One of the questions that has most bothered me in my reflections on culture is the question of kitsch. Just what is it? When did it begin? And why?
Roger ScrutonRead
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One of the questions that has most bothered me in my reflections on culture is the question of kitsch. Just what is it? When did it begin? And why?
18th century opera is packed with emotion, but contains not a trace of kitsch. Only with the 'thees' and 'thous' of Victorian poetry does the disease begin to grow in our poetic tradition.
Coincidences always happen if you keep your mind open, while storyboards remain the instruments of cowards who do not trust in their own imagination and who are slaves of a matrix If you get used to planning your shots based solely on aesthetics, you are never that far from kitsch.
The maker of kitsch does not create inferior art, he is not an incompetent or a bungler, he cannot be evaluated by aesthetic standards; rather, he is ethically depraved, a criminal willing radical evil. And since it is radical evil that is manifest here, evil per se, forming the absolute negative pole of every value-system, kitsch will always be evil, not just kitsch in art, but kitsch in every value-system that is not an imitation system.
No matter how much we scorn it, kitsch is an integral part of the human condition.
Before we are forgotten, we will be turned into kitsch. Kitsch is the stopover between being and oblivion.
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