"I must say, I'm fascinated by this theory of yours, Terry, that homosexuality corresponds to a pseudo-electron equivalent," the professor remarked, turning a pair of seemingly enlightened eyes in my direction.  "A kind of higher materialist petty-bourgeois sexuality."

      The professor's wife smiled deferentially through prim lips.  "And one that apparently compliments the higher spiritual petty-bourgeois sexuality of pornographic indulgence, which corresponds, by contrast, to a free-electron equivalent," she averred, showing herself to be no mean learner either.

      I nodded confirmatory encouragement and waited for one or other of them to continue.

      "A homosexual materialist and a pornographic spiritualist," the professor mused, smiling to himself.  "Why, one might alternatively expect homosexuality to appeal more to LSD trippers and pornography, by contrast, to the practitioners of transcendental meditation, seeing as one can distinguish, in each case, between a pseudo-electron and a free-electron indulgence!"

      The professor's wife cast me an admiring and vaguely expectant look.  "Then one ought to argue that anti-artists who produce a pseudo-electron literature would be partial to homosexuality, while their free-electron counterparts, the pure poets, would prefer pornographic sexuality," she remarked, as though it were an everyday occurrence.

      I nodded again, this time, however, in an attempt to express the most unequivocally tacit endorsement of the good lady's argument.

      "Well, if that's the case," the professor responded, turning towards his wife, "one ought to equate avant-garde classical music with a homosexual bias, since Terry tells us that such music conforms to a pseudo-electron status, while reserving for modern jazz an equation with a pornographic bias in view of the fact that it conforms, so we are told, to a free-electron status."

      The professor's wife smiled her guarded approval of this suggestion through newly moist lips.  "And one might just as well contend that avant-garde painting pertains, in its pseudo-electron status, to the homosexual side of things, in contrast to light art which, through its free-electron integrity, suggests an affinity with pornography."

      I nodded my affirmation of this further contention and remarked: "Yes, there is definitely a logical consistency about all this; though one shouldn't forget that in a relatively post-atomic civilization things are also relative within themselves, not just across the board with regard to, say, the distinction between avant-garde classical and modern jazz.  These two art forms are also relative - as between a steady rhythmic root and notational pitch expansions in the case of avant-garde classical, and between flexible rhythmic accompaniment and improvisatory pitch expansions in the case of modern jazz.  Although we can speak of the one as essentially a pseudo-electron equivalent and the other as a free-electron equivalent, there is a proton side to the first and a pseudo-electron, or neutron, side to the second, in accordance with their respective extreme relativities.  And the same of course applies to the distinction between avant-garde painting and light art, art forms which divide into sub-relativities between canvas and abstract painting in the context of, say, abstract expressionism, and between plastic tubing and neon lighting in the context of light art - in other words, between a subordinate materialistic and a dominating spiritualistic ingredient, the ratio of the one to the other varying with the type of art and/or artist in question.  Needless to say, each art form, whether painterly or post-painterly, is divisible, within relative civilization, into antithetical atomic biases, so that we can differentiate between pseudo-electron painting and free-electron painting in regard to abstract expressionism and abstract impressionism (more usually known as post-painterly abstraction), as well as between different types of light art, whilst at the same time acknowledging that, in the relativity of these things, avant-garde painting as a whole becomes a pseudo-electron equivalent in relation to light art as a whole, which we can have no hesitation in describing as a free-electron equivalent."

      The professor and his wife stared penetratingly into my face, as though at some art object, smiled their gratification for the privilege of receiving such esoteric information, and nodded what appeared to be simultaneous approval of my argument.

      However, I could only continue: "Coming back to sex, we will therefore note that both homosexuality and pornography are relative within themselves, the one materially so, with regard to the relationship of two male bodies, and the other spiritually so, with regard, as a rule, to either two photographed participants of different sex and/or to one participant of female sex whose body is either completely or partly on display, with particular reference to her cun ..., I mean, vagina.  Such is the way of things in an extreme relative civilization, like America.  However, this could not be the way of things in an absolute civilization, the kind of civilization that would stem from Social Transcendentalism, which we must equate with an absolutely free-electron equivalent.  Such transcendentalism is a stage beyond petty-bourgeois precedent, a development from the relatively free to the absolutely free.  This development will apply right across the board, as much in sex as in politics, religion, art, music, literature, science, or whatever.  Obviously there can be no place for pseudo-electron equivalents, and therefore no question of homosexuality being endorsed.  Free-electron sex will require that pornography becomes absolute - in other words, not given to petty-bourgeois relativity but elevated above both the simultaneous employment of two or more models in any given photograph and the all-round visual perspective which places undue emphasis on female beauty, even if such beauty is abstract.  No, the absolute pornography relevant to proletarian civilization will ensure that only one model is on view in any given photo and that this model, whether male or female, is displayed in a context which transcends sexist distinctions in a truly spiritualized unisexual absolutism.  No doubt, those with a materialist bias in their psyche, men who in a former age would have been if not practising homosexuals then at least wife-violators, would be given, in this ultimate civilization, the opportunity of selecting from the available pornographic material a computer disc which employed male juveniles of lawful age, while those with a spiritual bias in their psyche, men who in a former age would have bought relative pornography and/or encouraged their partners to fellate them, would be given the opportunity of selecting from computer discs which employed female juveniles of sufficient maturity in a variety of rump-biased postures.  Either way, this teenage-oriented pornography would be absolutely post-atomic, significant of an absolutely free-electron status, and therefore bearing little resemblance to the types of pornography germane to petty-bourgeois civilization.  It would be on the evolutionary level of social transcendentalism, pure poetry, pure music, abstract holography, and the wavicle theory of matter.  It would, in some sense, have transcended sex."

      Both the professor and his wife appeared quite astounded, their lips pursed and their heads gently shaking from side to side.  It seemed that this speculative declaration was too far above them to be properly intelligible or sympathetic to their manifestly petty-bourgeois mentalities, which, in any case, could only relate to magazines and the employment, therein, of adult models.  Probably they would forget all about it in due course!