CYCLE SEVENTY
1. From the extreme right-wing Time of barbarism
to the extreme left-wing Space of culture via the right-wing Volume of
civilization and the left-wing Mass of nature.
2. From the extreme
left-wing cultural science (idealism) of Time-Space to the extreme left-wing
cultural religion (transcendentalism) of Space-Space via the extreme left-wing
cultural economics (corporatism) of Volume-Space and the extreme left-wing
cultural politics (totalitarianism) of Mass-Space.
3. From the extreme
right-wing barbarous science (naturalism) of Time-Time to the extreme
right-wing barbarous religion (fundamentalism) of Space-Time via the extreme
right-wing barbarous economics (communism) of Volume-Time and the extreme
right-wing barbarous politics (authoritarianism) of Mass-Time.
4. From the right-wing civilized science
(materialism) of Time-Volume to the right-wing civilized religion (nonconformism) of Space-Volume via the right-wing civilized
economics (capitalism) of Volume-Volume and the right-wing civilized politics
(parliamentarianism) of Mass-Volume .
5. From the left-wing
natural science (realism) of Time-Mass to the left-wing natural religion
(humanism) of Space-Mass via the left-wing natural economics (socialism) of
Volume-Mass and the left-wing natural politics (republicanism) of Mass-Mass.
6. To conceive of the Arts with regard to Space,
Time, Volume, and Mass ... on the following basis: art as the art form par
excellence of Space, and hence culture; music as the art form par
excellence of Time, and hence barbarism; literature as the art form par
excellence of Volume, and hence civilization; dance as the art form par
excellence of Mass, and hence nature.
7. Thus we could speak of the cultural art-form
of art in Space; the barbarous art-form of music in Time; the civilized
art-form of literature in Volume; and the natural art-form of dance in
8. To distinguish, with regard to art, the
Time-Space of 'scientific art' and the Volume-Space of 'economic art' from the
Mass-Space of 'political art' and the Space-Space of 'religious art', as one
would distinguish, say, carving from painting on the one hand, and sculpture
from drawing on the other hand.
9. To distinguish, with regard to music, the
Time-Time of 'scientific music' and the Volume-Time of 'economic music' from
the Mass-Time of 'political music' and the Space-Time of 'religious music', as
one would distinguish, say, Jazz from Classical on the one hand, and Pop from Folk
on the other hand.
10. To distinguish, with regard to literature, the
Time-Volume of 'scientific literature' and the Volume-Volume of 'economic
literature' from the Mass-Volume of 'political literature' and the Space-Volume
of 'religious literature', as one would distinguish, say, poetry from fiction
on the one hand, and drama from philosophy on the other hand.
11. To distinguish, with regard to dance, the
Time-Mass of 'scientific dance' and the Volume-Mass of 'economic dance' from
the Mass-Mass of 'political dance' and the Space-Mass of 'religious dance', as
one would distinguish, say, set dancing from ballroom dancing on the one hand,
and disco dancing from belly dancing on the other hand.
12. Dancing is the art form par
excellence of woman and literature the art form par excellence of
man, whereas music is the art form par excellence of the Devil, and art
the art form par excellence of God, whether in terms of science,
economics, politics, or religion.
13. From the 'scientific woman' of choreographic
realism to the 'religious woman' of choreographic humanism via the 'economic
woman' of choreographic socialism and the 'political woman' of choreographic
republicanism.
14. From the 'scientific man' of literary
materialism to the 'religious man' of literary nonconformism
via the 'economic man' of literary capitalism and the 'political man' of
literary parliamentarianism.
15. From the 'scientific Devil' of musical
naturalism to the 'religious Devil' of musical fundamentalism via the 'economic
Devil' of musical communism and the 'political Devil' of musical
authoritarianism.
16. From the 'scientific God' of plastic idealism
to the 'religious God' of plastic transcendentalism via the 'economic God' of
plastic corporatism and the 'political God' of plastic totalitarianism.
