CYCLE 102

1. SPACE/TIME CONTRASTS. To contrast the fall of doing from primal Space to supreme Time, idealism to fundamentalism, with the rise of being from primal Time to supreme Space, naturalism to transcendentalism.

2. VOLUME/MASS CONTRASTS. Likewise, to contrast the fall of giving from primal Volume to supreme Mass, materialism to humanism, with the rise of taking from primal Mass to supreme Volume, realism to nonconformism.

3. BARBARISM/CULTURE CONTRASTS. Thus to contrast the fall of barbarism from primal Space to supreme Time, the Devil to the warrior, with the rise of culture from primal Time to supreme Space, the beast to God.

4. CIVILIZATION/NATURE CONTRASTS. Thus to contrast the fall of civilization from primal Volume to supreme Mass, the slut to the angel, with the rise of nature from primal Mass to supreme Volume, the sinner to the saint.

5. PRIMAL/SUPREME ORDERS OF TIME AND SPACE. The fall of barbarism from spatial Space to repetitive Time contrasts with the rise of culture from sequential Time to spaced Space.

6. PRIMAL/SUPREME ORDERS OF VOLUME AND MASS. The fall of civilization from volumetric Volume to massive Mass contrasts with the rise of nature from massed Mass to voluminous Volume.

7. HUMAN EXTREMES. From the alpha-most sensuality of those rooted in their eyes to the omega-most sensibility of those centred in their lungs - a distinction, in effect, between the Devil and God, superwoman and superman.

8. CRUDE/FINE DISTINCTIONS IN THE ARTS. All art is divisible, along element/elementino lines, between that which is predominantly of the senses in its sensuality, and therefore crude, and that which is predominantly of the sensibilities, and therefore fine - the former effectively anti-art and the latter alone genuine art.