“I think that cars today are almost the exact equivalent of the great Gothic cathedrals: I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object.”
“It is obvious that the new Citroen has fallen from the sky inasmuch as it appears at first sight as a superlative object. We must not forget that an object is the best messenger of a world above that of nature: one can easily see in an object at once a perfection and an absence of origin, a closure and a brilliance, a transformation of life into matter (matter is much more magical than life), and in a word a silence which belongs to the realm of fairy-tales.”
“The D.S. — the “Goddess” — has all the features (or at least the public is unanimous in attributing them to it at first sight) of one of those objects from another universe which have supplied fuel for the neomania of the eighteenth century and that of our own science-fiction: the Deesse is first and foremost a new Nautilus.”
“It is well known that smoothness is always an attribute of perfection because its opposite reveals a technical and typically human operation of assembling: Christ’s robe was seamless, just as the airships of science-fiction are made of unbroken metal. The D.S 19 has no pretensions about being as smooth as cake-icing, although its its general shape is very rounded; yet it is the dove-tailing of its sections which interest the public most: one keenly fingers the edges of the windows, one feels along the wide rubber grooves which link the back window to its metal surround.”
“There are in the D.S. the beginnings of a new phenomenology of assembling, as if one progressed from a world where elements are welded to a world where they are juxtaposed and hold together by sole virtue of their wondrous shape, which of course is meant to prepare one for the idea of a more benign Nature.”
“We are therefore dealing here with a humanized art, and it is possible that the Deesse marks a change in the mythology of cars. Until now, the ultimate in cars belonged rather to the bestiary of power; here it becomes at once more spiritual and more object-like, and despite some concessions to neomania (such as the empty steering wheel), it is now more homely, more attuned to this sublimation of the utensil which one also finds in the design of contemporary household equipment.”
“The dashboard looks more like the working surface of a modern kitchen than the control room of a factory; the slim panes of matt fluted metal, the small levers topped by a white ball, the very simple dials, the very discreetness of the nickel-work, all this signifies a kind of control exercised over motion rather than performance. One is obviously turning from an alchemy of speed to a relish in driving.”
“The public, it seems, has admirably divined the novelty of the themes which are suggested to it. Responding at first to the neologism (a whole publicity campaign had kept it on the alert for years), it tries very quickly to fall back on a behaviour which indicates adjustment and a readiness to use (“You’ve got to get used to it ”). In the exhibition halls, the car on show is explored with an intense, amorous studiousness: it is the great tactile phase of discovery, the moment when visual wonder is about to receive the reasoned assault of touch (for touch is the most demystifying of all senses, unlike sight, which is the most magical).”
“The bodywork, the lines of union are touched, the upholstery palpated, the seats tried, the doors caressed, the cushions fondled; before the wheel, one pretends to drive with one’s whole body. The object here is totally prostituted, appropriated: originating from the heaven of Metropolis , the Goddess is in a quarter of an hour mediatized, actualizing through this exorcism the very essence of petit-bourgeois advancement.”
By Geert Lovink. Few people know that Marshall McLuhan's first book, published in 1951, is completely devoted to the phenomenon of advertising. Although popular in the 1960s, The Mechanical Bride is difficult to obtain nowadays, in contrast to the Mythologies Roland Barthes wrote five years later. On the back cover of the 1973 Granada edition of Mythologies a blurb actually cites Barthes as the McLuhan of signs. ...and like McLuhan's most engaging book, The Mechanical Bride, Barthes''' Mythologies has its penetrating gusto. (Sunday Times'')...
In the new edition of the TLS (17 & 24 August 2012), Neil Badmington reviews Roland Barthes' Mythologies: The Complete Edition, in a New Translation, translated from the French by Richard Howard and Annette Lavers. Here is an extract: When I reviewed Barthes's Mourning Diary in the TLS (July 15, 2011), I identified inaccuracies in Howard's translation. There are more here. The first sentence of "Astrology" gives "three billion" for "trois cent milliards" (three hundred billion), for example, while the opening paragraph of "Toys" lacks any reference to Barthes's claim that "l'adulte français voit l'Enfant comme un autre lui-même" ("the French adult sees the Child as another self"). Meanwhile, "Ainsi sont réunis les chiffres de la légende et ceux de la modernité" ("Thus are united the ciphers of legend and those of modernity") somehow becomes "Every winning clue to both Legend and Modernity" in the piece on Abbé Pierre. New errors even bruise the reproduction of Lavers's "Myth Today", which Howard unfortunately calls "minutely exact" in his translator's note: a line from The German Ideology now refers to "historical vital progress" instead of "historical vital process"; there is a jarring reference to "a mystical schema", not "a mythical schema"; and paragraph breaks are altered.
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