System Wallpaper Quotes

Take now the clockworks... The clockworks, being genuine and not much to look at, don't generate the drama of an Earth-tilt or a flying saucer, nor do they seem to offer any immediate panacea for humanity's fifty-seven varieties of heartburn. But suppose that you're one of those persons who feels trapped, to some degree, trapped matrimonially, occupationally, eductionally or geographically, or trapped in something larger than all those; trapped in a system, or what you might descrbie as an "incresingly deadening technocracy" or a "theater of paranoia and desperation" or something like that. Now, if you are one of those persons... wouldn't the very knowledge that there are clockworks ticking away behind the wallpaper of civilization, unbeknownst to leaders, organizers and managers (the President included), wouldn't that knowledge, suggesting as it does the possibility of unimaginable alternatives, wouldn't that knowledge be a bubble bath for your heart?

To have been part of a Pharaonic slave system that had at its apex a divine sun king led him to understand unreality as the greatest force in life. And his life was now, he felt, one monumental unreality, in which everything that did not matter—professional ambitions, the private pursuit of status, the colour of wallpaper, the size of an office or the matter of a dedicated car parking space—was vested with the greatest significance, and everything that did matter—pleasure, joy, friendship, love—was deemed somehow peripheral. It made for dullness mostly and weirdness generally.

How else could we identify another weirdo or outlier? These symbols intimated a belief system, a way of thinking not just about music but about school and friends and politics and society. It was also a way to separate yourself, to feel bold or try on boldness without yet possessing it. A little inkling of the nonconformist person you could be—you wanted to be—but weren’t quite ready to commit to. I papered my walls with band posters and what little I could find in mainstream magazines about alternative and punk, maybe a picture of Babes in Toyland from Spin or Fugazi from Option. The iconoclast images and iconography covered my room, a jarring contrast to the preppy blue-and-white-striped wallpaper I’d insisted on in elementary school. I resented the parts of myself that were late to adopt coolness, late to learn—I wanted to have always possessed a savviness and sophistication, even though I clearly had neither.

Choosing a religion, says philosopher Ernest Gellner, has become akin to choosing a wallpaper pattern or menu item—an area of life where it is considered acceptable to act on purely personal taste or feelings. Most people do not look to spirituality for an explanatory system to answer the cosmic questions of life. Instead they choose their spirituality based on what meets their emotional needs and helps them cope with personal issues, from losing weight to gaining self-confidence. But, when “serious issues are at stake” like making money or meeting medical needs, Gellner says, then people want solutions based on “real knowledge.”7 They want to know the tested outcomes of objective science and research.

OLD MARX He can’t think. London is damp, in every room someone coughs. He never did like winter. He rewrites past manuscripts time and again, without passion. The yellow paper is fragile as consumption. Why does life race stubbornly toward destruction? But spring returns in dreams, with snow that doesn’t speak in any known tongue. And where does love fit within his system? Where you find blue flowers. He despises anarchists, idealists bore him. He receives reports from Russia, far too detailed. The French grow rich. Poland is common and quiet. America never stops growing. Blood is everywhere, perhaps the wallpaper needs changing. He begins to suspect that poor humankind will always trudge across the old earth like the local lunatic shaking her fists at an unseen God.

Even as there are non-predatory prison workers and guards, the fact is that, structurally, guards and supervisors are dependent upon the practice and threat of sexual violation to divide and subdue the imprisoned population. While guards and supervisors themselves can use powers over the imprisoned for their own sexual power, especially male guards supervising females,[118] all guards and prison officials are part of what Parenti described as a thriving “sex chattel” system in which many men are made “female” sexual slaves, “punks” to other men.[119] In her essay for The New York Times, “Why We Let Prison Rape Go On,” and speaking as one previously imprisoned, Chandra Bozelko writes, “ultimately, prisons protect rape culture to protect themselves.” She adds, “rape persists, in other words, because it’s the cultural wallpaper of American correctional facilities.

My aunt's life was now practically confined to two adjoining rooms, in one of which she would rest in the afternoon while they, aired the other. They were rooms of that country order which (just as in certain climes whole tracts of air or ocean are illuminated or scented by myriads of protozoa which we cannot see) fascinate our sense of smell with the countless odours springing from their own special virtues, wisdom, habits, a whole secret system of life, invisible, superabundant and profoundly moral, which their atmosphere holds in solution; smells natural enough indeed, and coloured by circumstances as are those of the neighbouring countryside, but already humanised, domesticated, confined, an exquisite, skilful, limpid jelly, blending all the fruits of the season which have left the orchard for the store-room, smells changing with the year, but plenishing, domestic smells, which compensate for the sharpness of hoar frost with the sweet savour of warm bread, smells lazy and punctual as a village clock, roving smells, pious smells; rejoicing in a peace which brings only an increase of anxiety, and in a prosiness which serves as a deep source of poetry to the stranger who passes through their midst without having lived amongst them. The air of those rooms was saturated with the fine bouquet of a silence so nourishing, so succulent that I could not enter them without a sort of greedy enjoyment, particularly on those first mornings, chilly still, of the Easter holidays, when I could taste it more fully, because I had just arrived then at Combray: before I went in to wish my aunt good day I would be kept waiting a little time in the outer room, where the sun, a wintry sun still, had crept in to warm itself before the fire, lighted already between its two brick sides and plastering all the room and everything in it with a smell of soot, making the room like one of those great open hearths which one finds in the country, or one of the canopied mantelpieces in old castles under which one sits hoping that in the world outside it is raining or snowing, hoping almost for a catastrophic deluge to add the romance of shelter and security to the comfort of a snug retreat; I would turn to and fro between the prayer-desk and the stamped velvet armchairs, each one always draped in its crocheted antimacassar, while the fire, baking like a pie the appetising smells with which the air of the room, was thickly clotted, which the dewy and sunny freshness of the morning had already 'raised' and started to 'set,' puffed them and glazed them and fluted them and swelled them into an invisible though not impalpable country cake, an immense puff-pastry, in which, barely waiting to savour the crustier, more delicate, more respectable, but also drier smells of the cupboard, the chest-of-drawers, and the patterned wall-paper I always returned with an unconfessed gluttony to bury myself in the nondescript, resinous, dull, indigestible, and fruity smell of the flowered quilt.

The wallpaper with which the men of science have covered the world of reality is falling to tatters. The grand whorehouse which they have made of life requires no decoration. It is essential only that the drains function adequately. Beauty, that feline beauty which has us by the balls in America is finished. To fathom a new reality, it is first necessary to dismantle the drains. To lay open the gangrened ducts which compose the genitourinary system that supplies the excreta of art. The odor of the day is permanganate and formaldehyde. The drains are clogged with strangled embryos.