Jean Baudrillard (/ˌboʊdriːˈɑːr/; French: [ʒɑ̃ bodʁijaʁ]; 27 July 1929 – 6 March 2007) was a French sociologist, philosopher, cultural theorist, political commentator, and photographer. His work is frequently associated with postmodernism and specifically post-structuralism.
Simulacra are copies that depict things that either had no reality to begin with, or that no longer have an original. Simulation is the imitation of the operation of a real-world process or system over time.
Simulacra and Simulation is most known for its discussion of symbols, signs, and how they relate to contemporaneity (simultaneous existences). Baudrillard claims that our current society has replaced all reality and meaning with symbols and signs, and that human experience is of a simulation of reality. Moreover, these simulacra are not merely mediations of reality, nor even deceptive mediations of reality; they are not based in a reality nor do they hide a reality, they simply hide that anything like reality is relevant to our current understanding of our lives. The simulacra that Baudrillard refers to are the significations and symbolism of culture and media thatconstruct perceived reality, the acquired understanding by which our lives and shared existence is and are rendered legible; Baudrillard believed that society has become so saturated with these simulacra and our lives so saturated with the constructs of society that all meaning was being rendered meaningless by being infinitely mutable. Baudrillard called this phenomenon the “precession of simulacra”.
“Simulacra and Simulation” breaks the sign-order into 4 stages:
- The first stage is a faithful image/copy, where we believe, and it may even be correct, that a sign is a “reflection of a profound reality” (pg 6), this is a good appearance, in what Baudrillard called “the sacramental order”.
- The second stage is perversion of reality, this is where we come to believe the sign to be an unfaithful copy, which “masks and denatures” reality as an “evil appearance—it is of the order of maleficence”. Here, signs and images do not faithfully reveal reality to us, but can hint at the existence of an obscure reality which the sign itself is incapable of encapsulating.
- The third stage masks the absence of a profound reality, where the simulacrum pretends to be a faithful copy, but it is a copy with no original. Signs and images claim to represent something real, but no representation is taking place and arbitrary images are merely suggested as things which they have no relationship to. Baudrillard calls this the “order of sorcery”, a regime of semantic algebra where all human meaning is conjured artificially to appear as a reference to the (increasingly) hermetic truth.
- The fourth stage is pure simulation, in which the simulacrum has no relationship to any reality whatsoever. Here, signs merely reflect other signs and any claim to reality on the part of images or signs is only of the order of other such claims. This is a regime of total equivalency, where cultural products need no longer even pretend to be real in a naïve sense, because the experiences of consumers’ lives are so predominantly artificial that even claims to reality are expected to be phrased in artificial, “hyperreal” terms. Any naïve pretension to reality as such is perceived as bereft of critical self-awareness, and thus as oversentimental.
Simulacra and Simulation identifies three types of simulacra and identifies each with a historical period:
- First order, associated with the premodern period, where representation is clearly an artificial placemarker for the real item. The uniqueness of objects and situations marks them as irreproducibly real and signification obviously gropes towards this reality.
- Second order, associated with the modernity of the Industrial Revolution, where distinctions between representation and reality break down due to the proliferation of mass-reproducible copies of items, turning them into commodities. The commodity’s ability to imitate reality threatens to replace the authority of the original version, because the copy is just as “real” as its prototype.
- Third order, associated with the postmodernity of Late Capitalism, where the simulacrum precedes the original and the distinction between reality and representation vanishes. There is only the simulacrum, and originality becomes a totally meaningless concept.
Baudrillard theorizes that the lack of distinctions between reality and simulacra originates in several phenomena:
- Contemporary media including television, film, print, and the Internet, which are responsible for blurring the line between products that are needed (in order to live a life) and products for which a need is created by commercial images.
- Exchange value, in which the value of goods is based on money (literally denominated fiat currency) rather than usefulness, and moreover usefulness comes to be quantified and defined in monetary terms in order to assist exchange.
- Multinational capitalism, which separates produced goods from the plants, minerals and other original materials and the processes (including the people and their cultural context) used to create them.
- Urbanization, which separates humans from the nonhuman world, and re-centres culture around productive throughput systems so large they cause alienation.
- Language and ideology, in which language increasingly becomes caught up in the production of power relations between social groups, especially when powerful groups institute themselves at least partly in monetary terms.
A specific analogy that Baudrillard uses is a fable derived from “On Exactitude in Science” by Jorge Luis Borges. In it, a great Empire created a map that was so detailed it was as large as the Empire itself. The actual map was expanded and destroyed as the Empire itself conquered or lost territory. When the Empire crumbled, all that was left was the map. In Baudrillard’s rendition, it is conversely the map that people live in, the simulation of reality where the people of Empire spend their lives ensuring their place in the representation is properly circumscribed and detailed by the map-makers; conversely, it is reality that is crumbling away from disuse.
- The transition from signs which dissimulate something to signs which dissimulate that there is nothing, marks the decisive turning point. The first implies a theology of truth and secrecy (to which the notion of ideology still belongs). The second inaugurates an age of simulacra and simulation, in which there is no longer any God to recognize his own, nor any last judgment to separate truth from false, the real from its artificial resurrection, since everything is already dead and risen in advance.
It is important to note that when Baudrillard refers to the “precession of simulacra” in Simulacra and Simulation, he is referring to the way simulacra have come to precede the real in the sense mentioned above, rather than to any succession of historical phases of the image. Referring to “On Exactitude in Science“, he argued that just as for contemporary society the simulated copy had superseded the original object, so, too, the map had come to precede the geographic territory (c.f. Map–territory relation), e.g. the first Gulf War(which Baudrillard later used as an object demonstration): the image of war preceded real war. War comes not when it is made by sovereign against sovereign (not when killing for attritive and strategic neutralisation purposes is authorised; nor even, properly spoken, when shots are fired); rather, war comes when society is generally convinced that it is coming.
- Henceforth, it is the map that precedes the territory—precession of simulacra—it is the map that engenders the territory and if we were to revive the fable today, it would be the territory whose shreds are slowly rotting across the map.
This is one of those subtle ironies that you normally miss in movies because in many cases video images like movies don’t necessarily spark reflection and thoughtfulness (conversation for another post).
If you’re like me you really enjoyed thinking about the philosophical implications in The Matrix. But one piece of irony that I just can’t let go of is in this scene in particular. Neo has a buyer of some kind of illegal thing at his door. In order to get to his secret stash Neo pulls a book from the shelves. This is where the irony comes in. The book that he pulls from the shelves is none other than Jean Baudrillard’s Simulacra and Simulation. What is so funny is he opens the book and its empty.
Baudrillard-or sometimes referred to as the “pimp of postmodernism”-explains that sign and symbol has has replaced reality and meaning so much so…
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