Summary
Published in 1985, "Simulcra and Simulation," is the work of French philospher Jean Baudrillard in which he describes a world dominated by mass media, images, and symbols. In this world of hyperreality, the line between true and false is blurred to the point where truth ceases to exist. Utilizing an extended metaphor of a map and its territory, Baudrillard illustrates how it is not longer necessary to have discovered a territory before creating its map. Instead, there is a loss of abstraction as the lines between the map and the territory are blurred. The "real" is thus produced through models of control that can be reproduced indefinitely while defying natural laws such as scope and depth. This altered state of real is then dubbed as being "hyperreal." Baudrillard also explores the differences between representations and simulations, claiming that representations are the equivalent of their symbol and are thus real; whereas simulations completely absorb the representation and negate the symbol as having value, instead creating a new meaning. Baudrillard concludes that there is an increasing concern regarding simulations and their effects, for the lines between real and hyperreal are blurred to the point where nothing is "real."
Inquiry:
According to Baudrilard, in the realm of the hyperreal everything is accounted for as all solutions are calculated and nothing is ever given the chance to develop naturally. This calculated nature is reflected in our impatience of the unknown and now that we are armed with the capability to shape the future nothing happens solely because of fate. As we are capable of controlling our own destiny, we are now able to change the things we don't like about ourselves. For examples, take the recent new media phenomenon of editing photos, specifically altering our bodies in photos. Magazine covers feature individuals who merely possess the framework of the "perfect," person, who is consequently stretched, shrunk, buffed, and shined to perfection. While the model is a real person, the image that we see belongs to the realm of the "hyperreal," in that it was created in a world controlled by an infinite number of combinatorial models that mix and match to create the "perfect" body that we see.
Points to Ponder:
Continue Reading
Published in 1985, "Simulcra and Simulation," is the work of French philospher Jean Baudrillard in which he describes a world dominated by mass media, images, and symbols. In this world of hyperreality, the line between true and false is blurred to the point where truth ceases to exist. Utilizing an extended metaphor of a map and its territory, Baudrillard illustrates how it is not longer necessary to have discovered a territory before creating its map. Instead, there is a loss of abstraction as the lines between the map and the territory are blurred. The "real" is thus produced through models of control that can be reproduced indefinitely while defying natural laws such as scope and depth. This altered state of real is then dubbed as being "hyperreal." Baudrillard also explores the differences between representations and simulations, claiming that representations are the equivalent of their symbol and are thus real; whereas simulations completely absorb the representation and negate the symbol as having value, instead creating a new meaning. Baudrillard concludes that there is an increasing concern regarding simulations and their effects, for the lines between real and hyperreal are blurred to the point where nothing is "real."
Inquiry:
According to Baudrilard, in the realm of the hyperreal everything is accounted for as all solutions are calculated and nothing is ever given the chance to develop naturally. This calculated nature is reflected in our impatience of the unknown and now that we are armed with the capability to shape the future nothing happens solely because of fate. As we are capable of controlling our own destiny, we are now able to change the things we don't like about ourselves. For examples, take the recent new media phenomenon of editing photos, specifically altering our bodies in photos. Magazine covers feature individuals who merely possess the framework of the "perfect," person, who is consequently stretched, shrunk, buffed, and shined to perfection. While the model is a real person, the image that we see belongs to the realm of the "hyperreal," in that it was created in a world controlled by an infinite number of combinatorial models that mix and match to create the "perfect" body that we see.
Points to Ponder:
- Do we live in a hyperreal world? How much of what we see/experience is actually "real"?
- If all actions are calculated, has this created an increase in predictability?
- Businesses are now held more accountable for their creations because we expect their products to last longer. Who is held responsible when the system fails? How are we becoming increasingly dependent on corporations to fulfill our "real," expectations?
- Baudrillard utilizes the example of Disneyland in his "America," piece to show how it is a place of illusions, where happy endings do exist and dreams come true. In this land of hyperreal, Disneyland masks the reality of what the United States actually looks like, and presents us with an opportunity to go back to the pure American dream that never happened.
- Is anything in Disneyland actually "real," or is it entirely invested in the "hyperreal"?