101. Where negative 'divine sex' is concerned, public voyeurism corresponds to the Clear Light of the Void and private voyeurism to the Unclear Light of Heaven.

102. Where positive 'divine sex' is concerned, public oral corresponds to the Unholy Spirit of the Void and private oral to the Holy Spirit of Heaven.

103. Where negative 'diabolic sex' is concerned, public fetishism corresponds to the Clear Heat of Time and private fetishism to the Unclear Heat of Hell.

104. Where positive 'diabolic sex' is concerned, public masturbation corresponds to the Unholy Soul of Time and private masturbation to the Holy Soul of Hell.

105. Where negative 'purgatorial sex' is concerned, public homosexuality corresponds to the Clear Coldness of Volume and private homosexuality to the Unclear Coldness of Purgatory.

106. Where positive 'purgatorial sex' is concerned, public lesbianism corresponds to the Unholy Mind of Volume and private lesbianism to the Holy Mind of Purgatory.

107. Where negative 'mundane sex' is concerned, public sadomasochism corresponds to the Clear Darkness of Mass and private sadomasochism to the Unclear Darkness of the World.

108. Where positive 'mundane sex' is concerned, public heterosexuality corresponds to the Unholy Will of Mass and private heterosexuality to the Holy Will of the World.

109. From the woe of voyeurism to the pain of sadomasochism via the humiliation of fetishism and the hatred of homosexual intercourse.

110. From the pleasure of heterosexual intercourse to the joy of oral sex via the love of lesbianism and the pride of masturbation.

111. When the intellect is used in the context that is most true to itself, it is used for reading.

112. When the intellect is used in the context that is most false to itself, it is used for thinking.

113. When the intellect is used in the context that is least false to itself, it is used for writing.

114. When the intellect is used in the context that is least true to itself, it is used for speaking.

115. The intellect that is used for reading is properly intellectual.

116. The intellect that is used for thinking is quasi-spiritual, and hence pseudo-intellectual.

117. The intellect that is used for writing is quasi-instinctual, and hence pseudo-intellectual.

118. The intellect that is used for speaking is quasi-emotional, and hence 'pseudo'-intellectual.

119. To contrast the phenomenal objectivity of reading, which is properly intellectual, with the noumenal subjectivity (subjectivism) of thinking, the phenomenal subjectivity of writing, and the noumenal objectivity (objectivism) of speaking, all of which are pseudo-intellectual.

120. Strictly speaking, the noumenal objectivity of speaking, which is quasi-emotional, is less pseudo-intellectual, and hence false, than least true to the intellect, and therefore a lesser sort of intellectuality.

121. Hence reading and speaking are two sides of an objective coin - the former civilized and the latter barbarous.

122. Likewise, writing and thinking are two sides of a subjective coin - the former natural and the latter cultural.

123. It is with the subjective coin of writing and thinking that the intellect is respectively least and most false to itself, and therefore truly pseudo-intellectual.

124. The pseudo-intellectuality which is most false to intellect, viz. thinking, is the weakest link in the chain of intellectuality, and thus that which, when prayerfully directed, permits access to true spirituality.

125. True spirituality transcends the intellect as air transcends the brain, or Heaven transcends Purgatory.

126. When spirituality is most true to itself, it is meditative, and thus concerned with union between the noumenal self of pure consciousness and the universal self of pure air.

127. When spirituality is least true to itself, it is concerned not with meditation but with art, and the aesthetic illustration, thereby, of a religious ideal.

128. Unlike meditation, which is noumenally subjective, art is phenomenally subjective, and hence the least true mode of spirituality.

129. When spirituality is least false it is theological, and thus concerned with ethical concepts and scriptural exegesis.

130. When spirituality is most false it is ritualistic, and thus given to the enactment and symbolic illustration of religious mysteries.

131. Unlike theology, which is phenomenally objective, ritual is noumenally objective, and hence the most false mode of spirituality.

132. The spirituality that is concerned with meditation is properly spiritual.

133. The spirituality that is concerned with art is quasi-instinctual, and hence 'pseudo'-spiritual.

134. The spirituality that is concerned with scriptural exegesis is quasi-intellectual, and hence pseudo-spiritual.

135. The spirituality that is concerned with ritualistic symbolism is quasi-emotional, and hence pseudo-spiritual.

136. To contrast the noumenal subjectivity of meditation, which is properly spiritual, with the phenomenal subjectivity of art, the phenomenal objectivity of theology, and the noumenal objectivity of ritual, all of which are pseudo-spiritual.

137. Strictly speaking, the phenomenal subjectivity of art, which is quasi-instinctual, is less pseudo-spiritual, and hence false, than least true to the spirit, and therefore a lesser sort of spirituality.

138. Hence art and meditation are two sides of a subjective coin - the former natural and the latter cultural.

139. Likewise, theology and ritual are two sides of an objective coin - the former civilized and the latter barbarous.

140. It is with the objective coin of theology and ritual that the spirit is respectively least and most false to itself, and therefore truly pseudo-spiritual.

141. The false spirituality of the Father (most) and of the Son (least) vis-à-vis the true spirituality of the Mother (least) and of the Holy Spirit (most).

142. When spirituality is liberated from falsity by the Second Coming, both symbolic ritual and ethical theology will be cast off, and the World be delivered from the least true spirituality of art to the most true spirituality of meditation, which is salvation.

143. To distinguish between the cultural naturalism of religious art and the natural culture of meditation.

144. To distinguish, furthermore, between the cultural supernaturalism of religious superart (holography) and the supernatural culture of supermeditation (or meditation making use of specially-manufactured oxygen) as a future alternative to the above.

145. To distinguish not only between genuine (true) art and anti-art, or religious and secular representation, but also between false art and anti-art, or religious and secular abstraction.

146. To distinguish, furthermore, not only between false art and anti-art, as above, but also between superfalse art and anti-art, or religious and secular light art.

147. Whereas true art/anti-art is feminine and concrete, false art/anti-art is masculine and abstract.

148. Whereas false art/anti-art is masculine and abstract, superfalse art/anti-art is diabolic and super-abstract, i.e. electronic.

149. Whereas superfalse art/anti-art is diabolic and super-abstract, supertrue art/anti-art is divine and superconcrete, i.e. holographic.

150. Abstract art, whether phenomenal or noumenal, painterly or electronic, follows from an objective premise.

151. Concrete art, whether phenomenal or noumenal, painterly or holographic, follows from a subjective premise.

152. The abstract artist is not delineating himself/his self but the 'objectivity' of paint/light.

153. The concrete artist is not delineating the objectivity of paint/light, but himself/his self through the medium of his subject.

154. Anti-artists, whether abstract or concrete, tend to concentrate more on the objectivity of their medium than on its potential for subjective revelation.

155. This is because anti-art is more concerned with the secular than the religious, and so emphasizes the apparent (particle) rather than the essential (wavicle) side of life.

156. Although dissimilar in their standpoints vis-à-vis the World, both Expressionism and Impressionism appertain to the realm of anti-art.

157. Expressionism and Impressionism were the German and French approaches, respectively, to the realm of true anti-art.

158. Abstract Expressionism and Abstract Impressionism (Post-Painterly Abstraction) appertain to the realm of false anti-art.

159. Expressionist Light Art and Impressionist Light Art appertain to the realm of superfalse anti-art.

160. The realm of 'supertrue' anti-art is largely one of stained-glass windows, whereby natural light is used to illuminate scenes from the Gospels.

161. Such 'supertrue' anti-art is the negative pole to the supertrue art which will shine inwardly with a holographic glow.

162. Although also shining inwardly, computer graphics are less radically transcendent than holograms, given their dependence on computers - an intellectual rather than a spiritual medium.

163. There is a sense in which computers correspond to thoughts, in that they are an extreme form of intellectual subjectivity, sharing with radio, microfiche, and television a materialistic integrity broadly germane to the lunar.

164. Radio is the medium of 'artificial intelligence' through which the intellect is manifested emotionally, as the spoken word (dramatic).

165. Television is the medium of 'artificial intelligence' through which the intellect is manifested instinctually, as the acted word (prosodic).

166. Microfiche is the medium of 'artificial intelligence' through which the intellect is manifested intellectually, as the read word (poetic).

167. Computers are the medium of 'artificial intelligence' through which the intellect is manifested spiritually, as the thought word (philosophic).

168. Besides the media of 'artificial intelligence', there are the media of artificial will, soul, and spirit.

169. Broadly, the media of 'artificial will' are newspapers, magazines, books, and co-mags (comicbook magazines).

170. Broadly, the media of 'artificial soul' are audio tapes, video tapes, records, and compact discs.

171. Broadly, the media of 'artificial spirit' are newsreels, films, slides, and virtual reality.

172. Newspapers are the medium of 'artificial will' through which the will is manifested emotionally, as the dramatic act.

173. Magazines are the medium of 'artificial will' through which the will is manifested instinctually, as the prosodic act.

174. Books are the medium of 'artificial will' through which the will is manifested intellectually, as the poetic act.

175. Co-mags are the medium of 'artificial will' through which the will is manifested spiritually, as the philosophic act.

176. Audio tapes are the medium of 'artificial soul' through which the soul is manifested emotionally, as the dramatic emotion.

177. Video tapes are the medium of 'artificial soul' through which the soul is manifested instinctually, as the prosodic emotion.

178. Records are the medium of 'artificial soul' through which the soul is manifested intellectually, as the poetic emotion.

179. Compact discs are the medium of 'artificial soul' through which the soul is manifested spiritually, as the philosophic emotion.

180. Newsreels are the medium of 'artificial spirit' through which the spirit is manifested emotionally, as the dramatic awareness.

181. Films are the medium of 'artificial spirit' through which the spirit is manifested instinctually, as the prosodic awareness.

182. Slides are the medium of 'artificial spirit' through which the spirit is manifested intellectually, as the poetic awareness.

183. Virtual reality is the medium of 'artificial spirit' through which the spirit is manifested spiritually, as the philosophic awareness.

184. Where 'artificial intelligence' is concerned, microfiche is the medium most classically attuned to the intellect.

185. Where 'artificial will' is concerned, magazines are the medium most classically attuned to the will.

186. Where 'artificial soul' is concerned, audio tapes are the medium most classically attuned to the soul.

187. Where 'artificial spirit' is concerned, virtual reality is the medium most classically attuned to the spirit.

188. Hence microfiche, magazines, audio tapes, and virtual reality are the media most classically attuned to their respective modes of artifice.

189. If the media of 'artificial intelligence' share a materialistic integrity broadly germane to the lunar (purgatorial), then the media of 'artificial will' share a realistic integrity broadly germane to the planar (worldly).

190. If the media of 'artificial will' share a realistic integrity broadly germane to the planar, then the media of 'artificial soul' share a naturalistic integrity broadly germane to the solar (diabolic).

191. If the media of 'artificial soul' share a naturalistic integrity broadly germane to the solar, then the media of 'artificial spirit' share an idealistic integrity broadly germane to the stellar (divine).

192. The media of 'artificial intelligence', being materialistic, are rooted in the phenomenal objectivity of the lunar.

193. The media of 'artificial will', being realistic, are rooted in the phenomenal subjectivity of the planar (planetary).

194. The media of 'artificial soul', being naturalistic, are rooted in the noumenal objectivity of the solar.

195. The media of 'artificial spirit', being idealistic, are rooted in the noumenal subjectivity of the stellar.

196. Of the media of 'artificial intelligence', those most removed from the microfiche classicism of phenomenal objectivity are the computer (most false to the intellect) and the television (least false to the intellect), while the radio, being noumenally objective, is simply the medium that is least true to it.

197. Of the media of 'artificial will', those most removed from the magazine classicism of phenomenal subjectivity are the newspaper (most false to the will) and the book (least false to the will), while the co-mag, being noumenally subjective, is simply the medium that is least true to it.

198. Of the media of 'artificial soul', those most removed from the audio-tape classicism of noumenal objectivity are the compact disc (most false to the soul) and the video tape (least false to the soul), while the record, being phenomenally objective, is simply the medium that is least true to it.

199. Of the media of 'artificial spirit', those most removed from the virtual-reality classicism of noumenal subjectivity are the newsreel (most false to the spirit) and the slide (least false to the spirit), while the film, being phenomenally subjective, is simply the medium that is least true to it.

200. Besides the quadruplicities of artificial intelligence, will, soul, and spirit, there are quadruplicities of subnatural, natural, and supernatural intelligence, will, soul, and spirit.