Notes Introduction 1. ‘il ne suffit pas que les impressions soient reçues, il faut qu’elles soient fixées, enregistrées organiquement, incrustées; il faut qu’elles deviennent une modi- fication permanente de l’encéphale; il faut que les modifications imprimées aux cellules et aux filets nerveux et que les associations dynamiques que ces éléments forment entre eux restent stables.’ (Ribot, 1895, p. 156). 1 Yeats’s Revolving Gyres: A Metaphorical Language for the Modern Experience of Anarchism, Syndicalism, and Political Aesthetics 1. Subsequent references to the Bodley Head edition of Joyce’s Ulysses are given in parentheses within the text, indicating chapter and line numbers. 2 Social Myth, Material Reality, and the Aesthetico- Ideological Functions of Art 1. As Proudhon put it in Système de contradictions economique (1846), everything a man does is art, so that work and artistic creation become one process of transubstantiation of the material world into art; life, and the material world, are the raw material of artistic ‘production’: ‘L’art, c’est-à-dire la recherche du beau, la perfection du vrai, dans sa personne, dans sa femme et ses enfants, dans ses idées, ses discourse, ses actions, ses produits: telle est la dernière évolution du travailleur, la phase destinèe á fermer glorieusement la cercle de la nature. L’Esthétique, et au- dessus de l’esthétique la Morale, voilà la clef de voûte de l’édifice économique. L’ensemble de la pratique humaine, le progrès de la civilisation, les tendances de la société, témoignent de cette loi. Tout ce que fait l’homme, tout ce qu’il aime et qu’il hait, tout ce qui l’affecte et l’intéresse, devient pour lui matière d’art. 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