camp

1. to establish or pitch a camp:

   The army camped in the valley.

2. to live temporarily in or as if in a camp or outdoors, usually for recreation (often followed by out ):

   They camped by the stream for a week.

3. to reside or lodge somewhere temporarily or irregularly, especially in an apartment, room, etc.:

   They camped in our apartment whenever they came to town.

4. to settle down securely and comfortably; become ensconced:

   The kids camped on our porch until the rain stopped.

5. to take up a position stubbornly:

   They camped in front of the president's office.

A sukkah or succah (/ˈsʊkə/; Hebrew: סוכה [suˈka]; plural, סוכות[suˈkot] sukkot or sukkos or sukkoth, often translated as "booth") is a temporary hut constructed for use during the week-long Jewish festival of Sukkot. It is topped with branches and often well decorated with autumnal, harvest or Judaic themes.

(Wikpedia)

"Christopher Isherwood’s The World in the Evening written in 1954 features one of the earliest passages on Camp. Here religious art is quickly mentioned as an essential example of this sensibility. One of the characters says: “Baroque is largely camp about religion.” Although he also explicitly touches on queer culture, he does not completely succeed to define Camp. In the novel this is only a short fleeting
conversation topic.
Originating from the Italian theatrical word campeggiare, which means to stand out, the word Camp was used as a verb, adjective and noun in queer subcultures. 

Only in 1964 Susan Sontag would put Camp on the map and write her notes on Camp, which became maybe the most relevant written text on said subject to date. Although Camp still lacks a specific definition up until the present day, it is without a doubt a sensibility essential to queer culture. As we heard in today’s second reading,
homosexuals have been at the vanguard in the development of Camp taste. Camp becomes a playful outing as way of legitimization of the queer minority, now a self- appointed aristocracy of taste. " - Giovanni Pilato, La Predica (2022- 2023)

These notes on Jews and homosexuals by Susan Sontag (as mentioned by Giovanni Pilato) in the context of camping reminded me of the Jewish tradition of building a Sukkah. 

A tradition I engaged with every year as a child.

1699 engraving

Drawings and engravings depicting sukkot

 "Philologus Hebræo-Mixtus," Utrecht, 1657

 Aristocracy is a position vis-à-vis culture (as well as vis-à-vis power), and the history of Camp taste is part of the history of snob taste. But since no authentic aristocrats in the old sense exist today to sponsor special tastes, who is the bearer of this taste? Answer: an improvised self-elected class, mainly homosexuals, who constitute themselves as aristocrats of taste.

 The peculiar relation between Camp taste and homosexuality has to be explained. While It’s not true that Camp taste is homosexual taste, there is
no doubt a peculiar affinity and overlap. Not all liberals are Jews, but Jews have shown a peculiar affinity for liberal and reformist causes. So, not all
homosexuals have Camp taste. But homosexuals, by large, constitute the vanguard- and the most articulate audience – of Camp. (The Anthology is not frivolously chosen. Jews and
homosexuals are the outstanding creative
minorities in contemporary urban culture. The two
pioneering forces of modern stability are Jewish
moral seriousness and homosexual aestheticism
and irony.)
 The reason for the flourishing of the aristocratic posture among homosexuals also seems to parallel the Jewish case. For every sensibility is
self-serving to the group that promotes it. Jewish liberalism is a gesture of self-legitimization. So is Camp taste, which definitely has something
propagandistic about it. Needless to say, the propaganda operates in exactly the opposite direction. The Jews pinned their hopes for integration in society on promoting the moral sense. Homosexuals have pinned their integration into society on promoting the aesthetic sense. Camp is a solvent of morality. It neutralizes moral indignation, sponsors playfulness.
 Nevertheless, even though homosexuals have been its vanguard, camp taste is much more than homosexual taste. Obviously, its metaphor of life
as theater is peculiarly suited as a justification and projection of a certain aspect of the situation of homosexuals. (The Camp insistence on not being
“serious”, on playing, also connects with the homosexual’s desire to remain youthful.) Yet one feels that if homosexuals hadn’t more or less invented Camp, someone else would. For the aristocratic posture with relation to culture cannot die, though it may persist on is part of the history of snob taste. But since no authentic aristocrats in the old sense exist today to sponsor special tastes, who is the bearer of this

taste? Answer: an improvised self-elected class,
mainly homosexuals, who constitute themselves as aristocrats of taste.
 The peculiar relation between Camp taste and homosexuality has to be explained. While It’s not true that Camp taste is homosexual taste, there is
no doubt a peculiar affinity and overlap. Not all liberals are Jews, but Jews have shown a peculiar affinity for liberal and reformist causes. So, not all
homosexuals have Camp taste. But homosexuals, by large, constitute the vanguard- and the most articulate audience – of Camp. (The Anthology is not frivolously chosen. Jews and homosexuals are the outstanding creative
minorities in contemporary urban culture. The two pioneering forces of modern stability are Jewish moral seriousness and homosexual aestheticism and irony.)
 The reason for the flourishing of the aristocratic posture among homosexuals also seems to parallel the Jewish case. For every sensibility is
self-serving to the group that promotes it. Jewish liberalism is a gesture of self-legitimization. So is Camp taste, which definitely has something
propagandistic about it. Needless to say, the propaganda operates in exactly the opposite direction. The Jews pinned their hopes for integration in society on promoting the moral sense. Homosexuals have pinned their
integration into society on promoting the aesthetic
sense. Camp is a solvent of morality. It neutralizes
moral indignation, sponsors playfulness.
Nevertheless, even though homosexuals have been its vanguard, camp taste is much more than homosexual taste. Obviously, its metaphor of life
as theater is peculiarly suited as a justification and
projection of a certain aspect of the situation of
homosexuals. (The Camp insistence on not being
“serious”, on playing, also connects with the
homosexual’s desire to remain youthful.) Yet one
feels that if homosexuals hadn’t more or less
invented Camp, someone else would. For the
aristocratic posture with relation to culture cannot
die, though it may persist only in increasingly
arbitrary and ingenious ways. Camp is (to repeat) the relation to style in a time in which the adoption
of style -as such – has become altogether questionable. (In the modem era, each new style,
unless frankly anachronistic, has come on the
scene as an anti-style.) - Susan Sontag, Notes on Camp (1964)

1. to put or station (troops) in a camp; shelter.
2. Digital Technology. (in a video game)
   1. to hunt or search for (an enemy or item) by maintaining a position where it is known to spawn:

      There were a couple of us camping a notorious monster for rare dropped items.

   2. to hide or take cover in (a relatively safe play area), often as part of an ambush strategy for attacking other characters:

      Camp a choke point like the bridge, or just hide in the bushes with a sniper rifle and you’ll be the last man standing.

Camp, Camp, Camp!

Towards a radical manifesto on the act of breaking free from insitutionalized aesthetics

Tracy Emin - Everyone I Have Ever Slept With

Susan Sontag, Notes on Camp, 1964

After much digging, I finally found another piece of literature to piece these two linguistic meanings together; as seen here in the book Protest Camps, by Anna Feigenbaum, Fabian Frenzel,  and Patrick McCurdy (2013)

Excerpt from Protest Camps, Anna Feigenbaum, Fabian Frenzel, Patrick McCurdy (2013)

Protest camps are set up by activists as temporary homes to facilitate action for specific political ends and often also to prefigure alternative ways of life. – Catherine Eschle, Femininism in Protest Camps: Toward a 21st Century Feminist Democracy

Occupy mantra: ‘This is a process not a protest.’ And while it might not be a process defined by success and concrete accomplishments, it points toward the thirst that people have to be more involved in making the decisions that affect their lives. 

(https://commonslibrary.org/lessons-from-the-tents-what-protest-camps-can-teach-our-city/)

Banners at the moved Occupy London protest in Finsbury Square in the City of London

Protest camps are a highly visible feature of social movements’ activism across the world. They are spaces where people come together to imagine alternative worlds and articulate contentious politics, often in confrontation with the state. – Anna Feigenbaum, Fabian Frenzel, Patrick McCurdy, Protest Camps

Booklet with a how- to guide from Camp Walmadan: 

https://commonslibrary.org/wp-content/uploads/Camp-Walmadan-Booklet.pdf 

Occupy mantra: ‘This is a process not a protest.’ And while it might not be a process defined by success and concrete accomplishments, it points toward the thirst that people have to be more involved in making the decisions that affect their lives.