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18); he attempts an outline history of this phenomenon, from dada to the work of Bruce Nauman and Vito Acconci, in the first section of his text. , Cameron argues that discourses of the pastoral, the wilderness, and the sublime—focused on that organization of the natural world symbolized by the garden—offer a privileged set of determining coordinates for the American adjudication between nature and culture. The “savage garden,” then, encompasses the “ruin” and “failure” of these relations, the “co-existence [in it] of brutality and beauty,” and what Cameron proposes as a final equivalence between ecology and democracy—“really two different names,” he suggests, “ for the exact same thing” (p.

André Breton 28. Everything bad that happens happens because of a conscious, intelligent concerted ill-will. Antonin Artaud 29. I call “monster” all original inexhaustible beauty. QUOTATIONS ON ART AND CRIME FOR PAY FOR YOUR PLEASURE Percy Bysshe Shelley Alfred Jarry 25 30. The commitment to supreme evil is indeed connected with the commitment of supreme good. Georges Bataille 31. I do not understand laws. I have no moral sense. I am a brute. Arthur Rimbaud 32. We are a furious wind . . preparing the great spectacle of disaster, fire, decomposition.

The religious stance falters: anyone can be blissed-out after a day of spray painting, but it takes AJAX years on your knees. Ajax warrior—Doughboy malleable. 7 When I became interested in the double metaphor of Ajax—as cleanser and historical figure—it struck me as odd that a company would pick so disreputable a figure, a suicide, as its namesake. Did it suppose that most people wouldn’t be familiar with the literary figure and would respond solely to the snappy name? Was it because the concepts of hard work and stupidity are connected in the popular imagination, so that the name of a brute sparks the connection: hard worker—good job?