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She's there only to satisfy his sexual needs, whatever they may be. I want to suggest that the attention to the body as such -- the treatment of it as the be-all and end-all of existence, and the only thing at stake in a relationship -- is the source of modern art's perversion. Such pseudo-intimate physical acts -- fellatio, cunnilingus, anal intercourse, sadomasochistic use and abuse of genitals and breaststo name those that most interested the Marquis de Sade he also liked the smell of excrement -- nothing perverse was alien to him -- involve what Freud called regression to the polymorphous perversity of childhood, presumably more pleasurable than straightforward, socially approved genital intercourse because more "primitive," unrestrained, and above all narcissistic, that is, its inconsiderateness of the other, even indifference to the other's independent existence and individuality. And, implicitly, any penis-like object, so long as its wielder remains anonymous. It is a job, implicitly sanctioned by society, indeed, socially necessary, and often high-paying however looked down on.

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Without the poetic teasing texture of pubic hair, the vagina becomes just another hole to be plugged with a dildo.

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Intercourse was dirty and bad enough, but it had to be performed to carry on the family name. It affords an emotional hold on what would otherwise be a slippery slope. It's also implicitly the spectator's, suggesting that Mapplethorpe is not only showing off but willing to let any voyeuristic glance -- any eye with an erection -- penetrate him. But the fact of the matter is that the most celebrated voyeuristic work of the 20th century was made by a man. On the other hand, this pleasure in looking [scopophilia] becomes a perversion a if it is restricted exclusively to the genitals, or b if it is connected with the overriding of disgust as in the case of voyeurs or people who look at excretory functionsor c if, instead of being preparatory to the normal sexual aim, it supplants it. Unadulterated kitsch clearly seems to be socially and artistically dominant, and even to have usurped avant-garde aesthetics, suggesting that perversity has gone mainstream. In voyeurism looking is unreflective, shallow, passive -- mindless observation of a hypnotic object -- which means that it has no cognitive value, that is, it no longer triggers a cognitive, evaluative process.

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One could pay -- thus soothing one's superego -- a prostitute to perform, in a kind of ritualistic daze, all kinds of perverse acts that one could never pay one's wife enough to perform -- acts that she would regard as lewd, abnormal, obscene, bad, disgusting, unsavory, filthy, etc. Without the poetic teasing texture of pubic hair, the vagina becomes just another hole to be plugged with a dildo. A bald vagina is a vagina with no emotional edge, indeed, no emotional appeal, which is why prostitutes and female porno stars shave their vaginas. In fact, one can regard modern art as by and large the history of the representation of perversion. Such pseudo-intimate physical acts -- fellatio, cunnilingus, anal intercourse, sadomasochistic use and abuse of genitals and breaststo name those that most interested the Marquis de Sade he also liked the smell of excrement -- nothing perverse was alien to him -- involve what Freud called regression to the polymorphous perversity of childhood, presumably more pleasurable than straightforward, socially approved genital intercourse because more "primitive," unrestrained, and above all narcissistic, that is, its inconsiderateness of the other, even indifference to the other's independent existence and individuality. Unadulterated kitsch clearly seems to be socially and artistically dominant, and even to have usurped avant-garde aesthetics, suggesting that perversity has gone mainstream. This is why so much modern art is kitsch -- innovative, avant-garde kitsch, no doubt, but kitsch nonetheless.

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