{"id":6411,"date":"2005-09-19T07:30:00","date_gmt":"2005-09-19T07:30:00","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2005\/09\/19\/baudrillard-sim\/"},"modified":"2005-09-19T07:30:00","modified_gmt":"2005-09-19T07:30:00","slug":"baudrillard-sim","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2005\/09\/19\/baudrillard-sim\/","title":{"rendered":"Baudrillard – Simulacra and Simulation<\/i> (1981\/1994)"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>

Baudrillard begins by suggesting the impossibility of Borges’s exhaustive
\nmap, a precise cartography of the empire.  According to Baudrillard, such a
\nmap is no longer possible; the farcical project is rendered impossible because
\nof "the precession of simulacra," which we might take as an onslaught of
\nimages without immediate reference or "copies without originals."  If images
\nare referential, simulacra shroud the reference, resulting in what Baudrillard
\ncalls the hyperreal<\/i> as well as conditions giving rise to "the era of
\nsimulation [which] is inaugurated by a liquidation of all referentials" (2). 
\nHereafter, maps precede<\/i> territory (1); this applies to the medicalization of the
\nbody and anticipations of war-action as the trainings for each are staged
\nthrough elaborate and artificial simulations.  Also, Baudrillard works this
\ntheory on Disneyland, Watergate and God.<\/p>\n

<\/p>\n

In the first chapter, "The Precession of Simulacra," Baudrillard sets up a
\ntheoretical imbroglio<\/i> (17); subsequent chapters function as applications and
\ncases for trying our and further complicating and extrapolating these concepts.  Early on, Baudrillard works through challenging (often surprising) engagements with
\nreligion (5), ethnology (7), museumification of "our entire linear and
\naccumulative culture" (10).  He argues that "demuseumification" is just as
\nartificial as the ethnologist’s "pure form" project: "Repatriating it is nothing
\nbut a supplementary subterfuge, acting as if nothing had happened and indulging
\nin retrospective hallucination" (11).  Baudrillard is clear that we
\nhave moved outlived the society of the spectacle, outlasting "the specific kinds
\nof alienation and repression that [the spectacle] implied" (30). 
\nSpectacle, as I read it through Debord, acknowledges an excess of
\nrepresentation, of hypercirculating image-objects, much of which is
\napprehendable; comparably, simulacra are somehow sly or non-obvious, advancing
\nquietly and without exhibitive splendor paraded in the spectacle.<\/p>\n

On images, Baudrillard writes of four "successive phases": <\/p>\n

\nit is the reflection of a profound reality;
\nit masks and denatures a profound reality;
\nit masks the absence of a profound reality;
\nit has no relation to any reality whatsoever: it is its own pure simulacrum. (6)\n<\/p><\/blockquote>\n

Baudrillard is like a hop on a boogie-board: so much to try out (as much as
\nyou’re up for).  But I’ll note just a couple of things, then let the vague
\nreferents below serve as cues for a later date (these notes have got to be
\nreadable in perpetuity…er, next year, anyhow).  First, with simulacra and
\nsimulation, Baudrillard suggests a turn from persuasion to deterrence (29)
\n(this, in the section called "End of the panoptic system.") I need to think
\nthrough this turnabout a bit more–think about what this might mean for
\nrhetoric, what B. calls the "end of perspectival and panoptic space" (30). 
\nOne more: in "Clone Story," B. mentions scissiparity (96) (dict.com:
\nreproduction by fission). Just interesting, scissiparity<\/i>.<\/p>\n

Two quotations: "The only weapon of power, its only strategy against this
\ndefection, is to reinject the real and the referential everywhere, to persuade
\nus of the reality of the social, of the gravity of the economies and the
\nfinalities of production" (22).
\n"What is essential today is to evaluate this double challenge–the challenge of
\nthe masses to meaning and their silence (which is not at all passive
\nresistance)–the challenge to meaning that comes from the media and its
\nfascination" (84).<\/p>\n

Simvitees: Eisenstein (33), Loud family (27), McLuhan (30, 82) Rel. Benjamin and aura
\n(99), Neo<\/a><\/p>\n

Returns: museum (8), repatriation (11), proof in antis (19); network of
\nartificial signs (20), mapping and confinement (29), satellitization (33, 35),
\ninformation and the destruction of the social (81), soft technologies (101).<\/p>\n

With this installment of notes, I’m shifting phases…moving from what we’ve termed
\nnew media\/visualization groundwork to what’s next: Imagologies<\/i> (Taylor
\nand Saarinen), Picture Theory<\/i> (Mitchell), and Visual Display…<\/i> (Tufte).<\/p>\n

\nBarthes – The
\nPhotographic Message (1961)<\/a>
\nBarthes –
\nRhetoric of the Image (1964)<\/a>
\nBarthes – The
\nThird Meaning (1970)<\/a>
\nBenjamin – The
\nWork of Art in the Age of Mechanical Reproduction (1936)<\/a>
\nDebord –
\nSociety of the Spectacle<\/i> (1967\/1983)<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>Baudrillard begins by suggesting the impossibility of Borges’s exhaustive map, a precise cartography of the empire.  According to Baudrillard, such a map is no longer possible; the farcical project is rendered impossible because of "the precession of simulacra," which we might take as an onslaught of images without immediate reference or "copies without originals."  If…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[167],"tags":[464,466,331,467,469,468,465,462,433],"class_list":["post-6411","post","type-post","status-publish","format-standard","hentry","category-reading_notes","tag-baudrillard","tag-borges","tag-cartography","tag-clone","tag-reality","tag-reference","tag-simulation","tag-spectacle","tag-visuality"],"yoast_head":"\nBaudrillard - 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Now the phone's ringing off the hook and The Practice is on commercial break, so I have a spare minute to put one together.\u00a0\u00a0 We did birthday morning at B&N; could've gone to Borders, but, says D.,\u2026","rel":"","context":"In "Ground Swell"","block_context":{"text":"Ground Swell","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/ground_swell\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6372,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/08\/12\/for-reading\/","url_meta":{"origin":6411,"position":1},"title":"For Reading","author":"Derek Mueller","date":"August 12, 2005","format":false,"excerpt":"Here are the booklists for the two classes I'm taking this fall.\u00a0 I ordered many of them the other day (had several from the second list already on the office shelf).\u00a0 The second class (690) is an independent study, so I was thinking that it might be worthwhile to (semi)formalize\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":7038,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/09\/08\/rice-writing-ab\/","url_meta":{"origin":6411,"position":2},"title":"Rice, “Writing About Cool”","author":"Derek Mueller","date":"September 8, 2006","format":false,"excerpt":"Rice, Jeff. \"Writing About Cool: Teaching Hypertexts as Juxtaposition.\" Computers and Composition. 20 (2003) 221-236. 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