It seems that Adolf Hitler invented inflatable doll, as an antidote to the spread of sexually transmitted diseases among his troops, and to strive to preserve the purity of the Aryan race. For these reasons, he ordered inflatable doll we know it, the one with the blonde hair and big breasts, but probably the bombing of the allied troops compromised its production and distribution.
I do not know if that story is true, but I like to believe it.
Like the main character in Massimiliano Parente’s novel The greatest artist in the world after Adolf Hitler (Strade Blu, Mondadori, 2014): an artist who achieves success by pure chance, at the age of forty, with a random gesture, even the day he decided to commit suicide and felt like a failure. Long story short, the story’s main character, Max Fontana, becomes famous immediately after destroying The origin you monde by Gustave Courbet exhibited at the Musée d’Orsay in Paris.
Max Fontana is convinced that the greatest artist in the world was Adolf Hitler himself, author of an endless series of performances, overwhelmingly embedded in real life, with a cyclopean and unattainable training potential. He envies the immense efficiency with delirious and grotesque results that unfold, one after the other, in the events that ruinously manages to produce in our time.
The point is not whether this story is true or false (people like the truth up to a certain point), but that this object exists and that it ‘enjoys’ excellent health, even today, at a time when access to far more satisfactory units is a common thing; and so that someone could have conceived it.
Well, let’s assume that this person is in fact the most abominable dictator that modern history has known, the great criminal genius.
So I wonder: was Adolf Hitler a designer? By doing an accurate analysis, I as a design historian can say that the basic requirements exist, but the fact is that the service provided to society was part of a larger and spooky project that involved all of humanity in those years. .
Yes, it’s true, our sins wonderfully outline the attitude we take toward society, and they are able to let us see how this will develop. They affect all individuals and all ages. In the seven deadly sins we find all our vital needs, whether physical or social, and it is undeniable that we put a quantity of energy into play, obliged every day to satisfy these needs with arrogance. In short, they are revealing. They represent an effective survey parameter, an excellent observation point for designers: each of us generally wants to own a particular thing, in large quantities, to the point that we are obsessed with it.
The whole reality of human nature derives from the concept vitality: not only for the newborn, but also for the fetus, such as. has a close relationship with the mother. However, it is a strictly material relationship that has nothing psychic about it: it is an original sexual charge, derived from the immediate skin-water relationship. The guideline on which some designers’ work involved in these trajectories, typically for the applications where units are generated for the service of our organism, refers to a perception of eroticism as a vital research, as a primary driving force and therefore intimate and intimate and not affected by any element bearing signs of vulgarity.
It seems that the forehead of the new millennium has given us a new, awaited opening of the question of whether the erotic game (finally) led to the female world.
Authorship film productions of the highest quality have been generated by women who, as directors, intend to create quite vulgar products, adapted to the wavelength of female sensitivities, and therefore able to make themselves bearers of beneficial and universal messages, such as acceptance, sharing, protection, interdependence and so on.
In 2012, an exhibition event titled “Kama, sex and design”with the intention of providing the question of Eros with a reflection path that can go beyond simple media stereotypes, in order to investigate “Even in a provocative way, in the ways, forms and strategies with which sexuality is incorporated into things and makes them an instrument of knowledge about the world. For those who design them, but also for those who use them. With the aim of trying to deal – from several points of view and with a plurality of possible interpretations – with one of the most bitter, but at the same time most repressed ghosts of the time..” (Silvia Annicchiarico, from the exhibition catalog).
The world off Sex toysfor example, it has undergone a supersonic acceleration that has produced gigantic system economies, precisely because of the woman’s entry into great pomp as a user: The latest example is the Sunnei homeware collection, which with its selection of light objects in smooth glass the forms of sensuality exalt to ornamentation.
In short, a cascade of objects that stimulate enjoyment, but above all curiosity. And you know, curiosity is the engine of our existence, and design is its armed arm.
Put on designer is a killer!
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