CYCLE FOURTEEN

1. MAGAZINE CULTURE. Although magazines are often published in conjunction with newspapers, as colour supplements, etc., the majority of magazines are published independently of any such association by magazine publishers, and it is my view that such magazines are less liberal than fundamentalist phenomena appertaining not to the Father, or any phenomenal equivalence thereof, but to a more Allah-oriented realm which is therefore less a purgatorial alpha than a netherworldly omega. Hence it could be argued that magazines, particularly when glossy and predominantly photographic, appertain to an entirely different spectrum of moral and/or ideological evaluation from newspapers, and do so, moreover, in relation to the soulful, and therefore more inherently emotional, realm of netherworldly fundamentalism. In fact, so much does this seem to be the case that one could associate magazine culture with Islamic civilization, as though its glossy colour photographs were symptomatic of a racial strength/pride centred in the heart and owing little or nothing, in consequence, to properly intellectual origins. Even co-mags (comic books) are somehow an aspect of this vampire-like realm of netherworldly fundamentalism, albeit less radically so, I would argue, than their photographic counterparts.

2. FILM NATURALISM. Now if magazines broadly appertain to the omega pole of the netherworldly Behind, which is of course Superheathen in relation to the Heathen realm of books and newspapers, then it seems to me that its alpha pole, being naturalistic rather than fundamentalist, has to be conceived in terms of films, specifically colour/sound films, which would approximate to a Satanic parallel of fiery naturalism, in keeping with a kind of Judaic cultural sensibility, the higher or Jehovahesque manifestation of which would doubtless involve silent monochromatic films as a naturalistic 'bovaryization' of Clear-Light idealism, still manifestly fiery, and hence filmic, but arguably less naturalistic than those films which constitute a sort of Satanic fall from silent-film primacy, a fall from the 'bovaryized' supernaturalism of monochromatic films to the subcultural naturalism of colour films. Less extreme, however, than colour films are cartoons, and we may believe that if co-mags are the moderate Islamic parallel, then cartoon films are their Judaic counterpart, still Superheathen of course, but, as such, in between the alpha and omega of colour films and magazines respectively.

3. PHOTOGRAPHIC IDEALISM. Having dealt, if briefly, with the netherworldly Behind in relation to the submasculine (and therefore subhuman) realms of films and magazines, I should like, finally, to turn to the superfeminine realm of photography, specifically monochromatic flashbulb photography, which strikes me as paralleling the Clear Light of the Void to a degree of 'Hindu' purism nothing short of supernatural idealism, and compared to which even colour photography must seem like a naturalistic 'bovaryization' of Buddhist proportions, albeit still arguably preferable, from a supernatural point-of-view, to the Judaic 'bovaryization' of the Clear Light in monochromatic silent films. Be that as it may, there is no doubt in my mind that monochromatic photography is the root of Superheathen culture, and thus the superfeminine Hell from which have issued, in due devolutionary time, the subheavenly manifestations of the netherworldly Behind.