REVELATIONS
OF AN IDEOLOGICAL PHILOSOPHER
Cyclic Philosophy
Copyright © 1997-2009 John O'Loughlin
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CONTENTS
Cycles 1-35
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CYCLE ONE
1. When considered in relation to the elements, it
could be argued that the Seasons proceed from Summer to Autumn via Winter and
Spring, as from fire to air via water and vegetation (earth). For it does seem that there is a definite
correlation between Summer and fire, the season of the sun par excellence;
between Winter and water, the season of rain and frost and/or snow par
excellence; between Spring and vegetation, the season of vegetative growth par
excellence; and between Autumn and air, the season of wind and gales par
excellence.
2. In gender terms, I
would have to identify Summer and Winter with the female aspect of things and,
by contrast, Spring and Autumn with their male aspect, the former seasons
respectively diabolic (superfeminine-to-subfeminine)
and feminine, the latter seasons masculine and divine (submasculine-to-supermasculine)
respectively.
3. With regard to religious contexts, one could
associate Summer with Hell, Winter with Purgatory, Spring with the Earth, and
Autumn with Heaven, though only, of course, in very general and approximate
terms.
4. Like fire and water, Summer and Winter are
primary seasons, given their female bias towards objectivity, whereas Spring
and Autumn, by contrast, are comparatively secondary seasons, given their male
bias, through vegetation and air, for subjectivity.
5. In general terms, females correspond to the
primary seasons of Summer and Winter, fire and water,
while males, by contrast, correspond to the secondary seasons of Spring and
Autumn, vegetation and air.
6. With regard to sartorial options, one could
argue that dresses correlate with Summer and skirts
with Winter, whereas trousers (or some jean-like variant thereof) correlate
with Spring and zippersuits with Autumn.
7. I find it difficult, in view of the above
contentions, not to regard dresses as being as incompatible with, and therefore
irrelevant to, males ... as zippersuits would be
incompatible with, and therefore irrelevant to, females, bearing in mind their
respective correlations with fire and air, or Summer and Autumn.
8. Likewise, I would have to regard skirts as
being as incompatible with, and therefore irrelevant to, males ... as trousers
are incompatible with, and therefore irrelevant to, females, bearing in mind
their respective correlations with water and vegetation, Winter
and Spring.
9. A male in a dress and/or skirt would be as
bent, and therefore gender-contradictory, as a female in trousers and/or zippersuit. For, in
the one case, a preponderantly subjective creature would be advertising himself
objectively, whereas in the other case a predominantly objective creature would
be advertising herself subjectively. The
former would be underestimating himself, while the
latter would be overestimating herself.
10. The Seasons are not equal, any more than
people in general are equal.
Equalitarianism is almost invariably a doctrine of 'the low' and 'the
base' which works to reduce everything, including life itself, to the
lowest-common-denominator ... of mundane assessment.
11. Democracy is a product of equalitarianism, as,
before it, was Christianity, which sought to elevate 'the humble' to positions
of equality, in God's eyes, with 'the noble'!
12. Protestantism did much the same thing as
Catholicism in reverse, by reducing 'the noble' to positions of equality, in
Christ's eyes, with 'the humble'. In
this respect, it paved the way for democracy, which took the process a step
further by doing away with 'the noble' altogether, thereby transforming 'the
meek' from humble to arrogant.
13. This process has now gone so far that plebeian
arrogance is taken for granted by the majority of people in countries where man
is the measure of all things, and all things, seemingly, must bow to him.
14. The notion of 'in God's eyes' or 'in God's
sight' is a contradiction in terms, since sight is less characteristic of God
or what is godly than of the Devil, having affiliations with noumenal objectivity, and thus with what some more
conventional souls would identify with 'original sin', but which I prefer to
identify with the inception of Cupidian vice.
15. For Cupid, with bow
drawn back to fire his arrow diagonally downwards upon the heart, is the
perfect illustration of noumenal objectivity, which
stretches, in superfeminine-to-subfeminine fashion,
from eyes to heart.
16. As a rule, a female
does not become a male, nor does a male, with few exceptions, become a
female. The one is conditioned by
objective criteria originating in a vacuum (the womb) and the other by
subjective criteria centred in a plenum (the scrotum). These criteria are effectively immutable.
17. As to the question of whether females are
biologically or socially conditioned, it seems to me that they are both
biologically conditioned (as alluded to above) and socially
conditioned, but that the ratio of the one to the other will vary with the
individual, the society, the ethnicity, and even the age in which females live,
so that no one factor is ever exclusively prominent.
18. I would argue that in a Christian age, or age
stressing sensibility, the conditioning emphasis will be more social than
biological, but that in a non-Christian, or heathen, age like the twentieth
century, which was overwhelmingly sensual, the conditioning emphasis will be
more biological than social. For social
conditioning is what pegs females down to a subordinate position to males in
deference to the latter's natural determinism, whereas biological conditioning
releases females from social constraints and encourages males to defer, by
contrast, to free will, a thing having more intimate connections with
biological conditioning than many men, and not a few women, might suppose. In fact, it would be no exaggeration to say
that free will stems from biological conditioning in relation to a vacuous
premise (the womb) that conduces towards objectivity. And in this respect it is quintessentially
female.
CYCLE TWO
1. To contrast, on a European basis, the outer
fire of French materialism with the inner fire of Dutch materialism, the former
corresponding, in personal terms, to the eyes and the latter to the heart, so
that we have a space-time axis which contrasts metachemical
sensuality with metachemical sensibility.
2. Likewise, to contrast the outer water of
English realism with the inner water of Italian realism, the former
corresponding, in personal terms, to the tongue and the latter to the womb, so
that we have a volume-mass axis which contrasts chemical sensuality with
chemical sensibility.
3. Similarly, to contrast the outer vegetation
of Spanish naturalism with the inner vegetation of Russian naturalism, the
former corresponding, in personal terms, to the phallus and the latter to the
brain, so that we have a mass-volume axis which contrasts physical sensuality
with physical sensibility.
4. Finally, to contrast the outer air of German
idealism with the inner air of Irish idealism, the former corresponding, in
personal terms, to the ears and the latter to the lungs, so that we have a
time-space axis which contrasts metaphysical sensuality with metaphysical sensibility.
5. Of course, each of the above aphorisms has
reference to a generalization, on a European-wide basis, such that focuses on
what is conceived to be the most applicable element to each of the aforementioned
countries, further subdividing this element along sensual and sensible lines in
relation to outer and inner contexts.
6. Thus the Frenchman, the Englishman, the
Spaniard, and the German are conceived as being on the sensual, or outer, side of
their respective elements, viz. fire, water, vegetation, and air, whereas the
Dutchman, the Italian, the Russian, and the Irishman are conceived, by
contrast, as being on the sensible, or inner, side of those same elements
respectively.
7. Thus where the eyes, the tongue, the phallus,
and the ears are the (sensual) organs with which Frenchmen, Englishmen,
Spaniards, and Germans have been respectively identified, the heart, the womb,
the brain, and the lungs are the (sensible) organs with which, directly or
indirectly, I tend to identify a majority of Dutchmen, Italians, Russians, and
Irishmen.
8. One is thereby contrasting, in very general
cultural terms, the outer evil of France with the inner evil of Holland in
relation to fiery materialism; the outer goodness of England with the inner
goodness of Italy in relation to watery realism; the outer folly of Spain with
the inner folly of Russia in relation to vegetative naturalism; and the outer
wisdom of Germany with the inner wisdom of Ireland in relation to airy
idealism.
9. In simple religious
terms, this would suggest that whereas fundamentalism would be chiefly
characteristic of both
10. Likewise, I am suggesting that whereas nonconformism would be chiefly characteristic of both
11. In general cultural terms,
12. Similarly,
13. In each of the above aphorisms, the cultural
generalization to which each of the countries is subjected has to be considered
in relation to the Heathen/Christian dichotomy, here implicit, between
sensuality and sensibility, the outer, or 'once-born', manifestations of the
respective elements and their inner, or 're-born', manifestations thereof.
14. Hence French painting, for example, will be
rather more outer, or 'once born', than Dutch painting, whilst English
literature will be correspondingly more sensual, or heathenistic,
than Italian literature.
15. Conversely, Russian sculpture will be rather
more inner, or 're-born', than Spanish sculpture,
whilst Irish music will be correspondingly more sensible, or Christian, than
German music.
CYCLE THREE
1. The contention, expressed above, that Italy
should be identified with watery re-birth (the womb) lends itself to the notion
that Italian sensibility is not only Marian as opposed to, say, Christic, but that Roman Catholicism, the mode of
Christianity one would most identify with Italy, is accordingly biased towards Marianism, in contrast to the Christic
bias of, say, Eastern Orthodoxy in connection with the Russian Church.
2. Now if Romanism is the Catholicism of Mary
and Orthodoxy, at least in its Russian manifestation, the Catholicism of
Christ, then one would have reason to believe that Greek Orthodoxy was, in
comparative terms, the Catholicism of the Father, and what may be called Celtic
Radicalism the Catholicism of the Holy Spirit.
3. Put elementally, in terms of fire, water,
vegetation, and air, this would suggest that Catholicism could be regarded as
stretching from fiery fundamentalism on the Far Left, as it were, of the
Christian spectrum to airy transcendentalism on the Far Right, with watery humanism
and vegetative nonconformism holding comparatively
left- and right-wing positions in between - as, overall, from Greek Orthodoxy
to Celtic Radicalism via Roman Catholicism and Russian Orthodoxy.
4. Hence Christianity would afford us the
contrast, within the same religion, of Greek fieriness, Italian wateriness,
Russian vegetativeness, and Irish airiness, with
corresponding distinctions of emphasis between the Father, the Mother, the Son,
and the Holy Ghost.
5. If this were so, then we can believe that the
Gaelic aspects of Irish culture, including stout and sport, owe more to Celtic
Radicalism than ever they do to Roman Catholicism, and that there is
accordingly a struggle at large in Ireland between the Marian culture of the
official church and the spiritual culture of the church which, in its Celtic
idealism, most corresponds to Gaelic sensibility.
6. That which is best in and about Ireland would
therefore be less Roman than Celtic, and we may hold that only in the idealism
of the Celtic Church would the Irish people come anywhere near the true
spirituality of full-blown transcendentalism.
7. The Social Transcendentalism to which I, as a
self-professed Messiah, subscribe would, of course, leave the Christian
spirituality of Celtic Radicalism far behind in its advocacy of transcendental
meditation and total break with Biblical adherence, through the Old Testament,
to Creator-based concepts of God, but, in comparative terms, Celtic Radicalism
would seem to be the mode of Christianity which does most justice, within the
restricted parameters of the Catholic Church, to Christian idealism, with due
reference, in consequence, to the Holy Ghost.
8. In this respect, it
could be regarded as standing above both the Christic
bias of Russian Orthodoxy and the Marian bias of Roman Catholicism, as air
transcends both vegetation and water.... Which is not to say that vegetation
and water don't religiously exist in Ireland, but, rather, that they would be
less characteristic of the Celtic majority's sensibility than air, bearing in
mind the extent to which Irish Celts are historically drawn, through Gaelic
culture, to airy transcendentalism in response, in no small measure, to the
mountainous uplands which typify a not-inconsiderable proportion of the island
of Ireland.
9. Which, of course, is also true of Scottish
and Welsh Celts, whose Gaelic traditions display a bias towards airy
sensibility over vegetative and watery, not to mention fiery, parallels
existing elsewhere.
10. Indeed, just as Scottish and/or Welsh Gaels
can be added to their Irish counterparts in relation to airy sensibility, often
culturally manifesting itself through piping of one kind or another, so it
seems to me that the Portuguese should be added to the Germans where airy
sensuality is concerned, since Portugal is by no means as flat or plain-like as
Spain, and Portuguese influence in South America betrays ample evidence of an
airy bias not incompatible with German influence there.
11. However that may be, there is scope, in
Europe, for making fourfold ethnic distinctions, based on the elements, between
fiery Gallic, watery Nordic, vegetative Slavic, and airy Celtic, with Latin or,
rather, Hispanic (in broad terms), Teutonic, Slavonic, and Gaelic cultural
implications respectively.
12. The Gaul and the Gael are not as close as a
superficial analysis could lead one to believe, but are as antipodes in a
gender dichotomy which places Gallic and Nordic on one side of the fence, and
Slavic and Celtic on the other - the former as fire and water in relation to
female alternatives, the latter as vegetation and air in relation to male ones.
13. Verily, the Slavic and Celtic side of the
ethnic divide, being subjective, is beyond the objectivity of its female side, as
folly and wisdom lie beyond evil and good, the one relatively so, the other
absolutely so, as befitting the distinction between vegetative sin and airy
grace.
14. Such, in very general terms, is how I conceive
of the principal European peoples, although, in practice, they are much more
mixed than such straightforward theories would allow, and all countries contain
minorities, in any case, which seem to elude neat pigeonholing in relation to
Christianity, either because they come from outside Europe or because they are
products of cross-breeding, or for some other no-less cogent reason. My task as a philosopher is simply to
establish broad categories whereby some pattern or methodology can be
maintained, to the end of securing an enhanced understanding of life in general
terms. And in this respect I believe I
have succeeded where others, before me, have failed.
CYCLE FOUR
1. If art, literature, sculpture, and music can
be pursued on either a sensual or a sensible basis, as I have argued, then it
must follow that criteria of hierarchical evaluation regarding the principal
art forms will differ according to whether they are demonstrably 'once born' or
're-born', outer or inner, in the manner described.
2. Hence we should have no difficulty in
establishing that predominantly sensual manifestations of these art forms will
reflect heathenistic criteria of evaluation, whereas
their sensible counterparts will reflect Christian criteria, in due 're-born'
vein.
3. Because the elements follow a descending hierarchy,
based on their degree of sensuality, from fire to air via water and vegetation
in 'once born', or heathenistic, mode, we may hold
that the hierarchical order of art forms will reflect this descent when they
are recognizably sensual, in consequence of which art (painting) will be
adjudged the highest art form, literature the second highest, sculpture the
third highest or, rather, second lowest art-form, and music the lowest, as we
proceed, in primary fashion, from fire to water and, in secondary fashion, from
vegetation to air.
4. Conversely, because the elements follow an
ascending hierarchy, based on their degree of sensibility, from fire to air via
water and vegetation in 're-born', or Christian, mode, we may hold that the
hierarchical order of art forms will reflect this ascent when they are
recognizably sensible, in consequence of which art (painting) will be adjudged
the lowest art form, literature the second lowest, sculpture the third lowest
or, rather, second highest art-form, and music the highest, as we proceed, in
secondary vein, from fire to water, and, in primary vein, from vegetation to
air.
5. Thus whether painting, for example, be
adjudged a first- or a fourth-rate art form will depend on whether it is
recognizably sensual, and heathenistic, or sensible,
and Christian, since in the one case it will approximate to the eyes, whereas
in the other case its approximation will be to the heart.
6. Likewise, whether literature be adjudged a
second- or a third-rate art form will depend on whether it is recognizably
sensual, and 'once born', or sensible, and 're-born', since in the one case it
will approximate to the tongue, whereas in the other case its approximation
will be to the womb.
7. Similarly, whether sculpture be adjudged a
third- or a second-rate art form will depend on whether it is recognizably
sensual, and heathenistic, or sensible, and
Christian, since in the one case it will approximate to the flesh (of which the
phallus is effective cynosure), whereas in the other case its approximation
will be to the brain.
8. Finally, whether music be adjudged a fourth-
or a first-rate art form will depend on whether it is recognizably sensual, and
'once born', or sensible, and 're-born', since in the one case it will
approximate to the ears, whereas in the other case its approximation will be to
the lungs.
9. Now, as I have already argued in earlier
texts, the senses or, more correctly, sensualities (of outer sense) reflect a hierarchy
in which the eyes dominate the ears 'up above', on the noumenal
planes of Space and Time, whereas 'down below', on the phenomenal planes of
Volume and Mass, the tongue dominates the phallic flesh.
10. Hence, with art corresponding, through its fiery
correlation, to the eyes, and music corresponding, through its airy
correlation, to the ears, there can be no question that, where noumenal sensuality is concerned, art pulls rank on music,
pretty much, I have to say, as the Devil on God, or Hell on Heaven.
11. Likewise, with literature corresponding,
through its watery correlation, to the tongue, and sculpture corresponding,
through its vegetative correlation, to the flesh, there can be no question
that, where phenomenal sensuality is concerned, literature pulls rank on
sculpture, pretty much, it has to be said, as woman on man, or purgatory on the
earth.
12. Hence, not only does art dominate music and
literature dominate sculpture in sensuality, but art and literature,
corresponding to the objective elements (of fire and water) will take primary
precedence over sculpture and music, confining both to third- and fourth-rate
positions, respectively, in the overall hierarchy of the Arts.
13. Again, as I have argued in earlier texts, the
sensibilities (of inner sense) reflect a hierarchy in which the lungs dominate
or, rather, transcend the heart 'up above', on the noumenal
planes of Space and Time, whereas 'down below', on the phenomenal planes of
Volume and Mass, the brain transcends the womb.
14. Hence, with music corresponding, through its
airy correlation, to the lungs, and art corresponding, through its fiery
correlation, to the heart, there can be no doubt that, where noumenal sensibility is concerned, music transcends art,
pretty much, I have to say, as God transcends the Devil, or Heaven transcends
Hell.
15. Similarly, with sculpture corresponding,
through its vegetative correlation, to the brain, and literature corresponding,
through its watery correlation, to the womb, there can be no question that,
where phenomenal sensibility is concerned, sculpture transcends literature,
pretty much, it has to be said, as man transcends woman, or the earth
transcends purgatory.
16. Hence not only does music transcend art and
sculpture transcend literature in sensibility, but music and sculpture,
corresponding to the subjective elements (of air and vegetation), will take
primary precedence over art and literature, confining both to fourth- and
third-rate positions, respectively, in the overall hierarchy of the Arts.
17. There can be no shadow of a doubt that
sensuality favours a female-oriented hierarchy of the Arts, in complete
contrast to the male-oriented hierarchy of the Arts that accrues to the
pursuit, in 're-born', or Christian, terms, of
creative sensibility.
18. In the one case, that of the Arts treated
sensuously, the Devil rules in painterly form, whereas in the other case, that
of the Arts treated sensibly, God leads in musical form or, more correctly,
content.
19. On the one hand, the Devil rules woman, who
governs man, who effectively renounces God.
On the other hand, God leads man, who transcends woman, who effectively
renounces the Devil. And
this, despite the inclusion (in radically 'bovaryized'
guises) of both music and art respectively.
20. Really, where the distinction between form and
content is concerned, we are dealing with appearance and essence, the antipodes
of creative endeavour, and have to distinguish, furthermore, between apparent
form and quantitative form on the one hand, and qualitative content and
essential content on the other hand.
21. Hence, regarded collectively, the Arts range
from apparent form to essential content via quantitative form and qualitative
content, as from art to music via literature and sculpture, though never more
so than when each of them is in its per se manifestation, and
therefore either sensual in relation to fire and water or sensible in relation
to vegetation and air, as regarding art and literature on the one hand, but
sculpture and music on the other. For it
has to be admitted that each of the Arts can be pursued in 'bovaryized'
terms as well as in its most appropriate manifestation.
22. Hence I am contending that art and literature
are only in their per se manifestations in sensuality, where they are
respectively first- and second-rate art forms, but that in sensibility they
become 'bovaryized' as respectively fourth- and
third-rate art forms.
23. Likewise, I am contending that sculpture and
music are only in their per se manifestations in sensibility, where
they are respectively second- and first-rate art forms, but that in sensuality
they become 'bovaryized' as respectively third- and
fourth-rate art forms.
24. Strictly speaking, 'art form' is not the term
to apply to sculpture and music in their per se, or most
authentic, manifestations, since it is then that content is uppermost in due
subjective vein.
25. Similarly, 'art form' is hardly the most
appropriate term to apply to art and literature in their 'bovaryized',
or most inauthentic, manifestations, since it is content which is then
uppermost in due subjective vein.
CYCLE FIVE
1. What can be deduced from the above
contentions is that whereas art will be most 'true' to itself when there is
most form and least content, as in apparent form, music will only be most
'true' to itself when there is most content and least form, as in essential
content.
2. Likewise, we can deduce that whereas
literature will be most 'true' to itself when there is most or, rather, more
(compared to most) form and less (compared to least) content, as in
quantitative form, sculpture will only be most 'true' to itself when there is
more (compared to most) content and less (compared to least) form, as in
qualitative content.
3. Art will accordingly be most 'true' to itself
in completely opposite fashion to music, and we can safely maintain that in
neither context will there be much evidence of 'molecular' relativity but,
rather, of 'elemental' absolutism such that smacks of contrary orders of abstraction
- the one with respect to appearance, the other with respect to essence.
4. Literature will accordingly be most 'true' to
itself in completely opposite fashion to sculpture, and we can safely maintain
that in neither context will there be much evidence of 'elemental' absolutism
but, rather, of 'molecular' relativity such that smacks of contrary orders of
representation - the one with respect to quantity, the other with respect to
quality.
5. One could argue, in political terms, that
whereas the per se of art will be extreme left-wing, the per se of
music, by contrast, will be extreme right-wing, since we are dealing with an
elemental dichotomy between apparent form and essential content, as between
most form/least content and most content/least form.
6. Likewise, one could argue that whereas the per se
of literature will be left wing, the per se of sculpture, by contrast,
will be right wing, since we are dealing with a molecular dichotomy between
quantitative form and qualitative content, as between more (compared to most)
form/less (compared to least) content and more (compared to most) content/less
(compared to least) form.
7. In subatomic terms,
form is equivalent to particles and content to wavicles,
so that most form/least content is commensurate with most particles/least wavicles, while most content/least form is commensurate
with most wavicles/least particles.
8. Similarly, more (compared to most) form/less
(compared to least) content is commensurate with more particles/less wavicles, while more (compared to most) content/less
(compared to least) form is commensurate with more wavicles/less
particles.
9. Since art is in its per se
manifestation in most form/least content, it follows that, corresponding to
most particles/least wavicles, art is a scientific
mode of cultural creativity which will be 'once bovaryized'
in more (compared to most) form/less (compared to least) content, 'twice bovaryized' in less (compared to least) form/more (compared
to most) content, and 'thrice bovaryized' in least
form/most content.
10. These three 'bovaryized'
options are respectively political, economic, and religious subdivisions of
fiery metachemistry in relation to more (compared to
most) particles/less (compared to least) wavicles,
less (compared to least) particles/more (compared to most) wavicles,
and least particles/most wavicles within the photon-photino axis of space-time objectivity.
11. Since literature is in its per se
manifestation in more (compared to most) form/less (compared to least) content,
it follows that, corresponding to more (compared to most) particles/less
(compared to least) wavicles, literature is a
political mode of cultural creativity which will be 'once bovaryized'
in most form/least content, 'twice bovaryized' in
least form/most content, and 'thrice bovaryized' in
less (compared to least) form/more (compared to most) content.
12. These three 'bovaryized'
options are respectively scientific, religious, and economic subdivisions of
watery chemistry in relation to most particles/least wavicles,
least particles/most wavicles, and less (compared to
least) particles/more (compared to most) wavicles
within the electron-electrino (conventional) and/or
positron-positrino (radical) axis of volume-mass
objectivity.
13. Since sculpture is in its per se
manifestation in more (compared to most) content/less (compared to least) form,
it follows that, corresponding to more (compared to most) wavicles/less
(compared to least) particles, sculpture is an economic mode of cultural
creativity which will be 'once bovaryized' in most
content/least form, 'twice bovaryized' in least
content/most form, and 'thrice bovaryized' in less
(compared to least) content/more (compared to most) form.
14. These three 'bovaryized'
options are respectively religious, scientific, and political subdivisions of
vegetative physics in relation to most wavicles/least
particles, least wavicles/most particles, and less
(compared to least) wavicles/more (compared to most)
particles within the neutron-neutrino (conventional) and/or deuteron/deuterino (radical) axis of mass-volume subjectivity.
15. Since music is in its per se
manifestation in most content/least form, it follows that, corresponding to
most wavicles/least particles, music is a religious
mode of cultural creativity which will be 'once bovaryized'
in more (compared to most) content/less (compared to least) form, 'twice bovaryized' in less (compared to least) content/more
(compared to most) form, and 'thrice bovaryized' in
least content/most form.
16. These three 'bovaryized'
options are respectively economic, political, and scientific subdivisions of
airy metaphysics in relation to more (compared to most) wavicles/less
(compared to least) particles, less (compared to least) wavicles/more
(compared to most) particles, and least wavicles/most
particles within the proton-protino axis of
time-space subjectivity.
17. In brief, art ceases to be authentic in
proportion to the extent to which it departs science for politics, economics,
or religion, becoming progressively less authentic and/or more inauthentic the
further it moves from its elemental basis in apparent form.
18. Likewise, literature ceases to be authentic in
proportion to the extent to which it departs politics for science, religion, or
economics, becoming progressively less authentic and/or more inauthentic the
further it moves from its molecular basis in quantitative form.
19. Similarly, sculpture ceases to be authentic in
proportion to the extent to which it departs economics for religion, science,
or politics, becoming progressively less authentic and/or more inauthentic the
further it moves from its molecular basis in qualitative content.
20. Finally, music ceases to be authentic in
proportion to the extent to which it departs religion for economics, politics,
or science, becoming progressively less authentic and/or more inauthentic the
further it moves from its elemental basis in essential content.
21. Art that is non-scientific, in its departure
from apparent form, will be quasi-political, quasi-economic, or
quasi-religious, as the case may be.
22. Literature that is non-political, in its
departure from quantitative form, will be quasi-scientific, quasi-religious, or
quasi-economic, as the case may be.
23. Sculpture that is non-economic,
in its departure from qualitative content, will be quasi-religious,
quasi-scientific, or quasi-political, as the case may be.
24. Music that is non-religious, in its departure
from essential content, will be quasi-economic, quasi-political, or
quasi-scientific, as the case may be.
25. Art is the scientific art form par
excellence, in which fire is granted cultural illustration.
26. Literature is the political art form par
excellence, in which water is granted cultural illustration.
27. Sculpture is the economic art form par
excellence, in which vegetation (earth) is granted cultural illustration.
28. Music is the religious art form par
excellence, in which air is granted cultural illustration.
29. The artist relates to
the world, whether negatively or positively, from the standpoint of fire, and
thus in relation, principally, to ugliness and/or beauty.
30. The writer relates to
the world, whether negatively or positively, from the standpoint of water, and
thus in relation, principally, to weakness and/or strength.
31. The sculptor relates
to the world, whether negatively or positively, from the standpoint of
vegetation (earth), and thus in relation, principally, to ignorance and/or
knowledge.
32. The musician relates
to the world, whether negatively or positively, from the standpoint of air, and
thus in relation, principally, to falsity and/or truth.
33. The genuine artist is a kind of cultural Devil
(superfeminine-to-subfeminine) who, interpreting life
from the standpoint of fire, affirms the scientific perspective of apparent
form in relation to space-time objectivity.
34. The genuine writer is a kind of cultural woman
(upper-feminine-to-lower-feminine) who, interpreting life from the standpoint
of water, affirms the political perspective of quantitative form in relation to
volume-mass objectivity.
35. The genuine sculptor is a kind of cultural man
(lower-masculine-to-upper-masculine) who, interpreting life from the standpoint
of vegetation, affirms the economic perspective of qualitative content in
relation to mass-volume subjectivity.
36. The genuine musician is a kind of cultural God
(submasculine-to-supermasculine) who, interpreting
life from the standpoint of air, affirms the religious perspective of essential
content in relation to time-space subjectivity.
CYCLE SIX
1. From the perceptions of space-time
objectivity to the receptions of time-space subjectivity via the deceptions of
volume-mass objectivity and the conceptions of mass-volume subjectivity, as we
proceed from fire to air via water and vegetation.
2. To pass from
perception to deception, or vice versa, within female parameters, but from
conception to reception, or vice versa, within male parameters.
3. Just as the artist perceives objects through noumenal objectivity, so the writer (the dramatist)
deceives objects through phenomenal objectivity.
4. Just as the sculptor conceives subjects
through phenomenal subjectivity, so the musician receives subjects through noumenal subjectivity.
5. As a rule, females
are disposed to form (in ratios of most and/or more particles) to a greater
extent than to content, whereas males are disposed to content (in ratios of
more and/or most wavicles) to a greater extent than to
form.
6. One can no more have form without content
than content without form, but the ratio of the one to the other will determine
to what extent the object or subject is either apparent or essential or,
failing that, quantitative or qualitative.
7. That which is objective, being female, will
always have a greater overall ratio of form to content, whereas that which is
subjective, being male, will have a greater overall ratio of content to form.
8. Form is something one either
expresses (if noumenal) or compresses (if
phenomenal), while content is something one either depresses (if phenomenal) or
impresses (if noumenal).
9. Expression stands to impression as particles
to wavicles in Space and Time, while compression
stands to depression as particles to wavicles in
Volume and
10. The artist expresses fire (paint) and the
writer compresses water (ink), while the sculptor depresses vegetation (clay)
and the musician impresses air (notes).
11. In expressing fire, the artist represses air, while
the musician, in impressing air, represses fire.
12. In compressing water, the writer represses
vegetation, while the sculptor, in depressing vegetation, represses water.
13. One represses that which is not germane to
one's particular field of creativity, whether in noumenal
terms 'up above' or in phenomenal terms 'down below'.
14. Repression is therefore a crucial aspect of
sustained commitment to any given art form, since it is only by repressing that
which is contrary to one's preferred medium of creativity that one can persist
in it at all.
15. Likewise the Devil represses God in order to
express fire, while God represses the Devil in order to impress air.
16. In similar fashion, woman represses man in
order to compress water, while man represses woman in order to depress
vegetation.
17. Expression and compression are both objective
dispositions, while depression and impression are their subjective
counterparts.
18. Fire is the most expressive of elements and
air the most impressive, just as science is the most expressive of disciplines
and religion the most impressive.
19. Water is the most compressive of elements and
vegetation the most depressive, just as politics is the most compressive of
disciplines and economics the most depressive.
20. Females generally have greater expressive
and/or compressive powers than males, just as males generally have greater
depressive and/or impressive powers than females.
21. Dresses express the soul and skirts compress
the id (instinct), whereas trousers depress the intellect (knowledge-forming
faculty) and zippersuits impress the spirit.
22. Mind can be expressive, compressive,
depressive, or impressive, because mind is a composite of emotions, dreams,
thoughts, and feelings, some or most of which are repressed according to the
innate disposition of the individual person and his particular circumstances at
any given time.
23. A person is not born to be emotional, dreamy,
thoughtful, or aware in equal measure, but to develop one or another of the elemental
components according to her/his predisposition.
24. That is why, generally speaking, females are
more emotional and dreamy than males, while males are correspondingly more
thoughtful and spiritual than females.
25. Attempts to squeeze everybody into a general
mishmash of elemental aptitudes, on the basis of gender equality, are
foredoomed to failure.
26. Attempts to treat females and males as equals,
whether in relation to noumenal or phenomenal
criteria or, indeed, a cross between the two, flies in the face of what unnature and nature have ordained from the outset.
27. For females are unnatural according to the
extent, following free will, of their objectivity, whereas males are natural
according to the extent, following determinism, of their subjectivity.
28. One of the main reasons why females are
forever resorting to cosmetics and other forms of artificial make-up ... is
that they are fundamentally unnatural, and hence ranged against nature.
29. Nature begins in vegetation and ends in air (supernaturally). That, by contrast, which begins in fire and
ends in water is unnatural.
30. Art and literature are both unnatural art
forms, which are largely conditioned (expressively and compressively) by
unconscious processes.
31. By contrast, sculpture and music, being
natural art forms, are largely conditioned (depressively and impressively) by
conscious processes.
32. Like females, art and literature reflect a
greater degree of free will (in objectivity) than natural determinism, since
free will stems from an unnatural precondition as an expression and/or
compression of unconsciousness.
33. Like males, sculpture and music reflect a
greater degree of natural determinism (in subjectivity) than free will, since
determinism stems from a natural precondition as a depression and/or impression
of consciousness.
34. Of course, what I have just contended applies
to each of the Arts in their per se manifestations, not
necessarily to their 'bovaryized' manifestations to
anything like (if at all) the same extent.
35. As a writer, I have to admit that my own
preferred medium, viz. aphoristic philosophy, is anything but a per se
manifestation of literature but, rather, a 'bovaryization'
of it that, being concerned principally with essential content, intimates, in
quasi-idealistic vein, of musical idealism.
36. The literary per se
is, of course, drama, wherein the tongue is in its watery element in heathenistic fashion, dominating the 'vegetative' novel and
consigning to peripheral status the 'fiery' poem and the 'airy' essay.
37. That which is aphoristic, as here, is
effectively 'beyond the pale' of the sort of heathenistic
society and/or system in which tongue-based drama flourishes, being, to all
intents and purposes, morally at the top of a literary hierarchy in which both
fiction and drama have subordinate places in relation to vegetative and watery
modes of literary sensibility.
38. In general terms, that which is rooted in
sensuality is Protestant and, hence, at best pseudo-Christian, whereas that
which is centred in sensibility is Catholic, and hence properly Christian.
CYCLE SEVEN
1. To contrast the expression of emotion through
perceptions with the reception of impressions through awareness, as one would
contrast fire with air, or metachemical devility with metaphysical divinity.
2. To contrast the compression of instinct
through deceptions with the conception of depressions through intellect, as one
would contrast water with vegetation, or chemical femininity with physical
masculinity.
3. Females flatter to deceive, falling back from
chemical femininity to metachemical devility, wherein emotional expression has its perceptual
throne.
4. Males flatter to conceive, rising up from
physical masculinity to metaphysical divinity, wherein spiritual impression has
its receptual throne.
5. People are, to a large extent, reflections of
the type of society and/or system in which they live, which conditions their
psychology accordingly.
6. British and, in particular, English
psychology is significantly conditioned by the heathenistic
criteria which accrue to the retention of a system in which water and fire
exist above vegetation in what amounts to an inverted triangular structure
whose dominating elements are female.
7. It is for this reason that the generality of
Englishmen, superficially identified with vegetation 'down below' at the base
of the inverted triangle, are especially vulnerable to denigratory
abuse from females, whose watery and fiery bias 'rides high', in heathenistic freedom, at their expense.
8. It is hard to imagine males being held in
such contempt in Catholic countries, but in Britain males are very much under a
denigratory cosh from females who, instead of being
'pegged down' to feminine sensibility, are granted too much freedom, in due heathenistic fashion, and express it in no uncertain terms.
9. Freedom is really the heathenistic
battle-cry of female-dominated societies, since females have most to gain from
it and males most to lose, as the degree to which they are held in contempt by
'free women' should adequately confirm.
10. As victims of crude denigration, males
naturally feel a strong resentment towards females in countries like Britain,
and will more easily resort to anti-feminine expletives in consequence of their
hurt.
11. Romance or romanticism is virtually impossible
in a heathenistic or protestant society, because
masculine resentment against denigratory abuse from
females is so strong, that the emotional positivity
necessary to any romantic attitude towards women is demonstrably lacking, in
consequence of which males enter into negative or unloving relationships with
females that are characteristic of promiscuity or 'free love' or 'one-night
stands'.
12. The importance attached to contraception in
Britain is significant of the extent to which relationships remain heathenistically aloof from sensibility in deference to
Protestant-dominated criteria having more to do with sensuality.
13. Catholic males are less likely to be
resentfully disdainful of (catholic) females in view of the extent to which the
latter are 'pegged down' to a pseudo-Heathen/quasi-Christian deference to men
through Marianism, and are therefore less likely to
be denigratory towards them than their Protestant
counterparts.
14. In fact, the usual anti-male denigration of
'shit' would be irrelevant to the Catholic male, since cerebral vegetation
rises above uterine water as intellectual sensibility above instinctual
sensibility, and one is less likely, as a woman, to denigrate that which is
effectively 'above one', in Christian vein, as 'bullshit', than to denigrate
that which is effectively 'beneath one', in heathenistic
fashion, as 'cowshit'.
15. Conversely, one is less likely, as a male, to
resentfully denounce women when they are effectively 'beneath one', in
quasi-Christian vein, as 'bullpiss', than when they
are effectively 'above one', in heathenistic fashion,
as either 'cowpiss' or 'cowpuss'
(though the latter will more usually be directed against the Catholic or, at
any rate, Celtic threat of 'bullgas' rather than at
Anglican pseudo-Christians, since its correspondence is rather more subfeminine, and hence antispiritual,
than feminine, and hence anti-intellectual, so that anything recognizably supermasculine will be perceived as a potential threat to
its power-base in the inverted triangle).
16. Be that as it may, few Protestant or British
women will bother to make the distinction, noted above, between 'cowshit' and 'bullshit', but will simply denigrate men in
terms of 'shit', which is effectively to lump them all together, in protestant
fashion, as 'cowshit'.
17. Yet one can only be denigratory
from a heathenistic vantage-point in 'cowpiss' towards what is perceived, rightly or wrongly, as
being vulnerable to such abuse, which obviously excludes the more vegetative
masculinity of that which, corresponding to 'bullshit', lies beyond the
Protestant's triangular pale, in what amounts to a sensible elevation over the
sensible mode of femininity.
18. One cannot be denigratory,
in such anti-masculine fashion, to Catholic males, although the Irish Catholic
male unfortunate enough to live in England may well be subject to heathenistic abuse the same as any other male, and have to
live with the unenviable consequences, including a diminution of romanticism
vis-à-vis the opposite sex.
19. In Ireland, on the other hand, one could be
forgiven for imagining the contrary, since quasi-Christian deference by women
towards the properly Christian male will make for a healthier overall
situation, in which there may well be more mutual admiration and respect than
would otherwise be possible.
20. But in England, by contrast, the
Anglo-Catholic or pseudo-Christian 'fall guy' will continue to be the butt of
female denigration in the manner described, and his attitude towards the
generality of women will reflect his grievance in relation to the heathenistic system that, through Protestantism-proper,
viz. Puritanism in water and Dissenterism in fire,
grants the female the sort of antichristic and/or antispiritual elevation over the male which makes for such
an unhappy psychology, a psychology, alas, which is so pervasive, in latter-day
England, that one begins to expect the worst every time one comes into public
contact with both men and women alike, the one given to 'cunt'
and the other to 'shit' in what amounts to a vicious circle of denigratory cynicism.
21. Frankly, people are conditioned by the system
in which they live, and if the system is bad and heathenistic
to begin with, then one can't very well expect the majority of people to be
much better. Their negative psychology
can only be ended with the dawn of a new system, one necessarily more sensible
in structure.
CYCLE EIGHT
1. Someone told, in heathenistic
fashion, to 'fuck off' is the subject of an anti-masculine form of sexist abuse
whose origins can only be feminine and thus affiliated, amongst other things,
to Protestant nonconformism, particularly, I would
argue, with regard to the watery realm of Puritanism.
2. Conversely, someone told to 'sod off' and/or
'piss off' is the subject of an anti-feminine form of sexist abuse whose
origins can only be masculine and thus affiliated, willy-nilly, to the
vegetative realm of Anglicanism.
3. The sort of person who gets 'pissed off'
about something is quite the reverse of one whose preferred term of reference
is 'browned off'. The former is likely
to be Anglican and the latter Puritan, since we are dealing with masculine and
feminine, vegetative and watery, alternatives in regard to 'shit' and 'piss'.
4. It is highly unusual for people to verbally
denigrate one another in terms of 'jerk off' and 'snog
off', since such terms of abuse would not easily fit into the sort of
phenomenal framework which characterizes Western and, in particular, Protestant
civilization, being, if anything, too noumenal for
people who only have a tangential relationship, as a rule, with fire and air.
5. Yet if such verbal denigrations as 'jerk off'
and 'snog off' are far less characteristic of
lower-class heathenistic mentalities than derogatory
recourse to admonitions like 'fuck off' and 'sod off' and/or 'piss off', it
cannot be said that the use of denigratory terms like
'jerk' and/or 'wanker' on the one hand, and 'bum'
and/or 'tramp' on the other is unheard of, particularly, I would argue, in
connection with a sort of mini-transcendentalist/fundamentalist rivalry between
Catholic and Protestant extremists.
6. Be that as it may, most if not all terms of
abuse, whether verbally intended or otherwise, are traceable to the heathenistic antagonisms which, in time-honoured Protestant
fashion, pit women against men and men against women ... to the detriment,
especially, of men, many of whom will be 'bent' away from their masculine
gender to a degree which makes them less pseudo-masculine, in Anglicanism, than
quasi-feminine/subfeminine and, hence, either
Puritanical or Dissenteresque.
7. The man who is 'shit' to the heathenistic woman and/or 'bent man' may well be disposed
to regard his denigrator as someone who, exposing herself as a 'cunt' and/or 'sod', ought to 'piss off'.
8. Conversely, the woman and/or 'bent man' who
is a 'cunt' to the pseudo-Christian male will be
disposed to regarding her detractor as someone who, exposing himself as a
'prick', ought to 'fuck off'.
9. In neither case is there any mutual
admiration or respect, but only a belittling of the opposite sex or of those
who, being recognizably 'bent', have 'sold out' to the opposite sex for apparent
gain or are otherwise identifiable with it because of their ethnic disposition,
etc.
10. Even the pseudo-masculine male may well be
jealous of the more genuinely masculine male and be disposed, in consequence,
to disparage him as a 'nut' or a 'bum', since pseudo-masculinity relates less
to 'bullshit' than to 'cowshit', and cannot allow
itself to identify with a Roman Catholic position in consequence of the degree
to which it is beholden, in pseudo-Christian fashion, to the hegemony of
heathenism, obliged to take whatever 'cowpiss' and/or
'cowpuss' the latter decides to inflict upon it in
the interests of so-called Protestant solidarity.
11. Such 'solidarity' really amounts to little
more than a mutually disrespectful society governed by heathen tensions which
constantly war on one another, even as their perpetrators turn against
outsiders with a view to disparaging them for being different, e.g. Christian.
12. It is doubtful that 'outsiders' could be included
in such a society and/or system, since the inverted triangle is exclusive of
anything Christian, which, in any case, would be incompatible with it.
13. Only the democratic dismantling of such an
exclusive system could free the majority of its victims for inclusion within a
better system, one necessarily non-triangular in structure. But such an inclusion cannot come about
vis-à-vis Catholic alternatives to the Protestant system, since Catholicism by
itself would not amount to anything new, least of all in Ireland where, in any
case, it tends to assume a Marian bias on account of its association with
Romanism.
14. What is needed is a sort of Superchristian New Order, in which there will be neither
Catholics nor Protestants but only Social Transcendentalists, or people, in
other words, who relate to the Centre, the concept and, one day hopefully
context, of religious sovereignty for those who democratically opt for it if
and when the opportunity finally comes to pass.
CYCLE NINE
1. The Superchristian
New Order referred to above would be beyond anything Christian, including
Orthodox and Celtic alternatives to the Roman Catholic mode of Christianity
that typifies official Ireland. It would
amount to a non-triangular triadic structure in which there were three
approaches to Social Transcendentalism, viz. a watery approach of the New
Purgatory, a vegetative approach of the New Earth, and an airy approach of the
New Heaven.
2. One could argue, in very general terms, that
the watery approach of the New Purgatory amounted to a sort of Super-romanism; that the vegetative approach of the New Earth
amounted to a sort of Super-orthodoxy (Russian); and that the airy approach of
the New Heaven amounted to a sort of Super-radicalism. For the triadic structure of the Social
Transcendentalist Beyond would be more than just a new Romanism, since
traditionally this mode of Catholicism tends to reflect a Marian and, thus,
watery bias, in keeping with its Italian origins (whilst also deferring, to
some extent, to the rainy climate of Ireland).
3. Because Social Transcendentalism is syncretic, it should provide adequate watery sensibility
for those who, as Puritans, had been more partial to watery sensuality, viz. to
the tongue than to the womb, and therefore would profit from a sensible
alternative to their heathenistic traditions, such as
the bottom tier of our projected triadic Beyond should reflect in
pseudo-humanistic/quasi-nonconformist terms.
4. Likewise, the syncretism of Social
Transcendentalism should provide adequate vegetative sensibility for those who,
as Anglicans, had been more partial to vegetative sensuality, viz. to the
phallus than to the brain, and therefore would profit from a sensible
alternative to their pseudo-Christian traditions, such as the second tier of
our projected triadic Beyond should reflect in super-nonconformist terms.
5. Finally, because of the syncretic
nature of Social Transcendentalism, there should be adequate provision of airy
sensibility for those who, as Catholics, had been more partial to airy
sensuality, viz. to the ears than to the lungs, and therefore would profit from
a sensible alternative to their sub-transcendental traditions, such that the
third (and highest) tier of our projected triadic Beyond should reflect in super-transcendental
terms.
6. Of course, I am assuming that most Irish
Catholic males are effectively, if not literally, more partial to Celtic Church
airiness than to Roman Catholic wateriness, in keeping with the Celtic bias
towards idealism. Marianism
may have officially prevailed, but the best examples of Gaelic culture reflect,
I have argued, a more Celtic disposition that transcends the Italianate
parameters of the Roman Catholic Church - as, for example, with regard to Camogie, Gaelic Football, and Hurling, the latter of which,
being more idealistic, is unquestionably the highest.
7. But it is a highness that could be
identified, through cultural extrapolation, with a subsection of Celtic-Church
Radicalism, not to a Celtic Church top tier of a Christian triad having both
(Russian) Orthodoxy and Romanism beneath it.
For, in actuality, Camogie, Gaelic Football,
and Hurling approximate to a single tier of sporting commitment that is subsectioned between quasi-humanist (Camogie),
quasi-nonconformist (Gaelic), and sub-transcendental (Hurling) options, thereby
broadly falling within Celtic Church parameters.
8. Such an idealistic integrity could just as
easily fit into the Social Transcendentalist top tier of our projected triadic
Beyond, except that, being super-transcendental, it would require indoor
transmutations of each game, in keeping with its sensible bias.
9. Likewise, Association Football could be
transmuted upwards, as Anglicans opted for the sensible alternative to the flesh,
thereby passing to the second tier of our projected triadic Beyond, while, down
below in the first or bottom tier, an indoor transmutation of Rugby Union
and/or League would allow Puritans to accommodate themselves to Social
Transcendentalism on necessarily sensible terms having more to do with water
than with either vegetation (second tier) or air (top tier).
10. Thus the triadic Beyond would not be a
structure extrapolated out from Celtic Catholicism, in which indoor versions of
Camogie, Gaelic Football, and Hurling were the sole
sporting commitments, but a structure that also allowed for transmutations of
Association Football and Rugby Union and/or League, in keeping with its
broadly-based extrapolation from Christian and, indeed, pseudo-Christian and
even heathenistic precedence.
11. Social Transcendentalism is not Roman
Catholicism or any other mode of Catholicism in a new and more radical
guise. It is a syncretic
religion that draws from a variety of traditions and seeks not only to
transmute them but to transcend them as the People are democratically led to
transcendentalism through the assumption of religious sovereignty and thereby
rendered deferential, either directly (above) or indirectly (below), to the
leadership of what is properly divine.
12. At the end of the day, there will be not just
a New Heaven of supermasculine idealists, but a New
Earth and a New Purgatory for the more pervasively masculine and feminine
elements below, each of whom will likewise have subsections relative to their
respective tiers which should allow, in addition to the representative
subsection, for 'quasi' manifestations of the prevailing bias of each of the
other tiers, thereby enabling at least some form of transcendentalism, nonconformism, and humanism to co-exist on any tier,
irrespective of the presiding element.
13. In such fashion, no tier will be deprived of
anything, and every tier will have some idea of what characterizes the
principal religious commitments of those tiers either above (if applicable) or
beneath (if applicable) their own.
14. Movement from one subsection to another, and
even from one tier to another, might also, in the course of time, prove
possible, subject, however, to mutual approval between the person seeking to
move and the subsection and/or tier to which he/she seeks admittance. There may also, in exceptional cases, be the
possibility of having to move from one subsection to another, or even from one
tier to another, due to misconduct or because of ethnic unsuitability.
15. It is to be assumed, however, that, to begin
with and for the foreseeable future, the bottom tier would be peopled by
persons of Puritan background, the middle tier by persons of Anglican
background, and the top tier by persons of Catholic background (including Roman
Catholic as well as Celtic Church).
Other denominations and/or religious traditions would likewise have to
be ascribed a tier according to suitability and/or availability.
16. Frankly, all people are a mixture, in one
degree or another, of sensuality and sensibility, since one cannot have
sensuality without sensibility, or vice versa.
Some persons are more sensual than others in one way or another, and
other persons more sensible than others in one way or another, but no-one, not
even these days, would be entirely sensual or sensible.
17. To some extent, the ratio of sensuality to
sensibility or of sensibility to sensuality is a personal thing, having to do
with ancestry, gender, upbringing, intelligence, and so on, but there is also
an extent to which impersonal factors like climate and environment play a
significant role in determining the relationship of the one to the other.
18. I can conceive, broadly, of a paganistic external, or outdoor, age being one in which the
ratio of sensuality to sensibility favours (in 'once-born' terms) sensuality by
at least 3:1, while the subsequent ensuing of a Christian dualistic age,
balanced between external and internal, would suggest the likelihood of
sensuality and sensibility and/or sensibility and sensuality squaring up at
2:2. Finally, it seems to me that the supersession of such a dualistic age by a transcendental
internal, or indoor, age would alter the ratio of sensuality to sensibility or,
rather, of sensibility to sensuality (in fully 're-born' terms) to one of 3:1,
so that we had a situation the reverse of the pagan age of predominant
externality.
19. In such a transcendental age, one could expect
more sensibility than sensuality, since it would be reflective of the interiorization of civilization and signify the
culmination-point of human evolution, a culmination that could only portend
further modification of the ratio (though not its elimination), as post-human
criteria came increasingly to the fore in the course of 'millennial' progress.
CYCLE TEN
1. So long as sensuality predominates over
sensibility, life will be dominated, in 'once-born' terms, by female
criteria. Only the preponderance of
sensibility over sensuality can make for a situation in which male criteria are
hegemonic in due 're-born' terms.
2. The female is, by and large, more impersonal
than personal in her overall stance before life, since she is characterized by
objective tendencies to a greater extent than by subjective ones, and the
objective favours the impersonal to a greater extent than the personal, albeit
the latter still applies.
3. Climatic and environmental criteria, being
fundamentally impersonal, are generally closer to the female aspect of life
than to the male one, and it is for this reason that they tie-in with
biological conditioning as a contributory factor to free will as opposed to
natural determinism.
4. Urban societies are more the product of free
will than of natural determinism, since they are characterized by impersonal
factors to a greater extent than by personal ones, in view of their
fundamentally objective character.
5. The female side of life is viciously
competitive in the individualism of noumenal
objectivity but virtuously competitive in the individualism of phenomenal objectivity,
the former having a sartorial correlation with dresses and the latter with
skirts.
6. The male side of life is viciously
co-operative in the collectivism of phenomenal subjectivity but virtuously
co-operative in the collectivism of noumenal subjectivity,
the former having a sartorial correlation with trousers and the latter with zippersuits.
7. Universities, being impersonal institutions,
are rooted in the individualism of noumenal
objectivity, and are thus fundamentally viciously competitive.
8. Universities have more in common, at bottom,
with the cosmic Universe than ever they do with karmic universalism, and are
thus fundamentally evil (metachemical).
9. Many of the 'best minds' do not go to
university, will not have a degree or a doctorate, and have never worn, nor are
ever likely to wear, a 'cap and gown'.
10. A person who was highly literate would be
unlikely also to consider himself highly numerate, since the one tends to
marginalize the other, as, to all intents and purposes, do God and the Devil.
11. Numbers, being objectively impersonal, have
more in common with magic than ever they do with mysticism. In fact, numbers are the chief tools of
science, the means whereby it strives to comprehend and dominate matter.
12. That which, as religion, strives to liberate
from matter ... uses words rather than numbers as its principal vehicle for the
attainment of enlightenment, which, as holy persons will know, transcends even
'the word'.
13. Numbers end in the feminine, whereas words begin
in the masculine, having their foundations, so to speak, in vegetative
subjectivity.
14. That which is beyond evil and good is also, in
some sense, beyond numbers, since numbers would tie one to the Devil ... of noumenal objectivity, and thus preclude one's liberation
from matter to spirit.
15. When religion is pseudo and thus occult, based
in ocular culture, it relies heavily on numbers, availing of them to bewitch
and enslave the morally ignorant in the interests of hegemonic materialism.
16. A person who prides himself on being highly
numerate could never be highly moral, much less highly literate. Rather, he is likely to be one who takes the
Devil's dominion for granted, his soul aflame with fiery evil.
17. Evil is only in its per se,
or most authentic, manifestation in cruelty, which is unequivocally fiery. In perversity it is quasi-watery, and hence
'once bovaryized'; in obscenity it is
quasi-vegetative, and hence 'twice bovaryized'; and
in depravity it is quasi-airy, and hence 'thrice bovaryized'.
18. Therefore evil is only in its per se
manifestation scientifically, in science; for where its political, economic,
and religious 'bovaryizations' are concerned, it is
less purely evil in proportion as its fieriness is compromised by atomic
subdivisions having a structural correlation with water, vegetation, and air,
albeit from a necessarily fiery point of view.
19. Hence molecular-particle, molecular-wavicle, and elemental-wavicle 'bovaryizations', respectively, of what, in its per se
manifestation, will have an elemental-particle structural integrity in which
the metachemical element of the photon and/or photino of space-time objectivity reflects a condition of
most particle/least wavicle in due scientific
fashion.
20. Whatever the prevailing pattern of metachemical aspiration, the only result is to affirm the
Devil's science, politics, economics, and religion, the latter of which,
relying heavily on numbers, will be occult, and the object, in consequence, of
depravity.
21. Where genuine or, at any rate, non-occult
religion is concerned, it is better that the Devil's art form, viz. painting,
should be 'taken over' and rendered accountable to a morally spiritual
directive ... than be left to its own devices in unequivocally pagan terms,
since that which one cannot get rid of must be bent to the service of truth,
God, Heaven, etc., as a point of principle.
22. With the decline of religious control of art,
following the decline of the religion which controlled it, it is inevitable
that art will cease being the 'handmaiden of religion' and revert, instead, to
itself, which is to say, to serving the Devil rather than God (no matter how
paradoxically) in what amounts to a paganistic
affirmation of fiery freedom in due noumenally
objective fashion.
23. From having been bent away from its fiery
appearance even to a depiction, necessarily symbolical, of airy essence, art,
released from religious control, reverts to a condition of paganistic
freedom which is commensurate with 'art-for-art's-sake' and an affirmation, in
consequence, of the Devil's superfeminine, and hence
super-unnatural/ super-unconscious, rule.
24. This process attains to a veritable apotheosis
with so-called abstract art, the pure materialism of which takes painting to
the borders of the contemporary context of light art, whereby the Devil
achieves a truly modern rather than simply decadent (in relation to painterly
tradition) presentation, commensurate with an unequivocal expression of noumenal objectivity in the freest possible form of
cultural barbarism.
CYCLE ELEVEN
1. One should distinguish the cultural barbarity
of art (including painting) from the cultural civility of literature, and each of
these female art forms from the natural culture of sculpture and the cultural
(or subnatural-to-supernatural) culture of music,
both of which are comparatively male art forms, or art forms the overall
integrity of which is rather more subjective than objective.
2. Art, literature, sculpture, and music,
corresponding in elemental terms to fire, water, vegetation, and air, stand in
a shadowy relationship to science, politics, economics, and religion, since,
although a correlation indubitably exists, it is rather one between premise and
conclusion, precondition and resolution.
3. In fact, it is safe to say that without art,
there would be no science, without literature no politics, without sculpture no
economics, and without music no religion.
4. A barbarous people, dominated by fire, will
be scientific; a civilized people, governed by water, will be political; a
natural people, represented by vegetation, will be economic; and a cultural
people, led by air, will be religious.
5. Art will especially flourish under barbarism,
literature under civilization, sculpture under nature, and music under culture.
6. Art uses barbarous means (paint) to
illustrate science, literature uses civilized means (ink) to illustrate
politics, sculpture uses natural means (clay) to illustrate economics, and
music uses cultural means (notes) to illustrate religion.
7. Science is always beyond art, just as
politics is always beyond literature, economics always beyond sculpture, and
religion always beyond music.
8. One can exemplify fire through art, but only
science can amplify it, using the diabolic element par
excellence directly.
9. Likewise, one can exemplify water through
literature, but only politics can amplify it, using the feminine element par
excellence directly.
10. Similarly, one can exemplify vegetation
through sculpture, but only economics can amplify it, using the masculine
element par excellence directly.
11. Finally, one can exemplify air through music,
but only religion can amplify it, using the divine element par
excellence directly.
12. The positive exemplification of fire through
art is called beauty, and beauty is an apparent shortfall from love.
13. The positive exemplification of water through literature
is called strength, and strength is a quantitative shortfall from pride.
14. The positive exemplification of vegetation
through sculpture is called knowledge, and knowledge is a quantitative
shortfall from pleasure.
15. The positive exemplification of air through
music is called truth, and truth is an apparent shortfall from joy.
16. Art may serve, when positive, to exemplify
beauty, but only science can serve to amplify love, its essential resolution.
17. Literature may serve, when positive, to
exemplify strength, but only politics can serve to amplify pride, its
qualitative resolution.
18. Sculpture may serve, when positive, to
exemplify knowledge, but only economics can serve to amplify pleasure, its
qualitative resolution.
19. Music may serve, when positive, to exemplify
truth, but only religion can serve to amplify joy, its essential resolution.
20. The relationship of art, literature,
sculpture, and music to their respective elements is accordingly indirect,
whereas the relationship of science, politics, economics, and religion to their respective
elements is direct.
21. The 'cultural' disciplines utilize fire,
water, vegetation, and air indirectly, through their various media of
presentation, whereas the 'natural' disciplines utilize these same elements
directly - to greater effect.
22. The 'cultural' disciplines exemplify the
particle aspect of any given subatomic element, whereas the 'natural'
disciplines tend to amplify its wavicle aspect.
23. Hence although the utilization of fire is
barbarous in both art (paint) and science (Bunsen burner, etc.), it is
indirectly barbarous in the one case and directly so in the other.
24. Although the utilization of water is civilized
in both literature (ink) and politics (speech), it is indirectly civilized in
the one case and directly so in the other.
25. Although the utilization of vegetation is
natural in both sculpture (clay) and economics (produce), it is indirectly
natural in the one case and directly so in the other.
26. Although the utilization of air is cultural in
both music (notation) and religion (meditation), it is indirectly cultural in
the one case and directly so in the other.
27. Art, in the broadest sense, can never be a
substitute for life, but only a guide to living it more fully.
28. Neither, on account of its illustrative
nature, is art an obstacle to life but, rather, a 'cultural' precondition, in
disciplinary vein, of that fuller commitment to life which, being equally if
not more disciplined, is commensurate with civilization in the broadest
possible sense, a sense antithetical to or, at any rate, distinct from
savagery.
CYCLE TWELVE
1. The Arts, considered together, are important,
but they are not all-important, and should not be regarded or treated as an
end-in-itself.
2. Unfortunately, in the West (and England in
particular), it is all-too-easy, under materialistic pressures, to exaggerate
the importance of one or another of the Arts, in view of the female bias that
both historically and contemporaneously tends to result in the predominance of
particles over wavicles, whether in sensuality or in
sensibility or, indeed, a paradoxical combination of both.
3. Small wonder if, with the decline of
traditional faith, this process has been taken to a point where only the
particle, or apparent/quantitative side of things, counts for anything, as the
qualitative/essential side, corresponding to the wavicle,
is squeezed out.
4. But illustration is of little value without
something to illustrate, something more than the tools of illustration itself,
and the Arts become less meaningful in proportion to the degree of estrangement
from that which they were intended to serve, be it science, politics,
economics, or religion.
5. Ultimately, no art form can survive for long
without a correlative discipline to illustrate.
Nor, by a converse token, can the absence or withdrawal of art from
those disciplines which directly avail of fire, water, vegetation, and air be
particularly beneficial to them.
6. Science, politics, economics, and religion
cannot exist within a vacuum, but require a certain degree of illustrative
exemplification if they are to be both fully intelligible and broadly
accessible to society in general.
7. Such exemplification will, in a sensibly-run
subjectively-biased society, underline rather than threaten the significance of
each of the direct disciplines, since, depending on the bias of the particular
civilization, it is science, politics, economics, or religion which should take
precedence in the conduct of that civilization's internal affairs.
8. If this has not always been the case in the
West, it has more usually been so in the East, particularly with regard to
religion traditionally, but also with regard to economics and politics in no
small measure.
9. For it is easier in a male-biased, subjective
society to grant precedence to cultural amplification than to cultural
exemplification, and the result will be far more conducive to experience of the
wavicle side of life than to endurance of its
particle side.
10. Whether the West can ever become the East or
vice versa, is a moot point.
Fundamentally, the world is divisible, in elemental terms, not only
between East and West but also, if less characteristically these days, between
North and South, and it must remain doubtful that regional differences could
ever be entirely overcome, even with recourse to a growing assembly of
technological stratagems aimed effectively, if not specifically, at a more homogeneous
end.
11. But a hierarchy of moral priorities, based on
sound logical procedures, is possible, at least theoretically, and there is no
reason to suppose that some practical accommodation of it would be impossible
to sustain on a global basis.
12. The West may not be the East, but the world is
becoming an increasingly smaller place in which interaction between its various
hemispheres is slowly ironing out age-old differences, and bringing peoples
closer together on more than simply physical terms.
13. In another hundred years, this process will be
so much more advanced ... that what was thought impossible will no longer be
so, as the West and the East gradually blend into one vast civilization that,
coupled to the North and the South, will be able to respect, if with differing
emphases, the same philosophy and even religion.
14. For, ultimately, there can be only one
philosophy, one cultural illustration of it, and, more importantly, one
religion, since truth is not beauty, strength, or knowledge, even if beautiful,
strong, and knowledgeable manifestations of truth will co-exist, in one form or
another, with true truth, the pure truth that affirms, through transcendental
meditation, the inner metaphysical will as the means whereby the inner metaphysical
self may achieve union with the inner metaphysical spirit and become not merely
pure, but joyfully universalized through superconscious
transcendence.
CYCLE THIRTEEN
1. Since I have been discussing the Arts quite a
lot in this text, and since the above references to art, literature, sculpture,
and music are intended to apply primarily to their per se
manifestations, I should now like to qualify that undertaking in relation to
each art form treated separately, beginning with art itself.
2. Thus I intend to divide art, conceived in
more or less traditional terms, into oil painting, water colouring, pastel
shading, and charcoal drawing, maintaining not only, as before, that an
elemental correlation exists between art and fire, but that oil painting, approximating
to fiery fire, is the per se of art, and hence that branch of it
which most corresponds to science.
3. Following which, we may conceive of water
colouring as approximating to watery fire in what amounts to a quasi-political
mode of art, pastel shading as approximating to vegetative fire in what amounts
to a quasi-economic mode of art, and charcoal drawing as approximating to airy
fire in what amounts to a quasi-religious mode of art.
4. Hence art provides us, in these four fiery
options, with distinctions between a metachemical per se,
corresponding to oil painting, and three degrees of metachemical
'bovaryization', from water colouring and pastel
shading to charcoal drawing.
5. The metachemical per se of
art (oil painting) corresponds to scientific science, the quasi-chemical 'bovaryization' of art (water colouring) corresponds to
political science, the quasi-physical 'bovaryization'
of art (pastel shading) corresponds to economic science, and the quasi-metaphysical
'bovaryization' of art (charcoal drawing) corresponds
to religious science.
6. In all four cases cited above, we are
concerned with a fiery, and hence fundamentally barbarous, approach to
'cultural' illustration which, being scientific, has a space-time correlation
in keeping with its metachemical basis, through
photon-photino appearances, in noumenal
objectivity.
7. Likewise, literature can be divided into
poetry, drama, fiction, and philosophy, and it is my contention that not only
does an elemental correlation exist between literature and water, but that
drama, corresponding to watery water (speech) is the per se
of literature, and hence that branch of it which most corresponds to politics.
8. Following which, we may conceive of poetry as
approximating to fiery water in what amounts to a quasi-scientific mode of
literature, philosophy as approximating to airy water in what amounts to a
quasi-religious mode of literature, and fiction as approximating to vegetative
water in what amounts to a quasi-economic mode of literature.
9. Hence literature provides us, in these four
watery options, with distinctions between a chemical per se,
corresponding to drama, and three kinds of chemical 'bovaryization',
from poetry and philosophy to fiction.
10. The chemical per se
of literature (drama) corresponds to political politics, the quasi-metachemical 'bovaryization' of
literature (poetry) corresponds to scientific politics, the quasi-metaphysical
'bovaryization' of literature (philosophy)
corresponds to religious politics, and the quasi-physical 'bovaryization'
of literature (fiction) corresponds to economic politics.
11. In all four cases cited above, we are
concerned with a watery, and hence fundamentally civilized, approach to
'cultural' illustration which, being political, has a volume-mass correlation
in keeping with its chemical basis, through electron-electrino
(conventional) and/or positron-positrino (radical)
quantities, in phenomenal objectivity.
12. Similarly, sculpture can be divided into reliefs, busts, figures, and carvings, and it is my
contention that not only does an elemental correlation exist between sculpture
and vegetation (earth), but that the figurative, approximating to vegetative
vegetation, is the per se of sculpture, and hence that branch of it which most
corresponds to economics.
13. Following which, we may conceive of carvings
as approximating to airy vegetation in what amounts to a quasi-religious mode
of sculpture, reliefs as approximating to fiery
vegetation in what amounts to a quasi-scientific mode of sculpture, and busts
as approximating to watery vegetation in what amounts to a quasi-political mode
of sculpture.
14. Hence sculpture provides us, in these four
vegetative options, with distinctions between a physical per se,
corresponding to the figurative, and three kinds of physical 'bovaryization', from carvings and reliefs
to busts.
15. The physical per se
of sculpture (figurative) corresponds to economic economics, the
quasi-metaphysical 'bovaryization' of sculpture
(carvings) corresponds to religious economics, the quasi-metachemical
'bovaryization' of sculpture (reliefs)
corresponds to scientific economics, and the quasi-chemical 'bovaryization' of sculpture (busts) corresponds to
political economics.
16. In all four cases cited above, we are
concerned with a vegetative, and hence fundamentally natural, approach to
'cultural' illustration which, being economic, has a mass-volume correlation in
keeping with its physical basis, through neutron-neutrino (conventional) and/or
deuteron-deuterino (radical) qualities, in phenomenal
subjectivity.
17. Finally, music can be divided into dance
(rhythm), vocal (melody), instrumental (harmony), and solo (pitch), and it is
my contention that not only does an elemental correlation exist between music
and air, but that pitchful solo, corresponding to
airy air, is the per se of music, and hence that branch of it which most
corresponds to religion.
18. Following which, we may conceive of harmonic
instrumental as approximating to vegetative air in what amounts to a
quasi-economic mode of music, melodic vocal as approximating to watery air in
what amounts to a quasi-political mode of music, and rhythmic dance as
approximating to fiery air in what amounts to a quasi-scientific mode of music.
19. Hence music provides us, in these four airy
options, with distinctions between a metaphysical per se,
corresponding to pitchful solo, and three degrees of
metaphysical 'bovaryization', from harmonic
instrumental and melodic vocal to rhythmic dance.
20. The metaphysical per se
of music (pitchful solo) corresponds to religious
religion, the quasi-physical 'bovaryization' of music
(harmonic instrumental) corresponds to economic religion, the quasi-chemical 'bovaryization' of music (melodic vocal) corresponds to
political religion, and the quasi-metachemical 'bovaryization' of music (rhythmic dance) corresponds to
scientific religion.
21. In all four cases cited above, we are
concerned with an airy, and hence fundamentally cultural, approach to 'cultural'
illustration which, being religious, has a time-space correlation in keeping
with its metaphysical basis, through proton-protino
essences, in noumenal subjectivity.
CYCLE FOURTEEN
1. The noumenal
objectivity of space-time metachemistry contrasts
with the noumenal subjectivity of time-space
metaphysics ... as fire with air, or appearance with essence, or doing (acting)
with being, or the Devil/Hell with God/Heaven.
2. The phenomenal objectivity of volume-mass
chemistry contrasts with the phenomenal subjectivity of mass-volume physics ...
as water with vegetation, or quantity with quality, or giving with taking, or
woman/purgatory with man/earth.
3. Just as one achieves maximum action in
connection with fiery appearances, so the achievement of maximum being is only
possible in relation to airy essences.
4. Just as one achieves maximum giving in
connection with watery quantities, so the achievement of maximum taking is only
possible in relation to vegetative qualities.
5. The metachemical
nature or, rather, unnature of doing contrasts
absolutely, within noumenal parameters, with the
metaphysical nature of being, as science with religion.
6. The chemical nature or, rather, unnature of giving contrasts relatively, within phenomenal
parameters, with the physical nature of taking, as politics with economics.
7. Both doing and giving, having objective
dispositions, exist on the female side of life as primary tendencies.
8. Both taking and being, having subjective
dispositions, exist on the male side of life as secondary tendencies.
9. As a rule, women give to do, falling back,
through phenomenal objectivity, upon fiery appearances, which is their noumenal foundation.
10. As a rule, men take to be, rising up, through
phenomenal subjectivity, upon airy essences, which is their noumenal
resolution.
11. Both doing and being are high in relation to
giving and taking, since their elemental correspondence to fire and air makes
them noumenal, as on the planes of Space and Time.
12. Both giving and taking are low in relation to
doing and being, since their elemental correspondence to water and vegetation
makes them phenomenal, as on the planes of Volume and
13. That which, having a noumenal
correlation, is high ... can be high either in relation to the Devil/Hell or to
God/Heaven, which is to say, in terms of either metachemical
appearances or metaphysical essences, fire or air.
14. That which, having a phenomenal correlation,
is low ... can be low either in relation to woman/purgatory or to man/earth,
which is to say, in terms of either chemical quantities or physical qualities,
water or vegetation.
15. Highness proceeds metachemically,
through noumenal objectivity, in relation to doing,
and metaphysically, through noumenal subjectivity, in
relation to being.
16. Lowness proceeds chemically, through
phenomenal objectivity, in relation to giving, and physically, through
phenomenal subjectivity, in relation to taking.
17. There is the metachemical
highness, through space-time materialism (fire), of ugliness/hatred and
beauty/love in both external (spatial space) and internal (repetitive time)
contexts.
18. There is the metaphysical highness, through
time-space idealism (air), of falsity/woe and truth/joy in both external
(sequential time) and internal (spaced space) contexts.
19. There is the chemical lowness, through
volume-mass realism (water), of weakness/humility and strength/pride in both
external (volumetric volume) and internal (massed mass) contexts.
20. There is the physical lowness, through
mass-volume naturalism (vegetation), of ignorance/pain and knowledge/pleasure
in both external (massive mass) and internal (voluminous volume) contexts.
21. Metachemical
highness, having diabolic associations through fiery appearances, is the
highness of doing (acting), in which art and science express their rule.
22. Metaphysical highness, having divine
associations through airy essences, is the highness of being (experiencing), in
which music and religion impress their leadership.
23. Chemical lowness, having feminine associations
through watery quantities, is the lowness of giving (sacrificing), in which
literature and politics compress their governance.
24. Physical lowness, having masculine
associations through vegetative qualities, is the lowness of taking
(receiving), in which sculpture and economics depress their representativeness.
25. The chemical falls back on the metachemical, as woman on the Devil, just as, conversely,
the physical rises up towards the metaphysical, as man towards God.
26. Hence, in disciplinary terms, there is a
gender-conditioned tendency for literature to fall back on art, and for
politics to fall back on science.
27. Likewise, there is a gender-conditioned
tendency, in disciplinary terms, for sculpture to rise up towards music, and
for economics to rise up towards religion.
28. That which falls back on the Devil/Hell cannot
be expected to reach an accommodation with God/Heaven ... except to the limited
extent that it is inhibited from falling back on the Devil/Hell and
simultaneously rendered indirectly deferential, from an inferior position, to
God/Heaven.
29. As I have sought to prove, both art and
science, using barbarous means, affirm, when 'true' to their respective
vocations, the fiery rule of doing.
30. Likewise, both literature and politics, using
civilized means, affirm, when 'true' to their respective vocations, the watery
governance of giving.
31. Similarly, both sculpture and economics, using
natural means, affirm, when 'true' to their respective vocations, the
vegetative representativeness of taking.
32. Finally, both music and religion, using
cultural means, affirm, when true to their respective vocations, the airy
leadership of being.
33. Because doing cannot exist except in relation
to fiery appearances, it is that in which the ugliness and/or beauty of things
is made manifest.
34. Because giving cannot exist except in relation
to watery quantities, it is that in which the weakness and/or strength of
things is made manifest.
35. Because taking cannot exist except in relation
to vegetative qualities, it is that in which the ignorance and/or knowledge of
things is made manifest.
36. Because being cannot exist except in relation to
airy essences, it is that in which the falsity and/or truth of things is made
manifest.
CYCLE FIFTEEN
1. Just as, of all writers, the poet is the one
who should be most concerned with doing, and hence the ugliness and/or beauty
of things, so the dramatist is the writer whose principal concern should be
with giving, and hence the weakness and/or strength of things.
2. Just as, of all writers, the novelist is the
one who should be most concerned with taking, and hence the ignorance and/or
knowledge of things, so the philosopher is the writer whose principal concern
should be with being, and hence the falsity and/or truth of things.
3. Although literature is a feminine art form
overall on account of its fluidal basis, it is subdivisible,
as we have shown, into quasi-diabolic, feminine, quasi-masculine, and
quasi-divine genres, according to whether doing, giving, taking, or being is
the principal concern.
4. As the quasi-diabolic mode of literature,
poetry approximates to art in its concern, through fiery appearances, with
doing.
5. As the feminine mode of literature par
excellence, drama is the per se manifestation of literature in its
concern, through watery quantities, with giving.
6. As the quasi-masculine mode of literature,
fiction approximates to sculpture in its concern, through vegetative qualities,
with taking.
7. As the quasi-divine mode of literature,
philosophy approximates to music in its concern, through airy essences, with
being.
8. The association of doing with evil is not as
marked in poetry as in art, given the properly metachemical
status of the latter in relation to what, in poetry, would be merely quasi-metachemical from a chemical, or watery, basis.
9. The association of giving with good is more marked
in drama than in any other art form, given the properly chemical status of
drama in relation to what, in for instance water-colour art, would be
quasi-chemical from a metachemical, or fiery, basis.
10. The association of taking with folly is not as
marked in fiction as in sculpture, given the properly physical status of the
latter in relation to what, in fiction, would be merely quasi-physical from a
chemical, or watery, basis.
11. The association of being with wisdom is not as
marked in philosophy as in music, given the properly metaphysical status of the
latter in relation to what, in philosophy, would be merely quasi-metaphysical
from a chemical, or watery, basis.
12. Hence just as the poet is only quasi-evil in
relation to the painterly artist, the metachemical
artist par excellence, so the water-colour artist is only quasi-good
in relation to the dramatist, the chemical writer par excellence.
13. For evil, remember, is absolutist in its noumenal objectivity, whereas good(ness) is merely relativistic
in what amounts, by comparison, to a phenomenally objective per se.
14. Now just as the fiction-writer, or novelist,
is only quasi-foolish in relation to the figurative sculptor, the physical
sculptor par excellence, so the philosopher is only quasi-wise in
relation to the musician, the metaphysical 'artist' par excellence.
15. For wisdom, remember, is absolutist in its noumenal subjectivity, whereas folly is merely relativistic
in what amounts, by comparison, to a phenomenally subjective per se.
16. Nevertheless, the philosopher is the writer
whose principal concern is or should be with being, and hence wisdom.
17. For wisdom is only possible in relation to
being, just as folly is only possible in relation to taking, goodness only
possible in relation to giving, and evil only possible in relation to doing.
18. Hence the philosopher, the lover (philo) of wisdom (sophia), is the
'wise writer' or 'wise literary artist' ... to the extent that he bends what is
fundamentally a chemical, or fluidal, medium to the service of airy
metaphysics.
19. Yet 'the writer', conceived in general terms,
is really less wise and/or foolish than good, since the utilization of fluidal
means (ink) to whatever end is rather more feminine (civilized) than either
divine (cultural), masculine (natural), or diabolic (barbarous).
20. At least that must be so of the 'classical
writer', whose utilization of fluidal means ties-in with the existence of a
civilized age and/or society, not of the writer who exists in some other age and/or
society as an effective 'bovaryization' of writing
vis-à-vis the hegemony of either fire, vegetation, or air, as the case may be,
and whose preferred medium of literary presentation will reflect this fact both
generically and technologically.
21. Thus while the dramatist will be the most
representative writer of an age and/or society in which water is the governing
element, in due civilized fashion, an age ruled by fire will encourage the
poetic mode of literary 'bovaryization', an age
represented by vegetation (earth) will encourage the novelistic mode of
literary 'bovaryization', and an age led by air will
encourage the philosophical mode of literary 'bovaryization'.
22. Within a civilized age, writing will generally
proceed via pen, whether in relation to quill pens, fountain-pens, felt-tip
pens, or biros ... as the most likely fluidal parallels to fire, water,
vegetation, and air respectively, whereas within a natural age, the procedure
of writing will generally be conducted via typewriters and/or word processors
in due vegetative vein.
23. Within a barbarous age, writing will generally
proceed via such fiery means as paints, coloured inks, crayons, and pencils,
whereas within a cultural age, the procedure of writing will generally be conducted
via such airy means as personal computers.
24. It is probably fair to maintain that computers
offer a vegetative base, on hard disc, from which the dissemination of written
information via the Internet can proceed in due quasi-metaphysical vein, in
keeping with its universal essence.
25. Needless to say, the only mode of writing
which is truly commensurate with Internet universalization
is the quasi-metaphysical 'bovaryization' of
literature called philosophy.
26. Philosophy should be freely available on the
Internet, and not made the subversive subject of capital gain.
27. For capitalism, as an economic pursuit, is
more suited to the folly of vegetative naturalism than to the wisdom of airy
idealism, wherein religious considerations take over.
CYCLE SIXTEEN
1. Where there is maximum ugliness and hatred
there can be only minimum beauty and love, and vice versa.
2. Ugliness and hatred, which are two aspects of
negative doing, do not exist entirely independently of beauty and love since,
in the final analysis, there are no completely absolute noumenal
absolutes. Neither, conversely, do
beauty and love, as two aspects of positive doing, exist entirely independently
of ugliness and hatred.
3. One should distinguish, in both external and
internal contexts of doing, most ugliness and hatred/least beauty and love from
least ugliness and hatred/most beauty and love, and each of these elemental
extremes from the intermediate (molecular) ratios of more (compared to most)
ugliness and hatred/less (compared to least) beauty and love, and less
(compared to least) ugliness and hatred/more (compared to most) beauty and
love.
4. Hence we can plot an overall progression, in
relation to doing, from the elemental negativity of most ugliness and
hatred/least beauty and love to the elemental positivity
of least ugliness and hatred/most beauty and love via the molecular negativity
of more (compared to most) ugliness and hatred/less (compared to least) beauty
and love and the molecular positivity of less
(compared to least) ugliness and hatred/more (compared to most) beauty and
love.
5. Where there is maximum weakness and humility,
if not humiliation, there can be only minimum strength and pride, and vice
versa.
6. Weakness and humility, which are two aspects of
negative giving, do not exist entirely independently of strength and pride
since, in the final analysis, there are no completely absolute phenomenal
relativities. Neither, conversely, do
strength and pride exist entirely independently of weakness and humility.
7. One should distinguish, in both external and
internal contexts of giving, most weakness and humility/least strength and
pride from least weakness and humility/most strength and pride, and each of
these elemental extremes from the intermediate (molecular) ratios of more
(compared to most) weakness and humility/less (compared to least) strength and
pride, and less (compared to least) weakness and humility/more (compared to
most) strength and pride.
8. Hence we can plot an overall progression, in
relation to giving, from the elemental negativity of most weakness and
humility/least strength and pride to the elemental positivity
of least weakness and humility/most strength and pride via the molecular
negativity of more (compared to most) weakness and humility/less (compared to
least) strength and pride and the molecular positivity
of less (compared to least) weakness and humility/more (compared to most)
strength and pride.
9. Where there is maximum ignorance and pain
there can be only minimum knowledge and pleasure, and vice versa.
10. Ignorance and pain, which are two aspects of
negative taking, do not exist entirely independently of knowledge and pleasure
since, in the final analysis, there are no completely absolute phenomenal
relativities. Neither, conversely, do
knowledge and pleasure, as two aspects of positive taking, exist entirely
independently of ignorance and pain.
11. One should distinguish, in both external and
internal contexts of taking, least knowledge and pleasure/most ignorance and
pain from most knowledge and pleasure/least ignorance and pain, and each of
these elemental extremes from the intermediate (molecular) ratios of less
(compared to least) knowledge and pleasure/more (compared to most) ignorance
and pain, and more (compared to most) knowledge and pleasure/less (compared to
least) ignorance and pain.
12. Hence we can plot an overall progression, in
relation to taking, from the elemental negativity of least knowledge and
pleasure/most ignorance and pain to the elemental positivity
of most knowledge and pleasure/least ignorance and pain via the molecular
negativity of less (compared to least) knowledge and pleasure/more (compared to
most) ignorance and pain and the molecular positivity
of more (compared to most) knowledge and pleasure/less (compared to least)
ignorance and pain.
13. Where there is maximum falsity and woe there
can be only minimum truth and joy, and vice versa.
14. Falsity and woe, which are two aspects of
negative being, do not exist entirely independently of truth and joy since, in
the final analysis, there are no completely absolute noumenal
absolutes. Neither, conversely, do truth
and joy, as two aspects of positive being, exist entirely independently of
falsity and woe.
15. One should distinguish, in both external and
internal contexts of being, least truth and joy/most falsity and woe from most
truth and joy/least falsity and woe, and each of these elemental extremes from
the intermediate (molecular) ratios of less (compared to least) truth and
joy/more (compared to most) falsity and woe, and more (compared to most) truth
and joy/less (compared to least) falsity and woe.
16. Hence we can plot an overall progression, in
relation to being, from the elemental negativity of least truth and joy/most
falsity and woe to the elemental positivity of most
truth and joy/least falsity and woe via the molecular negativity of less
(compared to least) truth and joy/more (compared to most) falsity and woe and
the molecular positivity of more (compared to most)
truth and joy/less (compared to least) falsity and woe.
17. From the most particles/least wavicles and the more (compared to most) particles/less
(compared to least) wavicles of negative doing to the
less (compared to least) particles/more (compared to most) wavicles
and the least particles/most wavicles of positive
doing in relation to photons (external) and photinos
(internal).
18. From the most particles/least wavicles and the more (compared to most) particles/less
(compared to least) wavicles of negative giving to
the less (compared to least) particles/more (compared to most) wavicles and the least particles/most wavicles
of positive giving in relation to electrons and/or positrons (external) and electrinos and/or positrinos
(internal).
19. From the least wavicles/most
particles and the less (compared to least) wavicles/more
(compared to most) particles of negative taking to the more (compared to most) wavicles/less (compared to least) particles and the most wavicles/least particles of positive taking in relation to
neutrons and/or deuterons (external) and neutrinos and/or deuterinos
(internal).
20. From the least wavicles/most
particles and the less (compared to least) wavicles/more
(compared to most) particles of negative being to the more (compared to most) wavicles/less (compared to least) particles and the most wavicles/least particles of positive being in relation to
protons (external) and protinos (internal).
21. In general terms, the particle subdivision of
an element and/or elementino equates with negativity
and the wavicle subdivision thereof with positivity, though, as indicated above, a predominating
particle ratio will qualify for a negative definition and a predominating or,
rather, preponderating wavicle ratio, by contrast,
for a positive definition overall.
22. The objective axes of doing in relation to
space-time metachemistry and of giving in relation to
volume-mass chemistry should be read from particle to wavicle,
as from negative to positive.
23. Conversely, the subjective axes of taking in
relation to mass-volume physics and of being in relation to time-space
metaphysics should be read from wavicle to particle,
as from positive to negative.
24. This is what distinguishes the 'falling'
nature or, rather, unnature of the objective axes
from the 'rising' nature of the subjective axes, since the former are dominated
by a vacuum in due female fashion, while the latter are liberated by a plenum
in due male vein.
25. That which is negative is so by dint of its
affiliation with the particle aspect of subatomic bodies, whereas that which is
positive is so by dint of its affiliation with the wavicle
aspect of such bodies, and this whether in connection with a predominating
negativity or a preponderating positivity in the
subatomic subdivision as a whole.
26. Hence, to take a single example, the most
ugliness and hatred/least beauty and love of negative doing in its elemental
mode is commensurate with a most particle/least wavicle
ratio of subatomic factors in which negativity considerably predominates over positivity, while, conversely, the least ugliness and
hatred/most beauty and love of positive doing in its elemental mode is
commensurate with a least particle/most wavicle ratio
of subatomic factors in which negativity is considerably preponderated over by positivity.
CYCLE SEVENTEEN
1. Continuing on from the above, the more
(compared to most) ugliness and hatred/less (compared to least) beauty and love
of negative doing in its molecular mode is commensurate with a more (compared
to most) particle/less (compared to least) wavicle
ratio of subatomic factors in which negativity predominates over positivity, while, conversely, the less (compared to least)
ugliness and hatred/more (compared to most) beauty and love of positive doing
in its molecular mode is commensurate with a less (compared to least)
particle/more (compared to most) wavicle ratio of
subatomic factors in which negativity is preponderated over by positivity.
2. On the other hand, the least truth and
joy/most falsity and woe of negative being in its elemental mode is
commensurate with a least wavicle/most particle ratio
of subatomic factors in which positivity is
considerably predominated over by negativity, while, conversely, the most truth
and joy/least falsity and woe of positive being in its elemental mode is
commensurate with a most wavicle/least particle ratio
of subatomic factors in which positivity considerably
preponderates over negativity.
3. Likewise, the less (compared to least) truth
and joy/more (compared to most) falsity and woe of negative being in its
molecular mode is commensurate with a less (compared to least) wavicle/more (compared to most) particle ratio of subatomic
factors in which positivity is predominated over by
negativity, while, conversely, the more (compared to most) truth and joy/less
(compared to least) falsity and woe of positive being in its molecular mode is
commensurate with a more (compared to most) wavicle/less
(compared to least) particle ratio of subatomic factors in which positivity preponderates over negativity.
4. Now what applies to the noumenal
antithesis of doing and being applies no less to the phenomenal antithesis of
giving and taking, as in the following aphorisms where, firstly, the most
weakness and humility/least strength and pride of negative giving in its
elemental mode is commensurate with a most particle/least wavicle
ratio of subatomic factors in which negativity considerably predominates over positivity, while, conversely, the least weakness and
humility/most strength and pride of positive giving in its elemental mode is
commensurate with a least particle/most wavicle ratio
of subatomic factors in which negativity is considerably preponderated over by positivity.
5. Likewise, the more (compared to most)
weakness and humility/less (compared to least) strength and pride of negative
giving in its molecular mode is commensurate with a more (compared to most)
particle/less (compared to least) wavicle ratio of
subatomic factors in which negativity predominates over positivity,
while, conversely, the less (compared to least) weakness and humility/more
(compared to most) strength and pride of positive giving in its molecular mode
is commensurate with a less (compared to least) particle/more (compared to most)
wavicle ratio of subatomic factors in which
negativity is preponderated over by positivity.
6. On the other hand, the least knowledge and
pleasure/most ignorance and pain of negative taking in its elemental mode is
commensurate with a least wavicle/most particle ratio
of subatomic factors in which positivity is
considerably predominated over by negativity, while, conversely, the most
knowledge and pleasure/least ignorance and pain of positive taking in its
elemental mode is commensurate with a most wavicle/least
particle ratio of subatomic factors in which positivity
considerably preponderates over negativity.
7. Likewise, the less (compared to least)
knowledge and pleasure/more (compared to most) ignorance and pain of negative
taking in its molecular mode is commensurate with a less (compared to least) wavicle/more (compared to most) particle ratio of subatomic
factors in which positivity is predominated over by
negativity, while, conversely, the more (compared to most) knowledge and
pleasure/less (compared to least) ignorance and pain of positive taking in its
molecular mode is commensurate with a more (compared to most) wavicle/less (compared to least) particle ratio of
subatomic factors in which positivity preponderates
over negativity.
8. Things can be negative or positive in
external, or 'once-born' contexts no less than in internal, or 're-born' ones,
except that there will be a greater degree of negativity vis-à-vis positivity in the former and a greater degree of positivity vis-à-vis negativity in the latter, as things
proceed, in both impersonal and personal terms, from primal and/or sensual
elements to supreme and/or sensible elementinos, the
primal and supreme correlating with impersonal forms of external and internal
existence, the sensual and sensible with their personal counterparts thereof.
9. As I have endeavoured to prove in previous
texts, the fourfold subdivision of any given element and/or elementino
implies a basic negative/positive dichotomy between elemental and molecular
particles on the one hand, and molecular and elemental wavicles
on the other hand. Such a dichotomy
correlates with a distinction between what may be described as the scientific
and political subdivisions of an element and/or elementino
and, by contrast, its economic and religious subdivisions, the former
effectively impersonal (primal or supreme) in their particle-biased
predominance, and the latter effectively personal (sensual or sensible) in
their wavicle-biased preponderance.
10. However, while for general purposes the above
dichotomy still holds true, one can now see, in light of our latest findings,
that both the impersonal and personal options extend the entire breadth of any
given axis, since negativity and positivity are not
entirely separate or independent entities but co-exist with one another
whatever the overall ratio of subatomic factors may happen to be.
11. Thus there is some impersonal negativity even
in the economic and religious subdivisions of any given element and/or elementino, while, conversely, some positivity
will cling, in personal terms, to even the most negative of subatomic contexts,
whose predominating particle bias would lead us to infer a scientific and/or
political correlation, as before.
12. This helps to explain why there are religious
aspects to science no less than scientific aspects to religion, despite the
predominating negativity of the one and the preponderating positivity
of the other.
13. Similarly, where the intermediate, or
molecular, disciplines are concerned, one would be hard-pressed to avoid
concluding that there are economic aspects to politics no less than political
aspects to economics, since some positivity will
accrue, in subordinate fashion, to the former and some negativity likewise
accrue, in subordinate manner, to the latter.
CYCLE EIGHTEEN
1. The devolution, through spatial space, of
primal doing from most to least via more and less ugliness and hatred is
paralleled by the 'evolution', through spatial space, of sensual doing from
least to most via less and more beauty and love.
2. The devolution, through repetitive time, of
supreme doing from most to least via more and less ugliness and hatred is
paralleled by the 'evolution', through repetitive time, of sensible doing from least
to most via less and more beauty and love.
3. Hence space-time metachemistry
affords us a primary/secondary contrast between the particle-based devolution
of both primal and supreme doing and the wavicle-biased
'evolution' of both sensual and sensible doing.
4. The devolution, through volumetric volume, of
primal giving from most to least via more and less weakness and humility is
paralleled by the 'evolution', through volumetric volume, of sensual giving
from least to most via less and more strength and pride.
5. The devolution, through massed mass, of
supreme giving from most to least via more and less weakness and humility is
paralleled by the 'evolution', through massed mass, of sensible giving from
least to most via less and more strength and pride.
6. Hence volume-mass chemistry affords us a
primary/secondary contrast between the particle-based devolution of both primal
and supreme giving and the wavicle-biased 'evolution'
of both sensual and sensible giving.
7. Conversely, the evolution, through massive
mass, of sensual taking from least to most via less and more knowledge and
pleasure is paralleled by the 'devolution', through massive mass, of primal
taking from most to least via more and less ignorance and pain.
8. The evolution, through voluminous volume, of
sensible taking from least to most via less and more knowledge and pleasure is
paralleled by the 'devolution', through voluminous volume, of supreme taking
from most to least via more and less ignorance and pain.
9. Hence mass-volume physics affords us a
primary/secondary contrast between the wavicle-centred
evolution of both sensual and sensible taking and the particle-biased
'devolution' of both primal and supreme taking.
10. The evolution, through sequential time, of
sensual being from least to most via less and more truth and joy is paralleled
by the 'devolution', through sequential time, of primal being from most to
least via more and less falsity and woe.
11. The evolution, through spaced space, of
sensible being from least to most via less and more truth and joy is paralleled
by the 'devolution', through spaced space, of supreme being from most to least
via more and less falsity and woe.
12. Hence time-space metaphysics affords us a
primary/secondary contrast between the wavicle-centred
evolution of sensual and sensible being and the particle-biased 'devolution' of
primal and supreme being.
13. Devolution is primary on the objective axes of
space-time metachemistry and volume-mass chemistry,
but secondary on the subjective axes of mass-volume physics and time-space
metaphysics.
14. Conversely, evolution is primary on the
subjective axes of mass-volume physics and time-space metaphysics, but
secondary on the objective axes of space-time metachemistry
and volume-mass chemistry.
15. In broad terms, fire and water both 'fall', in
keeping with their vacuously conditioned dispositions towards objectivity in
what amounts to a direct (barbed) divergence and/or convergence, as the case
may be.
16. In broad terms, vegetation and air both
'rise', in keeping with their plenemously conditioned
dispositions towards subjectivity in what amounts to an indirect (curved)
divergence and/or convergence, as the case may be.
17. The 'fall' of fire from stellar to Venusian in impersonal terms is paralleled by its 'fall'
from eyes to heart in personal terms.
18. The 'fall' of water from lunar to oceanic in
impersonal terms is paralleled by its 'fall' from tongue to womb in personal
terms.
19. The 'rise' of vegetation from earthy to
Martian in impersonal terms is paralleled by its 'rise' from phallus to brain
in personal terms.
20. The 'rise' of air from solar to Saturnian in impersonal terms is paralleled by its 'rise'
from ears to lungs in personal terms.
21. That which 'falls' is ever female in its
objective disposition, whereas that which 'rises' is ever male in its
subjective disposition.
22. The female aspect of life is divisible, as
already noted, between the devility of space-time metachemistry and the femininity of volume-mass chemistry, fire
and water, dress and skirt, whereas the male aspect of life is divisible, in
contrary terms, between the masculinity of mass-volume physics and the divinity
of time-space metaphysics, vegetation and air, trousers and zippersuit.
23. It is on account of its objective nature or,
rather, unnature ... that the female aspect of life
is primary, and on account, by contrast, of its subjective nature that the male
aspect of life is secondary.
24. Males are very much the 'second sex' in an
objective age, an age dominated by fire and/or water, whereas females are
relegated, despite their primary dispositions, to a secondary or, rather,
subordinate status in a subjective age, an age centred in vegetation and/or
air.
25. The present age is becoming, through the hegemony
of economics, increasingly subjective in relation to vegetation, and may well
be superseded, in the coming decades, by the hegemony of religion, thereby
allowing air to replace vegetation as the principal element in what would be
less a masculine than a divine age.
26. I look forward, as a philosopher, a proponent
of wisdom, to the supersession of economics by
religion, so that life may climb out of the naturalistic bog of sinful folly
which currently prevails and achieve an idealistic accommodation with graceful
wisdom, abandoning taking for being, and thus knowledge and pleasure for truth
and joy.
27. For unless people embrace the wisdom of being,
they will continue to remain bogged down in the folly of taking, with males
only relatively beyond evil and good, doing and giving, rather than absolutely
beyond it ... in and through being.
28. It generally happens that, despite shifts of
emphasis, taking remains dominated by doing and giving, as by the control of
'the great' and 'the good', whose gender correspondence is, after all, rather
more to the female side of life than to its male side.
29. This is certainly the British experience,
wherein such taking as exists is firmly under the shadow, in non-American
fashion, of doing and giving, the one politically closer to Labour and the
other to the Conservatives.
30. Yet the British are so lacking in being, or
respect for being, that the majority of them are able to take this
objectively-dominated situation for granted, and to kowtow to doing or giving,
the monarchy or parliament, even when they are predominantly committed to
taking.
31. Such is also the case, fundamentally, for
Anglicans vis-à-vis Dissenters and Puritans, thereby proving, beyond any shadow
of a doubt, how religion tends to condition politics, and vice versa.
32. A man who was intent upon advancing the
development of being within the People, a wise and philosophical man, would not
wish to encourage their self-division and fragmentation under doing, giving,
and taking, nor would he allow the existence of pseudo-being within the higher
ranks of the aristocracy to beguile him into complacently acquiescing in such a
situation at the expense of true being.
33. Being can only be furthered amongst the People
when they are released from self-division and exist, ever after, in
non-demonstrative, as distinct from demonstrative, opposition to an
administrative control.
34. Obviously, where a people are divided
democratically (not to mention denominationally) from one another along
party-political lines, they can only be released from such a being-defeating
system democratically, in terms of voting for religious sovereignty, as taught
by me, and through that an end to political 'sins of the World'.
35. For religious sovereignty would be more than
political sovereignty, and consequently that which could liberate the People
from self-division, making an accommodation with the self (whether directly for
a spiritual elite or indirectly, via some vegetative or watery alternative, for
the generality of less spiritual persons) its chief priority.
CYCLE NINETEEN
1. I intimated, several cycles ago, that, at its
purest manifestation, mind is spiritual, and thus a reflection, through
awareness, of being, which derives its essential nature (supernature)
from the air one breathes as a human being.
2. Hence without air, there would not only be no
human beings but no being, since being is that which accords with awareness as
the property of essence, and air is the essential element, the one that, being
metaphysical, lies beyond the perceptions of the senses as that which cannot be
seen but nonetheless everywhere mystically is.
3. In this respect, the metaphysical element of
air transcends not only the physical element of vegetation, but, more
indirectly, the chemical element of water and the metachemical
element of fire, the latter of which exists in a noumenally
antithetical relationship to it, as, in general terms, appearance to essence.
4. I am not simply because I exist, since
anything can exist, even an inanimate object, but because I experience being as
a condition of breathing, which makes me sentient (aware).
5. Hence the experience of awareness, or being,
is conditional upon my continuing to breathe, though only through a
determination to breathe consciously, which is meditation, can I experience
enhanced being and thus the maximum of awareness of which I, as a sentient
being, am capable.
6. The philosopher can do no more, as a wise
man, than to advocate meditation as the methodology by which being is
maximized, and one enters into the grace of the Elect of Spirit.
7. Such an Elect of Spirit are not only
superhuman but, more specifically, supermasculine,
since they achieve a superconscious accommodation of
the inner metaphysical self, the mind, to spirit in spaced space, which is the
only Space in which sensible being can thrive.
8. By contrast, spatial space would amount to a superfeminine irrelevance to such supermen, since only that
which is super-unconscious can thrive in spatial space, and it does so not on
the basis of spirit, of air, but on the basis of soul, of fire, particularly,
at that level, with regard to the eyes.
9. Hence the supermasculine
is as far removed, in Space, from the superfeminine
... as it is possible to conceive of, and thus that which appertains to the
omega of Space as opposed to its alpha.
10. Such an omega of Space is commensurate with a
sensible subjectivity, and it contrasts, absolutely, with the sensual
objectivity of the alpha of Space, wherein the superfeminine
Devil ... of super-unnature ... is enthroned.
11. Thus whereas mind is spiritual, associated
(through metaphysics) with the ears in sensuality and with the lungs in
sensibility, soul, by contrast, is emotional, associated (through metachemistry) with the eyes in sensuality and with the
heart in sensibility, and therefore concerned, fundamentally, not with being
but with doing, its metachemical antithesis.
12. The philosopher, when genuine, will not be one
to advocate doing through soul, after the fashion of, say, poets, and neither
will he advocate giving through the id or taking through the ego, after the
respective fashions of dramatists and novelists (fiction writers).
13. For whereas the id is instinctual and thus
feminine, associated chemically with the tongue in sensuality and with the womb
in sensibility, the ego is intellectual and thus masculine, associated
physically with the phallus in sensuality and with the brain in sensibility,
and both of these are shortfalls from the philosopher's concern, as a
metaphysician, with being through spirit, which alone makes for wisdom.
14. Where this particular philosopher differs from
previous philosophers is in his advocacy, through the concept of religious
sovereignty, of a triadic Beyond, commensurate with 'Kingdom Come', in which
giving and taking defer, beingfully, to being, while
doing, duly transmuted, takes upon itself the burden of administering such a
triadic Beyond, in order that the People may be united, under Social Transcendentalism,
the ideological religion of 'Kingdom Come', as advocated by he who effectively
corresponds, in his Messianic wisdom, to a Second Coming.
15. For only through this 'philosopher king' can
the People elect for religious sovereignty when the opportunity arises, and
only through religious sovereignty will they be saved from their political
'sins of the World', to enter, beyond that, into the triadic framework of
'Kingdom Come', the Social Transcendental Centre, or context of religious
sovereignty, wherein being will peak at an all-time high not only in relation
to the heavenly purity of true being, but also in relation to the deferential
lower tiers of what might be called the giving-being and taking-being of a New
Purgatory and a New Earth respectively.
CYCLE TWENTY
1. Where there is form there is content, and
vice versa. Beauty presupposes love and
love presupposes beauty, to take but one example. Beauty can no more exist independently of love
than love ... of beauty.
2. Hence we can maintain, with due confidence,
that where there is most beauty, there will be most love, while, conversely, it
should also follow that the least beauty will imply the least love, since
content is proportionate to form.
3. However, while the ratio of form to content
is one that increases from least to most via less and more the further we
ascend the scale of positive values, it is no less the case that the ratio of
what may be called antiform to anticontent
will decrease, proportionately, as we descend, in due objective fashion, from
most to least via more and less, and this whether with regard to ugliness and
hatred or to any of the other manifestations of antiform
and anticontent which pertain to the remaining three
elemental axes.
4. Thus we may plot the descent of metachemical antiform and anticontent, within space-time materialism, from most to
least via more and less ugliness and hatred as the negative counterpart to the
ascent, therein, of metachemical form and content
from least to most via less and more beauty and love.
5. Likewise, we may plot the descent of chemical
antiform and anticontent,
within volume-mass realism, from most to least via more and less weakness and
humility as the negative counterpart to the ascent, therein, of chemical form
and content from least to most via less and more strength and pride.
6. Conversely, we may plot the ascent of
physical form and content, within mass-volume naturalism, from least to most
via less and more knowledge and pleasure as the positive counterpart to the
descent, therein, of physical antiform and anticontent from most to least via more and less ignorance
and pain.
7. Finally, we may plot the ascent of
metaphysical form and content, within time-space idealism, from least to most
via less and more truth and joy as the positive counterpart to the descent,
therein, of metaphysical antiform and anticontent from most to least via more and less falsity
and woe.
8. The noumenally
objective descent of metachemical antiform
(ugliness) and anticontent (hatred), within
space-time materialism, duly proceeds from most to least via more and less
negative evil, whereas the noumenally objective
ascent, therein, of metachemical form (beauty) and
content (love) duly proceeds from least to most via less and more positive
evil.
9. The phenomenally objective descent of
chemical antiform (weakness) and anticontent
(humility), within volume-mass realism, duly proceeds from most to least via
more and less negative good, whereas the phenomenally objective ascent,
therein, of chemical form (strength) and content (pride) duly proceeds from
least to most via less and more positive good.
10. Conversely, the phenomenally subjective ascent
of physical form (knowledge) and content (pleasure), within mass-volume
naturalism, duly proceeds from least to most via less and more positive folly,
whereas the phenomenally subjective descent, therein, of physical antiform (ignorance) and anticontent
(pain) duly proceeds from most to least via more and less negative folly.
11. Finally, the noumenally
subjective ascent of metaphysical form (truth) and content (joy), within
time-space idealism, duly proceeds from least to most via less and more
positive wisdom, whereas the noumenally subjective
descent, therein, of metaphysical antiform (falsity)
and anticontent (woe) duly proceeds from most to
least via more and less negative wisdom.
12. Hence each elemental axis, from fire and water
to vegetation and air, affords us the contrast, in both external ('once-born')
and internal ('re-born') contexts, of antiform and anticontent with form and content, of elemental negativity
with elemental positivity.
13. Elemental negativity will be primary on the
objective axes of fire and water but secondary on the subjective axes of vegetation
and air, whether it be in a predominant or a subordinate ratio.
14. Elemental positivity
will be secondary on the objective axes of fire and water but primary on the
subjective axes of vegetation and air, whether it be in a subordinate or a preponderant
ratio.
15. These contentions can be confirmed by the fact
that photons and photinos, corresponding to
space-time materialism, are metachemical elements/elementinos whose overall charge is negative, whereas
protons and protinos, corresponding to time-space
idealism, are metaphysical elements/elementinos whose
overall charge is positive.
16. Likewise, electrons and electrinos,
corresponding to volume-mass realism, are chemical elements/elementinos
whose overall charge is negative, whereas neutrons and neutrinos, corresponding
to mass-volume naturalism, are physical elements whose overall charge is
positive or, at any rate, neutral with a positive bias or capacity.
17. This is more so of deuterons and deuterinos, the radical (Christian) counterpart to neutrons
and neutrinos, which have the capacity to serve, in properly masculine vein, as
a vegetative support for protons and/or protinos,
while the positive charge, overall, of positrons and positrinos
affords us the converse example of a watery mode of feminine self-denial which
is more suited to a pseudo-Heathen/quasi-Christian position than would be the
overly negative charges of electrons and electrinos,
dominating neutrons and/or neutrinos from a heathenistic
vantage-point that backs-on to photons and/or photinos
in due fundamentalist fashion.
18. Whereas the Devil (super-unnature
to sub-unnature) is the antiform
and/or form of metachemical evil, Hell
(super-unconscious to sub-unconscious) is the anticontent
and/or content thereof, depending, in each case, whether the noumenal objectivity of space-time materialism is in its
negative or its positive mode.
19. Whereas woman (upper unnature
to lower unnature) is the antiform
and/or form of chemical good, purgatory (upper unconscious to lower unconscious)
is the anticontent and/or content thereof, depending,
in each case, whether the phenomenal objectivity of volume-mass realism is in
its negative or its positive mode.
20. Whereas man (lower nature to upper nature) is
the antiform and/or form of physical folly, earth
(lower conscious to upper conscious) is the anticontent
and/or content thereof, depending, in each case, whether the phenomenal
subjectivity of mass-volume naturalism is in its negative or its positive mode.
21. Whereas God (subnature
to supernature) is the antiform
and/or form of metaphysical wisdom, Heaven (subconscious to superconscious)
is the anticontent and/or content thereof, depending,
in each case, whether the noumenal subjectivity of
time-space idealism is in its negative or its positive mode.
22. That which mediates between the Devil and
Hell, whether negatively in antiform and anticontent or positively in form and content, is either superfeminine with regard to Space or subfeminine
with regard to Time, the former spatial, the latter repetitive.
23. That which mediates between woman and
purgatory, whether negatively in antiform and anticontent or positively in form and content, is either
upper feminine with regard to Volume or lower feminine with regard to Mass, the
former volumetric, the latter massed.
24. That which mediates between man and earth,
whether negatively in antiform and anticontent or positively in form and content, is either
lower masculine with regard to Mass or upper masculine with regard to Volume,
the former massive, the latter voluminous.
25. That which mediates between God and Heaven,
whether negatively in antiform and anticontent or positively in form and content, is either submasculine with regard to Time or supermasculine
with regard to Space, the former sequential, the latter spaced.
CYCLE TWENTY-ONE
1. To distinguish the metachemical
antiform and anticontent of
anti-art, descending in space-time materialism from most to least via more and
less ugliness and hatred, from the metachemical form
and content of art, ascending in space-time materialism from least to most via
less and more beauty and love.
2. To distinguish the chemical antiform and anticontent of
anti-literature, descending in volume-mass realism from most to least via more
and less weakness and humility, from the chemical form and content of
literature, ascending in volume-mass realism from least to most via less and
more strength and pride.
3. Conversely, to distinguish the physical form
and content of sculpture, ascending in mass-volume naturalism from least to
most via less and more knowledge and pleasure, from the physical antiform and anticontent of
anti-sculpture, descending in mass-volume naturalism from most to least via
more and less ignorance and pain.
4. To distinguish the metaphysical form and
content of music, ascending in time-space idealism from least to most via less
and more truth and joy, from the metaphysical antiform
and anticontent of anti-music, descending in
time-space idealism from most to least via more and less falsity and woe.
5. Space-time materialism affords us, in view of
its noumenal objectivity, a contrast between anti-art
as primary and art as secondary, since anti-art is that which descends, in due
particle-based fashion, from most to least via more and less antiform (ugliness) and anticontent
(hatred).
6. Likewise volume-mass realism affords us, in
view of its phenomenal objectivity, a contrast between anti-literature as
primary and literature as secondary, since anti-literature is that which
descends, in due particle-based fashion, from most to least via more and less antiform (weakness) and anticontent
(humility).
7. Conversely mass-volume naturalism affords us,
in view of its phenomenal subjectivity, a contrast between sculpture as primary
and anti-sculpture as secondary, since sculpture is that which ascends, in due wavicle-centred vein, from least to most via less and more
form (knowledge) and content (pleasure).
8. Likewise time-space idealism affords us, in
view of its noumenal subjectivity, a contrast between
music as primary and anti-music as secondary, since music is that which
ascends, in due wavicle-centred vein, from least to
most via less and more form (truth) and content (joy).
9. The domination of art and literature by
anti-art and anti-literature is the objective counterpart to the liberation of
sculpture and music from anti-sculpture and anti-music in due subjective vein.
10. Anti-art is never more ugly and hateful nor
art less beautiful and lovely than in the scientific subdivisions of space-time
materialism, while, conversely, anti-art is never less ugly and hateful nor art
more beautiful and lovely than in the religious subdivisions thereof.
11. Likewise, anti-literature is never weaker and
humbler nor literature stronger and prouder than in the scientific subdivisions
of volume-mass realism, while, conversely, anti-literature is never less weak
and humble nor literature more strong and proud than in the religious
subdivisions thereof.