SR and particularly IT on a subject close to my heart, namely the joys of artificial fabrics. These are fascinating much in the same manner as nuclear power, only without the unpleasantness involving deformed children. The idea of creating a fabric ex nihilo, and rather than imitating the tactility and surface of nature, emphasising all the non-natural properties- static, unreal colour, sparking to the touch. The libidinal friction in aesthetic is best stated in Jarvis Cocker's lyrics from 1992-4, with their draylon curtains, bri-nylon underwear, pink quilted eiderdowns. And its no accident that the lubricious and machinic squelchings of Villalobos are on Perlon, a label named after the German variant of Nylon.
Along with their obvious potential for fetishism they do carry a politically utopian quality, though usually in a faintly tragic and clunky way. The Politburo of the old East Germany commissioned in the late 50s a special plastics caucus, as the egalitarian potentials of plastics were thought to be self-evident, leading to a torrent of plastic consumer goods- most famously the Trabant car, thought in the early 60s to be a great technological coup and then mocked for the next thirty years (though they can be seen cutely functioning, driven by Central European poseurs and impoverished). The objects collected in usually rather po-mo collections like Taschen's SED- Stunning Eastern Design are now hunted down in places like Berlin's Boxhagener Platz market, or reproduced for sale in tourist shops, desirable consumer goods from a society defeated because of its lack of same. But there's more of the real material thrill of the modern in such things than shelling out 90 euros for a silver Marianne Brandt lamp in the Bauhaus-Archiv up the road.
There was a reaction here against high Stalinism's chintz- as can be read in Archaeology of Socialism, Victor Buchli's study of the Narkomfin building, the struggle for socialist byt was in part a struggle against handicrafts and doilies and for the utopian pull of sachlich furnishings. See also the House of the Future by Alison and Peter Smithson, in which the impossible contours and colours of plastic form the basis of every part of the environment, from the toilets to the peculiar stockings worn by its men. Chemie des Alltags!