At the time, she had thought that only in the Communist world could such musical barbarism reign supreme. Abroad, she discovered that the transformation of music into noise was a planetary process by which mankind was entering the historical phase of total ugliness. The total ugliness to come had made itself felt first as omnipresent acoustical ugliness: cars, motorcycles, electric guitars, drills, loudspeakers, sirens. The omnipresence of visual ugliness would soon follow.
