CYCLE FIVE
1. What can be deduced from the above
contentions is that whereas art will be most 'true' to itself when there is
most form and least content, as in apparent form, music will only be most
'true' to itself when there is most content and least form, as in essential
content.
2. Likewise, we can deduce that whereas
literature will be most 'true' to itself when there is most or, rather, more
(compared to most) form and less (compared to least) content, as in
quantitative form, sculpture will only be most 'true' to itself when there is
more (compared to most) content and less (compared to least) form, as in
qualitative content.
3. Art will accordingly be most 'true' to itself
in completely opposite fashion to music, and we can safely maintain that in
neither context will there be much evidence of 'molecular' relativity but,
rather, of 'elemental' absolutism such that smacks of contrary orders of
abstraction - the one with respect to appearance, the other with respect to
essence.
4. Literature will accordingly be most 'true' to
itself in completely opposite fashion to sculpture, and we can safely maintain
that in neither context will there be much evidence of 'elemental' absolutism
but, rather, of 'molecular' relativity such that smacks of contrary orders of
representation - the one with respect to quantity, the other with respect to
quality.
5. One could argue, in political terms, that
whereas the per se of art will be extreme left-wing, the per se of
music, by contrast, will be extreme right-wing, since we are dealing with an
elemental dichotomy between apparent form and essential content, as between
most form/least content and most content/least form.
6. Likewise, one could argue that whereas the per se
of literature will be left wing, the per se of sculpture, by contrast,
will be right wing, since we are dealing with a molecular dichotomy between
quantitative form and qualitative content, as between more (compared to most)
form/less (compared to least) content and more (compared to most) content/less
(compared to least) form.
7. In subatomic terms,
form is equivalent to particles and content to wavicles,
so that most form/least content is commensurate with most particles/least wavicles, while most content/least form is commensurate
with most wavicles/least particles.
8. Similarly, more (compared to most) form/less
(compared to least) content is commensurate with more particles/less wavicles, while more (compared to most) content/less
(compared to least) form is commensurate with more wavicles/less
particles.
9. Since art is in its per se
manifestation in most form/least content, it follows that, corresponding to
most particles/least wavicles, art is a scientific
mode of cultural creativity which will be 'once bovaryized'
in more (compared to most) form/less (compared to least) content, 'twice bovaryized' in less (compared to least) form/more (compared
to most) content, and 'thrice bovaryized' in least
form/most content.
10. These three 'bovaryized'
options are respectively political, economic, and religious subdivisions of
fiery metachemistry in relation to more (compared to
most) particles/less (compared to least) wavicles,
less (compared to least) particles/more (compared to most) wavicles,
and least particles/most wavicles within the photon-photino axis of space-time objectivity.
11. Since literature is in its per se
manifestation in more (compared to most) form/less (compared to least) content,
it follows that, corresponding to more (compared to most) particles/less
(compared to least) wavicles, literature is a
political mode of cultural creativity which will be 'once bovaryized'
in most form/least content, 'twice bovaryized' in
least form/most content, and 'thrice bovaryized' in
less (compared to least) form/more (compared to most) content.
12. These three 'bovaryized'
options are respectively scientific, religious, and economic subdivisions of
watery chemistry in relation to most particles/least wavicles,
least particles/most wavicles, and less (compared to
least) particles/more (compared to most) wavicles within
the electron-electrino (conventional) and/or
positron-positrino (radical) axis of volume-mass
objectivity.
13. Since sculpture is in its per se
manifestation in more (compared to most) content/less (compared to least) form,
it follows that, corresponding to more (compared to most) wavicles/less
(compared to least) particles, sculpture is an economic mode of cultural
creativity which will be 'once bovaryized' in most
content/least form, 'twice bovaryized' in least
content/most form, and 'thrice bovaryized' in less
(compared to least) content/more (compared to most) form.
14. These three 'bovaryized'
options are respectively religious, scientific, and political subdivisions of
vegetative physics in relation to most wavicles/least
particles, least wavicles/most particles, and less
(compared to least) wavicles/more (compared to most)
particles within the neutron-neutrino (conventional) and/or deuteron/deuterino (radical) axis of mass-volume subjectivity.
15. Since music is in its per se
manifestation in most content/least form, it follows that, corresponding to
most wavicles/least particles, music is a religious
mode of cultural creativity which will be 'once bovaryized'
in more (compared to most) content/less (compared to least) form, 'twice bovaryized' in less (compared to least) content/more
(compared to most) form, and 'thrice bovaryized' in
least content/most form.
16. These three 'bovaryized'
options are respectively economic, political, and scientific subdivisions of
airy metaphysics in relation to more (compared to most) wavicles/less
(compared to least) particles, less (compared to least) wavicles/more
(compared to most) particles, and least wavicles/most
particles within the proton-protino axis of
time-space subjectivity.
17. In brief, art ceases to be authentic in
proportion to the extent to which it departs science for politics, economics,
or religion, becoming progressively less authentic and/or more inauthentic the
further it moves from its elemental basis in apparent form.
18. Likewise, literature ceases to be authentic in
proportion to the extent to which it departs politics for science, religion, or
economics, becoming progressively less authentic and/or more inauthentic the
further it moves from its molecular basis in quantitative form.
19. Similarly, sculpture ceases to be authentic in
proportion to the extent to which it departs economics for religion, science,
or politics, becoming progressively less authentic and/or more inauthentic the
further it moves from its molecular basis in qualitative content.
20. Finally, music ceases to be authentic in
proportion to the extent to which it departs religion for economics, politics,
or science, becoming progressively less authentic and/or more inauthentic the
further it moves from its elemental basis in essential content.
21. Art that is non-scientific, in its departure
from apparent form, will be quasi-political, quasi-economic, or
quasi-religious, as the case may be.
22. Literature that is non-political, in its departure
from quantitative form, will be quasi-scientific, quasi-religious, or
quasi-economic, as the case may be.
23. Sculpture that is
non-economic, in its departure from qualitative content, will be
quasi-religious, quasi-scientific, or quasi-political, as the case may be.
24. Music that is non-religious, in its departure
from essential content, will be quasi-economic, quasi-political, or
quasi-scientific, as the case may be.
25. Art is the scientific art form par
excellence, in which fire is granted cultural illustration.
26. Literature is the political art form par
excellence, in which water is granted cultural illustration.
27. Sculpture is the economic art form par
excellence, in which vegetation (earth) is granted cultural illustration.
28. Music is the religious art form par
excellence, in which air is granted cultural illustration.
29. The artist relates to
the world, whether negatively or positively, from the standpoint of fire, and
thus in relation, principally, to ugliness and/or beauty.
30. The writer relates to
the world, whether negatively or positively, from the standpoint of water, and
thus in relation, principally, to weakness and/or strength.
31. The sculptor relates
to the world, whether negatively or positively, from the standpoint of
vegetation (earth), and thus in relation, principally, to ignorance and/or
knowledge.
32. The musician relates
to the world, whether negatively or positively, from the standpoint of air, and
thus in relation, principally, to falsity and/or truth.
33. The genuine artist is a kind of cultural Devil
(superfeminine-to-subfeminine) who, interpreting life
from the standpoint of fire, affirms the scientific perspective of apparent
form in relation to space-time objectivity.
34. The genuine writer is a kind of cultural woman
(upper-feminine-to-lower-feminine) who, interpreting life from the standpoint
of water, affirms the political perspective of quantitative form in relation to
volume-mass objectivity.
35. The genuine sculptor is a kind of cultural man
(lower-masculine-to-upper-masculine) who, interpreting life from the standpoint
of vegetation, affirms the economic perspective of qualitative content in
relation to mass-volume subjectivity.
36. The genuine musician is a kind of cultural God
(submasculine-to-supermasculine) who, interpreting
life from the standpoint of air, affirms the religious perspective of essential
content in relation to time-space subjectivity.
