CYCLE TEN

1. So long as sensuality predominates over sensibility, life will be dominated, in 'once-born' terms, by female criteria. Only the preponderance of sensibility over sensuality can make for a situation in which male criteria are hegemonic in due 're-born' terms.

2. The female is, by and large, more impersonal than personal in her overall stance before life, since she is characterized by objective tendencies to a greater extent than by subjective ones, and the objective favours the impersonal to a greater extent than the personal, albeit the latter still applies.

3. Climatic and environmental criteria, being fundamentally impersonal, are generally closer to the female aspect of life than to the male one, and it is for this reason that they tie-in with biological conditioning as a contributory factor to free will as opposed to natural determinism.

4. Urban societies are more the product of free will than of natural determinism, since they are characterized by impersonal factors to a greater extent than by personal ones, in view of their fundamentally objective character.

5. The female side of life is viciously competitive in the individualism of noumenal objectivity but virtuously competitive in the individualism of phenomenal objectivity, the former having a sartorial correlation with dresses and the latter with skirts.

6. The male side of life is viciously co-operative in the collectivism of phenomenal subjectivity but virtuously co-operative in the collectivism of noumenal subjectivity, the former having a sartorial correlation with trousers and the latter with zippersuits.

7. Universities, being impersonal institutions, are rooted in the individualism of noumenal objectivity, and are thus fundamentally viciously competitive.

8. Universities have more in common, at bottom, with the cosmic Universe than ever they do with karmic universalism, and are thus fundamentally evil (metachemical).

9. Many of the 'best minds' do not go to university, will not have a degree or a doctorate, and have never worn, nor are ever likely to wear, a 'cap and gown'.

10. A person who was highly literate would be unlikely also to consider himself highly numerate, since the one tends to marginalize the other, as, to all intents and purposes, do God and the Devil.

11. Numbers, being objectively impersonal, have more in common with magic than ever they do with mysticism. In fact, numbers are the chief tools of science, the means whereby it strives to comprehend and dominate matter.

12. That which, as religion, strives to liberate from matter ... uses words rather than numbers as its principal vehicle for the attainment of enlightenment, which, as holy persons will know, transcends even 'the word'.

13. Numbers end in the feminine, whereas words begin in the masculine, having their foundations, so to speak, in vegetative subjectivity.

14. That which is beyond evil and good is also, in some sense, beyond numbers, since numbers would tie one to the Devil ... of noumenal objectivity, and thus preclude one's liberation from matter to spirit.

15. When religion is pseudo and thus occult, based in ocular culture, it relies heavily on numbers, availing of them to bewitch and enslave the morally ignorant in the interests of hegemonic materialism.

16. A person who prides himself on being highly numerate could never be highly moral, much less highly literate. Rather, he is likely to be one who takes the Devil's dominion for granted, his soul aflame with fiery evil.

17. Evil is only in its per se, or most authentic, manifestation in cruelty, which is unequivocally fiery. In perversity it is quasi-watery, and hence 'once bovaryized'; in obscenity it is quasi-vegetative, and hence 'twice bovaryized'; and in depravity it is quasi-airy, and hence 'thrice bovaryized'.

18. Therefore evil is only in its per se manifestation scientifically, in science; for where its political, economic, and religious 'bovaryizations' are concerned, it is less purely evil in proportion as its fieriness is compromised by atomic subdivisions having a structural correlation with water, vegetation, and air, albeit from a necessarily fiery point of view.

19. Hence molecular-particle, molecular-wavicle, and elemental-wavicle 'bovaryizations', respectively, of what, in its per se manifestation, will have an elemental-particle structural integrity in which the metachemical element of the photon and/or photino of space-time objectivity reflects a condition of most particle/least wavicle in due scientific fashion.

20. Whatever the prevailing pattern of metachemical aspiration, the only result is to affirm the Devil's science, politics, economics, and religion, the latter of which, relying heavily on numbers, will be occult, and the object, in consequence, of depravity.

21. Where genuine or, at any rate, non-occult religion is concerned, it is better that the Devil's art form, viz. painting, should be 'taken over' and rendered accountable to a morally spiritual directive ... than be left to its own devices in unequivocally pagan terms, since that which one cannot get rid of must be bent to the service of truth, God, Heaven, etc., as a point of principle.

22. With the decline of religious control of art, following the decline of the religion which controlled it, it is inevitable that art will cease being the 'handmaiden of religion' and revert, instead, to itself, which is to say, to serving the Devil rather than God (no matter how paradoxically) in what amounts to a paganistic affirmation of fiery freedom in due noumenally objective fashion.

23. From having been bent away from its fiery appearance even to a depiction, necessarily symbolical, of airy essence, art, released from religious control, reverts to a condition of paganistic freedom which is commensurate with 'art-for-art's-sake' and an affirmation, in consequence, of the Devil's superfeminine, and hence super-unnatural/super-unconscious, rule.

24. This process attains to a veritable apotheosis with so-called abstract art, the pure materialism of which takes painting to the borders of the contemporary context of light art, whereby the Devil achieves a truly modern rather than simply decadent (in relation to painterly tradition) presentation, commensurate with an unequivocal expression of noumenal objectivity in the freest possible form of cultural barbarism.