1. PRECURSORS OF PHOTOS. Drawings and paintings are, in effect, the precursors of monochromatic photos and colour photos respectively; which is to say, drawings and paintings are metaphysically aligned with the stellar in both its primary (light) and secondary (lightfire) manifestations, and are accordingly correlative of diabolic and demonic alternatives.


2. METAPHYSICAL RELATIONSHIP OF DRAWINGS TO PAINTINGS. One could argue that whereas drawings are, like black-and-white photos, superfeminine, paintings, like colour photos, are quasi-submasculine. Hence drawings stand to paintings as devils to demons, with, religiously, Hindu- and Buddhist-like implications ... as between the Clear Light of the Void (Space) and, for want of a better term, the Clear Fire of the Void, this latter the fiery core of a stellar star.


3. SUPERNATURAL VISIONS. Even older than drawings and paintings are sculptures and stained-glass windows, while more ancient again, though of analogous import, are supernatural visions, whether primary, and monochromatic, or secondary, and polychromatic. Yet such visions would be no better than diabolic (if monochromatic) and demonic (if polychromatic), since appertaining to pre-Judaic levels of spirituality, which have their basis in a negatively superconscious part of the psyche correlating with 'cosmic consciousness'.


4. SUBCONSCIOUS DREAMS. By contrast to supernatural visions, dreams would correspond to the subconscious, an altogether more solar-like part of the psyche with Judaic implications ... such as would suggest that whereas monochromatic dreams were Jehovah-like, polychromatic dreams have a Satanic correlation which more accords with the Clear Fire of Time than with, say, the Clear Light of Time, or the quasi-superfeminine light-aside, in this latter instance, to properly submasculine fire. Thus while colour dreams would correlate with the subdivine beast, their black-and-white counterparts would suggest to this thinker the likelihood of a warrior correlation, the former Davidian and the latter Mosaic. Like colour films vis--vis black-and-white films, colour dreams are more (sub)masculine than black-and-white ones, but both alike are naturalistic as opposed to idealistic ... unlike, by contrast, visions and photos.


5. MOLECULAR INTERMEDIARY. Also naturalistic in this solar-like sense of a Judaic/Communist plane, are carnivals and pageants, and it seems to me that whereas carnivals correlate with the quasi-superfeminine on account of their overly spectacular and therefore light-affirming nature, pageants have a submasculine correlation more Satanic (or Marxist) than Jehovahesque (or Leninist). Yet both of these would contrast not with visions, as do dreams, but with sculptures/stained-glass windows and drawings/paintings. In fact, I would argue for a distinction between carnivals/pageants and, further, parades/festivals, contending that the former would more exactly parallel sculptures/stained-glass windows and the latter ... drawings/paintings, as we move through the relative (molecular) towards a return to the absolute (elemental) in the form of a filmic antithesis, in both black-and-white and colour, to dreams, this latter effectively communistic where dreams would be Judaic, just as photos, their noumenal counterpart, are effectively fascistic where visions would be Hindu.


6. STELLAR/SOLAR PLANES. Certainly it helps to distinguish the alpha elemental from the omega or, rather, super-alpha elemental ... on the basis of a Hindu/Fascist distinction (subdivisible between primary and secondary options) where the stellar plane is concerned, reserving for the solar one underneath (also subdivisible between primary and secondary options) a Judaic/Communist distinction. Doubtless the molecular realms in between are rather more Christian and Parliamentary, or Catholic/Monarchist and Protestant/Liberal respectively, than Judaic/Communist or Hindu/Fascist, and I would hold that whereas carnivals/pageants are broadly monarchist and parades/festivals no less broadly liberal, sculptures/stained-glass windows are Catholic and drawings/paintings effectively Protestant, thereby aligning, relative to their molecular status, Monarchism and Liberalism with Judaism and Communism, but Catholicism and Protestantism with Hinduism and Fascism, so that we can speak of a progression or, more correctly in regard to these alpha parallels, regression ... from Judaism to Monarchism on the one hand, and from Liberalism to Communism on the other, that of the submasculine, while reserving for the superfeminine spectrum, so to speak, a devolutionary regression from Hinduism to Catholicism on the one hand, and from Protestantism to Fascism on the other hand.


7. FULL GAMUT. The 'Fascism' of photography vis--vis the 'Communism' of film. A contemporary Superheathen parallel to the 'Hinduism' of visions and the 'Judaism' of dreams. Likewise, intermediate between these elemental alpha-stemming extremes, one could speak of the 'Catholicism' of sculptures/stained-glass windows vis--vis the 'Monarchism' of carnivals/pageants on the one hand, but the 'Protestantism' of drawings/paintings vis--vis the 'Liberalism' of parades/festivals on the other hand.