Following his discussion of radical juxtaposition, Timothy Morton admits a point of concern. He warns: It is almost possible to show how any text could deliver a radical message… without accounting to properties of the text (p. 150). This concern extends to radical kitsch, but kitsch is typically not the kind of thing an artist aspires to create or would want his work to be read as. Indeed, kitsch is bad art, not even as aesthetic as camp. Kitsch is the unalloyed enjoyment of an object not normally considered aesthetic in a ‘high’ sense. (p.151) Arriving at radical kitsch begins with interrogating the object.
Asking questions about objects such as where did this come from? and where does this go? does ecological politics without relying on the abstract concept nature. But such materialism has its own pitfalls, and so Morton has another way of considering objects: sheer stuff. Sheer stuff is what is mass produced for the enjoyment of other people and not the objects crafted for our own use. My […]