There is the geological, arid, desert of the hot sun; the so-called "natural" desert, and there is the desert of semiological codes and signs, the so-called "cultural" desert, which is not at all the same as the "cultural wasteland" of Kulturpessimismus or standard critical theory. America is the land of media-consumer culture and semiology. The desert is a form of culture. The desert is America's secret truth, its destiny. "The desert is no longer a landscape," writes Baudrillard. "It is a pure form produced by the abstraction of all others” (1988:127). Inhabiting the desert of the semiotic hyperreal without possessing sufficient sensitivity to its properties of form, Americans instead worship at the altar of consumerism, work, and money. These preoccupations are not to be rejected – while retaining many of their existing qualities, they can all be transfigured into something better. In Symbolic Exchange and Death, Baudrillard wrote incisively about graffiti in the subways and on the walls of New York City as the insurrection of signs against the ruling order of messages and meanings (Baudrillard, 1993). The soundtrack has now changed:
Thus, Baudrillard's categories of simulation, implosion, andhyperreality combine to create an emergent postmodern condition thatrequires entirely new modes of theory and politics to chart andrespond to the novelties of the contemporary era. His style andwriting strategies are also implosive (i.e., working againstpreviously important distinctions), combining material from strikinglydifferent fields, studded with examples from the mass media andpopular culture in an innovative mode of postmodern theory that doesnot respect disciplinary boundaries. His writing attempts to itselfsimulate the new conditions, capturing its novelties through inventiveuse of language and theory. Such radical questioning of contemporarytheory and the need for new theoretical strategies are thuslegitimated for Baudrillard by the large extent of changes in thecurrent era.
Jean Baudrillard (2001). Impossible Exchange. London: Verso.
Paul Benedetti and Nancy DeHart [Editors] (1997). Forward Through the Rearview Mirror: Reflections On and By Marshall McLuhan. Cambridge, MIT Press.
A short essay analysing Jean Baudrillard's 'The ..
In his chapter “Utopia Achieved” Baudrillard makes significant claims about America as a country and a culture (and about Europe as a place and a way of thinking and living in the world), even if offered in the form of a cartoon – Mr. Europe meets Mr. America. What are the key claims made about America? What are the ones that strike you as most interesting, pressing, serious, or troubling?
and Other Essays’ by Jean Baudrillard
10 Aug 2012 In the latest essay of his series on Jean Baudrillard, Andrew of meaning and the reality-effect due to the precession of simulacra. Their hyperreality, their simulation of functions, neutralises the surrounding territory. People Simulations - Jean Baudrillard - Google Books One of the most influential essays of the 20th century, Simulations was put Few people at the time realized that Baudrillard's simulacrum itself wasn't a thing, Pillars #6. Simulacra and Simulation by Jean Baudrillard | CR 10 Feb 2016 Borrowing from William H. Gass's essay “50 Literary Pillars” (found in A Temple of Texts), I'm writing about books and authors that have been Simulacra and Simulation | ENTROPY 28 Oct 2014 Simulacra and Simulation by Jean Baudrillard Translated by Sheila Faria Glaser University of Michigan Press, 1994. Originally Published in Jean Baudrillard Jean Baudrillard has been referred to as "the high priest of postmodernism. are often used in discussing postmodernism in the arts: "simulation" and "the hyperreal. —it bears no relation to any reality whatever: it is its own pure simulacrum.