from the scotsman:

Baudrillard argued that mass media and modern consumerist society had built up such a complex structure of symbols and simulated experience that it was no longer possible to comprehend reality as it might actually exist.

lets go to the video tape :

google video


youtube


- bill 3-08-2007 6:58 pm [add a comment]

Artnet has it on their Mar 6 news page. Oh ye of little faith.
- tom moody 3-08-2007 7:56 pm [add a comment]

*ting* i just found that too (didnt come up on a site search). still its perfunctory drivel.
- bill 3-08-2007 8:06 pm [add a comment]

Do you still have the Conspiracy of Art? Can I borrow it?
- tom moody 3-08-2007 8:11 pm [add a comment]

yep and yep.
- bill 3-08-2007 8:29 pm [add a comment]

from agoravox:

It’s ironic, really, that Braudrillard - doubtless like Chomsky when he finally pops off - is most likely destined to be remembered more for his commentary on 9/11 and The War Against Terror than his contributions to academia. It all fits rather neatly into his object value system - the symbolic value placed on his work by a world (unsurprisingly) uninterested in the niceties of postmodernist poststructural semiotics is, it would seem, that of critic of America. Even though his perceived criticism of the US actually existed largely only in the minds of a misunderstanding readership.

The BBC’s item reporting his death yesterday notes that “He gained notoriety for his 1991 book The Gulf War Did Not Take Place and again a decade later for describing the 9/11 attacks as a ‘dark fantasy’.” The New York Times, meanwhile, feels that it has to introduce him as, effectively, the guy who inspired The Matrix.

continued from agora vox :

(For a better overview of Baudrillard’s life and works, head - as so often - to the International Herald Tribune or - in French - Le Figaro.)

Jean Baudrillard the unclassable one
PAUL FRANÇOIS PAOLI
Published on March 06, 2007
Brought up to date on March 06, 2007: 07h38

(Feferberg/AFP)
Sociologist of formation and philosopher of vocation, author of books translated in the whole world, Jean Baudrillard died yesterday in Paris at the 77 years age. This unclassable opposed readily the independence of the mind to the intellectual comfort of its contemporaries. Refusing to be identified with an unspecified systematic mind, challenging the figure of the intellectual donor of lessons and prescriber of morals, this anti-Bourdieu had been born in Rheims in 1929. After having acquired a training of Germanist and sociologist, it was named with the faculty of Nanterre in 1966, then at CNRS.

Sensitive to the thought of the déconstruction of expensive metaphysics to its compatriots Jacques Derrida and Jean-François Lyotard, but also influenced by the structuralist theories of the language, it imposed a singular thought in some books. One remembers in particular the System the objects (1968), the Consumer society (1970) and especially the symbolic system Exchange and death (1976), perhaps his most ambitious text, reflexion on the concepts of gift and expenditure, starting from great work of the anthropologists, in particular those of Marcel Mauss. Remained with the variation of the Marxism, very critical with regard to the intellectual modes resulting from the years 1968, it worked out a sour and ironic criticism of the postmodernity marked according to him by the erosion of the great explanations of the world and the hegemony of a way of life consumerist.

For Baudrillard, we are recipient of a universe where, not only, any transcendent referent disappeared, but where the definition even of objective "reality" became proble matic, that of which testifies the prevalence to the virtual representations of the world on the values which propose the concepts of direction and truth.

A depression symbolic system which explains a political abstentionism crescent that we let us seek to entreat by an exhortation, itself significant of ambient apathy. Supported in Shows and simulations (1981), From the fatal seduction (1982) or Strategies (Grasset 1984), the theses of Baudrillard will know a considerable repercussion as well in France abroad, in particular in the United States. As from an nées the 1990, the thinker notam ment will take public positions which will cause a recurring polemic, starting from his book the War of the gulf did not take place (Galileo) in 1991 when Baudrillard will affirm that the first war against Iraq, which had given place to a higher bid of "technological performances", had not been one, to be strictly accurate, the war supposing a principle of sacrifice incompatible with the idea of "the zero dead one" but also the recognition of a nonreducible enemy to the function of "hooligan".

Beyond the wars against Iraq, Baudrillard disputes the concept even of a world nature, because this one suggests the idea of a historical completion and a design of universal where the figure of the other is by retrograde definition, barbarian or antiquated.

For him, as for the essay writer Philippe Muray, critical theorist of the Empire of the good, the laxism and the permissiveness of the Western democratic company incompatible with a hypermoralism which returns to us unable to apprehend the function of the "evil" and "negative", to which testifies violence or the radicalities political or ideological, are not reduced to pathologies which are needed éradiquer.
It will repeat in the role of "bad subject" by affirming, in a platform published in the World that "we had dreamed all" the attack of September 11 2001 which destroyed the turns of Manhattan, symbol, according to him, of a claim mortifère to the absolute power.

Intervention which will be worth to him to start the lightnings of those for which this kind of rhetoric is, per definition, irresponsible. Unclassable politically and eclectic in his fields of intervention, it will write also much on the photograph and on art, in particular contemporary, that it will describe as "no one", Jean Baudrillard is, in certain connections, a disillusioned moralist as to prose sometimes melancholic person the Cool (Galileo) testifies to it, delivers memories and reflexions whose five volumes will appear between 1987 and 2005.

By suggesting the obviousness and the irreversibility of its civilization, the Occident paradoxically legitimates, in its eyes, this "elsewhere" irreducible which the Islam of the fundamentalist ones represents.
A series of standpoint which will contribute to "démoniser" up to a certain point an atypical, as radical intellectual in its style and its intuitions as detached of the conventional debates.

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ghost in the wire:

baudrillard and heidegger, 2 from 3/8/07 - all previous baudrillard posts


- bill 3-08-2007 9:56 pm [add a comment]

ctheory

Like his intellectual predecessors -- Nietzsche, Artaud, and Bataille -- Jean Baudrillard was that rarity of a cultural philosopher, a thinker whose reflections, refusing to be simply culturally mimetic, actually became a complex sign of the social reality of the postmodern century. In his thought there was always something simultaneously futuristic and ancient: futuristic because his theorization of the culture of simulation ran parallel to the great scientific discoveries of our time, specifically the radical transformation of culture and society under the impact of the speed of light-time and light-space; and ancient because Baudrillard was haunted by the enigma of pataphysics, namely the magical ascent of the reality-principle itself into the language of artifice, seduction and terror.

Not since Nietzsche's The Gay Science has the secret of reality itself been so fully exposed. Neither referent nor signifier, social reality from Baudrillard's perspective always had about it the hint of a "referential illusion," a "fatal strategy," a "mirror of production," a "spirit of terrorism," a "desert of the real." Refusing the political closures of political economy as much as the social strictures of sociology, Baudrillard made of his thought a theatre of the medieval artistic practice of anamorphosis. Here, the desert of the real would be spun all the more wildly in order to draw out in reverse image the trace of its always hidden qualities of seduction and terror.

I found Kroker's post yesterday but couldn't make heads nor tails of it.
- tom moody 3-08-2007 10:53 pm [add a comment]

"sorcery of hyperreality" he may have been pushing the mystical metaphors a little heavy, pataphysicly speaking.
- bill 3-08-2007 11:04 pm [add a comment]

Yeah--he lost me with "ancient."
- tom moody 3-08-2007 11:16 pm [add a comment]