Another puzzle, that one. As soon as it reaches an audience, perhaps, but
not necessarily ab ovo. Camp in some way implies a _change_ of audience.
> -----Original Message-----
> From: Poetryetc: poetry and poetics [mailto:[log in to unmask]] On
> Behalf Of Mark Weiss
> Sent: 01 November 2007 17:59
> To: [log in to unmask]
> Subject: Re: sentimentality & 'classism'...
>
> So the object is kitsch ab ovum, but the perception that it's kitsch is
camp?
>
> At 12:56 PM 11/1/2007, you wrote:
> >That's an interesting point. The two seem to be 'terrible twins' as
hazards
> >for the creative imagination to deal with (though not necessarily to
avoid).
> >
> >All brows welcome, so long as they're sweaty!
> >
> >P
> >
> > > -----Original Message-----
> > > From: Poetryetc: poetry and poetics [mailto:[log in to unmask]]
On
> > > Behalf Of MC Ward
> > > Sent: 01 November 2007 01:07
> > > To: [log in to unmask]
> > > Subject: Re: sentimentality & 'classism'...
> > >
> > > Peter & Christopher,
> > >
> > > The key difference between kitsch and camp seems to me
> > > to be self-consciousness. Kitsch doesn't know it's
> > > kitsch, while camp not only knows what it is but
> > > craves it.
> > >
> > > And where does the middle-brow fit in with all this
> > > comparative discussion of high and popular culture?
> > >
> > >
> > > Mark,
> > >
> > > Your account of the Warhol auction was absolutely
> > > fascinating. I'm curious to know if anything by
> > > Basquiat featured in it and whether you might have
> > > classified it as "tag sale" stuff(?).
> > >
> > > Candice
> > >
> > > __________________________________________________
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