A journey of fulfillment only attained by conscious thought to seek unconscious ecstasy.
The slow build of excitement…
Brought on by moments of imagined and real desires. The slow burn that starts with the engagement of your senses. Touch…
Taste…
Smell…
Sight…
Sound…
Every breath measured and catalogued. Every sound recorded & metered. The essence of personal fragrance that permeates the air. The decadent taste of passion… Your own or that of a lover. The energy that dances under your fingertips. The sight of slumberous desire… Proof of your endeavors.
The release… The explosion… The quaking…the trembling. The full immersion of mind and body, coalesced into one final earth shattering moment, that scatters your senses into infinite molecules of cosmic dust. Never to return.
John Galliano for Dior | 1998⠀ ——⠀ Galliano sought inspiration in the eccentric Italian socialite and patron of the arts, Marchesa Casati Stampa di Soncino, for his Spring/Summer 1998 Couture collection for Dior. This opera coat looks as if it was plucked straight out of Poiret’s atelier with it’s kimono silhouette and decadent nouveau embroidery and beading. ——⠀ #Dior #ChristianDior #Galliano #JohnGalliano #fashion #design #costume #glamour #decadence #90sfashion #couture #style #mode #moda #marchesacasati #poiret #artnouveau #velvet #history #fashionshow https://www.instagram.com/p/B63oCGDgIB4/?igshid=1gayw9rf7tdx3
A Very Short Fact: On this day in 1964, Time magazine published a review of Susan Sontag’s “Notes on Camp,” calling her “one of Manhattan’s brightest intellectuals.”
“Indeed, decadence has enjoyed a considerable afterlife in that over-the-top culture known as camp, which the critic Susan Sontag helpfully clarified as an ability to discriminate between inferior art and deliberately inferior art—‘the good taste of bad taste.’
That definition of camp should not be taken as a definition of decadence, although the camp sensibility does demonstrate the conflicted attitude toward modernity that we have identified with decadence. Our initial attempt to define decadence was etymological and historical, and that effort remains meaningful. But decadence is more than decline, decay, and degeneration, whether artistic, historical, or social. We need to keep those meanings in mind, certainly, while also keeping in mind a number of nuances and implications. Think of decadence as an ornate, highly artificial object that resembles nothing in nature, represented on a slide projected through an old-fashioned magic lantern, seen through a series of colored filters, each color representing a different aspect of decadence. The object, in other words, takes on a different coloration depending on the filter. One filter darkens the object and makes decadence look like pessimism; another gives it a luscious hue that makes it look like hedonism; a mottled, greenish filter turns the object rotten, suggesting degeneration; still another imparts a lavender glow and connotes, somehow, “the love that dare not speak its name” (the phrase Lord Alfred Douglas, Oscar Wilde’s lover, used to describe homosexuality). But whatever coloration decadence takes, it is typically the expression—the projection—of urban experience.” — From ‘Decadence: A Very Short Introduction’ by David Weir
“Decadence is the abandonment of standards and a levelling-down. It is the pursuit of the common in place of the striving to reach a higher level. Decadence is the wallowing in the transient. But perhaps most of all, on the individual level, decadence is lack of real character. Decadence elevates cleverness, ‘education’ and intellectual pretension over and above experience, courage and heroism. Decadence elevates self-indulgence above self-discipline. Decadence denigrates duty, honour and loyalty. Decadence affirms those things which those of weak character espouse - pacifism, peace, equality, 'harmony’, inter-racial 'love’. Decadence is materialistic - it mocks idealism, the numinous, and the profound, and in place of the aesthetic of beauty, it champions the ugly and the banal. Decadence is, fundamentally, a manifestation of what is weak, shallow, pretentious and vain. It is the philosophy, and the aesthetics, of the coward.”
1) Olivier Delville. Jean Delville, peintre, 1867-1953. Brussels: Laconti, 1984.
2) Jean-Hughes Piettre. Kalmakoff. [exhibition: l'ange de l'abîme, 1873-1955 et les peintres du Mir Iskousstva, 26/03 - 17/05/1986], Paris: Musée-galerie de la Seita
3) Geneviève Lacambre,… et al. Autour de Lévy-Dhurmer: visionnaires et intimistes en 1900. [exhibition: Grand Palais 04-05/1973. Lévy-Dhurmer, Aman-Jean, Albert Besnard, Le Sidaner, Henri Martin, E.R Ménard, E.Maxence, etc]
4) Helen Bieri, … et al. Léon Spilliaert : vertiges et visions. [exhibition: Fondation Neumann, Gingins, Suisse, du 6/06 - 15/09/2002] Paris: Somogy
5) Xavier Deryng. Boleslas Biegas. [Trianon de Bagatelle, Paris, 21/05 - 30/08/1992] Paris : Société historique et littéraire polonaise
(Σου)Ρεαλισμός, ρομαντισμός και ποδόσφαιρο Η βιοθεωρία του δόγματος «ο κόσμος να χαθεί, αρκεί να σωθώ εγώ, φαινόμενο βέβαια ανάξιο λόγου! Έχω βαρεθεί όλα αυτά τα χρόνια να αντιμετωπίζω το δίλημμα μεταξύ της πιο χυδαίας νεοφιλελεύθερης εκποίησης των πραγμάτων, και της σήψης και της παρακμής του παλαιότερου παραπαίοντος μοντέλου.Την εγωκρατία της καλοπέρασης και αφθονίας. “Αυτιστικοί” νέοι Σαββατάνθωποι, μαζί με την υπόλοιπη παρασιτική φούσκα της χώρας. Τώρα, είναι σαφές! (Σ.Κ)
(Su)Realism, #Romanticism and football The #theory of the #doctrine “let the #world be lost as long as I save #myself”, phenomenon certainly not worth mentioning! I’ve had enough over the #years confronting the #dilemma between the most vulgar neoliberal #decadence of things, and the #rot and #decay of older falter model. The #egocentricism of #well #being and #abundance.“Autistic” #Saturday #adults, along with the rest of the country’s parasitic #bubble. Now, it is #clear!
