“But this will be the end of our civilisation, when people will not work because work has become so intolerable to their senses, it nauseates them too much, they would rather starve. Then we shall see the hammer used only for smashing, then we shall see it. Yet here we are—we have the opportunity to make beautiful factories, beautiful machine-houses—we have the opportunity—”
Women in Love (1920), D.H. Lawrence.
“He said there are only two great diseases in the world to-day—Bolshevism and Americanism; and Americanism is the worse of the two, because Bolshevism only smashes your house or your business or your skull, but Americanism smashes your soul.”
The Plumed Serpent, D. H. Lawrence.
“‘…is the patriotic appeal an appeal to the racial instinct? Is it not rather an appeal to the proprietory instinct, the commercial instinct? And isn’t this what we mean by nationality?'”
Women in Love, D. H. Lawrence.
Next month one of my pieces (A New World Disorder) will be at the Exuberant Politics Exhibition at The University of Iowa, a multi-site celebration of art, activism, and political feeling around the world.
“I use sine waves (sometimes called “pure tones”) as a kind of synecdoche for sound in general. I suggest that sine waves are prevalent in sound art because they function as a kind of zero degree, a reduction ad absurdum, of sound. Sine waves are free of harmonic overtones. So some like to believe they are free of other kinds of overtones too, social, political, historical. Some sound art proposes that if sine waves are pure and are the elementary particles of sound, then sound must be pure too. But sine waves have their own history, their own connotations, their own instruments, and conventions of use. Outside of the technicalities of harmonics, there’s nothing pure about sine waves.”
Seth Kim-Cohen at Ear Room