CYCLE TWENTY-ONE

1. To distinguish the metachemical antiform and anticontent of anti-art, descending in space-time materialism from most to least via more and less ugliness and hatred, from the metachemical form and content of art, ascending in space-time materialism from least to most via less and more beauty and love.

2. To distinguish the chemical antiform and anticontent of anti-literature, descending in volume-mass realism from most to least via more and less weakness and humility, from the chemical form and content of literature, ascending in volume-mass realism from least to most via less and more strength and pride.

3. Conversely, to distinguish the physical form and content of sculpture, ascending in mass-volume naturalism from least to most via less and more knowledge and pleasure, from the physical antiform and anticontent of anti-sculpture, descending in mass-volume naturalism from most to least via more and less ignorance and pain.

4. To distinguish the metaphysical form and content of music, ascending in time-space idealism from least to most via less and more truth and joy, from the metaphysical antiform and anticontent of anti-music, descending in time-space idealism from most to least via more and less falsity and woe.

5. Space-time materialism affords us, in view of its noumenal objectivity, a contrast between anti-art as primary and art as secondary, since anti-art is that which descends, in due particle-based fashion, from most to least via more and less antiform (ugliness) and anticontent (hatred).

6. Likewise volume-mass realism affords us, in view of its phenomenal objectivity, a contrast between anti-literature as primary and literature as secondary, since anti-literature is that which descends, in due particle-based fashion, from most to least via more and less antiform (weakness) and anticontent (humility).

7. Conversely mass-volume naturalism affords us, in view of its phenomenal subjectivity, a contrast between sculpture as primary and anti-sculpture as secondary, since sculpture is that which ascends, in due wavicle-centred vein, from least to most via less and more form (knowledge) and content (pleasure).

8. Likewise time-space idealism affords us, in view of its noumenal subjectivity, a contrast between music as primary and anti-music as secondary, since music is that which ascends, in due wavicle-centred vein, from least to most via less and more form (truth) and content (joy).

9. The domination of art and literature by anti-art and anti-literature is the objective counterpart to the liberation of sculpture and music from anti-sculpture and anti-music in due subjective vein.

10. Anti-art is never more ugly and hateful nor art less beautiful and lovely than in the scientific subdivisions of space-time materialism, while, conversely, anti-art is never less ugly and hateful nor art more beautiful and lovely than in the religious subdivisions thereof.

11. Likewise, anti-literature is never weaker and humbler nor literature stronger and prouder than in the scientific subdivisions of volume-mass realism, while, conversely, anti-literature is never less weak and humble nor literature more strong and proud than in the religious subdivisions thereof.

12. By contrast, sculpture is never less knowledgeable and pleasurable nor anti-sculpture more ignorant and painful than in the scientific subdivisions of mass-volume naturalism, while, conversely, sculpture is never more knowledgeable and pleasurable nor anti-sculpture less ignorant and painful than in the religious subdivisions thereof.

13. Similarly, music is never less true and joyful nor anti-music more false and woeful than in the scientific subdivisions of time-space idealism, while, conversely music is never more true and joyful nor anti-music less false and woeful than in the religious subdivisions thereof.

14. Since form and content are proportionate in both their negative and positive manifestations, we cannot claim that there will be more form and less content in art and literature, as against less form and more content in sculpture and music. On the contrary, all we can claim with any certainty is that the nature of form and content will differ from one art form to another, even as the type of form and content remains approximately constant within any given art form.

15. Hence we have to distinguish the apparent form and content of art, whether in its negative or its positive mode, from the quantitative form and content of literature, and further distinguish each of these objective art forms from the qualitative form and content of sculpture and, least but hardly subjectively least, the essential form and content of music.

16. Thus since the apparent form and content of art derives from its metachemical basis in materialism, we may hold that form and content in art will always be apparent, even as it undergoes proportionate modifications in keeping with a descent (if negative) from most to least via more and less ugliness and hatred, or an ascent (if positive) from least to most via less and more beauty and love - the former options primary and the latter ones secondary.

17. Likewise, since the quantitative form and content of literature derives from its chemical basis in realism, we may hold that form and content in literature will always be quantitative, even as it undergoes proportionate modifications in keeping with a descent (if negative) from most to least via more and less weakness and humility, or an ascent (if positive) from least to most via less and more strength and pride - the former options primary and the latter ones secondary.

18. Conversely, since the qualitative form and content of sculpture derives from its physical basis in naturalism, we may hold that form and content in sculpture will always be qualitative, even as it undergoes proportionate modifications in keeping with an ascent (if positive) from least to most via less and more knowledge and pleasure, or a descent (if negative) from most to least via more and less ignorance and pain - the former options primary and the latter ones secondary.

19. Likewise, since the essential form and content of music derives from its metaphysical basis in idealism, we may hold that form and content in music will always be essential, even as it undergoes proportionate modifications in keeping with an ascent (if positive) from least to most via less and more truth and joy, or a descent (if negative) from most to least via more and less falsity and woe - the former options primary and the latter ones secondary.

20. Where the objective axes are concerned, the primary elements and/or elementinos will be hegemonic in both the scientific (elemental-particle) and political (molecular-particle) subdivisions, but subordinate in both the economic (molecular-wavicle) and religious (elemental-wavicle) subdivisions, as a predominating particle (coupled to a 'subponderating' wavicle) ratio is superseded by a 'subdominating' particle (coupled to a preponderating wavicle) one.

21. Where, by contrast, the subjective axes are concerned, the primary elements and/or elementinos will be subordinate in both the scientific (elemental-particle) and political (molecular-particle) subdivisions, but hegemonic in both the economic (molecular-wavicle) and religious (elemental-wavicle) subdivisions, as a 'subponderating' wavicle (coupled to a predominating particle) ratio is superseded by a preponderating wavicle (coupled to a 'subdominating' particle) one.

22. Hence, in space-time materialism, evil devolves negatively from a hegemonic to a subordinate primary status and evolves positively from a subordinate to a hegemonic secondary status, as it passes through scientific, political, economic, and religious subdivisions of noumenal objectivity.

23. Hence, in volume-mass realism, goodness devolves negatively from a hegemonic to a subordinate primary status and evolves positively from a subordinate to a hegemonic secondary status, as it passes through scientific, political, economic, and religious subdivisions of phenomenal objectivity.

24. Hence, in mass-volume naturalism, folly evolves positively from a subordinate to a hegemonic primary status and devolves negatively from a hegemonic to a subordinate secondary status, as it passes through scientific, political, economic, and religious subdivisions of phenomenal subjectivity.

25. Hence, in time-space idealism, wisdom evolves positively from a subordinate to a hegemonic primary status and devolves negatively from a hegemonic to a subordinate secondary status, as it passes through scientific, political, economic, and religious subdivisions of noumenal subjectivity.