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From the Back Cover
Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure.
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Product details
Series: The Body, In Theory: Histories of Cultural Materialism
Paperback: 164 pages
Publisher: University of Michigan Press; 14th Printing edition (December 22, 1994)
Language: English
ISBN-10: 0472065211
ISBN-13: 978-0472065219
Product Dimensions:
5.2 x 0.6 x 9 inches
Shipping Weight: 4 ounces (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
90 customer reviews
Amazon Best Sellers Rank:
#8,291 in Books (See Top 100 in Books)
Jean Baudrillard was a French philosopher, a contributor to post-structuralism, along with the better-known Jacques Derrida. This bores anyone not deep into philosophy, so why dig into it? Because Simulacra and Simulation is mentioned in the movie, The Matrix, which is becoming a classic among people questioning all authenticity in an on-line world, and this book partly inspired it. The plot of The Matrix hinges on people being unaware that they are interacting with an alien, faux world, not reality, somewhat like Orwell’s 1984 earlier.So if Simulacra and Simulation inspired The Matrix, what did the horse’s mouth say? Practically nothing; that’s the point. Baudrillard posited that we create meaning only by symbols referencing other symbols in a pattern that makes sense to us. None of it may represent reality, if there is such a thing. Consequently he is an expert turning logic in loops, citing referential contradictions, and doubling logic back on itself.Simulacra and Simulation is an eye glazer. Its opening attributes to Ecclesiastes the observation that, “the simulacrum (a representation) never hides the truth – it is truth that hides the fact that there is none.†(I could not find this in Ecclesiastes, but suspect that Baudrillard refers to its refrain that of much study there is no end; all is vanity.)Baudrillard harps on “hyperreality,†symbolism as in videos, whereby images seem more real than whatever they represent. It’s like seeing a video of a resort only to find that the real resort, if such really exists, is much less elegant than the video. He claims that hyperreality is the medium by which humans communicate, so it’s not new, but with modern media, we swim in an ocean of hyperreal nothingness.Incidentally, Baudrillard did not mention The Matrix, but cited the 1996 British-Canadian movie, Crash, as one that approached seeing reality through the superficiality. The plot hinges on people being sexually aroused by fatal car crashes, either as victims or as witnesses. For Baudrillard, coupling sex and death in one emotional smash up invokes the full circle of life – but this combination didn’t particularly grip me.I could not follow many of Baudrillard reversals of logic. The impression left, and perhaps the one he intended, is that post-modern, post-structuralism humans live mostly in our own simulations, subject to chaotic flips in meaning as discordant images flash by. You can see this in pop up ads and promos, all trying to out-gimmick the others. Is this a race to symbolic nowhere, an inane mashup of personal and corporate brands, never escaping Solomon’s conclusion in Ecclesiastes, that all is vanity?Anticipating relief from this depressing thought, I started Baudrillard’s chapter on animals – nature – something other than Mobius strip loops of symbolic logic in media. Immediately, he dived into the mental health of animals in industrial feeding enclosures. “Democratic†access to food, so all animals will grow, screws up animal instinct for a pecking order. Confinement to tight spaces raises anxiety. Birds go nuts. So do other confined animals, whether farmed or merely observed, as in a zoo. Veterinarians have come to realize that animals in a non-natural environment are mentally distressed. They also get cancer, ulcers, and myocardial infarctions. Research vets think that turning them back into the wild once in a while might preserve their mental and physical health.Baudrillard opines that everything that has happened to us is now replicated in confined animals. Ne notes that the ancients who sacrificed animals to gods must have valued them more than moderns. Sacrificing an objectified critter does not seem emotional enough to appease a god. Baudrillard suggests that sacrifice is at least a meaningful loss. Now we have relegated animals to detached roles of being food or pets or objects of experimentation and casual curiosity. How would humans in such roles react?This suggests a line of study that has been emerging since Baudrillard’s death in 2007, increased depression in American youth. Some blame cell phones and social media, but the trend began long before those arrived according to an old study led by Jean Twenge. The figure from it below plots data over a 70-year span.Speculation about this phenomenon keeps increasing. Youth are more self-centered, anti-social, anxious, and sad. And the phenomenon may not be confined to youth. So what is happening to us? What about the march toward a mobile, connected, and for some, affluent society might be a cause?Maybe in all Baudrillard’s logical looping, he had a point. If we’re not living close to how nature designed us, we can become distressed. Many urban planners have sensed this ever since the 19th century, insisting that in their rush to riches, cities leave plenty of space for nature. These might do nature a little good, and us a great deal of good.
The translation of this book seems to be an exact translation which is good if you are interested in and appreciate the writings of Baudrillard as he wrote them. However, if you were hoping for the translators explanations, shortening or use of more clear and easier to understand words, you won't get it as it appears exactly as the author wrote. I gave this book four stars because it is a difficult read, for me, as someone with practically no philosophical background. However, the topic is of great interest to me and I understand the comparisons between the real and the simulations. The comparison to those things fictional as being in the legal system and as being somewhat unnatural and not exactly in harmony with nature to those things that are real and in harmony with nature is truly brilliant as far as I am concerned. Baurrillard seems to be comparing the United States, a fictional legal system and corporation to Disneyland which is quite obviously a fiction and fantasy scaled up or down for the pleasure of people, the United States appears to be the same thing. Anyone who has studied the legal system and the lawful system, mans law or Gods law can easily spot the brilliance of this book and how Beaudrillard explains the two systems without actually using the terms legal and lawful or other obvious words.
I became interested in this book, as I saw it increasingly mentioned in videos I was watching. I had heard of terms like "hyperreality" and "simulacra", and I thought it was time that I read this text.To put it bluntly, I had a difficult time with it. This is my first venture into postmodern philosophy, and perhaps that was a source of difficulty for me. I wavered between understanding some sections and finding others completely baffling. In particular, Baudrillard does a good job of bringing into focus the pervasiveness of simulation in what we might call "real"- take the internet, media coverage of tragedies, Disney Land, or NFL football games as examples. What are the underlying realities to any of these? In particular, I thought his discussion of representations of divinity to be thought-provoking- the representation of divinity, over time, is taken as the actually divine. Thus, it becomes inevitable that a loss of faith in the divine happens because people recognize that there is no underlying reality behind the representation, and this is what iconoclasts understood and fought against.However, the are sections which are truly incomprehensible to me. Baudrillard talks about implosion quite a bit. I'm still not sure what he means by that. Implosion of meaning, implosion of signs, implosions of poles, implosion of structure. Everything is imploding. Not exploding, mind you, there's a very important difference between the two. Also, perhaps Baudrillard is drawing from previously-defined terms in the postmodernist literature, but I'm still not sure what a pole or a sign is. Baudrillard writes an entire essay on molecular/genetic code which I understood almost none of.My unfortunate experience is that this book was difficult to work through. I have a suspicion that any of the previous reviewers who claimed that this book was easy to read are not being entirely truthful. Baudrillard's style seems purposefully obtuse at times. I believe that I learned more about Baudrillard's thought from the supplementary sources and reviews of this work than the actual work itself. I'm fully aware that maybe I was not prepared to read it, and that there's an entire tradition of modernist and postmodernist philosophy which would render this work more meaningful. This, combined with the general high regard that people have for this work makes me not want to give the work anything lower than three stars.
Unlike Nietzsche... Baudrillard's work here is fairly short and very easy to read (as someone who has been only educated to high school level). Whether his thoughts are postmodernist garbage, that's up to you, but this is a much more cohesive look at the topic of simulation, hyperreality than the documentary "HyperNormalisation".
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