Marcel Proust Goes to the Rocky Horror Picture Show

I found something lovely  (gives me some terrible thrills)

Philip Hautmann I especially like this song and the lyrics as they transport – well – nostalgia for a more perfect world within a mind that is otherworldy and that is at home in outer space repectively that lives in the future which is, paradoxically, the subject of his inverted nostalgia. It leaves open room for various other interpretation as well. It somehow makes you feel such secureness and embeddedness in something that cannot be explicitly described and Patricia Quinn as the nostalgic as well as timeless Usherette looks very cute. It is Proustian as recovery of memory and lost time, the climax of the Proustian enterprise to achieve total information awareness and completion of self as Time Regained. What is especially admirable is that does not stand at the end point of the geniuses quest, something he has won after hard effort of creating a hyprcycle out of his own self, but as a somehow light and fluffy introduction to the enterprise, thereby clearly taking Proust unexpectedly and by surprise. Hail Richard O´Brien!

Stephan S
vor 4 Monaten
Does anybody know if this is really the voice of young Patricia Quinn?
However, it is badly sung but so genuine and authentic that I wish I’d been there in 1973. Times of craziness and creativity. So sad it’s all over.

vor 5 Jahren
I wish they had kept the usherette to introduce the movie. I think she’s just so delightful. She’s so adorable, she seems to represent an age to true movie escapism. You could almost imagine her being yelled at by her boss because she keeps lingering in the theater to watch the movie instead of working.

White Light from the Mouth of Infinity

Recently I bought me some books, anthologies by female Christian mystics Mechthild of Magdeburg, Teresa of Avila and Marguerite Porete (as well as male Christian mystic Dionysius the Areopagite (although Dionysius probably also was a woman, since his true identity remains obscure – therefore s/he is also commonly referred to as Pseudo-Dionysius)). Mysticism strives for the unio mystica, the becoming one with deity through purification of personality (which is therefore often a nuisance to clerics, since it undermines the authority of the church as intermediary between man´s world and the divine: especially Mechthild had no easy life and Marguerite was sentenced to death by the Inquisition). Especially both Teresa and Marguerite were talking about stages of enlightenment, in the highest form the soul becomes a medium of divine perception. Teresa said, God can be understood as a diamond, greater than the entire world, where everything can be seen, and in which she happened to see herself and her actions at incredibly speed and heavily concentrated (leaving her a bit embarassed to see her noble deeds as well as her sins without any true distance from each other). Such a soul has been touched by the divine light. Yet, interestingly, both Teresa and Marguerite say that seeing the divine light is just a short flash, that may happen only once or a few times in life. Full unio mystica, i.e. becoming one with the divine light, is only possible after death, in this life the soul is to still remain in the body and to wander the earth, and also the fully developed mystic still remains, in parts, an earthly, human creature that is object of suffering and possible setbacks. – I am somehow relieved to hear that from such distinguished persons, since I was thinking that my own enlightenment was incomplete. Furthermore, I see there seems to be no use in expecting anything more than that, to achieve an entire clear (of complete balancedness): No hope = no fear. Bucke wrote in his book about Cosmic Consciousness about the white light, and also Colin Wilson wrote about it in The Outsider. Colin Wilson saw the white light too at a young age, and he said all his life has been a strive to bring back that moment. I also saw the white light when I was writing my second book, I thought, compared to the epiphanies described by those people mine was a weak epiphany, but I think indeed it was a higher one, since I am more rational than they are/were. Bucke said, of all the enlightened people in history Walt Whitman was the only true (highly modern) individual that did not fall prey or become an instrument of his divine perception, but rather turned it into an instrument for himself. I think I also remain in control (if I am not mistaken about my enlightenment at any rate). I called this form of enlightened perception the White Lodge, as readers of my convulsions may now know. (Dionysius the Areopagite spoke of God as a „dark light“ that illuminates the earth, but that can be truly seen only through his absence to the obvious gaze. A deep bass I connect synaeasthetically with the headlight of this dark light).

White Light from the Mouth of Infinity is a major album by Swans. It combines the most outstanding songwriting, majestic elegy, triumphantly arranged, with extremely depressing lyrics. The cover is one the coolest I´ve ever seen. On the front you have a human rabbit, reaching out his carrot antenna at the end of the world, likely in search for someone else, his soulmate, his counterpart. On back you have him eventually have found him. I wrote to Jarboe many years ago and mentioned the album and the artwork, she was asking in return whether I want to purchase the original artwork „at a reasonable price“. But I could not afford it anyway. In my apartment there is a poster of it, hanging on the wall nevertheless.

Wir wollen also sagen, die Gottheit sei wie ein überaus klarer Diamant, der weit größer ist als die ganze Welt, oder ein Spiegel nach der Art desjenigen, welcher in der früher gedachten Vision die Seele empfing, nur dass er auf eine weit erhabenere Weise sich zeigte; auf eine Weise, die ich nicht hoch genug vorzuführen vermag und dass alles, was wir tun, in diesem Diamanten gesehen wird, so gesehen wird, dass er alles in sich schließt, und weil es nichts gibt, was über diese Größe hinausgeht.

Staunenswert war es für mich, in so kurzer Zeit so vieles in diesem klaren Diamanten nebeneinander zu erblicken. Höchst bedauerlich ist es mir andererseits jedes Mal, wie so garstige Dinge, wie es meine Sünden sind, sich in jener klaren Lauterkeit ebenfalls darstellten. Gewiss, wenn ich daran denke, weiß ich nicht, wie ich es ertragen kann. Deshalb wurde ich auch mit Scham erfüllt, dass ich nicht wusste, wohin ich mich wenden sollte…

Teresa von Avila

Update about Extreme Metal (Architects and Iconoclasts/Morbid Angel)

„Kingdoms Disdained“ by Morbid Angel is (once again) unbelievably strange and otherworldly death metal, this time from 2017 Chaos A.D. Guitar riffs that have no resemblance to guitar riffs, song structures that are incomprehensible, nevertheless architectures and structures that stand erect, tall, upright, intimitating and as ancient relicts from the future, it reminds of Kataklysm´s opus magnum in aloofness from anything commonly accepted, „Temple of Knowledge“. As you gradually awaken, it appears to you that even the solipsistic production seems to make sense. Architects and Iconoclasts. I am very happy with it, and that it took them 17 years to actualise a really good album since „Gateways to Annihilation“ can be forgiven as you see them opening another gateway to strange dimensions and stranger aeons and giving new impulses to the most philosophical genre in popular music – extreme metal – and paving ways for a bright future (although the album is, of course, and as always, about world downfall caused by the resurrection of the Ancient Ones blabla). „Kingdoms Disdained“ is a major event, almost like their first two albums, centuries ago. Hell yeah, death to false metal. 

Metaphysical Note about Extreme Metal

Update about the Fourth Dimension

I have repeatedly stated that the genius sees things in an additional dimension, as there are no conventions how higherdimensional objects are to be seen and recognised in society, he has no true instrument to figure out and has to rely on his own „intuition“ and „vision“ (respectively rationality). That is, originally, private and primordional, I have spoken about how the genius sees a field of intensity (as the soul-like abstraction of an entity he wants to describe), and then wants to move through this intensity and let the intensity shoot through itself, to, somehow, turn the field of intensity inside out and open it into a space of negative curvature (at least in the case of the transcendent genius as opposed to the immanent genius) – that is an immediate expression of the intellectual and somatic processes that happen in the mind and the body of the genius if he deeply thinks about something. In the note about Giacinto Scelsi I think I have illustrated that, whose „compositions“ where vibrating spheres of an extreme interplay of intensity and stasis, etc. – it was the intensity shooting through itself. Intensity vs form you have, prominently, in Beethoven´s music, and that kind of inversion and erecting a somehow paradoxical structure that opens into another dimension in some of John Lennon´s compositions like Strawberry Fields Forever, I am the Walrus and, most perfectly, Tomorrow Never Knows, or in the entire The Piper at the Gates of Dawn album by Pink Floyd/Syd Barrett.

When I read that Duchamp was keenly interested in the „fourth dimension“ respectively in painting how fourdimensional bodies would appear in a threedimensional world, how their „shadow“ would be, or how it would be if a threedimensional object took a ride through the fourth dimension, it said that if a threedimensional object would take a demi-tour through the fourth dimension, it would return mirror-reversed and inside out. (That is to say, the genius intuition proves correct or adequate.) If I remember correct, that is also how Cube2 – Hypercube can be interpreted, the sequel to Cube, an enigmatic mystery/horror film where people are trapped inside a gigantic cube-like structure for unknown purpose: In Cube2 – Hypercube they are trapped inside a hypercube/tesseract! Despite the dramaturgy and grouppsychological dynamics are a bit of a cheap copy of the original (which is why it got largely dismissed by the audience, including my friends), I found the enigma of the hypercube (and of the conspiracy behind it) extremely immersive and, as also quantum physics got mentioned, it made me think a lot about it. In that respect, Cube2 – Hypercube was one of the coolest films I´ve seen.


UPDATE 011518: LOL


Metaphysical Note about Extreme Metal

More recently I purchased the following CDs:

  • Abyssal: Antikatastaseis
  • Adverserial: D.E.N.A.T.B.K.O.N.
  • Mitochondrion: Archaeaon
  • Pyrrhon: Growth Without End
  • Sarpanitum: Blessed Be My Brothers
  • This Gift Is A Curse: All Hal The Swinelord

I welcome it that after a period of stagnation there are fresh and fruitful developments in extreme metal again! While extreme metal bands of former generations like Morbid Angel or Meshuggah sounded like if they came from another planet, bands like Abyssal, Pyrrhon or Mitochondrion sound as if they directly came from the depths of outer space (maybe from close to the region where Azathoth dwells). I call this progressive. Within those song structures we have nice chaos invocation and abstract beauty amalgamated with uncanniness giving an impression of the sublime. It gives you a sense of place – of belonging and forlornness. Of your attachedness and your seperatedness in the universe, etc. It´s a borderline, exurbia and edge phenomenon; look at how ambiguous it is and how much enigmatic meaning it carries, permanently shifting the Great Frontier! It´s metaphysical.

What I always liked about extreme metal is that it definitely confronts you with other, strange worlds (that aren´t so strange after all and for instance the occasional lyrics about Satan etc. are much more realistic and less phony than the love songs you hear on the radio). – It is both strange and surreal, and hyperrealistic and more human than human. It adds a (or multiple) dimensions to your perception. It confronts you with that that is the other and that that is unexpected. It unites the hemispheres.


Let us, ideally, say that the „Western“ mind is analytical, scientific. It is about isolating and analysing things to gain rational knowledge about the thing, with the possibility (or the permanent horizon) to get to know the „thing in itself“. It strives for knowledge to manipulate things and transform civilisation via technology. It is concerned with the possibility of solid knowledge.


Let us, ideally, say that the „Eastern“ mind, exemplified e.g. in the metaphysics of Zen, is more about getting to know and experiencing the faculty of perception and rationalisation itself. It is about dissolving the subject and amalgamating it with the object world, into a state of (for the sake of simplicity) productive mimesis. However, this state will involve serenity and sedateness, an acceptance of a certain resistance of things against manipulation and an acceptance of fate. It is concerned with the possibility of solid awareness.


Bhagwan says, people in the East have soft, fragmentary egos, and they are able to surrender and devotion (Hingabe) easily – yet their surrender is not very deep: it remains superficial. People of the West have strong and solid egos, and they are resistant towards surrender and spirituality. He concludes that a person that synthesises East and West may become something that is really interesting and transformative, but that is difficult.

„Eastern“ metaphysics somehow was designed as a pacification from unproductive upheaval and turmoil in a pre-scientific age i.e. when things could not fundamentally be changed. „Eastern“ metaphysics does not „solve“ the metaphysical problems but dissolves them, but unfortunately may also dissolve physics respectively the scientific mind, and its relaxedness may result in apathy, the insight that some things cannot be changed may make people forget to try to. The „Western“ metaphysics of the rational mind may lead to a tunnel vision and feelings of estrangement and disconnectedness from a greater whole, a disrespect for „soft“ sciences and arrogance. The „Eastern“ downside is being unscientific, the downside of the „West“ is being soulless. From a sociological point of view, Eastern societies are collectivist societies whereas Western societies are individualistic societies (with both easily abhoring each other or finding each other uncanny, although the productive synthesis includes the better elements of both).


It is said East and West are very different and difficult to unite. They are respective others. However, if you approach the other you can gradually internalise it. The trick is not to make the other a toy of your ideology and accomodate it to you, but to take it serious. The full internalisation of the man´s world is the overman. It can also be described as the so-called unitary consciousness where all forms of life, where reality, dream, fiction, time, space, matter unite into a single, fluid, penetrating experience, where contours of individualities do not dissolute but become osmotic. The analytical mind is not pacified but intensified and empowered. There is not perfect exchangeability of background and motif as you have it in the vision of Zen, rather a fractal geometry of the universe, i.e. where the „deep structure“ can be progressively revealed and calculated and where there is no stubborn resistance against „inconvenient“ truths or discoveries, since nothing is truly „inconvenient“.

By permanently approaching and confronting the other, you increase your experience and widen your perception. By trying to integrate the other and internalise it, you widen your intellect and your personality, and you reduce your indoctrinations and your ego (if, however, you don´t have much of an ego in the first place). You transcend personality into the transpersonal and become open space. It is very profound.

Meaning of life – and meaning in general – lies in establishing connections (and pathological/endogenous depression means inability to establish true connections to anything). By connecting to the other, the most wide-ranging and permanently evolving connectivity is possible. Overmen usually appear „otherworldly“ (whereas they are also the most realistic persons) because they primarily relate to the other and to their respective counterpart (Socrates and Kierkegaard talked to anyone in the streets, T.W. Hickinson noticed that obscure Emily Dickinson was very aware and concerned about him as her counterpart, Shakespeare is hardly tactile as an individual but rather seems a transpersonalised consciousness over the tapestry of life, Wittgenstein, Kafka and Beckett were also very concerned about others including the possibility of self-sacrifice, etc.). Therefore, they include otherness and the Great Other in themselves and therefore they carry and execute the so-called divine law in themselves. They appear „alien“ as nothing is alien to them. And why? Because they actually relate to the other!


(Written 2015-2017)

Postsciptum: If you think this is stupid and esoteric wait for the various Postscripts to the Metaphysical Note about Extreme Metal which shall appear over time since of course I am able to discuss Kripke and Quine as well, as well as Gadamer and Ricoeur et al.

Prelude to the Metaphysical Note about Extreme Metal

Occasional Note about Lull

Dark ambient usually is for pussies; Lull, a so called isolationist dark ambient project by Mick Harris (former drummer of Napalm Death), is nevertheless cool. For instance the Continue album is neither particularly scary nor does it create an atmosphere that is truly welcoming; it is neither truly artificial nor is it truly natural; it does not actually create space neither does it display time (however at the most abstract level it may do so); there is no movement only an endless shift; it neither actually displays presence nor does it display absence; it is neither truly brown not is it truly green yet might display a constant morphing of a drab brown into a drab green – though not in the true mindspace rather in the phase space projection of it or so; it is not actually immersive nor does it repel you; it is not the transcendence of dichotomies nor is it the implosion of dichotomies; it does not make me think of Bodhidharma nor does it lay bare the inner processes of Shankara to me; …….. aaaahhh… what great glory…..; nothing in particular happens for one hour, and I think if´d last ten hours I wouldn´t become supersaturated by it. Scelsi would´ve been quite fond of that and I´m quite fond of Scelsi.


Lull ‎- Continue. Released: 01 Oct 1996. Mixed At – The Box Recorded At – The Box…
An interview with Mick Harris, the man behind the Isolationism dark ambient…

Iron Maiden

25 and a half years ago I bought my first metal album: Iron Maiden´s Seventh Son of a Seventh Son. (I came across popular music as a slow learner because I had considered it as vulgar before; then, at 14, I began to listen to Pink Floyd, Kraftwerk and the like, soon became interested in Iron Maiden and other heavy metal bands, because their obscurity attracted me. The first contact I made with Iron Maiden was when I was little and I saw the Piece of Mind LP at the Pro Kaufland when we were shopping, obviously in the early 1980s, the cover with the monster in the rubber room made an impression on me I still remember, ahhhh…) I initially disliked it but soon got into it, and soon got me some other metal records (from Helloween, Motörhead and Iron Maiden, later in 1991 Guns ´n´Roses and Metallica became big shots, etc.). – Seventh Son of a Seventh Son, one of Iron Maiden´s finest works, is a concept album about a person with supernatural powers. The forces of Good and Evil try to manipulate this person and to turn him into an agent for their causes. As it turns out the Seventh Son of a Seventh Son possesses the faculty of clairvoyance and foresees impending doom, yet, like Cassandra, is not taken seriously by people, respectively after the disaster gets all the blame for it. Despite his powers to see through people and through things the Seventh Son of a Seventh Son is not able to foresee his own demise and it remains dubious what he actually has achieved in the human realm – „The evil that men do lives after them; The good is oft interred with their bones“, a quote from Shakespeare´s Julius Caesar which serves as a Leitmotif for the whole album. In the end it seems the story of the Seventh Son was only an episode in a seemingly eternal struggle between the forces of Good and Evil. – If we zoom out of this section of the fractal, where Good and Evil are categories of the understanding of man, we progressively refer to the cosmos, of the totality of existence, and their dubious purpose, where it is maybe right to envision forces of constructiveness (energy) and forces of dissolution (entropy) as the deep structure, as the ultimate logos; maybe those forces are conscious and god-like, or they create their own (quasi-) consciousness as they progressively unfold, and who knows if it is not the forces of entropy which guarantee the eternal repetition of the cycle (for instance the Penrosian Cycles of Time)? Or is the state of order we experience just a natural and logical state within an infinite mass of chaos which naturally inhabits finite regions of cosmos, bound to dissolute again? – Such questions are of some interest for humans, and although those interests are usually not very pronounced among people they form the screen on which the shadows of all the other ephemeral interests are projected. It is the call of the genius, who naturally sees all the ephemeral in its cosmic significance, who projects daily struggles into cosmic struggles, who expands finite contexts into the infinite – sometimes for good, sometimes for worse – to establish systems of reference, of meaning. In their final consequences, people will not truly understand them. Apart from that, everyone will understand them. Because they are just natural and soulful, intellectually and emotionally intelligent abstractions of everyday life, of the common life experience.

01 – Moonchild 02 – Infinite Dreams 03 – Can I Play With Madness 04 – The Evil That Men Do 05 – Seventh Son Of A Seventh Son 06 – The Prophecy 07 – The…

Prelude to the Metaphysical Note about Extreme Metal

Adressing those articles again the health benefits of listening to heavy metal are apparent. Heavy metal is simply better music than what is usually displayed in other genres. It is more intense, more erudite, more sophisticated, more simple and direct, more natural. There is more melody and harmony and more abrasiveness. It involves new ways to express melody and harmony in a dialectics with cacophony. It gets you much more immersed. That is why metal fans have an unusually strong attachment to their music. It is more sincere and demands passion, professionalism and devotion, yet is also more tongue-in-cheek and funny. That is to say it is more multi-faceted and comprehensive; what you see is not what you get, what you get is more. It is also more authentic, i.e. heavy metal fans avoid the psychological downsides of conformism and the unhappiness it involves. If your cognitive type is being a mismatcher you will be naturally more attracted to counterculture; if mismatching is most pronounced you will be most attracted to (the extreme subgenres of) heavy metal. That´s the voice of the outsider, of the individual, not of an anti-conformist quasi-partisan collective as you have it with punk. The truth is to be found there – in the enlightened, enchanted individual that contains most aspects of the world and is therefore in the most perfect state of harmony with the world. Beach Boy´s Pet Sounds or Led Zep´s Physical Graffiti are pretty comphrehensive albums but so are Forbidden´s Green, Grip Inc.´s Incorporated or Inter Amra´s Sky Burial, however the latter are clearly further down the horizon, in a more elevated region in the atmosphere, a higher echelon, closer to the vanishing point of totality. Why keep on insisting on listening to Sun Ra or Pink Floyd, if it is not some weak shit at all, when it is Morbid Angel, Meshuggah or Mitochondrion which give you an impression what music that comes from another planet, originates from or tries to realign with other worlds could look like; or when it is Abyssal who transmit the sound, the signals of the abysmal depth of far outer space (from close to the region where Azathoth dwells)? They expand the frontiers of the human mind, those acts explore new horizons. I do not quite understand how anyone with a brain working at high intensity level cannot be into heavy metal. It is music for schizotypal explorers. Schizotypal usually also is the poetry in metal lyrics, the scattered patterns, the strong lines transporting messages open to interpretation, so that you can establish multiple perspectives on them, a call from the beyond, ahhh … the patterns you can see in those lyrics! Healthy schizotypy involves introversion/introspection, intensity of inner world experience, power to ruminate, creativity and independence, ability to create a new world. It is not a disorder, but the highest level of personhood, of man. And with its lyrics about satan, about gential mutilation, or also with its sincere lyrics about politics, society or the human experience is simply more in touch with reality that the phony shit you can hear on the radio. Being in touch with reality, and mastering it, according to the principle, is good, is healthy. Smell the gravity of the heavy metal.

By the end of last year, enchanted by some new extreme metal releases, I wanted to write the Metapysical Note about Extreme Metal, which I could have already done, but still haven´t since I wanted to involve more contemplation and maybe new insights. But I think I am going to finally write it in November this year. The Metaphysical Note about Extreme Metal will be about how to realign „Western“ and „Eastern“ metaphysics, about how to avoid the negative consequences of both, and it will teach about the overman.

(The idea is that by embracing extreme metal you embrace otherness. By embracing otherness by the means of productive mimesis you get in closer contact with otherness and the apparent shadow realm it involves, as well as the shadow realm you involve yourself. Your consciousness will be broadened and you yourself become deepened. „Western“ metaphysics is concerned with the possibility of solid knowledge, „Eastern“ metaphysics with directly experiencing the faculty of perception itself, the extreme metal experience allows an integration and synthesis of both approaches. As you broaden and deepen yourself by embracing otherness, you will progressively lose the egoic aspects of self, both become a fluid entity as well as a distinct individual entity which does not get lost in the perception of Tao but will, with the knowledge of Tao, operate as a scientist. Finally, in that fractal-like process, everything that is untrue will be sorted out and only the true nature of things will remain. That entity which encapsulates things in that way is, then, the overman.)

The Metaphysical Note about Extreme Metal, together with the Postscripts to the Metaphysical Note about Extreme Metal, will be a very important document in the history of human thought, and of human practice. That will make me unpopular on Facebook again.

Heavy metal music helps fans deal with the idea of their own death, new research suggests. According to a study in the Journal of Psychology of Popular Media, the sense of identity that the death-themed music creates gives listeners meaning to…
Study of 80s metalheads finds that they turn out to be better adjusted than those who listened to other music
A disproportionate number of bright students listen to metal. No wonder – it’s difficult, erudite and still the voice…


Jon Leifs

A while ago I heard Jon Leifs´ „Geysir“ at the Konzert am Vormittag on the radio. I was initially struck by it and I liked it. Most art, and notably most music, from most composers, is insipid and not completely true. Leifs´ music however is true, it is real, and it is in no way insipid. He originated his own peculiar musical language, his own peculiar style, and it approaches you as something that is completely natural, an expression of nature itself. Few artists are able to develop their own peculiar language. However, whenever someone does, it does not actually strike you as a „composition“, but as something that is completely natural, making forget the huge intellectual and personal effort that lead to such a result. It is as if nature´s boys and girls finally managed to find their way home.

Thereafter, I went to my favorite classic record dealer, Gramola am Graben, to buy some material by Jon. There was only one CD in stock (with the Saga Symphony), the other one, containing „Geysir“, I had to order. The Gramola guy told me that it´d rarely ever happen that someone asks for a record with the compositions of Leifs. The same thing he told me years ago when I wanted to buy records with stuff by Scelsi. Also Scelsi is a transcendent genius who is completely natural, and real. And also Galina Ustvolskaya is of this kind. yukata2

At that day I also bought a Yukata at a hipsteresque fashion store in Vienna because two days before I saw a woman with a Yukata who struck me, and told me about from where she bought it. At the fashion store I was told that unfortunately they do not have much else somehow more „eccentric“ and idiosyncratic for men, because men don´t use to buy such things (although the situation is said to be a bit better at their outlet in Berlin). Same old story. I am used to it. I do not buy clothes like the Yukata to look cool, and most of the time I run around wearing casual clothes. I buy them because they are beautiful and it is simply natural to wear them. It is natural beauty, and they give an idea of how more beauty can be brought into this world. People then tell me on the streets how cool I look with those garments. But strangely, they never seem to come to the idea that they could wear such stuff themselves.

We are living in a free, independent, individualistic age. Hail the new age.

I was reading that despite the initial, apparent natural beauty and the striking profoundness of artistry of his music, Jon Leifs had a difficult life and was not understood, respectively rejected by most people. He was born in 1899 and died in 1968 due to cancer. His last composition Hughreysting („Consolationn“) was meant to be his last salute to humanity; in the eyes of Leifs the purpose of art was to console man. In Hughreysting you again seem to have nature exposing itself, directly, without intermediary. You have the flow of being, of existence, of Werden und Vergehen, the hopefulness, the tragic, the elegy transcended into tenderness, at the end a fleeting, but tender and upright memory created by the bright violas as the music dies out. I was having a conversation with the record dealer at Gramola, myself wondering why there is so little interest in music by true and apparent geniuses like Scelsi or Leifs. In Vienna alone there must be thousands or at least hundreds of people receptive for such things. There has been a Scelsi fan page on Facebook with not even 4000 Likes which eventually got deleted, and there is a Wikipedia page on Facebook for Jon Leifs with 263 Likes as well as a Wikipedia page on Facebook for Galina Ustvolskaya with 600 Likes and a fan page with 277 Likes. There is also a group on Facebook named Pretentious Classical Music Elitists with close to 8000 members. When I post music by Scelsi, Ligeti or Grinblat I, on average, get 2 Likes. When I post my writings about Scelsi and Ustvolskaya, I never get any Likes from the Pretentious Elitists. – However, the Gramola guy told me it is part of a more general phenomenon: 15 years ago there was more interest not only in Scelsi and Leifs but in modern classical music in general. So I asked him what people are interested in now. Kommerz, he said (indicating that the interest in the more deviant forms of art has never been genuine and rooted in itself at any time).

HAHAHAHAHA! – We´re living in a ghost world! Which is frighteningly empty! People have no solid, natural access to what is natural and to the eternal categories that reflect true quality! The genius is real, because the genius is a direct expression of nature, communicating with other geniuses across space and across time, across the Continuum. As a conscious agent of nature and nature´s productivity, the genius initiates and creates culture. Culture is then brought down by the priests, the technocrats and the scientists to the level of civilisation. Civilisation is then brought down by the politicians to the level of the government and of the state, and by the businesspeople to the level of commerce. Commerce, per se, is innocent. It reflects the half-conscious realm of the human ego. The human ego strives to realign with nature, in multiple ways, some better and of higher quality, some worse and of lower quality. The striving of man should be to try to to ensure the reproduction of society at a higher level in a world headed for entropy.

That is the order of things.