CYCLE ONE

1. The perceptual outer light of television vis-à-vis the perceptual inner light of video, but the conceptual outer spirit of radio vis-à-vis the conceptual inner spirit of computers.

2. Bottled beer stands to canned beer as the perceptual outer light to the perceptual inner light. Conversely, bottled wine stands to canned wine as the conceptual outer spirit to the conceptual inner spirit.

3. The doing devil stands to the taking man as the perceptual outer light to the perceptual inner light. Conversely, the giving woman stands to the being god as the conceptual outer spirit to the conceptual inner spirit.

4. To progress from guitar-based vocal Pop to synth-based vocal Pop, as from Pop to Superpop. To progress, further, from synth-based instrumental Pop with uilleann pipes to uilleann pipes alone, as from Supra-pop to Ultra-pop. Thus from the outer spirit to the inner spirit in the evolution of pop music.

5. Not to combine the outer spirit with the inner spirit, vocals with uilleann pipes, but to move beyond the outer spirit to the inner spirit, even if via an instrumental Superpop, or synthesizer absolutism, en route to that musical salvation which is of the inner spirit alone, and hence a question of uilleann pipes - arguably the ultimate musical instrument.

6. Supra-pop (synth/uilleann combinations) would be better than Superpop (with or without vocals, though preferably with), but Ultra-pop would be the best possible musical approximation to the inner spirit - an uilleann-pipes exclusivity which transcended synthesizers and therefore paralleled the purity of the transcendental Beyond.

7. From hallucinogenic contemplation to transcendental meditation - from the superconscious to the supra-conscious - from Superpop to Supra-pop. But then, finally, from transcendental meditation to ultra-meditation - from the supra-conscious to the ultra-conscious - from Supra-pop to Ultra-pop.