Incidentally, the refrigerator, unlike the emerald green wing back chair, did, in fact, exist. It was your typical white appliance, but with a black grid painted across the door. She was a conceptual artist. It was a concept piece. She called it Low-Rise. She said it was a comment on the commodification of culture. She said the grid was symbolic of media industries that subvert high culture when they make the bottom line their top priority, rather than the preservation of cerebral aesthetics. She said mass produced culture targets low, non-cerebral aesthetics because non-cerebral aesthetics are consumed on a scale that maximizes profit margins. She said the commodification of culture is a phenomenon that has reshaped the political economy. When he asked her about the political economy, she quoted Vincent Mosco: “It’s the social relations, and particularly the power relations, that mutually constitute the production, distribution, and consumption of resources.” She ran her hand over the black grid and told him that money was the root of all banality, not evil, and that the confusion was down to the fact that banality and evil had been in bed together since the first coin landed on the first collection plate of the first state-sponsored system of morality. Dogma, religious or political, is the coin-operated washing machine of the soul. Junk bonds, junk morality, junk food. Junk makes humanity the moron of the galaxy, she said.
*excerpt from the Omnibus Edition of Taxicab to Wichita and Bus Back to Omaha