dracula, personification of emotional strength.
1105. With its Orthodox traditions,
1106. As, from a more hard-line standpoint, is Allah, who is no more consanguineous with Jehovah than (is) the Father, since relative to a diabolic omega (in strength) rather than to a divine alpha (in illusion) - all the difference between the Holy Soul of Hell and the Clear Light of the Void.
1107. Woman is essentially a critic by nature, whereas Man is an agent of civilization.
1108. God, in his cultural richness, is essentially an artist, while the Devil is fundamentally a publisher of barbarism.
1109. The being of God can be either positive or negative, depending whether we are concerned with God the Holy Spirit of Heaven (the true spirit of the omega) or God the Clear Light of the Void (the illusory, or false, spirit [antispirit] of alpha, viz. Jehovah).
1110. The doing of the Devil can be either positive or negative, depending whether we are dealing with Devil the Holy Soul of Hell (the Father) or Devil the Clear Heat of Time (the antisoul of Satan).
1111. The taking of Man can be either positive or negative, depending whether we are considering Man the Holy Mind of Purgatory (Christ) or Man the Clear Coldness of Volume (Antichrist).
1112. The giving of Woman can be either positive or negative, depending whether we are concerned with Woman the Holy Will of the World (the Blessed Virgin) or Woman the Clear Darkness of Mass (the Cursed Whore).
1113. What applies to the above-listed alpha/omega extremes also applies to the intermediate positions of omega-in-the-alpha and alpha-in-the-omega.
1114. Hence a distinction between the outer negative being of the Clear Light of the Void and the inner negative being of the Unclear Light of Heaven.
1115. Likewise a distinction between the outer positive being of the Unholy Spirit of the Void and the inner positive being of the Holy Spirit of Heaven.
1116. Whereas outer negative being is an elemental photon particle, inner negative being is its molecular counterpart.
1117. Whereas outer positive being is a molecular photon wavicle, inner positive being is its elemental counterpart.
1118. To distinguish, similarly, between the outer negative doing of the Clear Heat of Time and the inner negative doing of the Unclear Heat of Hell.
1119. Likewise a distinction between the outer positive doing of the Unholy Soul of Time and the inner positive doing of the Holy Soul of Hell.
1120. Whereas outer negative doing is an elemental proton particle, inner negative doing is its molecular counterpart.
1121. Whereas outer positive doing is a molecular proton wavicle, inner positive doing is its elemental counterpart.
1122. Similarly, to distinguish between the outer negative taking of the Clear Coldness of Volume and the inner negative taking of the Unclear Coldness of Purgatory.
1123. Likewise, a distinction between the outer positive taking of the Unholy Mind of Volume and the inner positive taking of the Holy Mind of Purgatory.
1124. Whereas outer negative taking is an elemental neutron particle, inner negative taking is its molecular counterpart.
1125. Whereas outer positive taking is a molecular neutron wavicle, inner positive taking is its elemental counterpart.
1126. To distinguish, finally, between the outer negative giving of the Clear Darkness of Mass and the inner negative giving of the Unclear Darkness of the World.
1127. Likewise a distinction between the outer positive giving of the Unholy Will of Mass and the inner positive giving of the Holy Will of the World.
1128. Whereas outer negative giving is an elemental electron particle, inner negative giving is its molecular counterpart.
1129. Whereas outer positive giving is a molecular electron wavicle, inner positive giving is its elemental counterpart.
1130. When both doing and taking are effectively on the rubbish heap of history, then and only then will giving be ripe for beingful salvation.
1131. The salvation of giving by being is the end of the
World and the
true beginning of the '
1132. The being of the Holy Spirit of Heaven, which is joy, will last for ever in ever-more refined contexts, becoming progressively purer the further Eternal Life evolves.
1133. Such an evolution, from the inceptive level of Supermen to the final level of Ultra-beings, will pass through six stages before it culminates, like this aphoristic project, in the ultimate purity of the most beingful essence - the pure essence of ultra-beingful forebrain collectivizations in the definitive salvation of the omega Beyond.