ODEM ODE

$0.1463
Market Cap $ 31.905 MM (#158)
24h Volume $ 4.816 K
Chg. 24h: 3.25%
Algo. score 3.5/5  (#163)
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ODEM News

@BrookingsEd @arneduncan This is why more than ever students...

@BrookingsEd @arneduncan This is why more than ever students need options! The ODEM platform is one solution. We ar… https://t.co/ObHtxbpaZ2

5 days ago

Susan Sontag’s 54-year-old essay on “camp” is essential reading in 2018

What do Swan Lake, Tiffany lamps, and “Broccoli” feauring Lil Yachty all have in common? Ostensibly, nothing. But a thread runs through them all: the cultural trope known as “camp.” Camp also happens to be the theme of the Metropolitan Museum of Art’s much-anticipated costume exhibition, the New York City museum announced this week. “Camp: Notes on Fashion” will be unveiled on May 6 at the annual Met Gala, an event underwritten by Gucci and led by Vogue editor-in-chief and Condé Nast artistic director Anna Wintour. The gala will be co-chaired this year by the singer and actress Lady Gaga, the tennis star Serena Williams, Gucci creative director Alessandro Michele, and singer Harry Styles (who recently posed in a very camp livestock-filled Gucci campaign). Andrew Bolton, head curator of the Met’s Costume Institute, will explore how the “camp sensibility” can be traced back to the French court under Louis XIV, who gathered the decorated Parisian nobility at Versailles. In that palace of high camp, “everything was pose and performance,” as Hamish Bowles puts it in Vogue. And Bolton told the New York Times that we live now in the midst of another camp explosion: “Whether it’s pop camp, queer camp, high camp or political camp—Trump is a very camp figure—I think it’s very timely.” The exhibition is inspired and informed largely by Susan Sontag’s brilliant 1964 essay, “Notes on ‘Camp,'” a treatise written over 50 years ago that managed to predict the bizarre features of today’s cultural scene to an uncanny degree. What is “camp,” anyhow? Let Susan Sontag explain The essence of Camp is its love of the unnatural: of artifice and exaggeration. This is probably most-cited definition of Camp in Sontag’s essay, and it is how she introduces her readers to the elusive “Camp sensibility.” Though in modern usage “camp” is often used as synonymous to “kitschy” or “flamboyant.” Sontag’s definition is far more nuanced. “Camp is esoteric,” she explains, “something of a private code, a badge of identity even, among small urban cliques... I am strongly drawn to Camp, and almost as strongly offended by it.” Sontag’s “random examples of items which are part of the canon of Camp” are illustrative of the aesthetic, and worth reading in full, but they include Tiffany lamps, “the old Flash Gordon comics,” Swan Lake, and “stag movies seen without lust.” Of Sontag’s 58 “jottings” on the topic, here are a few that feel especially useful today: 25. The hallmark of Camp is the spirit of extravagance. Camp is a woman walking around in a dress made of three million feathers. The little black dress is not particularly camp, unless it is marked as such in an ironic way, like this LBD by Virgil Abloh for Off-White, pre-Fall 2018. 24. When something is just bad (rather than Camp), it’s often because it is too mediocre in its ambition. The artist hasn’t attempted to do anything really outlandish. (“It’s too much,” “It’s too fantastic,” “It’s not to be believed,” are standard phrases of Camp enthusiasm.) 55. Camp taste is, above all, a mode of enjoyment, of appreciation—not judgment. Camp is generous. It wants to enjoy. 38. Camp is the consistently aesthetic experience of the world. It incarnates a victory of “style” over “content,” “aesthetics” over “morality,” of irony over tragedy. 41. The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to “the serious.” One can be serious about the frivolous, frivolous about the serious. Irony—the antithesis of seriousness—is a defining quality of camp. Above: an ironic shirt by Franco Moschino for Moschino, 1991. 27. What is extravagant in an inconsistent or an unpassionate way is not Camp. Neither can anything be Camp that does not seem to spring from an irrepressible, a virtually uncontrolled sensibility. Without passion, one gets pseudo-Camp-what is merely decorative, safe, in a word, chic. 58. The ultimate Camp statement: it’s good because it’s awful... Of course, one can’t always say that. Only under certain conditions. Camp can effectively combine high art and pop culture in a way that is not kitsch (which is simply awful). Left: Crayon-inspired “Rothola” dresses by Christian Francis Roth, 1990; Pop-Art stamped ensembles by Marc Jacobs, 2016. While Sontag is the main inspiration for the exhibit, the Met will not restrict itself entirely to her definitions. Failed seriousness is a major theme, but it’s important to note that not all examples of camp are supposed to be serious; indeed, as Bolton told the Times, “when [something] is ‘campy,’ it is more self-conscious, but we are going to look at both.” Is camp another way of saying “gay”? “[T]he history of Camp taste is part of the history of snob taste,” Sontag writes. “But since no authentic aristocrats in the old sense exist today to sponsor special tastes, who is the bearer of this taste?” What arose in the absence of true aristocrats, Sontag wrote in 1964, was “a

10 days ago

Odem, One of ICO Analytics' Top Project by ROI, Gains 5% in Otherwise Down Market

Odem has advanced 5% in the last 24 hours, making it one of the few gainers in an otherwise down market. In recent days, ICO Analytics updated its top-project list, which is based on ROI. Odem, whose market cap hovers just under $50 million, scored a listing alongside the likes of Holo, GoChain and IOST. Odem is among the sponsors of the upcoming Malta Blockchain summit, where the project’s CEO Richard Maaghul will be in attendance. (GT)

a month ago


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