Fetish Quotes (displaying: 1 - 27 of 27 quotes )
Walter had never liked cats. They'd seemed to him the sociopaths of the pet world, a species domesticated as an evil necessary for the control of rodents and subsequently fetishized the way unhappy countries fetishize their militaries, saluting the uniforms of killers as cat owners stroke their animals' lovely fur and forgive their claws and fangs. He'd never seen anything in a cat's face but simpering incuriosity and self-interest; you only had to tease one with a mouse-toy to see where it's true heart lay...cats were all about using people
A charge often levied against organic agriculture is that it is more philosophy than science. There's some truth to this indictment, if that it what it is, though why organic farmers should feel defensive about it is itself a mystery, a relic, perhaps, of our fetishism of science as the only credible tool with which to approach nature. ... The peasant rice farmer who introduces ducks and fish to his paddy may not understand all the symbiotic relationships he's put in play--that the ducks and fishes are feeding nitrogen to the rice and at the same time eating the pests. But the high yields of food from this ingenious polyculture are his to harvest even so.
Art is central to all our lives, not just the better-off and educated. . . I know that from my own story, and from the evidence of every child ever born? they all want to hear and to tell stories, to sing, to make music, to act out little dramas, to paint pictures, to make sculptures. This is born in and we breed it out. And then, when we have bred it out, we say that art is elitist, and at the same time we either fetishize art? the high prices, the jargon, the inaccessibility? or we ignore it. The truth is, artist or not, we are all born on the creative continuum, and that is a heritage and a birthright of all of our lives.
When the day comes that Tehran can announce its nuclear capability, every shred of international law will have been discarded. The mullahs have publicly sworn—to the United Nations and the European Union and the International Atomic Energy Agency—that they are not cheating. As they unmask their batteries, they will be jeering at the very idea of an 'international community.' How strange it is that those who usually fetishize the United Nations and its inspectors do not feel this shame more keenly.
Appalling numbers of youth have been led into a cynical ultra-sophisticated attitude which regards drinking as a badge of social aptitude, which makes a fetish of sport and professes eroticism as a way of life. A perverted and insane pictorial art, lewd exhibitionistic dancing and jungle music form the spiritual norm of this sector of America's youth.
Is a PLONGEUR'S work really necessary to civilization? We have a feeling that it must be 'honest' work, because it is hard and disagreeable, and we have made a sort of fetish of manual work. We see a man cutting down a tree, and we make sure that he is filling a social need, just because he uses his muscles; it does not occur to us that he may only be cutting down a beautiful tree to make room for a hideous statue. I believe it is the same with a PLONGEUR. He earns his bread in the sweat of his brow, but it does not follow that he is doing anything useful; he may be only supplying a luxury which, very often, is no luxury at all.
[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.
It is not a belly button. (The umbilicus serves, then withdraws, leaving but a single footprint where it stood: the navel, wrinkled and cupped, whorled and domed, blind and winking, bald and tufted, sweaty and powdered, kissed and bitten, waxed and fuzzy, bejeweled and ignored; reflecting as graphically as breasts, seeds or fetishes the omnipotent fertility in which Nature dangles her muddy feet, the navel looks in like a plugged keyhole to the center of our being, it is true, but O navel, though we salute your motionless maternity and the dreams that have gotten tangled in your lint, you are only a scar, after all; you are not it.)
Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured). Nothing more homogeneous than a pornographic photograph. It is always a naive photograph, without intention and without calculation. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract... A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material. The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom follows quickly). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me.
Another savage trait of our time is the disposition to talk about material substances instead of about ideas. The old civilisation talked about the sin of gluttony or excess. We talk about the Problem of Drink--as if drink could be a problem. When people have come to call the problem of human intemperance the Problem of Drink, and to talk about curing it by attacking the drink traffic, they have reached quite a dim stage of barbarism. The thing is an inverted form of fetish worship; it is no sillier to say that a bottle is a god than to say that a bottle is a devil. The people who talk about the curse of drink will probably progress down that dark hill. In a little while we shall have them calling the practice of wife-beating the Problem of Pokers; the habit of housebreaking will be called the Problem of the Skeleton-Key Trade; and for all I know they may try to prevent forgery by shutting up all the stationers' shops by Act of Parliament.
Within neo-colonial white supremacist capitalist patriarchy, the black male body continues to be perceived as an embodiment of bestial, violent, penis-as-weapon hypermasculine assertion. Psychohistories of white racism have always called attention to the tension between the construction of black male body as danger and the underlying eroticization that always then imagines that body as a location for transgressive pleasure. It has taken contemporary commodification of blackness to teach the world that this perceived threat, whether real or symbolic, can be diffused by a process of fetishization that renders the black masculine ‘menace’ feminine through a process of patriarchal objectification.
If a man can realize his divine nature with the help of an image, would it be right to call that a sin? Nor, even when he has passed that stage, should he call it an error. [...] man is not traveling from error to truth, but from truth to truth, from lower to higher truth. To him all the religions from the lowest fetishism to the highest absolutism, mean so many attempts of the human soul to grasp and realize the Infinite, each determined by the conditions of its birth and association, and each of these marks a stage of progress; and every soul is a young eagle soaring higher and higher, gathering more and more strength till it reaches the Glorious Sun.
Inasmuch as art preserves, with the promise of happiness, the memory of the goal that failed, it can enter, as a 'regulative idea,' the desperate struggle for changing the world. Against all fetishism of the productive forces, against the continued enslavement of individuals by the objective conditions (which remain those of domination), art represents the ultimate goal of all revolutions: the freedom and happiness of the individual.