If tragedy is an experience of hyperinvolvement, comedy is an experience of underinvolvement, of detachment.
Despite the illusion of giving understanding, what seeing through photographs really invites is an acquisitive relation to the world that nourishes aesthetic awareness and promotes emotional detachment.
Detachment is the prerogative of an elite; and as the dandy is the nineteenth century's surrogate for the aristocrat in matters ofculture, so Camp is the modern dandyism. Camp is the answer to the problem: how to be a dandy in the age of mass culture.
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