According to sociologist Andrew Ross, camp engages in a redefinition of cultural meaning through a juxtaposition of an outmoded past alongside that which is technologically, stylistically, and sartorially contemporary. Often characterized by the reappropriation of a "throwaway Pop aesthetic", camp works to intermingle the categories of "high" and "low" culture. Objects may become camp objects because of their historical association with a power now in decline. As opposed to kitsch, camp reappropriates culture in an ironic fashion, whereas kitsch is indelibly sincere. Additionally, kitsch may be seen as a quality of an object, while camp, "tends to refer to a subjective process". Those who identify objects as "camp" commemorate the distance mirrored in the process through which, "unexpected value can be located in some obscure or exorbitant object." The effect of camp's irony is problematic, insofar as the agents of cultural redefinition are often of upper- or middle-class standing who could, "afford, literally, to redefine the life of consumerism and material affluence as a life of spiritual poverty".