"During the period of composition of The Waste Land, throughout 1921 and early 1922, T. S. Eliot was attached to his gramophone much in the same way as Andy Warhol was later "married" to his movie camera, polaroid, and tape recorder.... While Warhol flaunted this dependence and a sense of kinship with the machine ("I've always wanted to be a machine"), Eliot concealed it, recoiling into interiority, religion, myth, and tradition. But for a brief moment, Eliot's writing, like Warhol's multimedia projects, was uneasily entangled in gadgets, circuits, media networks, and technologies of textual production and reproduction."
from T. S. Eliot's The Waste Land, the Gramophone, and the Modernist Discourse Network, by Juan Antonio Suarez New Literary History - Volume 32, Number 3, Summer 2001, pp. 747-768
"During the period of composition of The Waste Land, throughout 1921 and early 1922, T. S. Eliot was attached to his gramophone much in the same way as Andy Warhol was later "married" to his movie camera, polaroid, and tape recorder.... While Warhol flaunted this dependence and a sense of kinship with the machine ("I've always wanted to be a machine"), Eliot concealed it, recoiling into interiority, religion, myth, and tradition. But for a brief moment, Eliot's writing, like Warhol's multimedia projects, was uneasily entangled in gadgets, circuits, media networks, and technologies of textual production and reproduction."
ReplyDeletefrom T. S. Eliot's The Waste Land, the Gramophone, and the Modernist Discourse Network, by Juan Antonio Suarez
New Literary History - Volume 32, Number 3, Summer 2001, pp. 747-768
http://muse.jhu.edu/journals/new_literary_history/v032/32.3suarez.html
http://www.youtube.com/watch?v=eXsItbsr4o0
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