Chronicles From The Future: The amazing story of Paul Amadeus Dienach

Lysborg, Cologne, Rozenholm, New Scone, Koblenz, Mayentia, Mannheim: pearls of the modern Rhine, which is now four times wider than the ancient one. It took us all day to traverse it but we became witnesses to a parade of such indescribable beauty that any signs of fatigue or boredom are not even worth mentioning. New Radviko, Karlsruhe, Annelud, Strasborg, New Karelia… If I had twenty lives, I’d spend them here and nowhere else!

Oh my, what colours, what lights, what incredible beauty in those fir-covered areas! Flower cities and water cities alternate as we proceed. In front of us, a kind of canal with entire garden cities built on its banks, dream-like, and now inhabited riverside locations, artificial waterfalls that perfectly imitate the work of nature, gestalads of monumental grandeur, modern temples of the spirit, conservatories with immense concert halls, countless hostels, Civesheims

and villas surrounded by vast green areas.

But all of this was for me nothing but a fleeting vision. I can’t say that I truly saw any of these miracles, that I got enough of them, that I know them, that I truly experienced them.

I arrived in Annelud with the impression of a big, recent loss, an unreasonable and unfair void inside me. I was left with the thirst to go back to those dreamy places as soon as possible, to walk them one by one! But Stefan says we can’t go back. We’ve got a different destination: we’re headed southeast. There are moments when the circumstances of life, which have basically been imposed upon me, make me feel that Stefan doesn’t see me as a friend and companion but rather as an “equal” who has suffered a traumatic experience and still struggles with his injuries. He sees me as the “Cive of the Nojere” who, however, still depends on other people to take care of him, the mentally crippled “prisoner of his amnesia”, the only man in today’s world that isn’t free to fly to wherever he wants, whenever he wants… 2-VII Again

(Very late at night)

Spring has come for good now and the nights here in this beautiful city of the South are magical. The days are longer and the evenings are now quite warm. Now I’m on the terrace of the gestalad where we’re staying, lying in my chaise lounge, facing the garden. I’m sitting wrapped in the thin but warm coat that was given to all of us in the Forening distributions, staring at the sky. It’s a bit chilly but the starlight is marvellous. Plus, the soft wind that blows carries scents from the nearby gardens.

I think about what Kant used to say: “Two things awe me most, the starry sky above me and the moral law within me.” The sky is my most loyal friend, the dearest companion of my soul because it is the same as in my own time. And no one can deprive me of the magic of this clear night sky!

THE NEW RENAISSANCE OF 3300 AD

Visual arts and their techniques

Nysalborg, 4-VII

The aesthetic pleasure offered by the “United Museums” in Nysalborg and the state galleries, which are said to be some of the most representative galleries of central Europe, could only be compared to the deep satisfaction the art lovers of our time felt when visiting our major temples of art: the Louvre, the Prado, the Hermitage, the Borghese Gallery, the Pitti Palace and the museums of Rome. Because if there is one field of culture in which the current civilisation matched, but didn’t actually manage to exceed the achievements of our time—at least the ones up until the 20thcentury—this is the visual arts. In every other aspect of life and culture I strongly believe that this world is far ahead of our own. Any attempt to compare them would overwhelmingly be to our detriment.

And by “current culture”, of course, I mean mainly their great 9th century and not so much the 600 years that followed. In that century, art reached its greatest peak in the history of the new civilisation. As for the exact period that I lived in, the history of their art classifies it, unconditionally and without further debate, as a period marked by the decline and fall of art, describing those years as a kind of a new Middle Ages that elapsed between the beginning of the 20th century and their regeneration. Not to mention the time when gibberish and nonsense were conceived as a new kind of “style”, “originality” and “art”.