"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
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!