By Arthur Kroker
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Additional info for Panic Encyclopedia: The definitive guide to the postmodern scene
We're living in the holes of the surfaces and we've voided every intentionality but the will to believe that we're diverted. We all know that we're not, but we try to pretend that we are. We confront our inmost possibility in the ad and we wretch with a giggle. The ads are meant for us. They don't seduce us, beguile us, or belabor us. They show us who we already are and our response to them is our spirituality. Panic narcissism. That is the secret of camp. Plunge the probe into the void and make it ache, form its own vacuity.
2. While Sugar Plums Danced in Their Heads (1964) is a study of the monstrous double of sexual voyeurism. Here, the art dealer peers through the heads to discover the visions of erotica which are played out in the tubescent, cancerous growths. Sex is continuous, reflected in all the mirrors of the middle-class peep show, coded by Coors' beer, moving to the rhythm of the mutant growths in the bed. 3. The Back Seat Dodge '38 (1964) is also about sex as power in ruins: rape framed by the car, wired bodies, detrital beer bottles, a whole nostalgic technology of sex for a culture of flagging penises.
As many Edens as you please. And why even draw your own picture? The pictures are everywhere and each of them has a hole where you can fit. And nobody expects you to stay in any of them for too long. How long does it take to drink in a life? Don't worry. You don't stay in Disneyland forever. You're allowed to go to Kentucky Fried. The great inversion of capitalism has been accomplished, fantasia has captured calculation. The ad has been spiritualized. Capitalism exists to produce ads. " The commodity is like a little relic that you buy to take home with you so that you'll always have a piece of a church with you.