Usually we use the expression cyclic form as a technique of musical composition in which a theme occurs in more than one movement as a unifying device. But it is of course possible to study it in politics and especially in the framework of the Cold War. And for that neuropolitics is not necessary because even the deep structure is obvious after so many decades. But we have to avoid the very basic fragments. They have to be bigger to be relevant in strategy and history. The Soviet system was founded on this idea by default because it’s the only way to continue the creation of the same present in the future. So even when we thought that something was finished, we have to imagine that it’s possible to see it again and not only one time. Once we understand that, it’s useful to characterize some elements. Because we can find them on the battlefield. You have in this case to remember the technique used by musicians of wind instruments to produce a continuous tone without interruptions. This was indispensable to the US strategy along these decades to resist to the incessant attacks of the system of the Soviet Union and even after. That’s why polycyclicity is fundamental in this field.