Expression and impression – the alpha and omega of human creativity, as between artists and philosophers – the former expressing their feelings emotionally and the latter impressing their thoughts intellectually.
The philosopher-artist (philosophical artist) and the artist-philosopher (artistic philosopher) signify a paradoxical amalgam of artist and philosopher, and might be described less in terms of Left or Right, like their more absolutist counterparts, than of liberal left (the philosopher-artist) and liberal right (the artist-philosopher), since they tend, in their synthetic relativity, to be of the world and, hence, worldly as opposed to either netherworldly (artists) or otherworldly (philosophers), the former with an aesthetic emphasis upon beauty, as of the Beautiful, and the latter with an ethnic emphasis upon truth, as of the Truth, which, unlike beauty, is highly metaphysical and therefore a product, through and through, of the Ideal conceived from a transcendentalist as opposed to fundamentalist or, more correctly, materialist standpoint, which is also equivalent to a distinction between autocracy and theocracy or, in contemporary usage, authoritarianism and totalitarianism.
Both artists and philosophers, when genuine, attain to a superhuman status, the one in terms of a superfeminine predilection towards the Beautiful, the other in terms of a supermasculine predilection towards the Truth. Neither extremes, corresponding to left- and right-wing antitheses, have much in common. In fact, they are as far apart as science and religion, metachemistry and metaphysics, in contrast to the more mundane antithesis between the philosopher-artist and the artist-philosopher, which only amounts to a distinction between politics and economics, chemistry and physics.
One might contrast, in relation to the above, the love of feelings with the pleasure of thought, or emotionality with intellectuality, whether on an absolute (noumenal and/or ethereal) or a relative (phenomenal and/or corporeal) basis, as between artists and philosopher-artists on the one hand, that of the Left (both extreme and moderate), and artist-philosophers and philosophers on the other hand, that of the Right (whether moderate or extreme). The former options operate, on a female basis, within the realms of will and spirit or, more correctly, Will and spirit, whereas the latter options operate, on a male basis, within the realms of ego and soul or, more correctly, ego and Soul.
Will is hegemonically polar to ego on state-hegemonic/church-subordinate axial terms, as between the Artist and the artist-philosopher, the Extreme Left and the moderate right (right liberal), whereas spirit is hegemonically polar to Soul on church-hegemonic/state-subordinate axial terms, as between the philosopher-artist and the Philosopher, the moderate left (left liberal) and the Extreme Right.
The true Philosopher, being a man or, rather, superman of the Extreme Right, will always champion the Truth metaphysically and stand-up for that which is the Ideal from a transcendentalist point-of-view, a male point-of-view centred in the Soul and having as its objective, if I can speak in seemingly contradictory terms, the ‘Kingdom of Heaven’, which of course abides within the male Self, or Soul, as its metaphysical fulcrum, or kernel. In his own day Schopenhauer was such a philosopher, as, in our own time, I would like to think I am, if only on the basis of several decades’ consistently metaphysical or pro-metaphysical writings that have taken thought way beyond the academic perimeters of the intellectual establishment into realms which, frankly, are revolutionary in their implications for a future re-ordering of society in certain countries along Social Theocratic and/or Transcendentalist lines in the interests of otherworldly progress, the only kind of progress which is inner (of the psyche) and capable of delivering to the male that peace of mind which is the product, or consequence, of supreme being.