MAXIMUM INFORMALITY
Aphoristic Philosophy
Copyright © 1993-2009 John O'Loughlin
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CONTENTS
1. Aphs.1-1001
2. Appendix/Coda (Aphs.1002-1133)
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1. No
two writers are further apart than the poet and the philosopher - the former as
Devil and the latter as God.
2. The poet is a writer of time and the philosopher, by
contrast, a writer of space.
3. Musically
speaking, the poet is rooted in rhythm, while the philosopher aspires, through
thought, towards pitch.
4. The negative, or alpha-stemming, poet is a writer of
weakness, whose time (metre) is sequential.
5. The positive, or omega-oriented, poet is a writer of strength,
whose time (metre) is repetitive.
6. The Satanic poet is rooted in fire, while the fundamentalist
poet is centred in the blood.
7. The negative, or alpha-stemming, philosopher is a writer of
illusion, whose space (aphoristic) is spatial.
8. The positive, or omega-oriented, philosopher (theosopher) is
a writer of truth, whose space (aphoristic) is spaced.
9. The Creatoresque philosopher is rooted in light, while the
transcendentalist philosopher is centred in air.
10. A
man is destined to be either a poet or a philosopher, diabolic or divine,
rather than both.
11. The
paradoxical phenomenon of the philosophical poet owes not a little to the
debasement and even eradication of the Divine through the so-called space-time
continuum of modern science.
12. In reality, the decadent vagaries of modern science
notwithstanding, no two absolutes could be less reconcilable than space and
time, the Devil and God.
13. The true philosopher may occasionally dabble in literature,
or even drama, but he will never be a poet.
14. For poets and philosophers stand at opposite noumenal
extremes - the former objective and the latter subjective.
15. Novelists
and dramatists also stand in a contrary relationship, albeit one that is
phenomenal rather than noumenal.
16. To contrast the phenomenal objectivity of the novelist with
the phenomenal subjectivity of the dramatist, the former effectively masculine
and the latter feminine.
17. The dramatist is a doer of mass and the novelist, by
contrast, a knower of volume.
18. Musically
speaking, the dramatist is rooted in harmony while the novelist aspires,
through narrative, towards melody.
19. The negative, or alpha-stemming, dramatist is a writer of
ugliness, whose mass is massed.
20. The positive, or omega-oriented, dramatist is a writer of
beauty, whose mass is massive.
21. The antivirginal dramatist is rooted in earth, while the
humanistic dramatist is centred in the flesh.
22. The negative, or alpha-stemming, novelist is a writer of
evil, whose volume is volumetric.
23. The positive, or omega-oriented, novelist is a writer of
good, whose volume is voluminous.
24. The antichristic novelist is rooted in water, while the
nonconformistic novelist is centred in the brain.
25. A
man is generally destined to be either a dramatist or a novelist, mundane or
purgatorial, rather than both.
26. The
paradoxical phenomenon of the dramatic novelist owes not a little to the
debasement and even eradication of the mundane through what might be called the
mass-volume continuum of contemporary liberal civilization.
27. In reality, the hegemonic predominance of liberal
civilization notwithstanding, no two relativities could be less reconcilable
than volume and mass, or man and woman.
28. The real dramatist may occasionally dabble in poetry, but he
will never be a novelist.
29. If
the novelist, to speak rather colloquially, is a 'prick' and the dramatist a
'cunt', then the philosopher is a 'superprick' and the poet a 'supercunt'.
30. If
the novelist is nonconformistic and the dramatist, by contrast, humanistic,
then the philosopher is transcendentalistic and the poet, by contrast,
fundamentalistic.
31. Despite
the late twentieth-century collapse of so-called Communism in
32. The
so-called Communism, for example, of Eastern Europe was really quasi-fascist,
and thus hardly Communism by Marxist criteria!
33. True
Communism, by which is meant Social Transcendentalism, has yet to come about;
but when it does, it will be infinitely superior to the quasi-fascist tradition
of false Communism.
34. Unlike
false Communism, which was allegedly scientific, true Communism will be religious,
and thus the inevitable precondition of millennial salvation.
35. Thus
true Communism will stem from real Socialism, as Social Democracy is superseded
by Social Theocracy.
36. Where
Socialism is republican, Democratic Socialism is parliamentary, and thus an
accommodation of Socialism to Capital Democracy.
37. Democratic
Socialism is the 'socialism' of a proletariat who are less affiliated to the
World than to the Purgatorial Overworld, so to speak, of Parliamentary
Democracy.
38. Such
a proletariat are necessarily Protestant and industrial/urban, aligned with the
Protestant bourgeoisie against the World and its Catholic humanism.
39. The
struggle for genuine Socialism follows from a sort of Catholic premise; for
only Catholic peoples are sufficiently of the World to be in favour of
bureaucratic as opposed to democratic Socialism.
40. Yet
Socialism is a 'sin' from which the People must be delivered, if they are to
experience the spiritual salvation of true Communism.
41. Such
deliverance can only happen democratically, with the express consent of the
People themselves.
42. For
to be delivered from 'sins of the World' is to enter into the heavenly Beyond,
with the transvaluated criteria that such an entry presupposes.
43. Only
a deluded fool would imagine that, in any ultimate sense, the heavenly Beyond
comes after death. In reality, it comes
within life beyond the World, since it is an ultimate social system and not an
imaginary posthumous realm.
44. Yet
it is an afterlife to the extent that it implies a type of life, necessarily
eternal, beyond life as we know it in the World, as it is today and has been
for several centuries.
45. The
failure of Liberalism is its tolerance of evil.
46. Liberalism
sits on the fence between the Devil and God, content to remain in an amoral
position which enables it to have 'the best of both worlds'.
47. Not
to go against the Devil to the extent that one has sided with God, but to be
worldly or, more specifically, purgatorial - such is the liberal 'ideal'.
48. He
who is against the Devil cannot be for Liberalism, with its hypocritical
tolerance of evil.
49. The
Liberal is a morally weak creature who, because of his acquiescence in evil,
does no real good.
50. When
Social Theocracy, the ideology of God, comes democratically to pass, both
Liberalism and Fascism will be cast down upon the 'rubbish heap of history'.
51. Most
Western countries are liberal and republican, capitalist and socialist, in
different degrees.
52. Countries
balanced between Liberalism and Republicanism are effectively heterosexual.
53. Countries
biased on the side of Liberalism are effectively homosexual.
54. Countries
biased on the side of Republicanism are effectively lesbian.
55. A
country biased on the side of Republicanism, like Eire, has a greater chance of
achieving Social Theocracy than one balanced, like France, between Liberalism
and Republicanism.
56. A
country biased on the side of Liberalism, like
57. Ultimately,
Social Theocracy can only be achieved through the Second Coming, who would not
waste his time on countries with an overly liberal, or parliamentary, bias.
58. A
country must, like
59. Provided
that Liberalism and/or Republicanism are not the ruling trends, there is a fair
chance that Humanism will be free enough to democratically opt for
Transcendentalism, and thus salvation from the World.
60. For
the World may be feminine, and phenomenally subjective, but the Social
Theocratic Beyond is divine, and hence noumenally subjective - focused, through
spirit, on air rather than, through will, on the flesh.
61. To
abandon the feminine 'fleshpot' of the Holy Will of the World for the divine
'airhead' of the Holy Spirit of Heaven - such is the nature of salvation.
62. No
man, or country, attains to salvation (from the World) except through the
Second Coming, who is the bridge to the Beyond.
63. Noumenal
subjectivity (subjectivism) is the absolute introversion of the heavenly.
64. Noumenal
objectivity (objectivism) is the absolute extroversion of the hellish.
65. Phenomenal
objectivity is the relative extroversion of the purgatorial.
66. Phenomenal
subjectivity is the relative introversion of the mundane.
67. The
noumenal subjectivity (wind) of Jazz contrasts with the noumenal objectivity
(singing) of Soul.
68. The
phenomenal subjectivity (dance) of Pop contrasts with the phenomenal
objectivity (instrument-based song) of Rock.
69. Jazz,
being noumenally subjective, is divine, whereas Soul, being noumenally
objective, is diabolic.
70. Pop,
being phenomenally subjective, is feminine, whereas Rock, being phenomenally
objective, is masculine.
71. Since
salvation is from the World to Heaven, one might speak of the salvation of Pop
by Jazz, or of phenomenal subjectivity (dance) by noumenal subjectivity (wind).
72. Since
damnation is from Purgatory to Hell, one might speak of the damnation of Rock
by Soul, or of phenomenal objectivity (instrument-based song) by noumenal
objectivity (free singing).
73. The
purgatorial 'First' shall be hellishly Last, and the mundane 'Last' shall be
heavenly First.
74. Jazz
is the music of spirit, and could alternatively be termed spirit music.
75. Soul
is indeed the music of soul, and is rightly termed soul music.
76. Rock
is the music of intellect, and could alternatively be termed intellect music.
77. Pop
is the music of will, and could alternatively be termed will music.
78. Broadly,
Jazz, Soul, Rock, and Pop are all modern, and therefore electric, forms of
music.
79. Classical
music stands to popular music as a kind of bourgeois omega to a proletarian
alpha, the former acoustic and the latter electric.
80. Classical
music is 'contemporary' only in the sense that Christian bourgeois criteria
co-exist with and often overlap the more-or-less heathen proletarian criteria
of the modern age.
81. In
this sense, a more naturalistic omega co-exists with an artificial alpha, the
essence of which is cruder, albeit more evolved.
82. Suits
and ties co-exist, on the above basis, with jeans and T-shirts.
83. Books
co-exist, on the above basis, with films.
84. Classical
music co-exists, on the above basis, with popular music.
85. The
concerto is the classical equivalent of Jazz, that most idealistic of the
popular art forms.
86. Opera
is the classical equivalent of Soul, that most naturalistic of the popular art
forms.
87. The
symphony is the classical equivalent of Rock, that most materialistic of the
popular art forms.
88. Ballet
is the classical equivalent of Pop, that most realistic of the popular art
forms.
89. The
fulcrum of classical music, which is a bourgeois art form, is the symphony.
90. The
fulcrum of popular music, which is a proletarian art form, is Pop.
91. Classical
music is the civilized music of a materialistic class, the middle class.
92. Popular
music is the barbarous music of a realistic class, the working class.
93. The
future lies not in the barbarism of working-class music, but in the culture of
classless music.
94. Classless
music will be like Jazz, but more electronic.
95. To
distinguish, on an alpha/omega basis, between the 'republicanism' of Hard Pop
and the 'humanism' of Soft Pop.
96. Similarly,
to distinguish between the 'parliamentarianism' of Hard Rock and the
'nonconformism' of Soft Rock.
97. Likewise,
to distinguish between the 'fascism' of Hard Soul and the 'fundamentalism' of
Soft Soul.
98. To
distinguish, finally, between the 'communism' of Hard Jazz and the
'transcendentalism' of Soft Jazz.
99. Hard
music differs from soft music by being both more reactive and aggressive.
100. Soft music differs from hard music by being both more attractive and
passive.
101. Where hard music is generally reactive and aggressive, soft music,
by contrast, is generally attractive and passive (gentle).
102. Not only Hard Rock, but Hard Pop, Hard Soul, and Hard Jazz are all
more aggressive than their soft-pole counterparts.
103. Most people alternate between hard and soft options, as between
particles and wavicles, the former secular and the latter religious.
104. Some people are more biased towards hard music, others towards soft
music, but they tend to be a minority overall.
105. A hard-line Communist, whose musical equivalence is Hard Jazz, may
be identified with a leading-class status.
106. A hard-line Transcendentalist, whose musical equivalence is Soft
Jazz, may be identified with a classless status.
107. Hence a leading-class/classless distinction between the alpha and
omega of the Jazz spectrum.
108. A hard-line Fascist, whose musical equivalence is Hard Soul, may be
identified with a ruling-class status.
109. A hard-line Fundamentalist, whose musical equivalence is Soft Soul,
may be identified with an upper-class status.
110. Hence a ruling-class/upper-class distinction between the alpha and
omega of the Soul spectrum.
111. A hard-line Parliamentarian, whose musical equivalence is Hard Rock,
may be identified with a governmental and/or managerial class status.
112. A hard-line Nonconformist, whose musical equivalence is Soft Rock,
may be identified with a middle-class status.
113. Hence a governing-class/middle-class distinction between the alpha
and omega of the Rock spectrum.
114. A hard-line Republican, whose musical equivalence is Hard Pop, may
be identified with a working-class status.
115. A hard-line Humanist, whose musical equivalence is Soft Pop, may be
identified with a lower-class status.
116. Hence a working-class/lower-class distinction between the alpha and
omega of the Pop spectrum.
117. The lower class, including soft-line lower-class people, are the
only class that can be saved to hard-line Transcendentalism, which is
classless.
118. This is because the lower class are of the humanist World (as
against the republican World or, more correctly, Antiworld), and are therefore
in a moral position to be saved by and in the transcendentalist Heaven.
119. Their moral position is one of wavicle-biased (attractive)
phenomenal subjectivity, which is an effective denial of the will through the
Blessed Virgin, and which can therefore be transcended, via the Second Coming,
in the wavicle-biased (attractive) noumenal subjectivity of the transcendental
Beyond.
120. To distinguish the positively relative morality of denial of the
will from the negatively relative morality of affirmation of the will, thereby
effectively distinguishing Humanism from its republican antithesis.
121. To distinguish the positively relative immorality of denial of the
intellect from the negatively relative immorality of affirmation of the
intellect, thereby effectively distinguishing Nonconformism from its
parliamentary antithesis.
122. To distinguish the positively absolute immorality of denial of the soul
from the negatively absolute immorality of affirmation of the soul, thereby
effectively distinguishing Fundamentalism from its fascist antithesis.
123. To distinguish the positively absolute morality of denial of the
spirit from the negatively absolute morality of affirmation of the spirit,
thereby effectively distinguishing Transcendentalism from its communist
antithesis.
124. Denial of the will through the Blessed Virgin, as opposed to
affirmation of the will through the Cursed Whore.
125. Denial of the intellect through Christ, as opposed to affirmation of
the intellect through the Antichrist.
126. Denial of the soul through the Father, as opposed to affirmation of
the soul through the Antifather (Satan).
127. Denial of the spirit through the Holy Spirit, as opposed to
affirmation of the spirit through the Antispirit (Jehovah).
128. Flesh is the human equivalent of earth, the denial of which paves
the way to Heaven.
129. Mind is the human equivalent of water, the denial of which paves the
way to Hell.
130. Soul is the human equivalent of fire, the denial of which is Hell.
131. Spirit is the human equivalent of light, the denial of which is
Heaven.
132. To deny the flesh is to affirm beauty.
133. To deny the mind is to affirm goodness.
134. To deny the soul is to affirm strength.
135. To deny the spirit is to affirm truth.
136. To affirm the flesh is to deny beauty, and thus to revel in
ugliness.
137. To affirm the mind is to deny goodness, and thus to revel in evil.
138. To affirm the soul is to deny strength, and thus to revel in
weakness.
139. To affirm the spirit is to deny truth, and thus to revel in
illusion.
140. Ugliness, being planar (planetary), is of earth.
141. Evil, being lunar, is of water.
142. Weakness, being solar, is of fire.
143. Illusion, being stellar, is of light.
144. Beauty, being mundane, is of the World.
145. Goodness, being purgatorial, is of the Overworld.
146. Strength, being diabolic, is of Hell.
147. Truth, being divine, is of Heaven.
148. To deny the alpha, which is apparent, is to affirm the omega, which
is essential.
149. To deny light (spirit) in order to affirm truth (air).
150. To deny fire (soul) in order to affirm strength (race).
151. To deny water (intellect) in order to affirm goodness (the Bible).
152. To deny earth (flesh) in order to affirm beauty (art).
153. Truth is affirmed through the sublimated spirit of air.
154. Strength is affirmed through the sublimated soul of blood.
155. Goodness is affirmed through the sublimated intellect of the Word
(New Testament).
156. Beauty is affirmed through the sublimated flesh of art.
157. To deny the personal spirit of light (optics) in order to affirm the
universal spirit of air, thereby passing from illusion (the Clear Light of the
Void) to truth (the Holy Spirit of Heaven).
158. To deny the personal soul of fire (emotions) in order to affirm the
universal soul of blood (race), thereby passing from weakness (the Clear Heat
of Time) to strength (the Holy Soul of Hell).
159. To deny the personal mind of water (thoughts) in order to affirm the
universal mind of the Bible (New Testament), thereby passing from evil (the
Clear Coldness of Volume) to goodness (the Holy Mind of Purgatory).
160. To deny the personal will of earth (fleshy sensations) in order to
affirm the universal will of art (paintings), thereby passing from ugliness
(the Clear Darkness of Mass) to beauty (the Holy Will of the World).
161. That which is universal, on whichever spectrum, is shared by all,
and brings people together.
162. That which is personal, on whichever spectrum, is germane to the
person, and tends to drive people apart.
163. The universal enhances collectivity/collectivism, whereas the personal
enhances individuality/individualism.
164. Whether one's universality is phenomenal or noumenal, the end result
can only be virtuous.
165. Whether one's personality is phenomenal or noumenal, the consequence
can only be vicious.
166. Phenomenal universality, being positive, is relatively immoral in
the context of goodness, and relatively moral in the context of beauty.
167. Noumenal universality, being positive, is absolutely immoral in the
context of strength, and absolutely moral in the context of truth.
168. Phenomenal personality, being negative, is relatively immoral in the
context of evil, and relatively moral in the context of ugliness.
169. Noumenal personality, being negative, is absolutely immoral in the
context of weakness, and absolutely moral in the context of illusion.
170. Individuality/individualism is the curse of personality, whereas
collectivity/collectivism is the blessing of universality.
171. The personality of the Devil, which (being absolutist) is hellish,
contrasts absolutely with the universality of God.
172. The personality of Man, which (being relativistic) is purgatorial,
contrasts relatively with the universality of Woman.
173. From the standpoint of subjective universality, objective
universality is a damnation - whether relatively vis-à-vis the phenomenal or
absolutely vis-à-vis the noumenal.
174. Denial of the will (sexuality) through art paves the way for
salvation in and through air.
175. Denial of the mind (intellectuality) through the Bible (New Testament)
paves the way for damnation in and through the blood.
176. The noumenal lies in wait to take over from phenomenal denial, since
the noumenal is absolute, and hence ultimate.
177. Art has no other business than to encourage worldly denial, i.e. denial
of the will.
178. That which encourages the will is not art but anti-art.
179. Traditionally, the Blessed Virgin is the principal symbol of worldly
denial, since beauty makes for the finest art.
180. From the male standpoint, the Crucifixion remains the most enduring
symbol of worldly denial - a denial of the will through love.
181. Christian love paves the way for the Resurrection, and hence the
attainment of transcendent joy through the affirmation of universal spirit, or
air.
182. Until a man has died to the flesh, he cannot be reborn into the
eternity of the universal self and thereby become the Holy Spirit of Heaven.
183. The lightness of air can only deliver that man from the heaviness of
the flesh who has already rejected the World and effectively become an artist.
184. For the artist is the quintessential embodiment of worldly
rejection, who both rejects and is rejected by the World.
185. Those who are of the World, and hence the flesh, cannot be saved;
for they are too sunk in heaviness to appreciate art.
186. It is not the Blessed Virgin but the Cursed Whore who presides over
the wilful affirmations of these sinners, the ugliness of whose anti-art is
rooted in pain.
187. Traditionally, the Christian West has known two Heavens and two
Hells - the Heaven and Hell of the Old Testament on the one hand, and the
Heaven and Hell of the New Testament on the other hand.
188. The Heaven of the Old Testament is the cosmic abode of Jehovah,
whereas its Hell is the solar (fiery) abode of Satan.
189. The Heaven of the New Testament is the airy abode of Christ, whereas
its Hell is effectively the fleshy abode of the Magdalene.
190. Hence Western civilization was torn between the cosmic dichotomy of Old-Testament
Judaism and its own rather more worldly dichotomy of New-Testament Christianity
- superimposing upon oriental tradition an occidental modernism which, for most
Western people, is still the touchstone of damnation and salvation.
191. The ultimate Christian Hell is of course the fiery core of the Earth
which, as the centre of earthly gravity, contrasts with the airy lightness of
the stratosphere.
192. Between the Christian absolutes of fiery Hell and airy Heaven,
Western man runs his diurnal course, torn rather more between the breath of
'Heaven on Earth' and the flesh (sex) of 'Hell on Earth'.
193. The Romantic may affirm the fleshy 'Hell on Earth' of sexual will,
but the Classicist denies it in the name of beauty, and hence art.
194. Classicism remains on the aesthetic surface, whereas Romanticism
delves beneath the surface in pursuit of fiery depths, thereby disinterring
Hell.
195. The Romanticist, who is an anti-artist, can never be saved; for he
is sunk too deeply in the heaviness of fleshy and/or fiery pain to have any
inkling of worldly rejection.
196. The Romanticist is a republican phenomenon whose hellish activity
contrasts with the will-less passivity of the (Catholic) Classicist.
197. Both Romanticism and Classicism are New Testament phenomena, with
particular reference to the World.
198. Expressionism and Impressionism, by contrast, are effectively Old
Testament noumena, since they are rooted in the emotions (heat) and in the
spirit (light) respectively.
199. There is thus something Neo-Oriental or Neo-Judaic about
Expressionism and Impressionism, albeit relative to the decadence of Western
civilization.
200. The Expressionist is aligned with the Romanticist, and the
Impressionist with the Classicist.
201. In eclipsing Romanticism and Classicism, Expressionism and
Impressionism paved the way for the eclipse of Western civilization by
universal barbarism, viz. light art.
202. The modern age is presided over not by the god of worldly or,
indeed, any other denial, but by the devil of worldly, and other, affirmations.
203. Everywhere the alpha of immoral folly unashamedly proclaims itself,
to the detriment of moral wisdom!
204. There are those for whom denial of the will through art is an end-in-itself,
without reference to the possibility of divine salvation.
205. Generally, those for whom worldly denial is an end-in-itself are
artists and hard-line Catholics, for whom worldly salvation is sufficient.
206. Feudalism, Capitalism, and Socialism are simply different class
approaches to the same goal - namely the pursuit of materialism, and hence
power.
207. Feudalism is the naturalistic approach to power of the ruling class.
208. Capitalism is the materialistic approach to power of the middle
class.
209. Socialism is the realistic approach to power of the working class.
210. Feudalism, Capitalism, and Socialism can never provide a solution to
the problem of power, but only perpetuate it according to different class
interests.
211. The only way that power will ever be overcome is through the
rejection of class in and by a classless society whose economic base is
communist (with regard to Centre trusteeship).
212. Such a base cannot be maintained without due reference to a
revolutionary religious or moral superstructure which it is intended to serve.
213. Such a superstructure can only be transcendentalist, concerned with
the advancement of the Holy Spirit of Heaven through spiritual self-denial.
214. The less people own materially, the more eligible they will be for
divine salvation in and through the Holy Spirit of Heaven.
215. State Socialism, or Bolshevism/Stalinism, is a quasi-fascist
approach to Socialism, and has little or nothing to do with Marx.
216. State Socialism is simply the proletarian equivalent of State
Capitalism, or Fascism, as reflecting the economic dictatorship of the
bourgeoisie.
217. Such a dictatorship may well be in alliance with State Feudalism, the
neo-royalist Fascism of the aristocracy, which was the more genuine mode of
Fascism in the twentieth century.
218. State tyranny was the twentieth-century equivalent of monarchic
tyranny, or unbridled Royalism, and it took the quasi-fascist form of State
Socialism (Bolshevism), the pseudo-fascist form of State Capitalism (Nazism),
and the genuinely fascist form of State Feudalism (Neo-Royalism).
219. Whether dictatorship be of the aristocracy, the bourgeoisie, or the
proletariat, State tyranny is its inevitable corollary.
220. It is not enough to overcome tyranny; ultimately the State itself
must be (democratically) overcome in the interests of an expansion of the
Church towards the absolutist salvation of the (Social Theocratic) '
221. The least objectionable form of the State is a People's Republic,
because that is the only State which is subjectively of the World.
222. Both the bourgeois (parliamentary) and aristocratic (royalist) forms
of the State are objective, and therefore ranged against the World from
contrary standpoints - the standpoints, respectively, of Purgatory and Hell.
223. The tyrannical forms of the State are all, in their different ways,
fiery (fundamentalist) manifestations of Hell on Earth.
224. Not until the Church triumphs, through the Social Theocratic
ideology of the Second Coming, over the State ... will the airy
(transcendentalist) manifestation of Heaven on Earth finally come to pass.
225. Such a Heaven, necessarily communist, will be at the furthest possible
ideological remove from the fascist hells of State tyranny.
226. Where the fascist State is diabolical in its noumenal objectivity,
the communist Church, or Centre, will be divine in its noumenal subjectivity.
227. Thus true Communism (Centrism, pronounced Center-ism) has nothing
whatsoever to do with either the false (alpha) Communism of Marx (a sort of
Neo-Jehovahesque idealism) or the quasi-fascist State Socialism of Lenin,
Stalin, et al, but is beyond the State in what I have
termed a Social Theocratic Centre.
228. True Communism is the economic support, germane to a Christ-like
sacrifice on the part of the Second Coming of bearing 'sins of the World', for
the religious development of Transcendentalism.
229. Such a sacrifice would amount to an acceptance of economic,
judicial, and political sovereignties by the Second Coming in the interests of
the People's freedom from such 'sins of the (republican) World'.
230. One could speak of a deal being struck between the People and the Second
Coming whereby the former receive religious sovereignty from the latter (in the
event of their voting for it, following his official recognition as Messiah),
who agrees to take their 'worldly sins' upon his shoulders in their own moral
interests.
231. Thus the Second Coming offers the People the opportunity of
deliverance from 'worldly sins' through the agency of religious sovereignty -
the ultimate sovereignty in the evolution of sovereignties from secular to
divine levels, and no small aspect of Messianic credibility!
232. Without such an ultimate sovereignty the People not only remain
enslaved to their own 'worldly sins' within the republican contexts, but remain
worshipfully subject to the more authoritarian aspects of ecclesiastical
tradition, including subjection to the Father.
233. It could be said that religious sovereignty confers the 'right' to
spiritual self-determination within the institutional framework of a Social
Theocratic Centre.
234. With religious sovereignty, the '
235. The Holy Spirit of Heaven contrasts absolutely with the Clear Light
of the Void, and is thus at the farthest possible remove from cosmic mysticism.
236. There is nothing mysterious about the Holy Spirit of Heaven, which
is consciousness of the (lightness of) air.
237. God the Holy Spirit of Heaven is thus a composite of two factors -
the factor of consciousness on the one hand, and the factor of the air of which
it is internally conscious on the other.
238. God the Holy Spirit of Heaven is neither consciousness nor air, but
internal consciousness of the air.
239. Hence God, in any ultimate sense, is dependent on the connection of
consciousness with air, and is only possible on the basis that air is being
consciously inhaled, thereby becoming heavenly.
240. Air is not Heaven by itself, but only in relation to its conscious
inhalation by a consciousness focused, at the 'crown centre', on the air that
is being inhaled.
241. Similarly, consciousness is not holy spirit by itself, but only in
relation to the air of which it is internally conscious.
242. Such holy spirit contrasts with unholy, or profane, spirit, which is
rooted in the Clear Light of the Void and enters human consciousness in the
form of light energy.
243. A consciousness given over to optical appreciation of phenomena
exists more in terms of profane spirit than of holy spirit.
244. That man has not died to the spirit who is overly curious in regard
to the phenomenal world.
245. To die to the spirit in order to be reborn into the Holy Spirit,
substituting the inner noumenal for the outer phenomenal as, transvaluated,
one's consciousness becomes focused on the lightness of air.
246. To live in the spirit is to suffer the curse of Original Sin which,
by making the phenomenal world a focus of (optical) consciousness, perpetuates
the World.
247. The World, being phenomenal, is merely temporal, and accordingly
phenomenal life is subject to death.
248. Only by rejecting the World, and hence the Original Sin which
perpetuates it, can man live the Eternal Life of the Holy Spirit of Heaven.
249. By contrast to Original Sin, such Eternal Life is an Ultimate Grace,
for it leads not to suffering, but to bliss.
250. The bliss of being at one with the universal self of the air is the
bliss of salvation in and through the Holy Spirit of Heaven.
251. What began in the light will end in the air, whether this air be
natural or, more probably, supernatural, and hence chemically manufactured.
252. Consciousness is a slave to perceptions when heathen, a slave to
conceptions when Christian, and free from both perceptions and conceptions when
transcendent, and hence purely receptive of the air.
253. Transcendental consciousness, stretching beyond things and words,
knows nothing but the bliss of its own joy from being at one with the lightness
of air.
254. Whatever holds men back from experiencing this ultimate
consciousness is damnable, and deserves to perish, whether gradually or
presently.
255. Only a Liberal would have God share the world with the Devil, Man,
and Woman for ever.
256. The will of the Second Coming is to bring the World to God the Holy
Spirit of Heaven by saving those who can be saved from the Devil, Man, and
Woman.
257. To be saved from the Devil of upper-class Fundamentalism, from the
Man of middle-class Nonconformism, and from the Woman of lower-class Humanism for
the God of classless Transcendentalism.
258. To be saved from the Devil of upper-class poetry, from the Man of
middle-class fiction, and from the Woman of lower-class drama for the God of
classless philosophy.
259. To be saved from the Devil of upper-class strength, from the Man of
middle-class goodness, and from the Woman of lower-class beauty for the God of
classless truth.
260. To be saved from the Father of upper-class time, from the Son of
middle-class volume, and from the Mother of lower-class mass for the Holy
Spirit of classless space.
261. To be saved from the Devil of upper-class fire, from the Man of
middle-class water, and from the Woman of lower-class earth for the God of
classless air.
262. To be saved from the naturalism of upper-class soul, from the
materialism of middle-class intellect, and from the realism of lower-class will
for the idealism of classless spirit.
263. To be saved from the naturalism of upper-class science, from the
materialism of middle-class politics, and from the realism of lower-class
economics for the idealism of classless religion.
264. To be saved from the authoritarianism of upper-class autocracy, from
the parliamentarianism of middle-class democracy, and from the republicanism of
lower-class bureaucracy for the totalitarianism of classless theocracy.
265. That man who eats but doesn't defecate soon becomes physically
constipated. Likewise, he who reads but
doesn't write soon becomes mentally constipated.
266. To write is effectively to excrete one's thoughts, which would
otherwise pile up and lead to mental constipation.
267. Writing is of no value until it has been recycled in book and/or
disc format (published) and made available to be read for mental profit.
268. Sculpture is the most realistic (worldly) of the Arts, whose basis
is the will (earth).
269. Literature is the most materialistic (purgatorial) of the Arts,
whose basis is the intellect (water).
270. Art is the most naturalistic (hellish) of the Arts, whose basis is
the soul (fire).
271. Music is the most idealistic (heavenly) of the Arts, whose basis is
the spirit (air).
272. The eclipse of literature by art (photography) is a fact of liberal
decadence.
273. Literature is damned to and by art, whether photographic or
otherwise.
274. Sculpture is saved to and by music, whether phonographic or
otherwise.
275. To be saved from the naturalism of upper-class art, from the
materialism of middle-class literature, and from the realism of lower-class
sculpture for the idealism of classless music.
276. The air is polluted just as much by electronic emissions as by
chemical or industrial ones.
277. Electronic pollution of the airwaves is simply less conspicuous than
the cruder, because perceptible, forms of pollution, but potentially no less
damaging!
278. Sight is the sense through which the negative spirit of optical
consciousness mediates with the world.
279. Hearing is the sense through which the negative soul of aural
consciousness mediates with the world.
280. Smell is the sense through which the positive spirit of nasal
consciousness mediates with the world.
281. Taste is the sense through which the negative will of dietary
consciousness mediates with the world.
282. Touch is the sense through which the positive will of tactile
consciousness mediates with the world.
283. Feeling is the sense through which the positive soul of racial
consciousness mediates with the world.
284. Feeling, the sixth sense, is of the blood, and contrasts with
hearing, its negative counterpart.
285. Likewise smelling, the third sense, is of the air, and contrasts
with seeing, its negative counterpart.
286. Similarly, touching, the fifth sense, is of the flesh, and contrasts
with tasting, its negative counterpart.
287. Thinking is the sense through which the positive mind of
intellectual consciousness mediates with the world.
288. Talking is the sense through which the negative mind of social
consciousness mediates with the world.
289. Hence thinking, effectively a seventh sense, is of the mind, and
contrasts with talking, its negative counterpart.
290. To see, to hear, to talk, to taste on the one hand, but to smell, to
feel, to think, and to touch on the other - such is the full gamut of sense
distinctions.
291. To be saved, positively, from touch to smell, but damned,
positively, from thought to feeling.
292. To be saved, negatively, from taste to sight, but damned,
negatively, from talk to hearing.
293. The First World War was effectively the War of the Father (Kaiser
Wilhelm II).
294. The Second World War was effectively the War of the Son (Hitler).
295. Although there is unlikely to be a Third World War, logic would
suggest that, were it to happen, it would effectively be a War of the Mother
and/or the Holy Spirit (the Second Coming), assuming one could have such a
thing.
296. To be saved from the supernationalism of the Father, the nationalism
of the Son, and the internationalism of the Mother for the supra-nationalism of
the Holy Spirit.
297. Just as, logically, one should think in terms of the Holy Spirit of
Heaven (rather than of just the Holy Spirit or Heaven), so it would be logical
to think in terms of the Father of Hell, the Son of Purgatory, and the Mother
of the World.
298. The deceptions of the flesh contrast, relatively, with the
conceptions of the mind.
299. Likewise, the receptions of the air (breath) contrast, absolutely,
with the perceptions of the spirit.
300. Like the spirit, the intellect also makes use of the sense of sight,
but it does so at a conceptual remove from the purely perceptual realm of
optical curiosity.
301. The intellect's use of sight resembles the moon, which shines with a
borrowed, or indirect, light, whereas the spirit's use of sight is akin to the
sun in its fiery directness.
302. Intellectuals can usually be distinguished from spirituals (as we
may call those whose use of sight is primary rather than secondary) by their
dependence on spectacles, which confer an indirect light.
303. Spectacle-wearers are usually, though not invariably, middle class,
the class, par excellence, of the intellect.
304. Logic should allow for the establishment of a correlation between
long-sightedness and perceptual consciousness on the one hand, and
short-sightedness and conceptual consciousness on the other hand - the former
spiritual and the latter intellectual.
305. A long-sighted intellectual would strike this thinker (himself
distinctly short-sighted) as being as improbable as a short-sighted spiritual.
306. Just as there are two ways of being objective, viz. a perceptual and
a conceptual, so there are two ways of being subjective, viz. a perceptual and
a conceptual.
307. To contrast the perceptual extroversion of absolute objective
consciousness with the conceptual introversion of absolute subjective
consciousness.
308. To contrast the conceptual extroversion of relative objective
consciousness with the perceptual introversion of relative subjective
consciousness.
309. Absolute objective consciousness, being perceptual, is of the Devil,
whereas absolute subjective consciousness, being conceptual, is of God.
310. Relative objective consciousness, being conceptual, is of Man,
whereas relative subjective consciousness, being perceptual, is of Woman.
311. Objective consciousness, whether perceptual or conceptual, absolute
or relative, is free, whereas subjective consciousness, whether perceptual or
conceptual, relative or absolute, is bound.
312. To contrast the absolute freedom of perceptual extroversion with the
absolute boundness of conceptual introversion.
313. To contrast the relative freedom of conceptual extroversion with the
relative boundness of perceptual introversion.
314. Perceptual extroversion, being objective, is of the free star,
whereas conceptual introversion, being subjective, is of the bound cross.
315. Conceptual extroversion, being objective, is of the free cross,
whereas perceptual introversion, being subjective, is of the bound star.
316. Considered objectively, freedom is bad, because objective, and hence
diabolic/masculine.
317. The only freedom that is good is the 'freedom' from objectivity
which implies a binding to subjectivity, and hence to feminine/divine criteria.
318. Hence it is freedom from Freedom which makes binding to perceptual
introversion (the bound star) or conceptual introversion (the bound cross)
possible.
319. Freedom is a curse of the Western world, which is dominated by the
twin objectivities of perceptual (solar) extroversion and conceptual (lunar)
extroversion.
320. Not until Freedom is overcome will the World be safe for subjective
binding, progressing from the mundane plane of perceptual introversion to the
transcendent plane of conceptual introversion, as from the Blessed Virgin to
the Holy Spirit.
321. Freedom is just another word for Heathen/Protestant anarchy, chaos,
tyranny, oppression, etc., which dresses itself up as autocracy, democracy,
free enterprise, Liberalism, freedom of the press, free speech, etc.
322. An open, or objective, society is always run by the Few against the
Many, whether the Few be autocratic (and upper class) or democratic (and middle
class).
323. A closed, or subjective, society can only be run for the Many by the
Few, whether the Many be bureaucratic (and lower class) or theocratic (and
classless).
324. All open societies are conspiracies of upper- and/or middle-class
self-interest against the Many, who are simply 'kept in their place' the better
to be exploited.
325. A shepherd is akin to a sun who utilizes the moon (sheepdog) to keep
the world (of sheep) in their subordinate place.
326. Such an arrangement is rather akin to an open, or free, society, in
which the masses are governed by an elite of politicians (whether autocratic or
democratic), whose resemblance to both shepherds and sheepdogs is more than
superficial.
327. The main distinction between an autocratic and a democratic society
(apart from the fact that the one is effectively run by shepherds and the other
by sheepdogs) is that whereas the former utilizes soldiers to protect
upper-class interests, the latter utilizes police primarily in the protection
of middle-class interests.
328. Soldiers stand to the police pretty much as the sun to the moon, or
Royals to Parliamentarians.
329. Soldiers are traditionally servants of the upper class, whereas the
police are effectively servants of the middle class.
330. Hence where soldiers are ideologically extreme right, the police are
ideologically moderate right.
331. The police are only extreme right in the pseudo-fascist context
(Nazi) of military police.
332. Thus whereas the police can have, or be seen to parallel, a Nazi
affinity, soldiers are naturally and more genuinely fascist.
333. 'People's soldiers' are simply quasi-fascist (Bolshevik) by dint of
their adherence to Marxism-Leninism.
334. Such quasi-fascist soldiers stand in-between fascist soldiers and
pseudo-fascist military police.
335. Of course, soldiers can be effectively of the World, but the only
soldiers who are genuinely such tend to be female.
336. Hence a socialist People's army would be effectively, if not
literally, female, in contrast to a so-called communist People's army.
337. A socialist People's army, being properly of the World, will be more
disposed to peace-keeping than to war-making, since it is effectively a
policing military.
338. The only thing beyond a socialist People's army is a communist
(Social Theocratic) People's police.
339. Such a police, necessarily secret, would be duty-bound to protect
the People from violent subversion.
340. It would be unrealistic to suppose that human society could manage
without either military or police bodies, although the nature of each body will
change according to the type of society in existence.
341. In a civil society, the military and the police will always keep a
low profile, leaving civilians to get on with their lives according to the
nature of the society in question.
342. This is no less true of a People's civilian society than of a
bourgeois and/or pluralist society balanced between bourgeois and proletarian
interests.
343. Guerrillas and vigilantes are unofficial manifestations of People's
military and police within a context, necessarily open-society, dominated by
upper-class and/or middle-class powers.
344. To contrast the Fascism of a public army with the Communism of a
secret police.
345. To contrast the Socialism of a policing military with the Nazism of
a military police.
346. To contrast the Republicanism of a People's militia with the
Liberalism of a public police.
347. Broadly, it can be said that whereas soldiers are of the star,
whether absolute or relative, police are of the cross, whether relative or
absolute.
348. Generally, long hair on women (as on men) affirms the heaviness of
the World, and thus contrasts with the lightness-affirming significance of very
short or shaved hair.
349. Beards are fundamentalist, and contrast with the transcendentalism
of pigtails.
350. Sideboards are nonconformist, and contrast with the humanism of
moustaches.
351. Beards are absolutely objective in their centrifugal appearance,
whereas pigtails are absolutely subjective in their centripetal essence.
352. Sideboards are relatively objective in their centrifugal appearance,
whereas moustaches are relatively subjective in their centripetal essence.
353. To be damned from sideboards to beards, but saved from moustaches to
pigtails.
354. Hence it could be said that whereas there is something extrinsically
diabolical about beards, there is something intrinsically divine about
pigtails.
355. Beards that are trimmed to a point are rather more intrinsically
diabolical than extrinsically so.
356. Ponytails are less intrinsically divine (like pigtails) than
intrinsically mundane.
357. The ponytail is the salvation of the World (denial of the will), but
the pigtail is the salvation of Heaven (denial of the spirit).
358. The ponytail contrasts with the pudding-basin hairstyle of
World-affirming will.
359. The pigtail contrasts with the Mohawk hairstyle of space-affirming
spirit.
360. Cropped hair is the 'salvation' of Hell (denial of the soul), but
back-combed hair is the 'salvation' of Purgatory (denial of the intellect).
361. Cropped hair contrasts with the (everywhichway) punk hair of
Hell-affirming soul.
362. Back-combed hair contrasts with the parted hair of
Purgatory-affirming intellect.
363. To contrast the naturalism of frizzy hair with the idealism of straight
hair.
364. To contrast the materialism of curly hair with the realism of wavy
hair.
365. In football, netted posts (the goal) confirm an omega orientation,
whereas unnetted posts confirm an alpha one.
366. To contrast the subjectivity of netted posts with the objectivity of
unnetted posts.
367. Football is divisible between the subjectivity of Association
Football/Gaelic Football netted posts, and the
objectivity of
368. To contrast the open (unnetted) posts of
369. To contrast the alpha-stemming openness of
370. To perceive an immoral/moral distinction between Rugby (Union and
League) on the one hand (immoral), and Football (Association and Gaelic) on the
other hand (moral) - the former objective and the latter subjective.
371. Hence whereas Rugby Union and Rugby League are objective modes of
football, Association Football and Gaelic Football are its subjective modes.
372. It could be said that whereas Association Football is of the World
in its phenomenal subjectivity, Gaelic Football tends, in its noumenal
subjectivity, to intimate of the transcendental Beyond.
373. To contrast the phenomenal subjectivity of the Association Football
goal, which is limited by its crossbar, with the noumenal subjectivity of that
part of the Gaelic Football goal which is open, in its vertical posts, to the
sky.
374. The Association Football goal, being phenomenally subjective, has an
elemental parallel with earth, whereas the Gaelic Football goal, being
noumenally subjective, has an elemental parallel with air.
375. Thus whereas Association Football is essentially a working-class
game in its earthiness, Gaelic Football stretches towards the classless in its
elemental affinity with air.
376. It could be said that whereas Rugby League is of the nonconformist
Overworld in its phenomenal objectivity, Rugby Union tends, in its noumenal
objectivity, towards the fundamentalist Behind.
377. To contrast the phenomenal objectivity of
Rugby League posts, whose focus of play (tries) is beneath the bar, with the
noumenal objectivity of
378. Rugby League posts, being phenomenally objective, have an elemental
parallel with water (mud), whereas Rugby Union posts, being noumenally
objective, have an elemental parallel with fire (spot-kicking into the sun).
379. Generally speaking,
380. Thus whereas
381. Generally speaking, Gaelic Football is more partial to scores above
the bar/between the posts, on account of its noumenally subjective bias,
whereas Association Football, being phenomenally subjective, is limited to
scores beneath the crossbar.
382. To contrast the noumenal objectivity of
383. To contrast the phenomenal objectivity of
384. To contrast the fundamentalism of upper-class
385. To contrast the nonconformism of middle-class
386. The salvation of Association Football is in Gaelic Football, the
ultimate, because absolute, kind of football.
387. The damnation of Rugby League is in Rugby Union, the ultimate,
because absolute, kind of rugby.
388. A post-liberal society, centred in Transcendentalism, would not
encourage the playing of
389. A transcendental society, commensurate with the Social Theocratic
'Kingdom of Heaven', would maintain a bias for Gaelic Football over Association
Football, deeming the latter symptomatic of worldly sin.
390. It is debatable whether Association Football would long continue to
be played in a transcendental society, in which earth had been transcended by
air, and the Blessed Virgin by the Holy Spirit.
391. American Football (so-called) stands to Gaelic Football as alpha to
omega, or light to air, on account of the openness of its posts stemming, on a
horizontal bar, from a single upright confirming a noumenal objectivity or,
more correctly, 'subjectivity' (especially when used in conjunction with a
stand-off containing net) which is nevertheless higher than and anterior to the
noumenal objectivity of Rugby Union posts.
392. Hence American Football is less an upper-class fundamentalist game
than a leading-class transcendentalist one, in which scores above the crossbar confirm
an alpha orientation towards the light rather than, like
393. American Football is consequently more cosmic than solar in its
scoring orientation, although the bias of play tends to favour earth-affirming
'touch downs' more than space-affirming spot kicks, thereby suggesting the
possibility that it is less cosmic than worldly, albeit of a hard-line
orientation which reflects republican values.
394. It is not the Blessed Virgin but the Cursed Whore who is the worldly
parallel which leaps to mind when considering the 'Gridiron' method of scoring
points through 'touch downs'.
395. Compared to American Football, Association Football is less
republican than Anglican in its ideological orientation, suggesting a
compromise between the Son (headed goals) and the Mother (kicked goals) which
is more specifically of the World than, like Gaelic Football, capable of
transcending it towards the Holy Ghost.
396. Did Association Football not have nets, we would be unable to infer
an omega orientation, and thus the probability of an Anglican parallel, but
would have to settle for a republican parallel, after the fashion of
'Gridiron'.
397. The twentieth century was, by and large, a light age, a superheathen
time dominated by Anglo-American civilization.
398. The most obvious historical parallel to the Anglo-American
classicism of the twentieth century would be the Graeco-Roman classicism of
pagan antiquity.
399. Just as pagan civilization was eclipsed by the barbarism of the Dark
Ages, so Anglo-American civilization will be/has been eclipsed by the barbarism
of a second Dark Ages.
400. Without the darkness to eclipse the light, there could be no
progress to a Superchristic civilization focused upon the inner light of the
spirit.
401. Just as the Christian civilization arose from out the barbarism of
the Dark Ages, so the Superchristian civilization of the Social Theocratic
future should arise from out the barbarism of the second Dark Ages.
402. The light of superheathen civilization is now so deeply entrenched
and all-pervasive that there could be no question of the World evolving towards
a Superchristic civilization without the coming of an intervening darkness, the
darkness of a superbarbarism.
403. Film is a major facet of the superheathen light which blinds the
greater part of mankind to the possibility of the 'light within'.
404. Until the 'light without' is largely eclipsed by a second darkness,
there can be no possibility of the inner light, and thus no hope for the Holy
Spirit of Heaven thereafter.
405. The inner light of hallucinogenic enlightenment would pave the way,
in Supercatholic fashion, for the Holy Spirit of Heaven, the ultimate salvation
of oneness with oxygen.
406. The superheathen devotees of the external light may be civilized,
but they are no better than the pagans of classical antiquity.
407. Only that man who wants to 'go within' is Superchristic, and for him
the darkness is not something to prevent but an historical wedge through which
one must pass in order to grasp the inner light of true civilization.
408. Where the outer is alpha-stemming and false, the inner is
omega-orientated and true.
409. To distinguish the evil, or negative, civilization rooted in the
light from the good, or positive, civilization centred in the spirit.
410. Likewise to distinguish between evil barbarism and good barbarism on
the basis of a republican/socialist dichotomy - the former against Christian
civilization and the latter against the superheathen civilization of the
Anglo-American West.
411. Hence where evil barbarism is opposed to good civilization, good
barbarism opposes evil civilization.
412. Just as Republicanism snuffed out Christian civilization, so
superheathen civilization will be/has been extinguished by Socialism.
413. But Socialism will pave the way for
Communism, which is to say, the Superchristic (Social Theocratic) civilization
of the artificial inner light/spirit in the '
414. By comparison with the Social Theocratic 'Kingdom of Heaven' to
come, the United Kingdom of Great Britain and Northern Ireland is a 'Kingdom of
Hell', as are all States rooted in monarchism.
415. For monarchism, being autocratic, is a thing of the Devil, and the
Devil glories in strength.
416. God, by contrast, glories in truth, and truthful will be the Social
Theocratic 'Kingdom of Heaven' that the Second Coming wishes to establish in
the wake of worldly darkness, viz. Socialism/Feminism.
417. The Second Coming could not save the British Monarch; for autocracy,
rooted in strength (power) is outside the pale of what can be saved.
418. A rich man/woman cannot be saved, any more than the Devil could be
saved by God ... the Second Coming.
419. That which is upper class is absolutely outside the pale of what can
be saved.
420. That which is middle class is relatively outside the pale of what
can be saved.
421. That which is working class is relatively inside the pale of what
can be saved.
422. That which is classless is absolutely inside the pale of what can be
saved, being, in truth, that which is of salvation.
423. The essence of 'God save the King/Queen', the British National
Anthem, is not salvation in the messianic sense (for how can a monarch be
saved?), but preservation, long to reign over his/her subjects.
424. Hence the British National Anthem is about preservation of the
reigning monarch vis-à-vis the Creator, the cosmic guarantor (Dieu et mon
Droit) of monarchic 'right', rather than the salvation of the reigning
monarch, whichever monarch that may happen to be, vis-à-vis the Second Coming.
425. Christ said something to the effect that it was easier for a camel
to pass through the eye of a needle than for a rich man to enter the '
426. A rich man would have to abandon power and wealth before he could
hope to be saved by the Second Coming.
Yet, even then, there would be no guarantee of salvation for him.
427. God the Second Coming is prepared to save worldly sinners, i.e.
sinners of the World, but this should not be misconstrued as applying to
sinners against the World, whether lunar (and relative) or solar (and
absolute).
428. For sinners against the World, there can be
only damnation, the damnation, at the very least, of being refused entry into
and/or kicked out of the '
429. If Gaelic Football is superior to Association Football because it
goes beyond the World in terms of its upper posts being open to the sky, then
so must Gaelic be superior to English in the degree to which it transcends the
World.
430. When and where people cannot 'speak their mind' and write freely,
there is invariably some anti-worldly and/or anti-heavenly tyranny which binds
them to lies.
431. To be bound to lies is to both deny and be denied the truth.
432. Poetry and fiction are the two main literary lies which bind men to
falsity, and thus prevent their realization of the truth.
433. Ultimately, truth can only be pursued and captured through
philosophy; though it helps if one has experienced the beauty of drama and
opted, thereafter, to deny the will.
434. Denial of the will is only possible, ultimately, through the
artificial beauty of art, not through natural beauty, which rather encourages
it towards propagation.
435. It is by contemplating the artificial beauty of art that Man is
enabled to transcend the natural will and acquire an intimation, thereby, of
heavenly salvation.
436. But transcendence of the will through art is still a long way short
of heavenly salvation, given its worldly limitations.
437. He who contemplates the artificial beauty of art sublimates the will
along the mundane lines of the universality of the World.
438. Such universality, while it may make for a Catholic Heaven, or
salvation, is still at a considerable remove from the universality of Heaven,
which is the airy goal of all moral striving.
439. Broadly, Schopenhauer was a much wiser philosopher than Nietzsche,
whose power-affirming philistinism bordered on the obscene.
440. Nietzsche was really the antithesis of a philosopher, a sort of
poetic 'wolf in sheep's [philosophical] clothing' who tore morality to shreds
in his insane hatred of Christianity.
441. Nietzsche's hatred of Schopenhauer was no less perverse than his
hatred of morality, and stemmed from a similar source.
442. Schopenhauer taught denial of the will, and Nietzsche taught
affirmation of the spirit - the one was wise after a Catholic fashion and the
other foolishly fundamentalist.
443. By and large, the twentieth century followed Nietzsche rather than
Schopenhauer, with morally catastrophic results (Fascism).
444. Compared to Schopenhauer, Nietzsche was if not overly barbarous, then
certainly less than truly civilized!
445. Barbarism rides out on the triumph of the will and perishes with its
denial.
446. Civilization is born when barbarism dies, and it affirms not nature
but art, which is artificial.
447. Just as nature is the essence of barbarism, so culture is the
essence of civilization; for culture can only develop where nature is not.
448. The cultivated barbarian tames and cultivates nature, but is unable
to transcend it through culture.
449. Without civilization there can be no culture, and thus no art, but
only the natural wilfulness of barbarism.
450. One can be civilized on a number of levels, but the highest
civilization of all is that which denies the spirit and thus makes possible the
art of self-cultivation through meditation.
451. Such self-cultivation - which is not to be identified with the
personal spiritual self - brings forward the Holy Spirit of Heaven in the
ultimate culture - one transcending the World, and hence all art.
452. Not only aesthetic culture, but both ethical and ethnic culture are also transcended by the theistic culture of the
'
453. Whereas aesthetic culture affirms beauty through art, theistic
culture affirms truth through air.
454. Where ethical culture affirms goodness through the prayer book,
ethnic culture affirms strength through race.
455. Compared to aesthetic culture, which is of the World, ethical
culture is of Purgatory.
456. Compared to theistic culture, which is of Heaven, ethnic culture is
of Hell.
457. The aesthetic culture of the Mother contrasts with the ethical
culture of the Son, as Humanism with Nonconformism.
458. The ethnic culture of the Father contrasts with the theistic culture
of the Holy Spirit, as Fundamentalism with Transcendentalism.
459. To contrast the phenomenal subjectivity of aesthetic culture with
the phenomenal objectivity of ethical culture.
460. To contrast the noumenal objectivity of ethnic culture with the noumenal
subjectivity of theistic culture.
461. Aesthetic culture, being of the Mother, is mundane, whereas ethical
culture, being of the Son, is purgatorial.
462. Ethnic culture, being of the Father, is hellish, whereas theistic
culture, being of the Holy Spirit, is heavenly.
463. He who creates God the Holy Spirit of Heaven by bringing his
consciousness into focus with the air he breathes is beyond belief in a Creator
God, such as Jehovah or the Clear Light of the Void.
464. God as Creator of the Universe is not only the most primitive and
primal concept of God; it is the most false, because alpha rather than omega.
465. To regard God from a cosmic viewpoint as Creator of the Universe, is
to take what might be termed a scientist's view of religion, which, because it
is rooted in the given rather than the becoming, is the most spurious of all
religious affiliations.
466. One has not begun to live religion until one has turned one's back
on the barbarism of cosmic Godhead and thereby denied the spirit of creation!
467. Denial of the Clear Light of the Void is a prerequisite of theistic
culture in the Holy Spirit of Heaven.
468. It could be said of acoustic music that it is a neutron equivalence
vis-à-vis the electron equivalence of electric music.
469. Thus it could broadly be said that acoustic music is bourgeois and
masculine, whereas electric music is proletarian and feminine.
470. This would not apply, however, to Jazz, which, when acoustic and
traditional, is rather more of a proton than neutron equivalence, given its
intensive rhythms and centrifugal wind.
471. Jazz would therefore stand to, say, classical acoustic music as the
sun to the moon, or protons to neutrons.
472. Thus it could be argued that the relationship of Jazz to Classical
is akin to the relationship of America to Europe, the 'New World' to the 'Old
World', with the former largely diabolic and the latter largely masculine, e.g.
solar and lunar, or fundamentalist and nonconformist.
473. The eclipse of Classical by Jazz is equivalent to the eclipse of the
'
474. Hence one could speak of the damnation of Classical by and through
Jazz, with the former broadly middle class and the latter broadly upper class.
475. To contrast the Classical Purgatory with the Jazz Hell, or
intellectual music with soulful music, the former cold and the latter hot.
476. If Jazz corresponds to a musical Hell and Classical to a musical
Purgatory, then Pop (including Rock) must correspond to the World, being a
working-class music.
477. Pop music is largely electric and therefore electron(ic), which
makes it phenomenally subjective (will-based) where Classical is phenomenally
objective (intellect-based) and Jazz noumenally objective (soul-based).
478. Jazz-Rock is a sort of 'Bolshevik' paradox whereby Rock is advanced
from a Jazz perspective, contrasting with the 'fascism' of Trad Jazz and the
'nazism' of Jazz-Classical.
479. If Rock, as a form of Pop, is of the World, then the only thing
which is beyond it is Folk, conceived as a classless music with noumenally
subjective overtones.
480. Since noumenal subjectivity correlates with the spirit, it could be
said that Folk is the classless music of a spirit-biased photon equivalence.
481. Hence one would have an absolute distinction between Jazz and Folk,
soul and spirit, with the former diabolic and the latter divine.
482. By contrast, the distinction between Classical and Pop would be
relative, since intellect and will are phenomenal, and therefore less extreme
than soul and spirit.
483. Hence a purgatorial/mundane distinction between Classical (including
Romantic) and Pop (including Rock), with Romantic being a mundane approach to
Classical and Rock, by contrast, a purgatorial approach to Pop.
484. Thus it could be said that whereas Romantic is 'Catholic' Classical,
Rock, by contrast, is 'Protestant' Pop, since the one is more instinctual than
intellectual, and the other more intellectual than instinctual.
485. Blues is a folksy approach to Jazz, whereas Gospel is a jazzy
approach to Folk.
486. Broadly, each type of music is divisible into an alpha and an omega
pole on the basis of a vocal/instrumental dichotomy.
487. Of the four main kinds of music, viz. Jazz, Pop, Classical, and
Folk, Classical is the only 'dead' music, since it is affiliated, through the
intellect, with the lunar, and thus is dependent on scores.
488. Jazz, Pop, and Folk are 'live' kinds of music which, whether
extrinsically or intrinsically, are independent of scores.
489. Jazz, being affiliated to the solar, is extrinsically emotional,
whereas Folk, with its stellar affiliation, is intrinsically spiritual.
490. Pop, being affiliated to the worldly (planar), is intrinsically
instinctual.
491. Even though Rock is a 'Protestant', and therefore purgatorial,
approach to Pop, it is still a working-class form of music.
492. Likewise, Romantic is still middle class even though it is a
'Catholic', and hence mundane, approach to Classical.
493. To contrast the aesthetics of Pop (including Rock) with the ethics
of Classical (including Romantic).
494. To contrast the ethnicity of Jazz (including the Blues) with the
theism of Folk (including Gospel).
495. Because Folk is arguably the ultimate music, it is likely that only
Folk would be given active encouragement in the (Social Theocratic) '
496. Where there is Folk, as in
497. The intrinsic pitch of Folk contrasts absolutely with the extrinsic
rhythms of Jazz.
498. The intrinsic harmonies of Pop contrast relatively with the
extrinsic melodies of Classical.
499. The salvation of the Pop World in and by the Folk Heaven.
500. The damnation of the Classical Overworld (purgatorial) in and by the
Jazz Hell.
501. God stands behind Folk as the Devil behind Jazz, Man behind
Classical, and Woman behind Pop.
502. The Folk of the Holy Spirit (God), as opposed to the Jazz of the
Father (Devil).
503. The Classical of the Son (Man), as opposed to the Pop of the Mother
(Woman).
504. The older I get, the more convinced I become that there exists a
correlation between soil and sex, and that natural sexual relations are only
possible on the basis of a harmonious relationship between the two.
505. That man who lives exiled from his ancestral soil is unlikely to
have respectful, or indeed any, sexual relations with women.
506. When one is alienated from the soil (if any) on which one lives, the
chances of one's sexuality being unaffected will be correspondingly remote.
507. The soil is not just a historicity of blood and toil; it is a
feminine parallel (Mother Earth) to woman, and hence the womb.
508. He who does not respect the soil upon which he lives is unlikely to
have much sexual respect for its women.
509. The frivolous man who lives exiled from his native soil may be able
to 'fuck around' with women, but the serious man is more likely, scorning
homosexuality, to remain celibate.
510. Homosexuality is, I think, conditioned more by the artificial
essence (antinatural) of the urban environment than by natural proclivities
alone.
511. The city, being an intensely artificial phenomenon, has a lunar, and
therefore masculine, parallel which conduces towards the growth of
homosexuality.
512. Viewed objectively, in connection with its relationship to urban
artificiality, homosexuality is a middle-class sexuality with markedly liberal
overtones.
513. Homosexuality contrasts with lesbianism as Purgatory with the World,
or masculinity with femininity.
514. If homosexuality is purgatorial and lesbianism mundane, then heterosexuality
must signify a compromise between the two, as though in strict reflection of a
masculine/feminine dualism.
515. Such a dualism would have its political parallel in a Liberal
Republic, as a compromise between parliamentary and socialist alternatives, the
former effectively homosexual and the latter lesbian.
516. It could also be said that heterosexuality is analogous to a
Classical/Pop or Pop/Classical compromise, whereby the intellect and the will
(of masculine and feminine genders) seek a sexual accommodation with each
other.
517. The only sexuality beyond the World is the airy sexuality of
intercourse with plastic inflatables, or the use, for sexual gratification, of
so-called 'sex dolls'.
518. Inflatable intercourse, as one might call it, is the ultimate kind
of sex, which should correspond to a spiritual bias, given the not
inconsiderable part played by air.
519. If inflatable intercourse is the divine mode of sex, then
pornography must be the diabolic mode, the mode associated with the noumenal
objectivity of masturbation.
520. Photographic light is not in itself diabolic, but pornography easily
becomes an inducement to masturbation, particularly in connection with film
(the mode of photography most paralleling fire).
521. Pornographic sex contrasts with inflatable sex as Jazz with Folk, or
the Devil with God.
522. Homosexuality contrasts with lesbianism as Classical with Pop, or
Man with Woman.
523. Because there is a correlation between environment and sexuality, it
should largely be possible to equate a given type of sexuality with a given
environment, whether or not such an equation invariably bears practical fruit.
524. The town stands between the village and the city as heterosexuality
between lesbianism and homosexuality.
525. The town is thus the environment most correlative with a
heterosexual compromise between masculine and feminine extremes, since the town
exists, in scale and environment, between the city and the village.
526. To contrast the 'homosexuality' of city environments with the
'lesbianism' of village environments, as one would contrast the masculine with
the feminine, or Purgatory with the World.
527. The city is an intensely artificial and materialistic environment which
contrasts with the naturalism of village life.
528. Compared to the village, the city is a dead thing, wherein the
intellect erects its throne.
529. The town is less a compromise between city and village than an
environment at one remove from the village which has the (negative) potential
to become a city.
530. The town is in touch with nature, as the Catholic Christ with the
Mother, whereas the city is transcendentally aloof from it in a kind of
nonconformist Purgatory.
531. Beyond the village is the commune, which brings the People to God.
532. Behind the city is the urban wasteland, which brings the Devil to
people.
533. The urban wasteland is the contemporary abode of Hell for those who
inhabit it.
534. The commune is the contemporary abode of Heaven for those who
inhabit it.
535. The garden-city concept is effectively a Nazi delusion, which seeks
to save the city.
536. One can no more save the city than damn the village.
537. The universality of the artist contrasts, as the World to Purgatory,
with the universality of the scholar.
538. The universality of the genius contrasts, as Hell to Heaven, with
the universality of the saint.
539. The artist denies the will through the artificial beauty of art.
540. The scholar denies the intellect through the artificial goodness of
politics.
541. The genius denies the soul through the artificial strength of
science.
542. The saint denies the spirit through the artificial truth of
religion.
543. The genius and the saint are as antithetical as the Devil and God,
whereas the artist and the scholar are only as antithetical as Woman and
544. The artist-saint is the paradoxical equivalent of the
political-genius.
545. One can no more save the scholar than damn the artist; the scholar
can only be damned and the artist saved.
546. Salvation for the artist is in the saint, including the philosopher.
547. Damnation for the scholar is in the genius, including the inventor.
548. Traditionally, the artist is a phenomenon of the village and the
scholar a phenomenon of the town, though, these days, the former is more apt to
live in a town and the latter in a city.
549. By contrast, the saint is a noumenon of the religious commune
(monastery) and the genius a noumenon of the castle (country house).
550. The phenomenal subjectivity of the artist contrasts relatively with
the phenomenal objectivity of the scholar.
551. The noumenal subjectivity of the saint contrasts absolutely with the
noumenal objectivity of the genius.
552. Genius is even more abhorrent to the saint than scholarship to the
artist.
553. It is because they are both subjective that the artist and the saint
are feminine/divine ideals.
554. By contrast, the scholar and the genius are masculine/diabolic
ideals.
555. It could be argued that whereas the ideal of a nonconformist society
will be the scholar, the ideal of a humanist society, by contrast, will be the
artist.
556. Likewise, the ideal of a fundamentalist society will be the genius,
in contrast to the saintly ideal of a transcendentalist society.
557. The Pop artist stands in a phenomenally antithetical relationship to
the Classical scholar.
558. The Folk saint stands in a noumenally antithetical relationship to
the Jazz genius.
559. Because music is essentially a heavenly art form, it follows that
the most musical kind of music will be that which most approximates to the
divine, viz. pitch, while the least musical kind of music will be that, by
contrast, which most approximates to the diabolic, viz. rhythm.
560. Since the above distinction is one between the musical and the
unmusical, it could be argued that whereas Folk is, in its bias towards pitch,
an absolutely musical kind of music, Jazz, in its rhythmic basis (swing), is
absolutely unmusical.
561. A similar, albeit more relative, distinction could be drawn between
Classical and Pop - the former relatively musical in its melodic bias, the
latter relatively unmusical in its bias for harmony.
562. Thus whereas Folk and Classical are musical kinds of music, the
former absolutely and the latter relatively, Pop and Jazz are comparatively
unmusical kinds of music, the former relatively and the latter absolutely.
563. Put metaphysically, we are distinguishing between the absolute
musicality of pitch (the divine element in music) and the relative musicality
of melody (the masculine element in music).
564. Likewise, where Pop and Jazz are concerned, we are distinguishing
between the relative unmusicality, so to speak, of harmony (the feminine
element in music) and the absolute unmusicality of rhythm (the diabolic element
in music).
565. Whereas Folk, Jazz, Classical, and Pop are primary musical art
forms, Blues, Soul, Romantic, and Rock are secondary musical art forms.
566. The primary musical art forms stand to the secondary ones as the
psychological to the physiological, or as elements to molecules.
567. Hence whereas Folk, the heavenly kind of music, is of the
superconscious, Blues is of the forebrain.
568. Hence whereas Jazz, the hellish kind of music, is of the
subconscious, Soul is of the backbrain.
569. Hence whereas Classical, the purgatorial kind of music, is of the
conscious, Romantic is of the right midbrain.
570. Hence whereas Pop, the mundane kind of music, is of the unconscious,
Rock is of the left midbrain.
571. Such distinctions, as between the primary and the secondary, apply
equally well to the alpha or to the omega, particles or wavicles, within any
given musical spectrum.
572. Hence a particle/wavicle distinction between vocal Folk and
instrumental Folk with regard to the photon elements of the superconscious, but
a particle/wavicle distinction between vocal Blues and instrumental Blues with
regard to the photon molecules of the forebrain.
573. Hence a particle/wavicle distinction between vocal Jazz and
instrumental Jazz with regard to the proton elements of the subconscious, but a
particle/wavicle distinction between vocal Soul and instrumental Soul with regard
to the proton molecules of the backbrain.
574. Hence a particle/wavicle distinction between vocal Classical and
instrumental Classical with regard to the neutron elements of the conscious,
but a particle/wavicle distinction between vocal Romantic and instrumental
Romantic with regard to the neutron molecules of the right midbrain.
575. Hence a particle/wavicle distinction between vocal Pop and
instrumental Pop with regard to the electron elements of the unconscious, but a
particle/wavicle distinction between vocal Rock and instrumental Rock with
regard to the electron molecules of the left midbrain.
576. Folk, being pitch-orientated, is the music of space, as, from a
cruder standpoint, is the Blues.
577. Jazz, being rhythmic, is the music of time, as, from a cruder
standpoint, is Soul.
578. Classical, being melodic, is the music of volume, as, from a cruder
standpoint, is Romantic.
579. Pop, being harmonic, is the music of mass, as, from a cruder
standpoint, is Rock.
580. Since space can be either spatial or spaced, alpha or omega, we
should distinguish Folk space from Blues space on the basis of a spaced/spatial
dichotomy.
581. Since time can be either sequential or repetitive, alpha or omega, we
should distinguish Jazz time from Soul time on the basis of a
repetitive/sequential dichotomy.
582. Since volume can be either volumetric or voluminous, alpha or omega,
we should distinguish Classical volume from Romantic volume on the basis of a
voluminous/volumetric dichotomy.
583. Since mass can be either massed or massive, alpha or omega, we
should distinguish Pop mass from Rock mass on the basis of a massive/massed
dichotomy.
584. Vocal Blues is alpha spatial space, whereas instrumental Blues is alpha-in-the-omega
spatial space.
585. Vocal Folk is omega-in-the-alpha spaced space, whereas instrumental
Folk is omega spaced space.
586. Vocal Jazz is alpha sequential time, whereas instrumental Jazz is
alpha-in-the-omega sequential time.
587. Vocal Soul is omega-in-the-alpha repetitive time, whereas
instrumental Soul is omega repetitive time.
588. Vocal Classical is alpha volumetric volume, whereas instrumental
Classical is alpha-in-the-omega volumetric volume.
589. Vocal Romantic is omega-in-the-alpha voluminous volume, whereas
instrumental Romantic is omega voluminous volume.
590. Vocal Rock is alpha massed mass, whereas instrumental Rock is
alpha-in-the-omega massed mass.
591. Vocal Pop is omega-in-the-alpha massive mass, whereas instrumental Pop
is omega massive mass.
592. From the foregoing maxims, it can be deduced that whereas the
physiological parallel precedes the psychological parallel in the cases of
Blues/Folk and Rock/Pop, the converse happens in the cases of Jazz/Soul and
Classical/Romantic.
593. This is because both Blues/Folk and Rock/Pop appertain to spectra
which, being subjective, are by definition evolutionary, whereas Jazz/Soul and
Classical/Romantic appertain to spectra which, being objective, are by
definition devolutionary.
594. Hence where subjective spectra are concerned, we have an evolution
from the physiological to the psychological, as from molecules to elements.
595. Where objective spectra are concerned, however, we have devolution from
the psychological to the physiological, as from elements to molecules.
596. Hence the evolution of the space spectrum from Blues to Folk, as
from the forebrain to the superconscious.
597. Hence, too, the evolution of the mass spectrum from Rock to Pop, as
from the left midbrain to the unconscious.
598. But the devolution of the time spectrum from Jazz to Soul, as from
the subconscious to the backbrain.
599. And the devolution of the volume spectrum from Classical to
Romantic, as from the conscious to the right midbrain.
600. The evolution of heavenly subjectivity from the spatial space of
vocal Blues to the spaced space of instrumental Folk via the spaced space of
vocal Folk and the spatial space of instrumental Blues.
601. Likewise the evolution of mundane subjectivity from the massed mass
of vocal Rock to the massive mass of instrumental Pop via the massive mass of
vocal Pop and the massed mass of instrumental Rock.
602. But the devolution of hellish objectivity from the sequential time
of vocal Jazz to the repetitive time of instrumental Soul via the repetitive
time of vocal Soul and the sequential time of instrumental Jazz.
603. And the devolution of purgatorial objectivity from the volumetric
volume of vocal Classical to the voluminous volume of instrumental Romantic via
the voluminous volume of vocal Romantic and the volumetric volume of
instrumental Classical.
604. From the molecular photon particles of alpha spatial space to the
elemental photon wavicles of omega spaced space via the elemental photon
particles of omega-in-the-alpha spaced space and the molecular photon wavicles
of alpha-in-the-omega spatial space.
605. From the Clear Light of the (vocal Blues) Void to the Holy Spirit of
(instrumental Folk) Heaven via the Unholy Spirit of the (vocal Folk) Void and
the Unclear Light of (instrumental Blues) Heaven.
606. Likewise from the molecular electron particles of alpha massed mass
to the elemental electron wavicles of omega massive mass via the elemental
electron particles of omega-in-the-alpha massive mass and the molecular
electron wavicles of alpha-in-the-omega massed mass.
607. From the Clear Darkness of (vocal Rock) Mass to the Holy Will of the
(instrumental Pop) World via the Unholy Will of (vocal Pop) Mass and the
Unclear Darkness of the (instrumental Rock) World.
608. But from the elemental proton particles of alpha sequential time to
the molecular proton wavicles of omega repetitive time via the elemental proton
wavicles of omega-in-the-alpha repetitive time and the molecular proton
particles of alpha-in-the-omega sequential time.
609. As from the Clear Heat of (vocal Jazz) Time to the Holy Soul of
(instrumental Soul) Hell via the Unholy Soul of (vocal Soul) Time and the
Unclear Heat of (instrumental Jazz) Hell.
610. And from the elemental neutron particles of alpha volumetric volume
to the molecular neutron wavicles of omega voluminous volume via the elemental
neutron wavicles of omega-in-the-alpha voluminous volume and the molecular
neutron particles of alpha-in-the-omega volumetric volume.
611. From the Clear Coldness of (vocal Classical) Volume to the Holy
Intellect of (instrumental Romantic) Purgatory via the Unholy Intellect of
(vocal Romantic) Volume and the Unclear Coldness of (instrumental Classical)
Purgatory.
612. A heavenly evolution from molecular photon particles to elemental
photon wavicles, as from the forebrain to the superconscious.
613. Likewise a mundane evolution from molecular electron particles to
elemental electron wavicles, as from the left midbrain to the unconscious.
614. But a hellish devolution from elemental proton particles to
molecular proton wavicles, as from the subconscious to the backbrain.
615. And a purgatorial devolution from elemental neutron particles to
molecular neutron wavicles, as from the conscious to the right midbrain.
616. The devolutionary objectivity of protons/neutrons vis-à-vis the
evolutionary subjectivity of electrons/photons.
617. The diabolic/masculine contracts and diverges, while the
feminine/divine expands and converges.
618. The devolutionary objectivity of time/volume vis-à-vis the
evolutionary subjectivity of mass/space.
619. Volume contracts into time, whereas mass expands into space.
620. Volume diverges from mass into the damnation of time, whereas mass,
freed from volume, converges towards space, wherein it is saved.
621. Saved from massive mass for spaced space, wherein Heaven h