BAUDRILLARD THE PRECESSION OF SIMULACRA PDF

Jean Baudrillard has been referred to as "the high priest of postmodernism. Examples include high fashion which is more beautiful than beauty , the news "sound bites" determine outcomes of political contests , and Disneyland see below. A "simulation" is a copy or imitation that substitutes for reality. Again, the TV speech of a political candidate, something staged entirely to be seen on TV, is a good example. A cynical person might say that the wedding now exists for many people in order for videos and photos to be made—having a "beautiful wedding" means that it looks good in the photos and videos!

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Jean Baudrillard has been referred to as "the high priest of postmodernism. Examples include high fashion which is more beautiful than beauty , the news "sound bites" determine outcomes of political contests , and Disneyland see below. A "simulation" is a copy or imitation that substitutes for reality. Again, the TV speech of a political candidate, something staged entirely to be seen on TV, is a good example.

A cynical person might say that the wedding now exists for many people in order for videos and photos to be made—having a "beautiful wedding" means that it looks good in the photos and videos! Baudrillard often writes in an exaggerated or hyperbolic style following his philosophical forefather Friedrich Nietzsche , so that it is hard to know whether he is serious or tongue-in-cheek.

Perhaps it does not matter! Brian Wallis New Museum , These would be the successive phases of the image:. In the first case, the image is a good appearance—the representation is of the order of sacrament. In the second, it is an evil appearance—of the order of malefice.

In the third, it plays at being an appearance—it is of the order of sorcery. In the fourth, it is no longer in the order of appearance at all, but of simulation. When the real no longer is what it used to be, nostalgia assumes its full meaning.

There is a proliferation of myths of origin and signs of reality: of secondhand truth, objectivity, and authenticity. There is an escalation of the true, of lived experience, a resurrection of the figurative where the object and substance have disappeared. And there is a panic-stricken production of the real and the referential, above and parallel to the panic of material production: this is how simulation appears in the phase that concerns us—a strategy of the real, neo-real, and hyperreal, whose universal double is a strategy of deterrence.

Disneyland is a perfect model of the entangled orders of simulation. This imaginary world is supposed to be what makes the operation successful. But what draws the crowds is undoubtedly much more the social microcosm, the miniaturized and religious reveling in real America, in its delights and drawbacks.

You park outside, queue up inside, and are totally abandoned at the exit. In this imaginary world the only phantasmagoria is in the inherent warmth and affection of the crowd, and in that sufficiently excessive number of gadgets used there specifically to maintain the multitudinous affect.

The contrast with the absolute solitude of the parking lot—a veritable concentration camp—is total…. Disneyland is there to conceal the fact that it is the "real" country, all of "real" America, which is Disneyland… Disneyland is presented as imaginary in order to make us believe that the rest is real, when in fact all of Los Angeles and the America surrounding it are no longer real, but of the order of the hyperreal and simulation.

Go and organize a fake holdup. Be sure to check that your weapons are harmless, and take the most trustworthy hostage, so that no life is in danger otherwise you risk committing an offense. Demand ransom, and arrange it so that the operation creates the greatest commotion possible—in brief, stay close to the "truth," so as to test the reaction of the apparatus to a perfect simulation.

Thus all holdups, hijacks, and the like are now as it were simulation holdups, in the sense that they are inscribed in advance in the decoding and orchestration rituals of the media, anticipated in their mode of presentation and possible consequences.

In brief, where they function as a set of signs dedicated exclusively to their recurrence as signs, and no longer to their "real" goal at all. Right at the very heart of news, history threatens to disappear. At the heart of hi-fi, music threatens to disappear. At the heart of experimentation, the object of science threatens to disappear. At the heart of pornography, sexuality threatens to disappear. Everywhere we find the same stereophonic effect, the same effect of absolute proximity to the real, the same effect of simulation.

By definition, this vanishing point, this point short of which history existed and music existed , cannot be pinned down. Where must stereo perfection end? The boundaries are constantly being pushed back because it is technical obsession which redraws them. Where must news reporting end? One can only counter this fascination with 'real time'—the equivalent of high fidelity—with a moral objection, and there is not much point in that.

Baudrillard has also written about our society's fascination with immediate images of violence and disaster soccer game riots, the Gulf War, the Waco shoot-out, etc. He says that in such cases, the spectacle is hyperreal--the depiction of violence sets the standard for the reality.

Even horrific disasters like Chernobyl or the Challenger explosion are, in Baudrillard's view, "mere holograms or simulacra. At times, however, Baudrillard adopts a less cynical position and envisions the masses' options for ironic and antagonistic resistance to the ongoing mediated spectacle of violence.

He speaks for instance about "an original strategy" of "subtle revenge" and a "refusal of will. Mark Poster, pp. This means that sometimes, Baudrillard downplays the ideological functions of the television industry and questions its control over the audience. It records itself, self-regulates itself and self-manages itself electronically. Self-ignition, self-seduction.

The group is eroticized and seduced through the immediate command that it receives from itself, self-management will thus soon be the universal work of each one, of each group, of each terminal. Self-seduction will become the norm of every electrified particle in networks or systems.

Questions for JB from CF : The question is, if this is the opposite of "Big Brother is Watching," what kind of value is there in a world in which we are all self-seducing and plugged into our own terminals? Is this a meaningful, liberated, democratic, creative, and valuable world?

Or is it its own nightmare inversion of Big Brother? Notice how different this picture is from McLuhan's optimistic idea of a happily united world in the new "global village.

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“The Precession of Simulacra” by Jean Baudrillard – a summary

The simulacrum is true. Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. The desert of the real itself. To dissimulate is to pretend not to have what one has.

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On “Simulacra and Simulations,” Jean Baudrillard

The simulacrum is true. Fucking truth bomb. Is that too much to handle? The lesson here is to be skeptical or be a dumbass.

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The simulacrum is true. Baudrillard theorizes that the lack of distinctions between reality and simulacra originates in several phenomena: [7]. It also also made me extra conscience of how to carefully dissect the misconceptions which drive the world of art. Is this an article please? Thanks a lot. Simulacra are copies that depict things that either had no original, or that no longer have an original. I have found researching simulacrum to be quite confusing but this clears it up.

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Post a Comment. One of the central concepts on which the ideas presented by Jean Baudrillard in "precession of simulacra" in Simulacra and Simulation , are built is that of simulation. Baudrillard developed his notion of symbolic trade to account for the manners in which we pe rceive and organize our world. Baudrillard identifies three orders of simulacra. The first order of simulacra is that which creates the real as distinguished from representation — the map, the novel and the painting are clearly an artificial representation of reality.

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