“The concept of spectacle unifies and explains a great diversity of apparent phenomena. The diversity and the contrasts are appearances of a socially organized appearance, the general truth of which must itself be recognized. Considered in its own terms, the spectacle is affirmation of appearance and affirmation of all human life, namely social life, as mere appearance.” ( Guy Debord)
Baudelaire: Sexualirty is the lyricism of the masses
Touch my rump! An angel touched my thigh and forever conscious of the rump and human body as fetish object, idealized or banalized, we cannot let it be without attributing affective force and immanent power where the false and divine squabble over the nature and origins of divine beauty or is it booty?
We are all members of the society of the spectacle, which is correlate with capitalist society. Warhol, who presciently called himself a business artist, was also a celebrity artist, that is, a servant of the society of the spectacle — an artist who, like it, preferred appearance to reality — who celebrated appearance at the expense of reality, indeed, used it to obscure and deny reality. The society of the spectacle is a postmodern society, in that it has given up on external as well as internal reality, treating both as codified appearances. It has given up on what psychoanalysts call reality testing. Modern art grappled with both realities, dialectically teasing out their inherent esthetics — the esthetics of their own dialectical relationship — which became its own reality. Postmodern art subsumes modern art — and reality, internal and external — by reproducing it as a cultural code: one among many, and thus of no special consequence. ( Donald Kuspit)
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