Jean Baudrillard, the scholar and critic of postmodernity, struggled with questions of postmodern ontology: representation of the real through the semioticprocess of signification is threatened with the rise of simulacra, the simulated real. With this rise, seductive semiotic relationships between signs replace any traditional ontological representamen. This struggle has implications for environmentalism since the problems of contemporary environmental philosophy are rooted in problems with ontology. Hence the question of postmodern ecology: can the natural survive postmodern simulation? Baudrillard’s communicative (...) analysis of semiotic postmodernity can both support and extend ecosemiotic theses in response to these questions, questions that must be answered in order to explore our paradoxical understandings of the natural and confirm an understanding of environmentalism for postmodernity. In this paper I will argue for the merit of a semiotic understanding of postmodernity, develop the idea of ecology in this context, and then compare Baudrillard’s approach to the contemporary development of ecosemiotics. (shrink)

The extremely high level of simulated violence in certain recent video games has made some people uneasy. There is a concern that something is wrong with these violent games, but, since the violence is virtual rather than real, it is difficult to specify the nature of the wrongness. Since there is no proven causal connection between video-game violence and real violence, philosophical analysis can be particularly helpful in locating potential sources of wrongness in ultra-violent video games. To this end, this (...) paper analyzes video game violence through the lens of utilitarian, Kantian, and post-modern perspectives. Through these analyses, several explanations of the wrongness in violent video games emerge. (shrink)

Natural language plays a fundamental role in cognition and communication, but in the modern information society, language is increasingly used as a data transmission technology. The study of the problem of language power over thinking is a significant contribution to understanding the nature of language and its relationship with thinking. This article presents an analysis of the peculiarities of M. Foucault’s views on the problem of relationship between language and thinking. The author applies the elements of Foucault’s archaeological approach and (...) studies his concepts in connection with the ideas of other French thinkers. During the analysis, the author formulates her vision of the concepts of power and discourse. The first part of the article considers the understanding of natural language as a complex open sign system that interacts with the outside world and constantly accumulates elements of culture and creativity, from the point of view of philosophy and structural linguistics. The understanding of the division of language into separate discourses is explained. The presentation of the original methodology of Foucault’s language research explains what makes it possible to reveal the peculiarities of the historical development of discourse in the social aspect. Further, Foucault’s views on the role of language in obtaining knowledge and the formation of thinking are reflected, as well as an understanding of the relations of power that the philosopher notices in mental and speech activity of individuals. There follows J. Baudrillard’s criticism of Foucouldian concept of power and the process of language development in society. In conclusion, the author summarizes the analyzed views on power, development of language and thinking as well as Foucault’s understanding of language. (shrink)

The article discusses the forms and ways of the impact of modern digital media on people, groups, and society as a whole. The unilateral communication effect on a person is emphasized. The accent is made on the transmission model of information dissemination, taking into account the formation of its ritualized form. The author pays his particular attention to the status and role of an individual in interaction with mass media; provides arguments about the exclusion of a person from the communication (...) dimension. The activity of modern digital media structures is substantiated as social constructors of reality. The researcher shows the technological and visual possibilities of mass media in the creation of artificial, illusory simulated models of the world perceived by a person as objective, authentic, and real. Mass media are presented as an integral social institution of modern society, operating autonomously, based on its own rules and norms, technological and content principles, conditions of network communication, digitalization, and mediatization of society. The article presents the concepts of theoretical comprehension of mass media as a self-sufficient autopoietic system of N. Luhmann, and consideration of media communication implementation as a non-communication of J. Baudrillard. The author stresses the role of spectacle and visuality in the process of TV influence on the subjects, in the construction of images and models of the world, comparable with the already available information consumers pictures of the world. The contradictory and ambiguous conceptual assessments of the activity and influence of mass media on the modern man are emphasized. (shrink)

This article provides an analysis of the way in which contemporary forms of intelligence discourse, in similar fashion to political art, function by delimiting critical thought. The intelligence discourse critiqued is extolled through things such as progressive intelligence acquisition and the supposed indispensability of Democratic reason, amongst other qualities. In support of its argument, the article focusses specifically on Baudrillard’s analysis of the notion of the intelligence of evil, as well as on the Frankfurt School’s critique of massification. However, (...) the article also notes limitations in these thinkers’ recovery and defence of critical thought in response to the delimitation posed by intelligence and massification, and argues for Rosi Braidotti’s evaluation of thought as nomadic as a necessary corrective. (shrink)

This is the first serious intellectual biography of Guy Debord, prime mover of the Situationist International and author of _The Society of the Spectacle_, perhaps the seminal book of May 1968 in France. Anselm Jappe rejects recent attempts to set Debord up as a "postmodern" icon, arguing that he was a social theorist in the Hegelian-Marxist tradition—not a precursor of Jean Baudrillard but an heir of the young Georg Lukács of _History and Class Consciousness _. Neither hagiographical (...) nor sectarian, _Guy Debord_ places its subject squarely in his historical context: the politicizing Letterist and Situationist "anti-artists" who, in the European aftermath of World War II, sought to criticize and transcend the Surrealist legacy. The book offers a lively, critical, and unusually reliable account of Debord's "last avant-garde" on its way from radical bohemianism to revolutionary theory. Jappe also discusses Debord's films, which are largely inaccessible at present. This English language edition of the book has been revised by the author and features an updated critical bibliography of Debord and the Situationists. (shrink)

In this article, I compare the ways in which Baudrillard and Heidegger seek to bring attention to the importance of death for our personal existential situation which has now become repressed in conceptions of existence and society. Heidegger critiques public conceptions of death that serve to cover up its importance. Less well known is that, somewhat in parallel fashion, Baudrillard charts a ‘genealogy’ of the ‘extradition’ of the dead from the centre of the social and he claims that (...) we live currently in a death denying society. This reduces the meaning of our own impending deaths. However, unlike Heidegger, Baudrillard’s ‘genealogical’ critique of the exclusion of death in modern society is not a one-way dismissal because he proposes an alternative social role for death in the form of ‘primitive symbolic exchange’. (shrink)

This is the first serious intellectual biography of Guy Debord, prime mover of the Situationist International (1957-1972) and author of _The Society of the Spectacle_, perhaps the seminal book of May 1968 in France. Anselm Jappe rejects recent attempts to set Debord up as a "postmodern" icon, arguing that he was a social theorist in the Hegelian-Marxist tradition—not a precursor of Jean Baudrillard but an heir of the young Georg Lukács of _History and Class Consciousness _(1923). Neither (...) hagiographical nor sectarian, _Guy Debord_ places its subject squarely in his historical context: the politicizing Letterist and Situationist "anti-artists" who, in the European aftermath of World War II, sought to criticize and transcend the Surrealist legacy. The book offers a lively, critical, and unusually reliable account of Debord's "last avant-garde" on its way from radical bohemianism to revolutionary theory. Jappe also discusses Debord's films, which are largely inaccessible at present. This English language edition of the book has been revised by the author and features an updated critical bibliography of Debord and the Situationists. (shrink)

In this paper, I will focus on the nature of the modernity from the perspective of a «logical» square. On the basis of its vectorial orientation, I will show the value of Guy Debord’s work, according to which, undeniably, there is a need to articulate two core issues of our time: «How does a multitude turn into a class?» (Benjamin’s question) and «How does the individual become a subject?» (Althusser’s question). It is precisely the nexus between these questions that (...) allows us to draw the line between the modernity and the postmodernity. (shrink)

`The first and only book to explore, at once, the field of my work and its limits, with both the intimacy and distance required: doubling and shadowing. It gives me great pleasure to find something that, beyond commentary, sees what I see and at the same time what I am unable to see' - Jean Baudrillard Baudrillard is a controversial figure. His work tends to fascinate and infuriate readers in equal numbers. Yet there is no doubting his importance (...) to the key debates in culture and theory of the last ten years. A prolific author, readers sometimes find it difficult to tease out the consistencies in Baudrillard's arguments. This book seeks to redress the balance. It aims to go beyond his writings on consumer objects, the Gulf War and America, to identify the fundamental logic that underpins his writings. It does this through a series of close readings of his main texts, paying particular attention to the form and internal coherence of his arguments. The book contends that, just as Baudrillard himself grapples with the problems of how to criticize self-defining systems, so we cannot simply hold Baudrillard up against external standards but must seek to judge him on his own terms. Jean Baudrillard: A Defence of the Real will be an indispensable text for all those interested in social theory who want a general introduction to Baudrillard's work. (shrink)

Jean Baudrillard, the scholar and critic of postmodernity, struggled with questions of postmodern ontology: representation of the real through the semioticprocess of signification is threatened with the rise of simulacra, the simulated real. With this rise, seductive semiotic relationships between signs replace any traditional ontological representamen. This struggle has implications for environmentalism since the problems of contemporary environmental philosophy are rooted in problems with ontology. Hence the question of postmodern ecology: can the natural survive postmodern simulation? Baudrillard’s communicative (...) analysis of semiotic postmodernity can both support and extend ecosemiotic theses in response to these questions, questions that must be answered in order to explore our paradoxical understandings of the natural and confirm an understanding of environmentalism for postmodernity. In this paper I will argue for the merit of a semiotic understanding of postmodernity, develop the idea of ecology in this context, and then compare Baudrillard’s approach to the contemporary development of ecosemiotics. (shrink)

This is an expanded edition of the first comprehensive overview of the work of Jean Baudrillard, one of the most fascinating thinkers on the French intellectual scene. To the original selection of his writings from 1968 to 1985, this new edition adds examples of Baudrillard's work since that time. _Reviews of the First Edition_ "This is a good book, and the author of its selected writings, Jean Baudrillard, deserves only a share of the compliment. It is difficult (...) to introduce a difficult author, and Mark Poster has done a brilliant job. He has selected wisely from Baudrillard's writings.... More important, Poster has written what may be, pound for pound, the best introduction to a social theorist I have read.... Poster has somehow said everything the uninitiated needs to know before deciding to read Baudrillard."—_Contemporary Sociology_ "Following the lead of thinkers such as Foucault, Derrida, and Deleuze, Baudrillard engages in a task of pointing _away_ from any traditional sociological themes. His writings demand that one turn away from convenient or customary interpretations of society and, in the process, one is forced to use his or her imagination in new ways."—_Choice_ "Poster's Introduction presents what is probably as clear and intelligent an exposition of Baudrillard's ideas as you'll find anywhere."—_Philosophy and Literature_. (shrink)

Jean Baudrillard's apparently diverse oeuvre reveals a persistent attempt to think about what he calls the “object” (“that's what I was obsessed with from the start” – 1993a, p. 24). His first book was entitled Le Système des objets (1968), and in it he outlined a theory of the “object system”. He defined this as the conjunction of the system of commodities and the system of signs: what others have analyzed as the ontological process of reification and alienation became (...) according to Baudrillard a general semiological process which marked the last phase of alienated society. His next book La Société de consommation (1970) provided a general account of the affluent society in which consumption, not production, is its dominant mechanism. But by La Gauche divine (1985) he thought that even a consumerism characterized by alienation and spectacular consumption had given way to a new glacial, non spectacular form dominated by information technology and fractal culture (1985, p. 144) in which the significance of the “object” had been radically transformed. Thus Baudrillard's writings seem to chart the evolution of modernity into postmo dernity, indeed he has been called “the author of postmodern culture and society” (Kroker and Cook 1988). Although he draws on sociology, his most important philosophical influence is Nietzsche. In 1987 he published a short intellectual autobiography, L'Autre par lui‐même, perhaps the best short introduction to his work to that date. He claims no longer to adopt the tragic vision entailed in the critique of modernity but rather a melancholy – “let us be stoics” – attitude (1988b, p. 101). (shrink)

The article offers a critical but sympathetic reflection on the development of classical and post-classical French sociology. From Comte onwards, I suggest, the modern French treatment of the social has been preoccupied with socio-theological questions; and even with the radical deconstruction of any society-god, this continues to be the case. There are distinctive historical reasons for this (including the Catholic inheritance and an enduring legitimacy problem for the Republican state); but the significance of the issues raised by this intellectual tradition (...) as a result goes beyond the limits of national context. In an age of post-histoire and the `death' of everything, the `French' travails of social ontology, including the quasi-religious register in which these have occurred, have deep and continuing import for any would-be progressive social theory as such. We need to rethink the `we'. With such considerations in mind, the body of the article considers Comte's concept of Humanity and Baudrillard's `end of the social' as exemplifying key aspects of the beginning (reconstructive) and ending (deconstructive) phases of the French sociological story. What began as a detour in the `death of God', I argue, has terminated in a `second death of God' in which a replacement divinity and the rationalist faith associated with it have disintegrated and become impossible to think. But the logic of this development has not been straightforward. It is marked by a double paradox. An interrogation of Comte's `Humanity' reveals it to be a semi-conscious exercise in simulation, haunted by the implications of its own emptiness. On the one hand, then, the attempted religious founding founded nothing (it made a transcendent of its own intended re-socializing effects). On the other hand, as exemplified by Baudrillard's pronouncements about the end of the social, the moment of disintegration has itself seemed to offer a new socio-theological opening. Rather than mourn the anomic or hyper-real impossibility of a transcending `we', Baudrillard would shift terrain in a quasi-Nietzschean (or Bataillian) transvaluation. This implies (against Baudrillard himself) not the definitive end of the French `sociological' project, but the possibility of its continuation, albeit under erasure and in a new key. (shrink)

Jean Baudrillard, the misfit. Jean Baudrillard, who told us that the Gulf Warnever happened, who drew our attention to the perils of a civilization thatchoses to lead a virtual existence in an arena of images and simulacra - this isthe Baudrillard we are mostly familiar with. But Jean Baudrillard, thechampion of appearances? Baudrillard, more-feminist-than-the-feminists?This Baudrillard remains buried in the stacks of a prolific career spanningover forty years and involving some of the most radical systematicdeconstructions (...) of Western culture, society and politics. Baudrillard hasprimarily been heralded as an enemy of the world of images, the surfacesuperficiality of consumer culture; it stands as no surprise, then, that in mosttheoretical assessments of his work there is little mention of Seduction , a text aimed at restoring a great amount of value to the surface ofthings.1While apostles of Baudrillard such as Norman K. Denzin tend tooffer brief and, in this writer’s opinion, erroneous summaries of seduction’s‘potential of unmasking the order of appearances’ , Seduction hasyet to be understood as a praise for the world of appearances, play, andreversibility, as encouragement for the resistance of the orders of law certainty, and production. 2 In the following pages, I hope to introduce readers to a fascinating but often overlooked text of Baudrillard’s and, in doing so, to demonstrate that Baudrillard’s text offers a unique and yet unexplored insight into the dichotomous and contradictory nature of cinema - this medium which as an instrument of popular culture acts according to the modern logic of production, but as a form owes more to the transformative and playful semiology of the pre-modern. (shrink)

Kate Crawford presents AI as “both reflecting and producing social relations and understandings of the world”; or again, as “a form of exercising power, and a way of seeing… as a manifestation of highly organized capital backed by vast systems of extraction and logistics, with supply chains that wrap around the entire planet”. I interpret these material insights through a Marxist understanding of ideology, with reference to Marx/Engels, Guy Debord and Louis Althusser. In the German Ideology, Marx and Engels (...) present ideology as the alienated and alienating discourse of exchange, dissimulating the material forces of production and its science. Guy Debord presents the spectacle as the further representation of capital. The spectacle is a total Weltanschauung, pure appearance, where “whatever appears is good and where what is good, appears.” Above all, the spectacle is ideology, representing “the impoverishment, enslavement and negation of real life”. Louis Althusser presents ideology as essential for the reproduction of labor-power and capital. His notion of “interpellation” explains the subjective uptake of ideology, how we respond, “yes!” to its call. The algorithms of AI are enactments of surplus value generating capital as data. The AI data-world is the spectacle, “the autonomous movement of non-life” (Debord) where the proletariat/consumer is the producer of their own ideological subjection. Is resistance possible? What form might it take? And if AI is understood as ideology, i.e. as a language that obscures the true conditions of real life, then what are those true conditions? What is “real life”? (shrink)

ABSTRACTThough the Situationist International was a network connecting artists and theorists across Europe, scholars have mainly focused on its Paris branch. Guy Debord, its leading French member, has been cast as the undisputed author of situationist praxis and his ‘Rapport sur la construction des situation’ understood as the SI’s launching manifesto. By situating Debord’s ‘Rapport’ in its original context, this paper argues that the ‘Rapport’ should be seen less as an articulation of the SI’s aesthetic project than as (...) the conceptual basis for an incipient transnational co-operation between the movement’s branches. Engaging the thought of the Danish artist Asger Jorn, who organised the conference at which the ‘Rapport’ was first delivered, Debord started a conversation in which the non-French participants were invited to be critical interlocutors. Through their discussion, I suggest, these theorists and artists not only together brought the SI into existence as a continental formation but also, by moulding the ‘Rapport’s’ concepts to new ends, shaped its organisational praxis. I conclude by considering how this reading of the SI’s emergence recasts our understanding of later situationist developments and theory. (shrink)

The ethical commitment to democracy requires creating the public space for a rational discourse among real alternatives by the population. In this article, I argue that the Internet fails in this task on 2 fronts. Inspired by the work of Jean Baudrillard, the work argues that the Internet reinforces a structure of passive political agents through its 1-way form of communication. The Internet is designed to deliver political text, not engage the public in dialogue about the direction of collective (...) decision making. Furthermore, the ideal of democratic politics relies on the notion of the "commons" as a real space for political activity, debate, and exchange. Virtual space cannot provide a substitute. Democratic politics must have as its premises real bodies, confronting real problems, in real space. The article concludes by arguing that the Internet is a place filled with political artifacts, largely without discourse and dialogue. As such, it has the potential to undermine democratic practice. (shrink)

In The Society of the Spectacle, Debord describes the spectacle as a capitalist social formation that is at the same time reflective of the privileging of vision in the history of Western philosophy. This article highlights Debord’s appeal to the Hegelian-Marxist notion of reciprocal alienation in his discussion of how the spectacle invents the visual form. Reciprocal alienation produces a dialectical relation between concrete social activity and the spectacle, which I argue is key for understanding how the political (...) subject is represented in the hyper-spectacularized societies of the 21st century. (shrink)

The reemergence of the question of suicide in the medical context of physician-assisted suicide seems to me one of the most interesting and fertile facets of late modernity. Aside from the disruption which this issue may cause in the traditional juridical relationship between individuals and the state, it may also help to transform the dominant conception of subjectivity that has been erected upon modernity's medicalized order of death. To enhance this disruptive potential, I am going to examine the perspectives on (...) death offered by two contemporary writers: Zygmunt Bauman and Jean Baudrillard. Each of these writers recognizes the centrality of death to modern culture, as Heidegger did, but they also go beyond him in specifying the ways in which death maintains a presence in late modernity, despite efforts to conceal it. In particular, both of these writers recognize the important role that medicine has played in ordering the modern conception of death. After situating these two perspectives in relation to each other, and in relation to Heidegger, who will serve here as a sort of benchmark, I will return to the issue of suicide. Given the differences in their readings of the role that death and medicine play in modern culture, these post-Heideggerians take strikingly different positions on this issue. By engaging these perspectives, I intend not only to point out the tremendous potential which this issue holds for a fundamental rethinking of modern subjectivity, but also reveal some of the dangers that may beset any naive optimism about the right to die. (shrink)

This paper considers the place of education within our “consumers’ society”, beginning with Hannah Arendt’s account of the rise of consumerism to a position of political dominance and the resulting eclipse of public life. Connections are then made between Arendt’s account of this rise and Jean Baudrillard’s account of the postmodern proliferation of signs and the transformation of the sign into a commodity. This radical “semiurgy” accelerates into a self-referential series of signs which entails the loss of reality – (...) it contributes to the disappearance of the human subjectivity behind the creation of images. I argue that Baudrillard does not respond adequately to the dynamic that he describes so well. By contrast, Arendt’s concept of natality, I suggest, prepares the ground for a response to the forces of commodification that colonize the educational environment and threaten its critical possibilities. As youth and schools receive more and more attention from advertisers, students are sold by educational institutions to commercial interests who seek unfettered access to this “captive audience”. Yet education is profoundly compromised when youths are viewed as consumers and not as a social investment, when education is viewed merely as an opportunity to secure a new market. (shrink)

In the 1960s, Marshall McLuhan emerged as a guru of the emergent electronic media culture. His book Understanding Media (1964) was celebrated as providing key insights into the role of the media in contemporary society and McLuhan became one of the most discussed and debated theorists of the time. During the 1980s, Jean Baudrillard was promoted in certain circles as the new McLuhan, as the most advanced theorist of the media and society in the so-called postmodern era. His analysis (...) of a new, postmodern society rests on a key assumption that the media, simulations, and what he calls "cyberblitz" constitute a new realm of experience and a new stage of history and type of society. Both McLuhan and Baudrillard provide provocative theses on the role of the media and new technology in constituting the contemporary world. They provide important and influential models of the media as all-powerful and autonomous social forces that produce a wide range of effects. In this study, I first explicate McLuhan’s media theory and how it can be deployed to produce analyses of modernity and postmodernity that connect McLuhan’s work with Baudrillard. I then explore how McLuhan’s media theory shaped Baudrillard’s theory and the similarities and differences in their work. I lay out what I consider the important contributions of their work, but am also concerned to delineate the political implications of their media theory and to point to alternative theoretical and political perspectives on the media and the contemporary moment. (shrink)

Nihilizm stał się współcześnie jednym z charakterystycznych rysów kultury i filozofii. W wyniku zaszłych przemian jego rozumienie dalece jednak odbiega od dziewiętnastowiecznego zawołania Nietzschego: Gott ist tot. Nihilizm przestał być symbolem wyczerpania sensu, kresu metafizyki czy zaniku wartości. Jako nihilizm spełniony wyraża się w idei symulacji i symulakryzacji, słabego myślenia czy płynnej rzeczywistości. Dawne pojęcia i koncepcje metafizyki utraciły swoje znaczenia, a ich miejsce usiłują zajmować stanowiska wyrażające krytyczny namysł nad kondycją intelektualną i aksjologiczną współczesnego człowieka.

This paper analyzes the fecal metaphor utilized in the philosophies of Jean Baudrillard and Slavoj Zizek; and considers how the fecal metaphor explain social relations mediated by consumption and production. For both philosophers, the fecal metaphor exposes epistemological and practical processes latent in both biological and artificial production. Adding to their questions, Dominique LaPorte and his, 1978 History of Shit, couples civilization with the publicly legislated private containment of shit. This paper investigates the relevance of these metabolic metaphors of (...) consumption for design history and studies. I suggest that the metaphors offer a systematic approach to design consumption and prompt us to consider the role of material context in design production, as reality altering material conceptualizations. (shrink)

Since seminal essays like Adorno’s ‘The Culture Industry’ and Benjamin’s ‘The Work of Art in the Age of Mechanical Reproduction,’ the mass media has been of central concern for Critical Theory. Yet Critical Theorists have produced relatively little in the way of systematic analysis of the concrete institutions of mass communication. Early on, Habermas seemed to be headed in this direction, especially with the publication of The Structural Transformation of the Public Sphere. However, in Habermas’s later years, this concern is (...) eclipsed, on the one hand by an ideal theory of communication which says relatively little about non-ideal institutions that “systematically distort” communication, and on the other hand by an increasing focus on properly “political” institutions and the formal structure of law, exemplified by his later work Between Facts and Norms. In this essay, I will show how the colonization of public space by private interests, via technological media, remains sorely under-theorized in Habermas’s work, and that this is not just a peripheral oversight but a central problem that Habermas fails to resolve. I will then give some preliminary suggestions as to how one might expand and develop the critique of systematically distorted communication in more fruitful directions by developing the idea of a politics of meaning. My argument is located within the extensive discussion generated by the relatively recent translation of The Structural Transformation of the Public Sphere into English, which has produced many useful and important criticisms. (shrink)

Tekst nudi prikaz povijesne uloge masovnih medija u produkciji društva spektakla i njezinoj recentnijoj inačici, tzv. celebrity culture , koja u sve većoj mjeri određuje i karakterizira suvremeno društvo kasne postmoderne. Nakon uvodne kontekstualizacije ključnog problema, tekstom su obuhvaćene klasične teze Frankfurtske škole kritičke teorije društva, posvećene utjecajima masovnih medija u produkciji masovne kulture, kao i Situacionistička internacionala, odnosno Debordov koncept društva spektakla. Posljednji, centralni dio teksta, bavi se medijski potpomognutom spektakularizacijom suvremenog društva i pokušava odgovoriti na pitanje što su (...) razlozi i koji su interesi u pozadini takvog medijski konstruiranog svijeta.The article presents the historical role of mass media in the production of spectacle society and its recent version – the socalled celebrity culture, which characterizes late postmodern society. After the introductory part, which contextualized the main problem of the text, next chapters are dedicated to classical Frankfurt School theses that mass media influence the production of mass culture, as well as to Situationist International, and the concept of spectacle society by Guy Debord. The central part of the article deals with media supported spectacularization of contemporary society, and tries to discover the reasons and interests behind specific media constructions of the world. (shrink)

Gilles Deleuze's two-volume theory of film, _Cinema 1: The Movement-Image_ and _Cinema 2: The Time-Image_, have slowly been making an impact on Anglo-American film studies. The special issue of _Film-Philosophy_ on his work (vol. 5, 2001) and David Rodowick's excellent introduction, _Gilles Deleuze's Time Machine_ (1997), are just two signs, among many, of the growing interest in Deleuze's writings on cinema. His work has also inspired the Italian philosopher Giorgio Agamben to propose a new theory of film that significantly departs (...) from Deleuze. Agamben has developed a new theory of 'gestural cinema', arguing that '*the element of cinema is gesture and not image*'. [1] He has also argued that this new theory of gestural cinema means that cinema belongs, essentially, to the realm of ethics and politics, and not aesthetics. It is this new theory that I want to introduce. (shrink)

Integral to the modern paradigm of cultural critique is an entropic vision of the `completion' of modernity reaching from Heidegger and Adorno to Debord and Baudrillard. Are contemporary cultural developments to be grasped in terms of this `completion' or do we need a more open-ended account of capitalism and culture? The article examines two key aspects of contemporary culture, both tied to processes of aestheticization and commodification since the 18th century: the progression from the culture industry (Adorno) to (...) the aesthetic economy (Böhme), premised on the creation of aesthetic value in addition to use and exchange value; the progression from the `age of the world picture' (Heidegger) to culturalism, in which the culturalization of nature and history responds to the reduction of nature and history to standing reserves. (shrink)

The Pursuit of Existentialism explores how Existentialism has survived and how its key themes and concerns remain integral to continental philosophy today. The Pursuit of Existentialism places the creation of Existentialism - in the work of Sartre, Camus and Beauvoir - in its historical context, assessing how it drew on the work of Nietzsche and Kierkegaard. The book then goes on to focus on the complex heritage of post-Sartrean thinking from Heidegger to today. Theorists and schools covered include: Heidegger's infamous (...) critique of existentialism; (the dissident surrealists÷ from Bataille to Blanchot; feminist thinking from Arendt to Kristeva; postmodernist theorising from Baudrillard and Lyotard; psychoanalytic thinking from Lacan and Zizek; and deconstructive and political philosophy from Derrida and Badiou. (shrink)

The authors argue that Erving Goffman developed concepts that contribute to an understanding of historical changes in the construction of the self and enable us to see the new forms that self-construction is taking in a society driven by consumption, marketing, and media. These concepts include: commercial realism; dramatic scripting; hyper-ritualization; the glimpse; and the dissolution or undermining of the real, the authentic, and the autonomous. By placing Goffman's under-discussed work, Gender Advertisements, in rapprochement with the work of Guy (...) class='Hi'>Debord, Jean Baudrillard, and Fredric Jameson, we draw out shared concerns over the ways that the self becomes externally defined and incoherent in advanced consumer capitalism. We then turn to Goffman's “Territories of the Self” in order to show that Goffman balances his historicist analysis with a theory of a self that can maintain its coherence amidst the fragmenting forces of the media and the consumer society. Thus we document the continuing relevance of Goffman's thought for cultural and media analysis in contemporary consumer society. (shrink)

Considering formative twentieth-century theories in relation to contemporary technosocial developments, this article examines ideas of spectacle and surveillance as ways of approaching visual politics. I argue that the historically important relationship between the visual and political fields is now intensifying and mutating. First discussing Guy Debord’s The Society of the Spectacle, I show how his influential approach proves inadequate to the politics of image-saturated societies. I next show how critics of imperial and racial spectacles, from Michael Rogin to Claudia (...) Rankine and Tina Campt, provide better ways of engaging power and political contestation in the visual field. Third, I examine how Michel Foucault deployed notions of spectacle in his own work but argued for leaving the term behind, presenting surveillance as not just a different modality of power but also spectacle’s temporal successor. This account remains essential for both historical understanding and reckoning with contemporary surveillance. Fourth, however, as Simone Browne argues, Foucault’s separation between spectacle and surveillance is too stark, his history too prone to occlude race. Furthermore, recent surveillance technologies and practices have changed in ways that confound his terms, while extending and also altering the racial dynamics explored earlier in the essay. Today, even surveillance based on optical media contributes to a “postvisual” image world in which algorithmic, machine-machine communication abets forms of power neither tied to human perception nor graspable as subject formation. With surprising assistance from Debord, I end by discussing the significant theoretical and political challenges posed by the ironies of postvisual visuality. (shrink)

This text considers several case studies of subaltern silence as micro political resistance. Around these examples I thread a theoretical model (using ideas of such thinkers as Spivak, Bataille, Foucault and Baudrillard) to explain how performing silences could resist oppression without assuming an underlying well-articulated subjectivity. The article deals with the force of silence, its conditions of possibility, and its position with respect to representation.

In this article I use Baudrillard’s claim that systems of exchange are ontologically and historically prior to systems of production, and Arendt’s understanding of birth as the arrival of something both quite familiar and quite new into the world as the starting-points for a theory of labour as relation. Such a theory has the virtue of avoiding the problem, found in Marx, Arendt and elsewhere, that labour is both a vital feature of being human and yet a drudgery that (...) will be absent from post-revolutionary society (in the case of Marx) or strictly relegated to the private realm (for Arendt). It also involves repositioning the work of social reproduction – of which women’s labour in giving birth is exemplary – as paradigmatic. (shrink)

Citation: Christodoulou, Marina. “‘To be dead is an unthinkable anomaly’ Reversed Necropolitics and the Death Imaginary.” Lo Sguardo - rivista di filosofia N. 23, 2017 (I) - Reinventare il reale. Jean Baudrillard (2007-2017) a cura di Eleonora de Conciliis, Enrico Schirò, Daniela Angelucci, pp. 127-137. Articolo sottoposto a peer review. Ricevuto il 14/10/2016. Accettato il 12/01/2017. ISSN: 2036-6558 -/- --------- -/- The concept or the theory of Death in the thought of Jean Baudrillard is not given the particular (...) attention it needs. When one speaks of the thought of Baudrillard, one rarely will mention ‘death’ as one of the keywords of his corpus. I think, though, that it deserves such a key place, for three reasons. Firstly, because the theme of Death is a gargantuan concept in the history of Philosophy and it even emerges with the definition of Philosophy itself, since, at least, Plato. Every philosopher, more or less is preoccupied with it, as an archetypical necessity of both human culture and of philosophy in particular. It is always interesting to see how each philosopher or each person thinks on it, as their thoughts on Death are a departure point and an indication of their whole philosophical system or, for non-philosophers, of their whole way of life. Secondly, it is important to examine this theme in Baudrillard because it inseparably interconnects, explains, and is explained by all the other, key, and the less prominent themes in his philosophy. Baudrillard’s thinking might take new dimensions when viewed through his thoughts on Death. Finally, Baudrillard is considered a difficult thinker, because, unlike other philosophers, he grasps themes which people are used to seeing as the pre-occupation or within the realm of fiction, even science-fiction. I would like to show, using simple language, that his philosophy, especially surrounding the subject of Death, is completely naked of any metaphysical, romanticised, fantastic, or fiction-like properties; it is realistic and political. (shrink)

Speaking about the state of the Hollywood film industry at the 2008 Academy Awards, the Oscars’ host – comedian Jon Stewart – made the following wry assessment: ‘Not all films did as well as Juno obviously. The films that were made about the Iraq War, let’s face it, did not do as well. But I’m telling you, if we stay the course and keep these movies in the theatres we can turn this around. I don’t care if it takes 100 (...) years. Withdrawing the Iraq movies would only embolden the audience. We cannot let the audience win.’ The films he is referring to include Home of the Brave (2006), In the Valley of Elah (2007) and Stop-Loss (2008) – all of which focus on the personal cost to American soldiers on their return to civilian life, as well as exposing the failure of the US invasion of Iraq at home and abroad. Despite their topical subject matter, these movies were, for the most part, commercial failures. This article seeks to investigate audience indifference (Jean Baudrillard claims a certain indifference is a fundamental consequence of the Western globalising ideology) to mainstream cinematic depictions of the post September 11 invasion of Iraq, via a consideration of the trauma and abjection depicted in these films. Baudrillard’s hypotheses on terrorism – as a symbolic challenge put forth by terrorism (embodied by the attack on the Twin Towers) – and the West’s incapacity to respond to it, forms the basis for our investigation of the limits of these films to incite and engage viewers. His writings offer a lens through which to consider how ‘terrorism’ operates symbolically, and fundamentally, the dilemmas this raises for a Western psyche grappling with how the ‘terrorist threat’ might be answered, engaged with, responded to. (shrink)

Since both responses interrogate different aspects of my article “The screen as an in-between” (Vanderbeeken 2011 ), I will address them separately. Vanhoutte rightly questions the affinities of my theses with Luddism, Orwell and Baudrillard’s theoretical terrorism. My reply discusses why these reactionary positions are currently out of joint. Hoens rightly questions my interpretation of the notion ‘passion for the real’ and whether the examples discussed delineate the specificity of new media. My reply discusses how I take this notion (...) as a starting point for an analysis that complements rather then criticises Badiou and Žižek and how the apparent resemblance between old and new media in fact entails significant differences. (shrink)

The urgency of the research is that the simulacra of the virtual-online culture of the information society and the conditions for its formation are analyzed. The term "simulacrum" by J. Baudrillard is related to the virtual-online culture of the information society, because a person uses substitutes, copies of things, and not their originals. Setting objectives. This problem is caused by the fact that today the personality is formed in an artificially created virtual world that distorts the personality and forms (...) its torn and inappropriate image. This type of society as a virtual-online one needs its interpretation and analysis of a new conceptual-categorical apparatus. Analysis of recent research and publications. These are works by J. Baudrillard "Simulacra and simulations", as well as R. Simmel, R. Bart, R. Deborah, G. Bataille, G. Lacan, M. McLuhan, M. Foucault, G. Deleuzae, J. Derrida.The questions of the philosophy of postmodernism and the theory of simulacra of J. Baudrillard are considered in the works of such researchers: A. Gritsanov, N. Katsuk, A. Dyakov, N. Zinchenko, N. Mankovskaya, O. Pechenkina, O. Scalatska, V. Ferroni and others. The question of the simulacrum is considered by J. Baudrillard in a number of works: "Symbolic Exchange and Death", "Seduction", "Simulacra and Simulation", "Transparency of Evil" and others. The selection of unexplored parts of the general problem is the conceptualization of the concept of "simulacrum" and its discovery in the virtual-online information society. The basis of the research is the conceptualization of the basic patterns of simulacra and the virtual-online culture of the information society, which is a scientific novelty. Setting the objective - the usage of approaches, in particular, structural-synergistic and practical synergetic methodology that makes it possible to analyze the simulacra of postmodern as complex constuctions. Presenting main material. The analysis of formation and development of online-virtual culture of personality which uses simulacra; the definition of "simulacrum" is presented; an analysis was made of the fact that the game constituent has become a dominant component of the modern virtual world, and the game itself became a marker of the postmodern society with the performing "I"-game in the middle; the definition of "online virtual culture" is given in the context of which "I" is implemented; the network society is shown as a new type of culture of virtual reality. Conclusions - the simulacra of the virtual-online culture of the information society in the conceptual survey of postmodernists has been formed. (shrink)

In this essay, I do not want to focus on performativity as such and understand it as an aesthetic expression; instead, I would like to illustrate how performativity takes on the role consequential to an aesthetic experience. Specifically, I want to highlight how aesthetic experience takes place in the spatial contexts of the city. In this regard, I want to define the aesthetic-practical-sensory relationship of the soma, understood as a paradigm of a living body, that is, a body that moves (...) and acts in space, by declining three historical moments that tell the story. I want to define three historical moments from the early twentieth century to the present through the soma-city relationship: 1) The first moment is inscribed in the emergence of the Baudelairian concept of the flâneur, a symbolic figure who introduces a relationship with the city characterized by a disenchanted gaze and a slow, wandering movement picked up, especially by Walter Benjamin in the Paris Passages; 2) The second moment is that of Situationism, in which Guy Debord introduces the concept of dérive, understood as an approach to the city marked by the experiential and emotional relationship; 3) The third and most recent moment concerns Richard Shusterman's embodiment of the somaesthetic exercise, in which the Avatar of the Man in Gold, enters into a relationship with the city, aspiring to reconnect urban spheres and not to a pure somaesthetic experience of the city. The last point to be made is that these three historical and aesthetic experience-based moments of the body in the city are marked by the body moving in space. In the case of the flâneur, the body wanders in an unresolved manner without a precise destination; in the case of the drift, the body is propelled by the many sensations and expressions of the city that are expressed through walking (urban Walkscapes); finally, in the case of the Man in Gold, there is a movement totally absorbed in the experience of places. (shrink)

El artículo explica los efectos negativos que experimentan las obras de arte en el actual contexto de estetización. Desde el pensamiento estético de Benjamin, Adorno, Debord, Baudrillard, Welsh, Lipovetsky y Vilar se analiza la degradación y neutralización del arte ante la estetización. De manera paralela, se señala las propuestas de estos autores para sacar al arte de su actual atolladero y, con ello, contener lo superfluo y la degradación de la obra a objeto decorativo. Desde esta perspectiva, se (...) resalta la propuesta de Gerard Vilar como una alternativa de resistencia y superación ante la pérdida de la capacidad crítica y transformadora del arte en un contexto en el que para muchos el arte ha empezado a sucumbir y a disolverse en éter estético. (shrink)

As a philosophical counselor, I encounter many individuals who live with an almost inexpressible grief, hopelessness, and despair. This paper argues that two macro-causes of these affects are philosophical and structural. This paper sets up a distinction between (1) biotic, ontological, rational value, and (2) abiotic, hyperreal, nihilistic value. Abiotic “value” now constitutes the hemorrhagic nihilism of our time. Kant, Nietzsche, Baudrillard, and Kierkegaard will be utilized to construct the philosophical argument tracing the movement from the biotic to the (...) abiotic. This is the first valence of trauma, the cognitive/imaginative valence. Ruin porn, environmental grief, and structurally induced precarity will be utilized to provide historical evidence for the movement from the biotic to the abiotic. This is the second valence of trauma, the somatic-structural valence. The paper concludes that the double valence of hemorrhagic nihilism is, in essence, traumatic. Consequently, addiction to hyperreality has become the pandemic of our time. (shrink)

The death of Jean Baudrillard in 2007 brought about a resurgence of feminist scholarship on his work. But in all recent feminist scholarship on Baudrillard, save for Victoria Grace’s Baudrillard’s Challenge: A Feminist Reading (2000), feminists focus on Baudrillard’s later theory of simulation, forestalling any reconsideration of his earlier text Seduction (1979). In this article I argue that a theory of seduction facilitates the unveiling of a hitherto unnoticed strain of feminist writing that proposes an ongoing (...) challenge to masculine power and politics. This strategy of seduction is one that can be traced through a history of modern feminism, from Joan Rivière’s concept of ‘womanliness’ in ‘Womanliness as Masquerade’ to Hélène Cixous’s écriture féminine in ‘The Laugh of the Medusa’ to Virginia Woolf’s ‘mulberry tree’ in Three Guineas. (shrink)

"The need to speak, even if one has nothing to say, becomes more pressing when one has nothing to say, just as the will to live becomes more urgent when life has lost its meaning."--from _The Ecstasy of Communication _First published in France in 1987, _ The Ecstasy of Communication_ was Baudrillard's summarization of his work for a postdoctoral degree at the Sorbonne: a dense, poetically crystalline essay that boiled down two decades of radical, provocative theory into an aphoristically (...) eloquent swan song to twentieth-century alienation. Baudrillard's quixotic effort to be recognized by the French intellectual establishment may have been doomed to failure, but this text immediately became a pinnacle to his work, a mid-career assessment that looked both forward and back. By carefully distilling the most radical elements of his previous books, Baudrillard constructed the skeleton key to all of the work that was to come in the second half of his career, and set the scene for what he termed the "obscene": a world in which alienation has been succeeded by ceaseless communication and information. _The Ecstasy of Communication_ is a decisive, compact description of what it means to be "wired" in our braver-than-brave new world, where sexuality has been superseded by pornography, knowledge by information, hysteria by schizophrenia, subject by object, and violence by terror. The Ecstasy of Communication is an anti-manifesto that confronted and dispensed with such influences as Marshall McLuhan, Guy Debord, and Georges Bataille. It is an essential crib-book, lexicon, and companion piece to any and all of Baudrillard's books. Twenty-five years after its original publication, it remains not only a prescient portrait of our contemporary condition, but also a dark mirror into which we have not yet dared to look. (shrink)