From Walter Benjamin’s Reflections:

ANTIQUES
Medallion. In everything that is with reason called beautiful, appearance has a paradoxical effect.

Fan. The following experience will be familiar: if one is in love, or just intensely preoccupied with another, his portrait will appear in almost every book. Moreover, he appears as both protagonist and antagonist. In stories, novels and novellas he is encountered in endless metamorphoses. And from this it follows that the faculty of imagination is the gift of interpolating into the infinitely small, of inventing, for every intensity, an extensiveness to contain its new, compressed fullness, in short, of receiving each image as if it were that of the folded fan, which only in spreading draws breath and flourishes, in its new expanse, the beloved features within it.

Relief. One is with the woman one loves, speaks with her. Then, weeks or months later, separated from her, one thinks again of what was talked of then. And now the motif seems banal, tawdry, shallow, and one realized that it was she alone, bending low over it with love, who shaded and sheltered it before us, so that the thought was alive in all its folds and crevices like a relief. Alone, as now, we see it lie flat, bereft of comfort and shadow, in the light of our knowledge.

From Jean Baudrillard’s Simulacra and Simulations:

The only weapon of power, its only strategy against this defection, is to reinject the real and the referential everywhere, to persuade us of the reality of the social, of the gravity of the economy and the finalities of production. To this end it prefers the discourse of crisis, but also—why not?—that of desire. “Take your desires for reality!” can be understood as the ultimate slogan of power since in a non-referential world, even the confusion of the reality principle and the principle of desire is less dangerous than contagious hyperreality. One remains among principles, and among those power is always in the right.