51. Taking cosmic parallels to the above, one could argue that awareness is an extrapolation from the central star of the Galaxy, emotion an extrapolation from the sun, and intellect an extrapolation from the moon, since, like intellect, the moon is rather more atomic than absolute on either a wavicle or a particle basis. But, of course, direct extrapolations would only have effect with regard to the subconscious, that is to say with regard to negative awareness, emotion, and intellect respectively, since positive awareness, emotion, and intellect are predominantly factors of the superconscious, situated, as it is, within the new brain, a brain far less alpha stemming, on whichever level, than the old one which, as Koestler rightly maintains, considerably precedes it in chronological time. Unlike him, however, I would argue that the old brain is a manifestation of organic devolution from central star, sun, and moon, whereas only the new brain is truly evolutionary, having potentials for positive awareness, emotion, and intellect which stretch way beyond the worldly plane towards a reality, or series of realities, at once superdivine, superdiabolic, and superpurgatorial (if we may be permitted to equate purgatory with a cross between Heaven and Hell, i.e. as a sort of superlunar compromise between superstellar and supersolar intimations). However that may be, it is to positive self-transcending awareness that I attach the greater importance, since only that is truly divine. The other aspects of the omega-oriented psyche will have to be transcended in the course of time; for better than both the 'Haha!' and the 'Aha!' is the 'Ah ...' of blessed enlightenment.

 

52. Self-transcendence has its true pole not in self-assertion, as Koestler contends, but in self-consciousness, which is an atomic, or egocentric, psychic experience standing to self-transcendence as the phenomenal to the noumenal - at any rate on an alpha-stemming basis of, as it were, negative self-transcendence (dreams) to negative self-consciousness (embarrassment). For antithetical to the alpha-stemming duality is the omega-oriented dualism of positive self-consciousness (pride) and positive self-transcendence (LSD trips), with superphenomenal and supernoumenal implications respectively, each of which exists on a wavicle basis. Thus while self-transcendence represents the alpha and omega divine poles, self-consciousness signifies a kind of worldly divine antithesis to each pole - an egocentric middle-ground standing in-between subconscious and superconscious awareness extremes. Likewise, antithetical in such a way to negative self-assertion is negative self-denial (mortification of the flesh), which stands to the former in a phenomenal light. But if the noumenal precedes the phenomenal, then the superphenomenal precedes the supernoumenal, and we find positive self-denial (fasting, celibacy) antithetical to positive self-assertion - a duality no less particle-orientated than its alpha-stemming counterpart. While self-assertion represents the alpha and omega diabolic poles, self-denial stands, in both its negative and positive manifestations, as a kind of worldly diabolic antithesis to each pole - an egocentric middle-ground in between subconscious and superconscious emotional extremes. Thus where we are in effect speaking, with regard to the divine spectrum, of Fatheristic and Christic distinctions on an alpha-stemming basis, but of Superchristic and Superfatheristic distinctions on an omega-oriented one, the diabolic spectrum affords us parallel distinctions between the Satanic and the Antichristic on an alpha-stemming basis, with, in the omega-oriented case, Super-antichristic and Supersatanic implications. Proton wavicles - atomic wavicles (negative and positive) - electron wavicles ... in the one case; proton particles - atomic particles (negative and positive) - electron particles ... in the other case. Light and heat, whether negative or positive.

 

53. Consequently, we may conclude by saying that whereas self-transcendence and self-assertion are parallel poles of parallel spectra, i.e. divine and diabolic, self-consciousness is the antithetical pole to the former and self-denial the antithetical pole to the latter, and this whether we are treating of an alpha-stemming or an omega-oriented duality. Self-transcendence and self-assertion are simply the outermost poles of truly divine and diabolic equivalents. Indeed, just as Koestler distinguishes between 'Ah ...' - 'Aha!' - and 'Haha!' reactions, which are all positive, so, for the sake of a more comprehensive perspective, we should admit of their negative antitheses, which can be defined in terms of 'Oh ...' - 'Oho!' - and 'Ohoh!', the first self-transcending, the third self-assertive, and the second an intellectual cross between each of the others. In fact, we would have, in these old-brain experiences, the nearest thing to direct extrapolations from the central star of the Galaxy (the alpha divine), the moon (the alpha purgatorial), and the sun (the alpha diabolic), given their spiritual, intellectual, and emotional distinctions. Probably myth, the occult, and tragedy would be the most approximate disciplinary parallels to the art - science - humour (comedy) trinity advanced by Koestler in connection with the omega-oriented 'Ah ...' - 'Aha!' - 'Haha!' reactions, the negative self-transcending tendency of the 'Oh ...' reaction, so to speak, being associated with myth, the negative self-transcending/self-assertive compromise of the 'Oho!' reaction being associated with the occult (a sort of primitive science), and the negative self-assertive tendency of the 'Ohoh!' reaction being associated with tragedy and, hence, tears. Competitive where the Koestlerian trinity is co-operative, this alpha-stemming trinity would be the negative aspect of a Janus-faced entity which, in the totality of its psychic dimensions, stretches from the old brain to the new one. Doubtless, the more balanced the psyche between subconscious and superconscious, whether consciously, intellectually, or emotionally, the greater the likelihood that neither negative nor positive self-transcending and self-assertive tendencies will apply, but only a humanistic dualism in between self-consciousness and self-denial, with but a comparatively weak peripheral response either side, depending on the type of worldly person in question. For whereas divinely-biased people are largely self-transcending and diabolically-biased people largely self-assertive, worldly people, coming in-between, are either self-conscious or self-denying, as befitting the phenomenal middle-ground in between noumenal extremes. In the one case a worldly divine analogue and, in the other case, a worldly diabolic analogue, whether negative or positive, phenomenal or superphenomenal.

 

54. It seems indisputable to me that grammatical contractions of the order of 'I'm' for 'I am', 'don't' for 'do not', and 'he'd' for 'he had' or even 'he would' are requisite, whenever possible, to paperback writing, since a paperback is an absolute form of book (no sharp distinction between cover and pages, both being made from paper) which calls for a correspondingly absolutist, or superphenomenal, writerly technique. Not so a hardback, where we have a relativity between the hard cover and the paper pages which smacks of bourgeois phenomenalism and calls for an equally relativistic writerly technique, as with 'I am', 'do not', 'he had', etc., used virtually without fail. To write for hardback publication in a superphenomenal, or contracted, manner would seem as illogical and incongruous to me as ... to write in a phenomenal, or relativistic, manner for paperbacks. The one format is essentially bourgeois, the other proletarian, and the method of writing should reflect this class distinction if anomalous, paradoxical productions are not to occur - as, sadly, all too frequently happens! Even works that were originally written in a relativistic fashion for hardback publication should, where feasible, be rewritten or, at any rate, reprinted in an absolutist manner, in the event of subsequent paperback publication. As a rule, the relativistic technique is left as originally written, and the result is the paradoxical phenomenon of a petty-bourgeois paperback, or perhaps I should say softback, which is neither fish nor fowl, but effectively a wolf in sheep's clothing.

 

55. One of the things which most distinguishes the truly modern, omega-oriented philosophical book (if philosophy is really the word) from traditional, alpha-stemming works of philosophy is the absence or reduction of apparent divisions - divisions between volumes, books, parts, and chapters. Indeed, the more alpha stemming the work of philosophy, the more likely it is to be divided into a number of subsidiary books and/or parts, which testifies, it seems to me, to the divisive, competitive, and superficial nature of life in an autocratic age or society, a nature which to some extent extends into a democratic age or society, although rather more on the basis of parts and chapters than of volumes and books. Certainly, I have always eschewed, in my own writings, the kinds of apparent divisions which are so ubiquitous in traditional philosophy, even up to and including Sartre, whose Critique of Dialectical Reason, originally intended to extend over two volumes, embraces book, part, and chapter divisions in the manner of the most hidebound autocrats, not excepting Schopenhauer himself, whose The World as Will and Representation comes in two volumes with four books in each! Nor should we overlook the fact that the Bible is also guilty of alpha-stemming divisions, being in effect two volumes, each of which comprises a number of books divided into chapters, the chapters in turn divisible into verses, so that there is a four-way division along patently autocratic lines. Frankly, no such divisions could be countenanced in an omega-oriented age or society, where only the most evolved type of 'book', one largely if not entirely indivisible as to chapters, parts, books, etc., would do justice to and adequately reflect the transcendental aspirations of the People towards divine unity. My own foremost writings, which are rather more theosophical than philosophical, aim at just such a literary indivisibility - the indivisibility of supernotational centro-complexification within a strictly omega-oriented, or essential, framework. The other, more traditional works - usually published in book form - should be consigned to the rubbish heap of alpha-stemming antiquity, where they can return to dust.

 

56. Emotion and awareness are to the psyche what intellect is to the brain: namely its essence. Now we have already argued that the psyche stretches from subconscious origins to a superconscious culmination, or high-point, and that emotions and awareness accrue in the main negatively to the subconscious but positively to the superconscious, making for alpha-stemming and omega-oriented distinctions. The emotional psyche, whether subconscious, superconscious, or a combination of both, should be termed the soul ... to distinguish it from the conscious psyche which, at both subconscious and superconscious extremes as well as in the strictly conscious middle-ground, we may call the spirit. Soul and spirit can be either negative or positive, according to whether we are concerned with the subconscious or the superconscious or, indeed, with a cross between the two ... when we have a dualistic soul and spirit respectively: half-negative and half-positive. On the other hand, intellect, which we have just contended to be the essence of the brain, is neither soulful nor spiritual but, for want of a better term, wilful, i.e. full of will, since it does not arise of its own volition, so to speak, but has to be created and maintained through conscious effort, in accordance with the essentially phenomenal nature of the intellect - a sort of cross between wavicles and particles, awareness and emotions, meanings and words, which corresponds to brain atomicity, whether we are alluding to the negative intellectuality of the old brain or to the positive intellectuality of the new one or, indeed, to a compromise between the two brains. For unlike the soulful psyche, which on its negative side may be regarded as in some sense an extrapolation from the sun, i.e. a proton-particle absolutism, and equally unlike the spiritual psyche, which on its negative side may be regarded as in some sense an extrapolation from the central star of the Galaxy, i.e. a proton-wavicle absolutism, the negative intellect, like the old brain of which it is the essence, can be regarded as in some sense an extrapolation from the moon, with, correspondingly, an atomic-proton integrity which is rather more materialistic than either idealistic (as in the case of awareness) or naturalistic (as in the case of emotions). Such intellectual materialism renders the intellect comparatively mundane in relation to both the soul and the spirit, and for this reason it is more fitting to equate it with purgatory than with either Heaven or Hell - a kind of negative purgatory in relation to the old brain, though a rather more positive purgatory in relation to the new one. Now since the intellect is inherently purgatorial, it is not surprising that it stands closer to the worldly nature of the physical body by dint of being used more often than not - certainly by the great majority of people - in the body's service.

 

57. Thus Schopenhauer was fundamentally correct to regard the brain as an offshoot of the body to the extent that we are concerned with the use of intellect, whether negatively or positively, in its service rather than as a quasi-transcendent noumenal reality which, like the psyche in both its emotional and conscious manifestations, exists independently of the body on divine and diabolic terms - indeed, as extrapolations from much older cosmic sources than the earth or even the moon. Where Schopenhauer was at fault - and this may well owe something to his Germanic antecedents - was by including the psyche in his definition of brain, so that both emotion and awareness, of whichever kinds, are implicitly denied extraterrestrial origin and relegated, willy-nilly, to the mundane status of world-serving intellect, with its lunar overtones. Granted that a worldly people will perceive the brain and, by implication, the psyche in this material light, we cannot exonerate even so untypical an intellect as Schopenhauer's from accusations of an unduly worldly emphasis in his explanation of the brain's origin and justification. Certainly the blossom and fruit on trees susceptible to such growths would not confirm the alleged utilitarian origins of the brain or, rather, its psychic concomitants, since blossom and fruit are to the tree what the head is to the body - entities derived, in all their essentials, from earlier and, therefore, cosmic sources. Should one prefer, as seems to me quite reasonable, to extrapolate subconscious awareness from blossom and subconscious emotion from fruit or, at any rate, the fruit on fruit-bearing trees, there could be no obstacle to one's extrapolating subconscious intellect from nuts on nut-bearing trees, since nuts stand to fruit in a comparatively materialistic light, a light which may well owe its origin more to the moon than to the sun, given the materialistic nature of the former (as already discussed) in relation to the comparatively naturalistic, and therefore inherently more diabolic, nature of the latter. Thus whereas blossom and fruit would accord with a kind of organic blueprint, in nature, for the subconscious psyche, having divine and diabolic overtones by dint of the wavicle-suggesting status of the one and the particle-suggesting status of the other, nuts on nut-bearing trees could be regarded in terms of a kind of organic blueprint, in nature, for the brain, with particular reference to the old brain, of which negative intellect is the lunar essence. I concede that this is highly speculative, yet it has to be admitted that, like the brain, nuts are rather more atomic than either fruit, with its particle (seed) essence, or blossom, with its wavicle (petal) essence - both of which suggest psychic correlations.

 

58. Now just as some trees are rather more blossom- than fruit-orientated, some rather more fruit- than blossom-orientated, and others rather more nut-orientated than either blossom- or fruit-orientated, so people differ in terms of their predominating psychic or intellectual dispositions, many being neither particularly psychic nor intellectual but inherently bodily, like those trees which are bereft of or comparatively scarce in blossom, fruit and/or nuts, and may accordingly be regarded as being predominantly worldly. However that may be, it would seem that the psyche is less a function of the brain than a subatomic substratum ranging through it (both old and new) from alpha to omega, which co-exists with it on both wavicle and particle terms, self-sufficient and inherently independent of the intellect as such which, whether alpha stemming or omega orientated, is the brain's true function, and one, moreover, having intimate connections with the body - just as, to revert to our cosmic parallel, the moon has intimate connections with the earth, whereas both the sun and the central star of the Galaxy, corresponding to subconscious emotion and awareness respectively, are somewhat less intimate, if not altogether aloof.

 

59. Consequently, we must free the psyche from the brain, or from too close an association with the brain, and more in terms of the superconscious than the subconscious which, in any case, is anterior rather than posterior to it. But by freeing the psyche from the brain I do not intend to suggest that it should be more widely identified with the physical body, as has happened in the (Germanic) West in recent decades; for while that is undoubtedly a step beyond worldly identifications of psyche and brain, it is more symptomatic of superworldly materialism than of either superdiabolic naturalism (positive emotions) or superdivine idealism (positive awareness), and thereby reduces the psyche to the flesh/muscle body instead of elevating or, rather, expanding it towards wavicle and particle alternatives of the superconscious head, as pertinent to God/Devil noumenal absolutisms beyond both the bodily world and, no less importantly, the purgatorial intellect. Where the democratic and largely Germanic peoples of the West are concerned, the post-worldly identification of psyche with the flesh/muscle body is only to be expected, and is symptomatic, it seems to me, of a socialistic equivalent indicative, in large measure, of Western decadence. By contrast, the identification of psyche with the soulful, or emotional, superconscious is communistic and comparatively Slavic, as befitting an electron-particle absolutism. Such a positive diabolic identification can only be opposed and superseded by the positive divine identification of psyche with the spiritual, or awareness, superconscious, which in my estimation is transcendent, as appropriate to an electron-wavicle absolutism. It is this highest manifestation of the omega psyche, commensurate with positive light rather than positive heat, that must eventually prevail in the world, bringing humanity to the Holy Spirit ... as the omega 'Kingdom of Heaven' strives, under messianic auspices, to bring universal salvation to pass. For unless awareness gets the better of emotion, no matter how positive the latter may happen to be, no true salvation can be achieved, and omega hell will continue to pass itself off as omega heaven, eclipsing the light of lights with the heat of heats.

 

60. Whilst on the subject of light and heat distinctions, we should remember that whereas in the everyday world of artificial energy like electric light and electric fire, light is the essence of the one and heat the essence of the other, the heat which accrues to light, as its aside, is apparent, as is the light which accrues, as an aside, to heat. Thus there is a sharp distinction between light-heat in the case of electric light and heat-light in the case of electric fire, both of which are subsidiary to the overall, or essential, manifestation of each mode of artificial energy. Broadly speaking, electric light, with its apparent heat, corresponds to the spiritual superconscious, as an electron-wavicle equivalent, whereas electric fire, with its apparent light, corresponds to the soulful superconscious, as an electron-particle equivalent - conscious and emotional parallels in artificial light and heat which point up the moral distinction I was making earlier between spirit and soul, or Heaven and Hell. So long as emotion, or heat, remains the principal factor, there can be only a subsidiary awareness, or light. Conversely, so long as awareness, or light, remains the principal factor, there can be only a subsidiary emotional level, or heat. Spirit and soul are no more identical or interchangeable than electric lights and electric fires or, for that matter, jazz and rock, scooters and motorbikes, Fascism and Communism, Heaven and Hell. Positive emotion is no less germane to an omega hell than positive awareness to an omega heaven. Superconscious love (positive heat) and superconscious truth (positive light), with aesthetic (heat-light) and joyful (light-heat) asides respectively. For as beauty is the light of love, so joy is the heat of truth. Love and truth are no less incommensurate than beauty and joy. Either one pursues beauty through love or, alternatively, one pursues joy through truth. For love and truth are the principal options at stake.

 

61. Strictly speaking, art is to awareness what music is to emotion - the creative means whereby each spectrum of the psyche may be articulated and granted a phenomenal mould. Art is no less the eye of the spiritual psyche than music the ear of the soulful psyche, whereas literature is the voice of the intellectual brain - at any rate, on its highest levels. Thus, broadly speaking, literature stands between art and music as the art form of the intellect, being conveyed neither in images nor sounds but solely through words, or verbal symbols, and thereby assuming a comparatively atomic status in between wavicle and particle extremes. Indeed, taking each of the arts in turn, we may categorically maintain that art, corresponding to awareness, is the highest, with music, corresponding to emotion, next, and literature, corresponding to intellect, third - a third which places it in a position analogous to the moon vis--vis solar and stellar precedents.

 

62. Yet just as the moon is closer to the earth than are either the sun or the central star of the Galaxy, so literature, the art form of the brain, is closer to architecture than either art or music are, the reason being that architecture is inherently a bodily art form and therefore more mundane than lunar or solar. It is precisely because architecture is bodily in character that literature stands closest of all the arts to it, given the connection (already touched upon) between the brain and the body, as between the moon and the earth. Rare indeed is the novel which doesn't have reference to some architectural context or other, be it in city, town, or village. But there is no reason why literature should be too deeply concerned with music or art - unless, of course, we are dealing with those rather hybrid novels which, whether philosophic or poetic, seek to accommodate truth or love, joy or beauty. Naturally, philosophy and poetry would be more suited to such purposes than either philosophical or poetical literature, though both are still tied to the intellect to the extent that they are conceived in verbal form and aim, rather more exclusively, at wavicle and particle extremes, whether negatively (and alpha stemming) or positively (and omega orientated). Now although literature is not specifically worldly, still less divine or diabolic, it has a greater affiliation, in its intellectual essence, with the world than with either God or the Devil, and may accordingly be described as comparatively purgatorial - a purgatorial middle-ground in between heavenly awareness and hellish emotion, whether negative or positive, which is nothing less than intellectual.

 

63. Thus when true to itself - though it has to be admitted that the arts are almost infinitely adaptable - art will be idealistically spiritual, music naturalistically emotional, literature materialistically intellectual, and architecture realistically physical - with all due variations and gradations, depending on the type of art, music, literature, or architecture in question, whether alpha stemming or omega orientated, negative or positive, natural or artificial. The highest form of each art or, rather, superart, viz. light art, electric music, avant-garde literature, transcendental architecture, will be most representative of the arts in an omega-oriented age or society, though the highest art of all, viz. light art, will best represent the omega aspirations of a transcendental civilization towards spiritual perfection in the omega absolute. A divinely-biased society can only encourage such art at the expense not merely of traditional art, viz. drawing, painting, sculpture, ceramics, mosaics, and stained glass, the latter three of which are more closely alpha stemming, but even to some extent at the expense of each of the other arts, in whichever guise, as well. For in a divinely-biased society it is positive awareness, rather than positive emotions or intellect or even physicality, which counts for most and which should accordingly be given special emphasis. Soul, intellect, and the body should progressively count for less, eventually counting for little or nothing at all. For they are obstacles to the light of the spirit as it expands on free-electron terms towards the maximum realization of truth - a truth that will incorporate its own joy, a light with its own heat, beyond even the highest art which man, in his thirst for salvation, can achieve.

 

64. Hence, to sum up diagrammatically, one can distinguish the naturalistic alpha-stemming arts from the transcendental (supernaturalistic) omega-oriented ones as follows:-

 

ALPHA OMEGA

1. art (idealism) 8. superart (superidealism)

2. music (naturalism) 7. supermusic (supernaturalism)

3. literature (materialism) 6. superliterature (supermaterialism)

4. architecture (realism) 5. super-architecture (super-realism)

with (1) and (8) having spiritual implications, the former negative and the latter positive, proton and electron wavicles respectively; (2) and (7) having soulful implications, both negative and positive, proton and electron particles; (3) and (6) having intellectual implications, again negative and positive, atomic proton and atomic electron; and (4) and (5) having physical implications, likewise negative and positive, proton atomic and electron atomic respectively.

 

65. Of course, what can be said of the arts in general can, to a certain extent, just as easily be said of each art form in particular, since divisions along the fourfold lines outlined above are also to be found in each of them taken separately, which would suggest a relatively divine, diabolic, purgatorial, or worldly status, commensurate with idealism, naturalism, materialism, and realism, subordinate to the absolute status of the art form in question. Thus art, for example, can be divided into drawing, painting, and sculpture, with a relatively divine and/or diabolic status accruing to drawing (inherently idealistic if graphic but naturalistic if emotional); a relatively purgatorial status accruing to painting (inherently materialistic if three-dimensional); and a relatively worldly status accruing to sculpture (inherently realistic if representational), bearing in mind our correlative distinctions between awareness, emotion, intellect, and the physical body. Likewise, music can be divided into singing, instrumental, and dancing, with singing divisible between divine and diabolic options (inherently idealistic if centred in awareness but naturalistic if overly emotional); instrumentals having purgatorial implications (inherently materialistic both on account of their intellectual and instrumental dimensions); and dancing assuming a worldly significance (inherently realistic on account of its physical nature). Similarly, literature will be divisible into poetry, whether divine or diabolic (inherently idealistic if awareness centred but naturalistic if emotional); novels, which assume a purgatorial status (inherently materialistic because intellectual); and theatre, which can be described as worldly (inherently realistic on account of the bodily nature of acting - with characters in the flesh of worldly time). Finally, what applies to the third art form applies just as much to the fourth, namely architecture, which is likewise divisible into religious, monumental, and civic manifestations, the religious itself divisible along divine/diabolic lines, as in the cases of poetry, singing, and drawing, whether in terms of cultural or ethnic priorities (inherently idealistic if governed by spiritual considerations but naturalistic if ruled by the passions); the monumental assuming a purgatorial status (inherently materialistic if motivated by gratification of the intellectual will); and the civic reflecting a worldly status (inherently realistic by dint of its utilitarian purpose in the service of everyday bodily living).

 

66. Thus just as each art form has an overall, or general, status vis--vis its rivals, so one can impute a specific, or particular, status to the branches of any given art form considered independently, which will be subordinate to the general status of the art form as a whole. Therefore art will remain idealistic in relation to music on a general basis, whereas sculpture will be realistic in relation to painting, painting materialistic in relation to drawing, drawing naturalistic and/or idealistic in relation to painting or sculpture, and so on ... with other possible permutations within the relatively bourgeois framework I have just described. For light art is, in a manner of speaking, the drawing of a transcendental age or society, photography its painting, and holography its sculpture, with all due ideological distinctions between the various types, or branches, of superart - as, naturally, of supermusic (rock, jazz, and pop distinctions), superliterature (with avant-garde poetry, film, and television-play distinctions), and super-architecture (with tower, block, and estate distinctions). For to limit ourselves just to drawing, painting, and sculpture would be to take a too-narrowly atomic view - one omitting both alpha and omega extremes. Now while such a view is doubtless compatible with art per se (as opposed to, say, superart), it can never do proper justice to the whole truth, which necessarily aims at the widest and most comprehensive perspective. Even the possibility of subart, as appropriate to an alpha-stemming age or society, has to be allowed for, and if divisions along the lines of stained glass, mosaics, and ceramics approximate to the mind - brain - body distinctions we have already drawn, then it should be apparent that the omega-oriented antitheses of such divisions will not be drawing, painting, or sculpture, but light art, photography, and holography, with light art antithetical to stained glass, photography antithetical to mosaics, and holography antithetical to ceramics, so that a tripartite arrangement roughly commensurate with the Father, the Son, and the Holy Ghost can be posited, which will read as follows:-

 

1. stained glass drawing light art

2. mosaics painting photography

3. ceramics sculpture holography

 

with those in the first column alpha stemming, those in the second column atomic, and those in the third column omega orientated - the top trio divisible between divine and diabolic options, depending upon whether awareness or emotion is the principal factor in any given work; the middle trio having purgatorial implications on the basis of a comparatively intellectual persuasion; and the bottom trio being worldly to the extent that we have a correlation neither with the psyche nor the brain, but with the body considered in terms of a dimension of physicality.

 

67. Doubtless what applies to art, regarded in this comprehensive manner, must also in some degree apply to music, literature, and architecture, since if we can distinguish between alpha, atomic, and omega options with regard to art, there is no reason why each of the other arts should not also be subject to such tripartite distinctions, making for pagan, Christian, and transcendental divisions which accord with the full-gamut, so to speak, of devolutionary and evolutionary possibilities. Consequently primitive music, divisible into vocal, instrumental, and dance categories, will have its omega antithesis in contemporary electric music like rock, jazz, and pop, rather than in the classical types of music which, to a greater or lesser extent, are dependent on orchestral ensembles and thereby reflect an atomic middle-ground in between pre- and post-atomic extremes, particularly in regard to the use of acoustic means and their relation to music scores on the one hand and to conductors on the other. Therefore electric music or, rather, supermusic will parallel the superart we have just discussed, with, so I contend, an especially close parallel between rock and light art, jazz and photography, and pop and holography, given the idealistic and/or naturalistic character of rock, depending on whether it is keyboards based and 'soft' or guitar based and 'hard'; the materialistic character of jazz, particularly modern jazz, which is essentially an intellectual rather than either a spiritual or an emotional form of supermusic; and the realistic character of pop which, like holography, is fundamentally bodily, or physical, and thus dance orientated - a mode of supermusic less purgatorial than worldly, and so standing in an ideologically inferior relationship to both jazz and rock, which, when true to their respective forms, are of the new brain and superconscious respectively. For whereas jazz is predominantly if not exclusively instrumental and therefore intellectual, rock, being largely a vocal supermusic, is either spiritual or soulful, of the awareness superconscious or of the emotional superconscious, depending on whether it is 'soft' or 'hard', wavicle centred or particle centred - in a word, divine or diabolic. Thus rock is essentially the ultimate music, having both Transcendental and Communist implications which transcend both Ecological jazz and Socialist pop, whether the latter be 'soft' or 'hard', rhythm 'n' blues or rock 'n' roll. Spirit and soul are alike best served through vocals, while the intellect is granted musical articulation through instrumentality, and the body through dance. 'Heads' will inevitably prefer rock or jazz to pop, which is the mode of supermusic most designed to cater for 'bodies', i.e. the broad proletarian masses. In this respect, it parallels holography and television plays on the corresponding bodily levels of superart and superliterature respectively, while civic and, in particular, domestic architecture of a rectilinear design will be its super-architectural parallel - one more intrinsically bodily than either of the others, given the overall worldly nature of architecture vis--vis both literature and art, not to mention music or, in this context, supermusic.

 

68. Consequently, distinctions between the 'conventional' and 'super' are crucial to an understanding of the differences between bourgeois and proletarian arts - the former atomic and the latter post-atomic and/or free-electron. A transcendental society ('alternative' within the framework of bourgeois civilization) is a society of superart, supermusic, superliterature, and super-architecture, all of which are inherently different from and ideologically superior to the conventional, or bourgeois, modes of art, music, literature, and architecture. But if they are superior to the atomic arts, they are antithetical to the pre-atomic and/or bound-proton arts which stand to them as alpha to omega, whether the alpha be divine, diabolic, purgatorial, or worldly in general or in particular terms, depending on the kind of 'subart' in question. However, that is not a subject I particularly wish to enlarge upon, since my own orientation is towards the omega, with especial reference to the most idealistic modes of each superart, viz. slender neon light art, soft pitch-oriented rock, ordered abstract poetry, and centripetal architecture of a suitably curvilinear design.

 

69. Idealism, naturalism, materialism, and realism: the four ideological options which correspond to air, fire, water, and earth, taking the four principal elements in order of merit, rather than in the conventional sequence of earth-air-fire-water. Now supposing that air idealism, fire naturalism, water materialism, and earth realism are correlated with methods of taking drugs, from sniffing (snorting) to smoking, and from drinking and/or injecting to eating and/or swallowing, then we would have to categorize sniffing as an idealistic approach to drug consumption, smoking as a naturalistic approach, drinking and/or injecting as a materialistic approach, and, finally, eating and/or swallowing as a realistic approach, with correspondingly divine, diabolic, purgatorial, and worldly implications, depending on the kind of drug in question, be it alpha stemming or omega orientated or, indeed, an atomic compromise lying somewhere in between the two extremes. Thus we could contend that sniffing corresponds to air, smoking to fire, drinking and/or injecting to water, and eating and/or swallowing to earth, since these are the principal methods of drug consumption, and such methods would seem to correspond to our basic fourfold elemental divisions - divisions which, as I have elsewhere argued, can be approximately correlated with moral evaluations of the kind listed above, i.e. divine, diabolic, etc. What is particularly apparent about these methodological distinctions is that both the idealistic and naturalistic categories, viz. sniffing and smoking, are absolute, whereas both the materialistic and realistic categories, corresponding to purgatorial and to worldly evaluations, are relative, as in regard to drinking and/or injecting on the one hand, and to eating and/or swallowing on the other hand. For are not the divine and the diabolic likewise absolute in relation to the purgatorial and the worldly, as elsewhere described with regard to wavicle mind (spirit) and particle mind (soul) vis--vis the brain (intellect) and the physical body (will), or, alternatively, with regard to the central star of the Galaxy and the sun vis--vis the moon and the earth, both of which are inherently atomic and therefore relative.

 

70. However, if materialism and realism are relative in relation to naturalism and idealism, they are alike divisible along parallel spectra into tripartite options corresponding to pagan, Christian, and transcendental distinctions, with alpha-stemming, atomic, and omega-oriented implications ... as before. In other words, we should be able to distinguish horizontally as well as vertically between drugs and their method of consumption, thereby arriving at a more comprehensive perspective which stretches from naturalistic origins to an artificial, or synthetic, culmination on each of our elemental spectra, with drugs of an atomic nature situated in between. Here, as an example of what I mean, is a table listing the main categories of drugs in this way, beginning with idealistic sniffing and proceeding via naturalistic smoking and materialistic drinking and/or injecting to realistic eating and/or swallowing:-

 

1. opium incense/snuff cocaine

2. cannabis tobacco hashish

3. morphine alcohol heroin

4. magic mushrooms confectionery LSD

 

with those in the first column alpha stemming, those in the second column atomic, and those in the third column omega orientated. Of course, both needles for injecting drugs and capsules and/or tablets for swallowing them are comparatively recent inventions, scarcely entitled to an alpha-stemming status, but inherently contemporary methods of drug consumption. Therefore whilst it is obvious that heroin will be injected rather than drunk like alcohol, we must assume a drinking mode of drug consumption for the alpha category of liquid drugs, whether in terms of strong spirits or some vegetable extract like sake, to which morphine may or may not have been added. Similarly, whilst it is obvious that LSD will be swallowed rather than eaten, we must assume that magic mushrooms are chewed before being swallowed, as in the case of chocolate liqueurs which, strange though it may seem, adequately fill a middle-ground worldly position in between alpha and omega worldly, or realistic, extremes. Of course, I do not wish to imply that because LSD can come in capsule or tablet form it is inherently worldly, corresponding to earth as opposed to air, fire, or water, since that would surely invalidate my long-standing theories concerning LSD as an idealistic drug suitable for a transcendental society. I simply wish to point out the correlation that exists, as I see it, between tablet swallowing and earth, both of which can be regarded as solids in relation to air, fire, water, and their respective correlations in sniffing, smoking, and injecting. However, the mode of drug consumption must have some bearing on the nature of the drug being consumed, which could indicate that perhaps LSD is not as biased towards the divine as I have hitherto believed but, rather, is comparatively superworldly on account of its solid presentation in either capsule or tablet form?

 

71. Since every philosopher will have some kind of view of himself in relation both to the philosophical tradition and to contemporary philosophy, not to mention in relation to himself as a philosopher, I should like to put forward my own view which, no matter how seemingly presumptuous or conceited it may at first appear for a self-taught thinker (particularly to those so-called professional philosophers who are really 'professors of philosophy'), strikes me as being highly credible. To begin with, I should like to establish my credentials as an idealist rather than a realist or materialist or naturalist, since it should be clear to my readers by now that I have always pursued and advocated the most idealistic course at the expense of what I perceive to be lesser courses - courses corresponding to the worldly or the purgatorial or the diabolic, as the case may be.

 

72. Thus my own idealistic bias obliges me to regard my work in a divine light and to set myself at the apex of an evolutionary hierarchy of contemporary philosophy which stretches from Bertrand Russell and Jean-Paul Sartre to Arthur Koestler, having as its alpha-stemming antithesis a devolutionary hierarchy comprised of Plato, Aristotle, Socrates, and Plutarch - in that order. Hence, if I may resort to my customary diagrammatic mode of distinguishing between alpha-stemming devolutionary and omega-oriented evolutionary levels of the mainstream ideological positions, we will find this distinction conceived on the basis of a fourfold division between the four greatest philosophers of classical antiquity and the four, including myself, whom I regard as the greatest of the moderns, which will read as follows:-

 

1. Plato 8. O'Loughlin

2. Aristotle 7. Koestler

3. Socrates 6. Sartre

4. Plutarch 5. Russell

with Plato and myself significant of antithetical forms of idealism, Aristotle and Koestler significant of antithetical forms of naturalism, Socrates and Sartre significant of antithetical forms of materialism, and Plutarch and Russell significant of antithetical forms of realism. Certainly, Plato was the greatest of the ancients, since by far the most idealistic, whereas Aristotle, Socrates, and Plutarch signify a philosophical descent, irrespective of historical chronology, from naturalism to realism via materialism. Conversely, Bertrand Russell, being a modern philosopher of strongly liberal persuasion, may be regarded as the leading representative of philosophical realism who, ideologically speaking, stands at the base of a hierarchy stretching via Sartre and Koestler, the former materialistic and the latter naturalistic, towards an idealistic summit of which my own Social Transcendentalism may be regarded as the ideological apex. For where Sartre is socialistic and Koestler communistic (in spite of his disillusionments), I am transcendentalist, in the idealistic and specifically theocratic sense to which I normally apply that term, and thus stand at the furthest possible ideological remove from Russell, which is to say, as Irish air/light from British earth/darkness. To me, Russell is the principal philosophical voice of the omega world, Sartre the principal philosophical voice of the omega purgatory, Koestler the principal philosophical voice of the omega hell, and I the principal philosophical voice of the omega heaven - the heaven horizontally antithetical to Plato's, with its abstract Ideas. Furthermore, whereas idealism is identifiable with religion and naturalism with science, materialism is identifiable with economics and realism with politics. Certainly, Sartre was more disposed to economics than to science, in contrast to Koestler, whose biological bias or, rather, bias towards biology confirms a naturalistic status, albeit one antithetical, in so many regards, to Aristotle's. Then, too, Sartre was a rather ugly little man, as - if Nietzsche is to be trusted - was Socrates, his alpha antithesis.

 

73. Speaking of Nietzsche, it is only fair to add that if modern German philosophers are to be categorized in the fourfold manner outlined above, then Nietzsche should take the idealistic position above Schopenhauer who, with his scientific bent, is more naturalistic, while Marx should be placed in the materialistic category and Hegel in the realistic one, so that, working upwards, Hegel would parallel Russell, as much for political as for historical reasons, Marx would parallel Sartre, Schopenhauer would parallel Koestler, and, finally, Nietzsche would parallel myself, as below.

 

8. Nietzsche (idealism)

7. Schopenhauer (naturalism)

6. Marx (materialism)

5. Hegel (realism)

 

However, I firmly believe that these nineteenth-century Germans are a poor second to the ensuing philosophers of the twentieth and (in my case) twenty-first century, and consequently do not deserve to be given pride of philosophical place in any comparison, antithetical or otherwise, with classical antiquity.

 

74. Speaking of distinctions between philosophical realism, materialism, naturalism, and idealism, which broadly correspond to political, economic, scientific, and religious persuasions, each of which can be further correlated with a given moral spectrum, be it worldly, purgatorial, diabolic, or divine, it should be possible for us to equate realism with the will, materialism with the intellect, naturalism with the soul, and idealism with the spirit, so that, taking each of our most representative modern philosophers in turn, we can equate Bertrand Russell with the triumph, though Liberalism, of bodily will; Jean-Paul Sartre with the triumph, through Socialism, of new-brain intellect; Arthur Koestler with the triumph, through Communism, of superconscious soul; and myself with the triumph, through Transcendentalism, of superconscious spirit. For omega will is of the liberal body, omega intellect of the socialistic brain, omega soul of the communistic superconscious, and omega spirit of the transcendental superconscious - will worldly, intellect purgatorial, soul diabolic, and spirit divine, as befitting the respective natures of Liberalism, Socialism, Communism, and Transcendentalism as they ascend from realism to idealism via materialism and naturalism, in conjunction with an omega-oriented politics, economics, science, and religion. Hence, with regard to the aforementioned German philosophers, Hegel represents will, Marx intellect, Schopenhauer soul, and Nietzsche spirit - Hegel and Nietzsche as far apart as earth and air, with Marx and Schopenhauer equivalent, in philosophical terms, to water and fire or, what amounts to the same, economics and science, those contiguous disciplines flanked by politics and religion. For if politics is the lowest discipline, since correlative with the world, then religion is very definitely the highest, having to do with man's self-transcending quest for the heavenly Beyond. In between come purgatorial economics and diabolic science with their intellectual and soulful correspondences - the former materialistic and the latter naturalistic, water and fire trapped between earth and air extremes. Certainly, Russell and I are just as far apart as Hegel and Nietzsche, the philosophical nadir and apex of nineteenth-century German philosophy.

 

75. As regards twentieth-century German philosophy, Spengler, Hussurl, Jaspers, and Heidegger would probably suffice as the most representative philosophers with which to posit (see below)

8. Heidegger (idealism)

7. Jaspers (naturalism)

6. Hussurl (materialism)

5. Spengler (realism)

 

a similar quartet of ascending 'isms', whether or not one considers them superior - as noumenal vis--vis phenomenal - to their nineteenth-century predecessors. Certainly, I regard them as inferior to the quartet beginning with Russell and culminating in myself!

 

76. We have already established an order of rank in the arts, with art at the top, music second, literature third, and architecture at the bottom, and to this was added an order, or probable order, of drugs based on their mode of consumption, which placed sniffed drugs at the top, smoked drugs in second place, drunk and/or injected drugs in third place, and eaten and/or swallowed drugs in fourth, with, so I contended, air - fire - water - earth correlations. Such being the case, it should follow that there will be a connection between art and sniffed drugs, music and smoked drugs, literature and drunk and/or injected drugs, and, finally, architecture and eaten and/or swallowed drugs, bearing in mind our distinctions between three stages of each art form, viz. 'sub', 'middle ground', and 'super', and the corresponding stage of any correlative drug, be it alpha stemming, atomic, or omega orientated. Therefore whilst a strictly middle-ground/atomic correlation between art and snuff may be assumed, superart, viz. light art, would suggest the likelihood of cocaine or some such omega-oriented drug being used in the interests of greater appreciation, since drugs and art, on whichever evolutionary plane and of whichever kind, normally go hand-in-glove, so to speak. Now doubtless while most people would admit to a connection between literature and alcohol, particularly where novelists are concerned, the more radical connection between heroin and film would also have to be accounted for, if one is to do adequate justice to the contention that film is a mode of superliterature and heroin a mode of superdrug, both of which correspond to the omega pole of the third, or water, spectrum in each context, whether of the arts or drugs, and should accordingly prove correlative.

 

77. Obviously, a bourgeois middle-ground society will be more indulgent of a literature/alcohol correspondence than of a film/heroin one, because literature and alcohol have long been partners in crime - as, for that matter, have tobacco and music, with particular reference to classical music; although the rather more omega-oriented connection between supermusic, viz. rock, and hashish would hardly come as a shock to most people, whether or not they had anything to do with either. For hashish is the superdrug most suitable, by dint of its correlative diabolic (smoking) essence, for use with supermusic, itself a diabolic art in relation to divine superart, purgatorial superliterature, and worldly super-architecture, the latter of which would probably be best served by LSD, given its architectonic properties, as in the case of visions of an architectural order.

 

78. Now, obviously, strict correlations between any given art form and the drug most paralleling it will be more the practical exception, I shall argue, than the rule, given the vast amounts of ignorance and muddle-headedness which usually obtain in life. But I do believe such correlations are possible, and that even when any given art form is subdivided - as in the case, say, of superart being subdivided into light art, photography, and holography - the same drug or, in this instance, superdrug would be most applicable, the only difference being its mode of consumption, which should level, where possible, with the subdivision in question. Hence if cocaine, the superdrug correlative with superart, is most applicable snorted where light art is concerned, it would be more applicable injected in relation to photography, and swallowed, presumably in capsule form, in relation to holography, the reason being that while light art and snorted cocaine correspond to idealistic modes of superart and superdrug respectively (although the naturalistic possibility of smoking cocaine in relation to light art of a less idealistic and possibly more sculptural type has also to be allowed for), photography and injected cocaine would correspond to their materialistic modes, and holography and swallowed cocaine to their realistic modes respectively, given the correlation between transcendental light art/snorted cocaine and air, sculptural light art/smoked cocaine and fire, photography/injected cocaine and water, and holography/swallowed cocaine and earth - the four principal elements, which correspond to idealism, naturalism, materialism, and realism (in that order).

 

79. Obviously, what goes for superart and its equivalent drug would also go, in like manner, for supermusic, superliterature, super-architecture, and their correlative superdrugs, not to mention for conventional, or bourgeois, art, music, literature, architecture, and their correlative drugs, like snuff, tobacco, alcohol, and confectionery, as well as for alpha-stemming subart, submusic, subliterature, and subarchitecture and the (sub)drugs most correlative with them, like opium, cannabis, morphine, and magic mushrooms. Interestingly, I have placed cannabis and hashish in an alpha/omega antithetical relationship because of the naturalistic constitution ('grass') of cannabis in contrast to the artificial, or synthetic, constitution ('shit') of hashish - a distinction which could also be said to apply to tea in relation to coffee, given the more naturalistic constitution (leaves) of tea which suggests - at any rate to this writer - an alpha-stemming status commensurate with cannabis, opium, morphine, etc., albeit of a much less potent order.

 

80. Of course, I am not here advocating the use of drugs with the arts, merely pointing out the connection which I believe to exist between them, granted the intrinsically religious nature of drugs and their mind-altering properties - properties which art, as the 'handmaiden of religion', has long been aware of and had no scruples in confirming. Indeed, it would be scant exaggeration to say that drugs are inseparable from religion, and that without them there would be no religion in the higher, mystical sense - as, in fact, is the case where moralizing, worldly Protestantism is concerned, which, as every Catholic will know, is as far removed from true religion as the body from the mind. In fact, it is largely because of its Germanic, bodily nature that Protestantism forbade the use of incense in church, since incense is something one sniffs, and a sniffing idealism would hardly be compatible with bodily realism, which, wherever possible, contrives to leave the head out of account and to concentrate, in a manner of speaking, on its own puritanical replacements. But, of course, Puritanism is the religion of a bodily people, and should that people become decadent ... promiscuity takes its place - a promiscuity which is the secular, or tails, side of a coin with Puritanism as its religious head. Doubtless drunkenness is the secular fall of a head people who, in their decadence, are no longer capable of that temperance which the Church would have expected of them during the heyday, so to speak, of Catholic civilization, and on the perfectly plausible grounds that alcoholic self-indulgence is a thing less spiritual than worldly or, at any rate, purgatorial. Hence something to avoid. For while some drugs increase consciousness, others, like alcohol, decrease it, and no true spirituality can be pursued on the basis of diminished consciousness! The test of a drug's validity is whether, in conjunction with art, it makes for an expansion of consciousness. Only drugs with an idealistic, synthetic bias will be found to pass this test as a rule, since most drugs - as the term suggests - have the effect of reducing consciousness, and accordingly fly in the face of spiritual evolution.

 

81. But whether or not a drug is used in conjunction with a particular art form, religion is more than either and must ultimately transcend both art and drugs as the spirit expands, of its own inherent volition, towards Eternity. The ultimate religion must be as far above drugs as worldly religion was beneath them, even if, during its initial phase, recourse to certain appropriate drugs will be had ... as much to break the hold of traditional drugs, like alcohol and tobacco, as to assist in the development of a transcendent consciousness. Certainly, drugs will be around for some time to come, and it would be highly unreasonable, not to say unrealistic, of one to suppose that mankind could do without them in the meantime, especially when conditions are harsh and no alternative means of escape or, rather, escapism can be found. Yet drugs are more than just pain-killers or means of escapism; they can also, as we have argued, expand consciousness and thereby improve the quality of life for those who habitually use them. It would certainly be an improvement on today's state-of-affairs if the only drugs being used in this respect were of the artificial, or omega-oriented, variety, and preferably only the safest and most transcendental ones at that! For as long as ambiguity and muddle-headedness prevail, alpha-stemming, worldly, and omega-oriented alternatives will continue to jostle for supremacy in a world which is neither fish nor fowl but more like a crazy animal driven everywhichway by the conflicting currents of open-society chaos. Such an unstable animal is both sick and dangerous, like the society of which it is a part.

 

82. Accordingly, let there be judgement against both alpha and worldly drugs, and then may each type of omega-oriented society keep to the drug most appropriate to itself, whether realistic, materialistic, naturalistic, or idealistic, until such time as, one by one, the lower orientations are eclipsed by the higher ones and, finally, even the ultimate omega-oriented society, idealistic to the core, transcends its principal drug in the name of pure spirituality, beyond even the highest mode of superart to which the highest mode of superdrug can relate.

 

83. Having already emphasized the connection between religion and art, it behoves me to add that similar connections exist - and have long existed - between science and music, economics and literature, and politics and architecture. For we have established that the arts form a hierarchy which stretches from architecture at the bottom to art at the top, and to this was added a similar hierarchy stretching from politics and economics to science and religion, whether on the analogous basis of realism, materialism, naturalism, and idealism, or of the world, purgatory, hell, and heaven, or, indeed, of earth, water, fire, and air - in that ascending order. Consequently, when one takes this hierarchy into account, one finds that politics and architecture are in parallel positions, as are economics and literature, science and music, and religion and art, thereby confirming the hypothesis of a connection between each pair, however we would like to interpret such a connection.

 

84. I shall not attempt to be unduly methodical here but, clearly, the connection between politics and architecture must be attributable to the down-to-earth nature of each or, at any rate, to worldly politics and architecture. On the other hand, the connection between literature and economics is less straightforward, although each discipline has a certain volatility which contrasts with the stability and even stolidity of the realistic pair, thereby suggesting a bias rather more fluid than solid. As to science and music, both of which correspond to fiery naturalism, the heat factor has to be taken into account, a factor which, corresponding to experiment in the one case and to emotion in the other, paves the way for the conquest of nature, whether organic or human. Above heat, however, comes light, and it is their idealistic commitment to spiritual light which distinguishes religion and art from each of the lesser pairs, even when, as is often the case, mutual overlappings of content and discipline occur.

 

85. Thus darkness-coldness-heat-light is a parallel hierarchical quartet (in this case noumenal) corresponding to earth-water-fire-air, and their more complex disciplinary offshoots. As much distance between religion and politics as between art and architecture or, for that matter, air/light and earth/darkness, and whereas the former is true, the latter is good (at any rate, on the omega plane). Similarly, as much distance - albeit lesser in relation to the above-mentioned pair - between science and economics as between music and literature or, for that matter, fire/heat and water/coldness, and whereas the former is beautiful, the latter is strong. For strength is no less above goodness than beauty is beneath truth (just as weakness is no less above evil than ugliness is beneath falsity), and while goodness and strength form an omega earth/water pair corresponding to the world and purgatory, truth and beauty form an omega air/fire pair corresponding to heaven and hell. Darkness and coldness on the one hand, heat and light on the other - darkness and light (pleasure and joy) no less antithetical than coldness and heat (pride and love).

 

86. However, just as we may distinguish between quantities as primary and qualities as secondary, with earth-water-fire-air in the primary category and darkness-coldness-heat-light in the secondary category, so a like-distinction can be drawn between quantitative disciplines like politics, economics, science, and religion (in ascending order), and qualitative disciplines like history, mathematics, philosophy, and art, with the former quartet equivalent to primary elemental quantities and the latter quartet to their secondary qualities, and so much so that politics and history, economics and mathematics, science and philosophy, and religion and art should appear no less complementary to each other than earth and darkness, water and coldness, fire and heat, and air and light, bearing in mind their analogous standings. For is not history a consequence of politics, no less than darkness a consequence of earth? And is not mathematics a consequence of economics, no less than coldness a consequence of water? And is not philosophy a consequence of science, no less than heat a consequence of fire? And is not art a consequence of religion, no less than light a consequence of air?

 

87. Indeed, I would go so far as to say that each of the qualitative disciplines is not only a consequence of the corresponding quantitative one, but its logical complement, as inextricably bound to it as the tails side of a coin to the head side of which it forms the (noumenal) obverse. Now where the head side of a coin is formal and the tails side informal, so we find that the quantitative, or primary, disciplines noted above are formal in relation to the qualitative, or secondary, disciplines which complement them so informally in the overall expression of their unfolding. Politics is formal, whereas history is informal. Economics is formal, whereas mathematics is informal. Science is formal, whereas philosophy is informal. Likewise, religion is formal, whereas art is informal. Is this not equivalent to saying that whereas those on the one side are phenomenal, those on the other side are noumenal - essence as opposed to appearance?

 

88. I believe it is, and for this reason we cannot categorically assert that the phenomenal always precedes, or is a precondition of, the noumenal; for I have previously argued, in collaboration with Schopenhauer, that the noumenal precedes the phenomenal on the natural plane, and therefore must concede that where the contrary obtains, we are dealing not with the natural but with the artificial or, what amounts to the same, with an omega orientation rather than with an alpha-stemming one. Thus where the latter is concerned it may well be truer to say (as I have elsewhere maintained) that politics precedes, or is a precondition of, history. But where alpha-stemming naturalistic politics and history are concerned, we would have to contend that history is a precondition of politics or, put as before, that politics is a consequence of history, not vice versa. Just as, in returning to the corresponding element, it would have to be agreed that darkness is a precondition of earth on the alpha-stemming plane, which is equivalent to saying earth is a consequence of darkness, whether or not that noumenal quality derives from the gradual cooling of the earth's molten core. Similarly water would be a consequence of coldness (the Ice Age) no less than economics a consequence of mathematics (Babylonian calculus). Fire would be a consequence of heat (hot gases, friction) no less than science a consequence of philosophy (ancient Greek). Finally, air would be a consequence of light (which causes oxygen-producing plants to grow) no less than religion a consequence of art (cave drawings, carved stone). For on the alpha-stemming naturalistic part of any given spectrum, be it worldly, purgatorial, diabolic, or divine, the noumenal precedes the phenomenal, and if light is noumenal in relation to air, then light precedes air, just as art precedes religion - the former noumenally informal and the latter phenomenally formal. Such it is on the divine spectrum, and such it must be on the diabolic spectrum of heat/fire and philosophy/science; the purgatorial spectrum of coldness/water and mathematics/economics; and the worldly spectrum of darkness/earth and history/politics. Only with the artificial or omega-oriented part of each spectrum will this not apply, and simply because, in complementing Schopenhauer on an antithetical basis, I have consistently argued that the superphenomenal precedes the supernoumenal as its quantitative precondition.

 

89. Hence art or, more specifically, superart is as much a consequence of super-religion (transcendentalism) as superlight is a consequence of superair (meditation techniques involving deep breathing). Now what applies to the divine option applies no less to each of the other options, where superscience precedes superphilosophy, super-economics precedes supermathematics, and superpolitics precedes superhistory, at both negative and positive poles of their respective artificial or omega-oriented spectra. I shall not overtax the reader's patience by adding the artificial elemental equivalents, but he can rest assured that the same principle obtains, and with as much justification on the negative pole, for example, of electric light as on the positive pole of spiritual superlight.

 

90. Before there can be superlight there must be superair, which is equivalent to saying that before self-contemplation of superconscious mind can be properly achieved through a dynamic meditation technique, there must firstly be a period of intense breathing exercises (in the future using artificially-produced oxygen) which increase the amount of oxygen in the blood and thereby 'stoke up' the fires of spiritual illumination. No pure air, no pure light! Similarly before there can be superart, there must first of all be a super-religious sense which underlies it and provides the thematic motive for its unfolding. Behind Mondrian's art - which is only relatively 'super' in view of its painterly nature - there was theosophy. Doubtless, behind most light art there will be some mode of transcendentalism which is both a guide to and an inspiration for the subsequent superartistic unfolding. True art is not created in a void but reflects a religious stance. It is the superphenomenal preceding the supernoumenal - superair preceding superlight.

 

91. Tory rugby union, Liberal rugby league, Labour football league. Rugby union is a gentleman's rugby, on the whole less physically competitive than rugby league, which stands, it seems to me, between naturalistic rugby union and materialistic football league as a sort of realistic middle-ground sport. Gaelic (so-called) football would be superidealistic and therefore comparatively nazi - at any rate, when played indoors. For it is more likely that the outdoor variety is less superidealistic than supernaturalistic and, hence, republican.

 

92. Race war - sex war - class war: three stages of generalized social warfare with, so I contend, alpha, worldly, and omega implications respectively. Thus race war and class war are antithetical, the former preceding worldly sex war and the latter succeeding it. We live in an age of class war, even though both sex and, alas, race wars are still extant.

 

93. Modern music, by which I mean supermusic, has tended, as a rule, to favour an instrumental combination of bass, drums, guitar, and keyboards, a basic quartet which corresponds to our fourfold elemental divisions between earth, water, fire, and air - in that order. For the bass is fundamentally a realistic (bodily) instrument corresponding in its phenomenal manifestation to earth and in its noumenal or musical manifestation to darkness; drums are fundamentally materialistic (intellectual) instruments corresponding in their phenomenal manifestation to water and in their noumenal manifestation to coldness; the guitar is essentially a naturalistic (soulful) instrument corresponding in its phenomenal manifestation to fire and in its noumenal manifestation to heat; keyboards, especially synthesizers, are essentially idealistic (spiritual) instruments corresponding in their phenomenal manifestation to air and in their noumenal manifestation to light. Thus a hierarchy may be said to exist which stretches from the bass to keyboards, as from earth to air, with drums and guitars situated in-between: the former equivalent to water and the latter to fire. Consequently just as air and earth are diametrically antithetical, like light and darkness, so are keyboards and bass. Now just as fire and water form a closer, more contiguous diametrical antithesis, like heat and coldness, so a similar antithesis may be inferred to exist between guitars and drums. In the one case all the difference, musically speaking, between heaven and the world. In the other case the less radical difference, again musically speaking, between hell and purgatory. For keyboards are no less divine in relation to the worldly bass than guitars are diabolic in relation to the purgatorial drums. It is the difference between idealism and realism on the one hand, but between naturalism and materialism on the other, with all the same moral implications.

 

94. Similar fourfold distinctions should be drawn between arpeggio chording, whether on guitars or keyboards, and rhythmic chording; for whereas the former is realistic on account of its relative and individualized nature, the latter is materialistic on account of its relative and collectivized nature. Yet both are lower than, and thus musically inferior to, the absolute collectivized nature of scalic single-note playing, which is naturalistic, and the absolute individualized nature of sustained single-note playing, which is idealistic. For these techniques correspond to the world and purgatory vis--vis hell and heaven or, what amounts to the same, darkness and coldness vis--vis heat and light. Thus whereas finger-picked arpeggio chords on guitar are realistically mundane, sustained single notes on guitar would be idealistically divine. And whereas strummed chords on guitar are materialistically purgatorial, single-note scales ('runs') on guitar would be naturalistically diabolic. For the different modes of playing correspond to the moral concomitants of our four basic elements, viz. earth-water-fire-air, with earth and air forming the major diametrical antithesis, as between realism and idealism, but water and fire forming the minor diametrical antithesis, as between materialism and naturalism. A relative wavicle equivalent vis--vis an absolute wavicle equivalent on the one hand, and a relative particle equivalent vis--vis an absolute particle equivalent on the other hand.

 

95. Of course, each of our four principal instruments, viz. bass, drums, guitar, and keyboards, is capable of being played in any of the aforementioned ways and often is, too. But I should like to put forward the contention that each instrument will be played in the way most appropriate to itself when there is an exact correlation between its phenomenal status in the omega-oriented hierarchy described above and the noumenal sound which is drawn from it, i.e. when both instrument and technique are fully co-ordinated. Now because I perceive the bass as realist, and therefore at the foot of the instrumental hierarchy, it seems to me that finger-picking arpeggio chording will be the most relevant technique, given its realistic status vis--vis block chording. Similarly, for drums it would appear that block chording or, at any rate, the simultaneous striking of two or more drums (including bass drums and symbols) in order to achieve a regular beat is the most relevant drum technique, given the comparatively materialistic standing of both drums and block chording in relation to their respective hierarchies. Likewise, fast single-note playing would seem to be the technique most relevant to the electric guitar, since both are comparatively naturalistic, whereas sustained single-note playing is the technique I would most associate with 'conventional' keyboard and, in particular, synthesizer playing, to the extent that both instrument and technique are identifiable with idealism, which, in contrast to naturalism and materialism (though not to realism) strives to achieve a wavicle equivalent, and on an absolute individualized basis. Fast-note scalic playing would seem, by contrast, to indicate a particle equivalent on account of the rapid succession of notes which form an absolute collectivity commensurate with naturalism and, hence, the diabolic, soul, hell, etc. On the other hand, the simultaneous striking of several notes in block chording would be comparatively materialistic, and thereby indicative of a relative collectivity commensurate with the purgatorial, as pertinent to an intellectual persuasion. Certainly all these instruments are usually played in a variety of ways, whether above or below the most appropriate technique, but that detracts nothing from the theory propounded here, which posits an optimum correspondence between instrument and technique, irregardless of whether or not such a correspondence is to everyone's taste.

 

96. Undoubtedly the synthesizer is gradually displacing and eclipsing instruments like the bass, drums, and guitars, in consequence of which I would argue that realistic, materialistic, and naturalistic techniques, corresponding to the instruments in question, are in some degree redeemed through absorption into the overall synthesizer system, thereby becoming less genuinely worldly, purgatorial, or diabolic, as the case may be. Probably absorption is a prelude to and precondition of subsequent transmutation, leading, eventually, to the complete eclipse of subidealistic techniques.

 

97. Whilst on the subject of supermusic, I of course acknowledge that other instruments, such as violins, saxophones, flutes, etc., are often used in conjunction with or as alternatives to one or other of the lead instruments already described, and that the voice is no mean contributor to musical idealism or naturalism, either. Probably the electric violin is the stringed instrument most suited to the idealistic role by dint of its wavicle-sustain properties, which of course depend upon bowing, whereas the saxophone is the wind or, at any rate, brass instrument most suited to the naturalistic role by dint of its facility for fast-note, particle-biased playing. Thus the violin (not to mention flute) can be regarded as an alternative to electric keyboards, and the saxophone (not to mention viola) as an alternative to electric guitars, ideologically inferior as any acoustic instrument will be in relation to electric ones. Yet all instrumental combinations are possible in an open society; it is only in a closed one that such 'freedoms' would be eclipsed.

 

98. I should like to put forward the theory that while theocrats, aristocrats, plutocrats, and autocrats are alpha-stemming grades of ruling elite, democrats, bureaucrats, technocrats, and meritocrats are omega-oriented grades of leading elite, with religious, scientific, economic, and political distinctions - distinctions which correspond, as elsewhere maintained, to the four principal elements. Thus to explain my theory with the aid of a diagram, we shall find the following alpha/omega divisions:-

ALPHA OMEGA

 

1. theocrats (religion) 8. meritocrats (religion)

2. aristocrats (science) 7. technocrats (science)

3. plutocrats (economics) 6. bureaucrats (economics)

4. autocrats (politics) 5. democrats (politics)

 

with, so I contend, a relatively antithetical standing between theocrats and meritocrats, aristocrats and technocrats, plutocrats and bureaucrats, and autocrats and democrats, but a diametrically antithetical standing, firstly in major terms, between theocrats and autocrats on the one hand and democrats and meritocrats on the other, and, secondly in minor terms, between aristocrats and plutocrats on the one hand and bureaucrats and technocrats on the other - the former corresponding to an air/earth antithesis and the latter to a fire/water antithesis. For we need not doubt that theocrats and autocrats signify as radical a diametrical antithesis on the alpha-stemming side as ... democrats and meritocrats on the omega-oriented side - all the difference, in fact, between religion and politics; whereas aristocrats and plutocrats signify a less-radical diametrical antithesis equivalent to the distinction between science and economics, an antithesis no less minor on the omega side where, as we have seen, it takes the form of bureaucrats and technocrats. By contrast, the antithesis horizontally established between meritocrats and theocrats, technocrats and aristocrats, etc., has to do with opposite poles of the same spectrum in each case, thereby indicating a series of antithetical equivalents, as between meritocrats and theocrats (the Holy Spirit and the Father) or technocrats and aristocrats (Antichrist and Satan).

 

99. Consequently we have an alpha and an omega divine status on the religious spectrum, an alpha and an omega diabolic status on the science spectrum, an alpha and an omega purgatorial status on the economic spectrum, and, finally, an alpha and an omega worldly status on the political spectrum, with antithetical equivalents established between bureaucrats and plutocrats (the Second Coming and the Virgin Mary) in the one case, and democrats and autocrats (Protestant Christ and Catholic Christ) in the other case. Admittedly, it may seem odd to distinguish between autocrats and aristocrats, since most people have been conditioned to regard aristocrats as cutting across occupational boundaries rather than as a class, or category, no less distinct from autocrats than, in my view, technocrats from democrats, and thereby limited, in their occupational status, to a specific elemental category - in this instance, that of traditional science. Yet many aristocrats are, and have been, men of science (as opposed to men of religion, economics, or politics), and I would argue that they are as distinct an elemental category as, say, theocrats or plutocrats - a thing which applies just as much, albeit on antithetical terms, to technocrats in relation to meritocrats above and to bureaucrats below. Doubtless most people would accept without demur the distinction between autocrats and democrats, since it corresponds to opposite poles of the political spectrum, and the world, particularly in its British manifestation (where it takes the form of a division between the House of Lords and the House of Commons), has far more experience of such an antithesis than of the higher, more radical antitheses which accrue to the economic, scientific, and religious spectra above, the omega poles of which are either comparatively recent developments, as in the cases of bureaucrats and technocrats, or have yet to come properly to pass - something which undoubtedly applies to any meritocratic religious leadership which, much the way that bureaucracy and technocracy have supplanted plutocracy and aristocracy in the communist East, would not co-exist with alpha-stemming theocracy but strive to completely supplant it as the sole embodiment of religious idealism. For, unlike an atomic society, a free-electron society will endeavour to realize an omega exclusiveness in which only meritocrats, technocrats, and bureaucrats exist, since such a society is commensurate with a proletarian absolutism above and beyond bourgeois relativity.

 

100. Politicians are always talking about personal responsibility (individual self-assertion), and while this may be a formula for worldly success - of which Britain has always been a keen friend - it is as far removed from divine wisdom as earth from air or darkness from light, the reason being that, unlike worldly folly, divine wisdom has reference to transpersonal absorption (self-transcendence) in spiritual unity - a procedure which the Catholic Irish have always shown more aptitude for - albeit on a tangential basis - than the Protestant British. However, in between the extremes of worldly folly and divine wisdom we find impersonal responsibility (corporate self-assertion) on the one hand, and impersonal absorption (collective self-transcendence) on the other hand, and while the former is purgatorial, the latter is diabolic - water and fire, stupidity and cleverness, as germane to an American/Russian dichotomy. For if the British are fundamentally foolish and the Irish essentially wise, then the Americans are fundamentally stupid and the Russians essentially clever, since stupidity and cleverness form a water/fire diametrical antithesis in between the earth/air antithesis of folly and wisdom. It is the difference between cold and heat, rather than darkness and light.