Nietzschean Eternal Return

eternelle retour à Gaga

sensus communis

"We must [here] take sensus communis to mean the idea of a shared [by us all], ie, a power to judge that in reflecting takes account (a priori) in our thought of everyone else's way of presenting [something] in order as it were to compare our own judgment with human reason in others, and [thus] put ourselves in the position of everyone else...
(Immanuel Kant, Critique on the Judgment, 1790)

embrassez mon coeur.

other. in-between. border.

(Lady Gaga posing with a dildo in her pants, for Q Magazine photo shoot)

The determining male gaze projects its phantasy on to the female form which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness. Woman displayed as sexual object is the leit-motif of erotic spectacle: from pin-ups to striptease, from Zeigfeld to Busby Berkeley, she holds the look, plays to and signifies male desire.
(Mulvey, Laura, Visual Pleasure and Narrative Cinema, 1973)

reflexion

— what separates the woman with whom I have spent most of my life or my closest friends from others whose paths have crossed mine for shorter or more scattered times, Proust from Rex Stout, Moby-Dick from The Old Man and the Sea and Jaws, Manet from Magritte, is less the kind of feelings they inspire in me than their complexity and the long-term effect of our relationship. I don’t need to spend the rest of time with every beautiful person or thing I am aware of — and sometimes I resist any desire to do so — but if I do find something beautiful I do more than simply throw a glance in its direction and, like a bored museum visitor, move on to the next one down the line. Beautiful things require attention and, if only for a limited time, an attachment both deep and intense, to abandon them, like being abandoned by them, is always a source of pain.
(Alexander Nehamas Only a Promise of Happiness: The Place of Beauty in a World of Art 2007)

embodying the ugly

(Lady Gaga in Bad Romance, decked out in faux Polar bear fur coat, about to torch the man who bought her at auction, with a fire spurting bar.)

The poet makes use of the ugliness of forms: what use of this is granted to the painter? Painting, as an imitative faculty, can express ugliness: painting as a fine art cannot express it. In the first case all visible objects belong to it; in the second it includes only those visible objects that arouse pleasurable feelings [...]
The same holds for the ugliness of forms. This ugliness offends our eyes, clashes with our taste for order and harmony, arousing repugnance without our taking into account the real existence of the object we perceive as ugly. We should not like to see Thersytes, either in nature or in an image; and although his image displeases us less, this happens not because the ugliness of his form ceases to be ugly in an imitation, but because we possess the faculty of abstracting from ugliness, and we delight only in the painter's art. But even this delight is constantly interrupted by the reflection on how art has been badly employed, and seldom will this thought fail to bring with it the devaluation of the artist [...]
Lessing, Gotthold Ephraim, Laocoon (1766)

musical enjoyment

Rostropovich performing the Praleudium from the Bach Cello suite no. 5 in C minor.