sachief
turn-ons
“The means at their disposal are symbolic iconographies, whose ultimate power lies in their firm grounding in popular taste and the innate traditions of the product” (Banham, "Vehicles of Desire," in a Critic Writes, p.6).
“HdM’s fixation on the cosmetic, on fastidious details, eye-catching materials and stunning facades” (Kipnis, “The Cunning of Cosmetics,” El Croquis, p. 22)
"...that the very concept ‘bad taste’ refers specifically to our age, and was not present in the past –at least in its actual form: this, therefore, would be the main aspect of any analysis of a kitsch phenomenology; once having recognized in it a sort of deviation, a sort of degeneration from what –like it or not- we should be able to consider as the ‘norm’ of man’s ethical and aesthetic attitude” (Dorfles, Kitsch: An Antology of Bad Taste, p.291).
“Camp is a certain mode of aestheticism…. That way, the way of Camp, is not in terms of beauty, but in terms of the degree of artifice, of stylization” (Sontag, “Notes on Camp,” in Against Interpretation and Other Essays, p.277).
“… his clients acquired the promise of happiness delivered through the therapeutics of aesthetic pleasure” (Lavin, Form Follows Libido, p. 70).
“… a scenario set within the house” (Garber, Sex and Real State, p. 91).
turn-ons
“The means at their disposal are symbolic iconographies, whose ultimate power lies in their firm grounding in popular taste and the innate traditions of the product” (Banham, "Vehicles of Desire," in a Critic Writes, p.6).
“HdM’s fixation on the cosmetic, on fastidious details, eye-catching materials and stunning facades” (Kipnis, “The Cunning of Cosmetics,” El Croquis, p. 22)
"...that the very concept ‘bad taste’ refers specifically to our age, and was not present in the past –at least in its actual form: this, therefore, would be the main aspect of any analysis of a kitsch phenomenology; once having recognized in it a sort of deviation, a sort of degeneration from what –like it or not- we should be able to consider as the ‘norm’ of man’s ethical and aesthetic attitude” (Dorfles, Kitsch: An Antology of Bad Taste, p.291).
“Camp is a certain mode of aestheticism…. That way, the way of Camp, is not in terms of beauty, but in terms of the degree of artifice, of stylization” (Sontag, “Notes on Camp,” in Against Interpretation and Other Essays, p.277).
“… his clients acquired the promise of happiness delivered through the therapeutics of aesthetic pleasure” (Lavin, Form Follows Libido, p. 70).
“… a scenario set within the house” (Garber, Sex and Real State, p. 91).