Jean Baudrillard

Jean Baudrillard (UK: /ˈbdrɪjɑːr/ BOHD-rih-yar,[42] US: /ˌbdriˈɑːr/ BOHD-ree-AR, French: [ʒɑ̃ bodʁijaʁ]; 27 July 1929 – 6 March 2007) was a French sociologist, philosopher and poet[15][16][17][43][44] with interest in cultural studies. He is best known for his analyses of media, contemporary culture, and technological communication, as well as his formulation of concepts such as hyperreality. Baudrillard wrote about diverse subjects, including consumerism, critique of economy, social history, aesthetics, Western foreign policy, and popular culture. Among his most well-known works are Seduction (1978), Simulacra and Simulation (1981), America (1986), and The Gulf War Did Not Take Place (1991). His work is frequently associated with postmodernism and specifically post-structuralism.[20][45][46][47] Nevertheless, Baudrillard has also opposed post-structuralism[32][15][16][17][48][49] and had distanced himself from postmodernism.[50][45][20][33]

Jean Baudrillard
WikipediaBaudrillard20040612-cropped.png
Baudrillard in 2004 at the European Graduate School
Born(1929-07-27)27 July 1929
Reims, France
Died6 March 2007(2007-03-06) (aged 77)
Paris, France
Alma materUniversity of Paris
Era20th-/21st-century philosophy
RegionWestern philosophy
School
Institutions
ThesisLe système des objets (1968)
Doctoral advisorHenri Lefebvre
Main interests
Notable ideas
Influences

BiographyEdit

Baudrillard was born in Reims, northeastern France, on 27 July 1929. His grandparents were farm workers and his father a gendarme. During high school (at the Lycée at Reims), he became aware of pataphysics via philosophy professor Emmanuel Peillet, which is said to be crucial for understanding Baudrillard's later thought.[51]: 317  He became the first of his family to attend university when he moved to Paris to attend the Sorbonne.[16] There he studied German language and literature,[52] which led him to begin teaching the subject at several different lycées, both Parisian and provincial, from 1960 until 1966.[51]: 317 

During career as teacherEdit

While teaching, Baudrillard began to publish reviews of literature and translated the works of such authors as Peter Weiss, Bertolt Brecht, Karl Marx, Friedrich Engels, and Wilhelm Emil Mühlmann.[51]: 317–328 

While teaching German, Baudrillard began to transfer to sociology, eventually completing and publishing in 1968 his doctoral thesis Le Système des Objets (The System of Objects) under the dissertation committee of Henri Lefebvre, Roland Barthes, and Pierre Bourdieu. Subsequently, he began teaching Sociology at the Paris X Nanterre, a university campus just outside Paris which would become heavily involved in the events of May 1968.[28]: 2(Introduction)  During this time, Baudrillard worked closely with Philosopher Humphrey De Battenburge, who described Baudrillard as a "visionary".[53] At Nanterre he took up a position as Maître Assistant (Assistant Professor), then Maître de Conférences (Associate Professor), eventually becoming a professor after completing his accreditation, L'Autre par lui-même (The Other by Himself).

In 1970, Baudrillard made the first of his many trips to the United States (Aspen, Colorado), and in 1973, the first of several trips to Kyoto, Japan. He was given his first camera in 1981 in Japan, which led to him becoming a photographer.[51]: 317–328 

In 1986 he moved to IRIS (Institut de Recherche et d'Information Socio-Économique) at the Université de Paris-IX Dauphine, where he spent the latter part of his teaching career. During this time he had begun to move away from sociology as a discipline (particularly in its "classical" form), and, after ceasing to teach full-time, he rarely identified himself with any particular discipline, although he remained linked to academia. During the 1980s and 1990s his books had gained a wide audience, and in his last years he became, to an extent, an intellectual celebrity,[54] being published often in the French- and English-speaking popular press. He nonetheless continued supporting the Institut de Recherche sur l'Innovation Sociale at the Centre National de la Recherche Scientifique and was Satrap at the Collège de Pataphysique. Baudrillard taught at the European Graduate School in Saas-Fee, Switzerland,[55] and collaborated at the Canadian theory, culture, and technology review Ctheory, where he was abundantly cited. He also purportedly participated in the International Journal of Baudrillard Studies (as of 2022 hosted on Bishop's University domain) from its inception in 2004 until his death.[56]

In 1999–2000, his photographs were exhibited at the Maison européenne de la photographie in Paris.[51]: 319  In 2004, Baudrillard attended the major conference on his work, "Baudrillard and the Arts", at the Center for Art and Media Karlsruhe in Karlsruhe, Germany.[51]: 317–328 

Personal lifeEdit

 
Grave of Jean Baudrillard with flowers and vines planted and growing over it in Montparnasse Cemetery, Paris, France.

Baudrillard enjoyed baroque music; a favorite composer was Claudio Monteverdi. He also favored rock music such as The Velvet Underground & Nico.[57]

Baudrillard did his writing using "his old typewriter, never at the computer".[57][33] He has stated that a computer is not "merely a handier and more complex kind of typewriter", whereas with a typewriter he has a "physical relation to writing".[58]

Baudrillard was married twice. He and his first wife Lucile Baudrillard had two children, Gilles and Anne.[59][60]

In 1970 during his first marriage, Baudrillard met 25-year-old Marine Dupuis when she arrived at the Paris Nanterre University where he was a professor. Marine went on to be a media artistic director. They married in 1994 when he was 65.[61][57]

Diagnosed with cancer in 2005, Baudrillard battled the disease for two years from his apartment on Rue Sainte-Beuve, Paris, dying at the age of 77.[59][57] Marine Baudrillard curates Cool Memories, an association of Jean Baudrillard's friends.

Key conceptsEdit

Baudrillard's published work emerged as part of a generation of French thinkers including: Gilles Deleuze, Jean-François Lyotard, Michel Foucault, Jacques Derrida, and Jacques Lacan who all shared an interest in semiotics, and he is often seen as a part of the post-structuralist philosophical school.[62]

James M. Russell in 2015[1]: 283  stated that "Baudrillard In common with many post-structuralists, his arguments consistently draw upon the notion that signification and meaning are both only understandable in terms of how particular words or "signs" interrelate. Baudrillard thought, as do many post-structuralists, that meaning is brought about through systems of signs working together. Following on from the structuralist linguist Ferdinand de Saussure, Baudrillard argued that meaning (value) is created through difference—through what something is not (so "dog" means "dog" because it is not-"cat", not-"goat", not-"tree", etc.). In fact, he viewed meaning as near enough self-referential: objects, images of objects, words and signs are situated in a web of meaning; one object's meaning is only understandable through its relation to the meaning of other objects; for instance, one thing's prestige relates to another's mundanity.

From this starting point Baudrillard theorized broadly about human society based upon this kind of self-referentiality. His writing portrays societies always searching for a sense of meaning—or a "total" understanding of the world—that remains consistently elusive. In contrast to Post-structuralism (such as Michel Foucault), for whom the formations of knowledge emerge only as the result of relations of power, Baudrillard developed theories in which the excessive, fruitless search for total knowledge leads almost inevitably to a kind of delusion. In Baudrillard's view, the (human) subject may try to understand the (non-human) object, but because the object can only be understood according to what it signifies (and because the process of signification immediately involves a web of other signs from which it is distinguished) this never produces the desired results. The subject is, rather, seduced (in the original Latin sense: seducere, 'to lead away') by the object. He argued therefore that, in the final analysis, a complete understanding of the minutiae of human life is impossible, and when people are seduced into thinking otherwise they become drawn toward a "simulated" version of reality, or, to use one of his neologisms, a state of "hyperreality." This is not to say that the world becomes unreal, but rather that the faster and more comprehensively societies begin to bring reality together into one supposedly coherent picture, the more insecure and unstable it looks and the more fearful societies become.[63] Reality, in this sense, "dies out."[64]

Russell states that Baudrillard argues that "in our present “global” society, technological communication has created an excessive proliferation of meaning. Because of this, meaning's self-referentiality has prompted, not a “global village,” but a world where meaning has been obliterated"[1]: 283  Accordingly, Baudrillard argued that the excess of signs and of meaning in late 20th century "global" society had caused (quite paradoxically) an effacement of reality. In this world neither liberal nor Marxist utopias are any longer believed in. We live, he argued, not in a "global village", to use Marshall McLuhan's phrase, but rather in a world that is ever more easily petrified by even the smallest event. Because the "global" world operates at the level of the exchange of signs and commodities, it becomes ever more blind to symbolic[note 2] acts such as, for example, terrorism. In Baudrillard's work the symbolic realm (which he develops a perspective on through the anthropological work of Marcel Mauss and Georges Bataille) is seen as quite distinct from that of signs and signification. Signs can be exchanged like commodities; symbols, on the other hand, operate quite differently: they are exchanged, like gifts, sometimes violently as a form of potlatch. Baudrillard, particularly in his later work, saw the "global" society as without this "symbolic" element, and therefore symbolically (if not militarily) defenseless against acts such as the Rushdie Fatwa[65] or, indeed, the September 11 terrorist attacks against the United States and its military and economic establishment.

The object value systemEdit

In his early books, such as The System of Objects, For a Critique of the Political Economy of the Sign, and The Consumer Society [fr], Baudrillard's main focus is upon consumerism, and how different objects are consumed in different ways. At this time Baudrillard's political outlook was loosely associated with Marxism (and Situationism), but in these books he differed from Karl Marx in one significant way. For Baudrillard, as for the situationists, it was consumption rather than production that was the main driver of capitalist society.

Baudrillard came to this conclusion by criticising Marx's concept of "use-value." Baudrillard thought that both Marx's and Adam Smith's economic thought accepted the idea of genuine needs relating to genuine uses too easily and too simply. Baudrillard argued, drawing from Georges Bataille, that needs are constructed, rather than innate. He stressed that all purchases, because they always signify something socially, have their fetishistic side. Objects always, drawing from Roland Barthes, "say something" about their users. And this was, for him, why consumption was and remains more important than production: because the "ideological genesis of needs" precedes the production of goods to meet those needs.[66]: 63 

He wrote that there are four ways of an object obtaining value. The four value-making processes are:[66]

  1. The functional value: an object's instrumental purpose (use value). Example: a pen writes; a refrigerator cools.
  2. The exchange value: an object's economic value. Example: One pen may be worth three pencils, while one refrigerator may be worth the salary earned by three months of work.
  3. The symbolic[note 2] value: an object's value assigned by a subject in relation to another subject (i.e., between a giver and receiver). Example: a pen might symbolize a student's school graduation gift or a commencement speaker's gift; or a diamond may be a symbol of publicly declared marital love.
  4. The sign value: an object's value within a system of objects. Example: a particular pen may, while having no added functional benefit, signify prestige relative to another pen; a diamond ring may have no function at all, but may suggest particular social values, such as taste or class.

Baudrillard's earlier books were attempts to argue that the first two of these values are not simply associated, but are disrupted by the third and, particularly, the fourth. Later, Baudrillard rejected Marxism totally (The Mirror of Production and Symbolic Exchange and Death).[citation needed] But the focus on the difference between sign value (which relates to commodity exchange) and symbolic value (which relates to Maussian gift exchange) remained in his work up until his death. Indeed, it came to play a more and more important role, particularly in his writings on world events.

Simulacra and SimulationEdit

As Baudrillard developed his work throughout the 1980s, he moved from economic theory to mediation and mass communication. Although retaining his interest in Saussurean semiotics and the logic of symbolic exchange (as influenced by anthropologist Marcel Mauss), Baudrillard turned his attention to the work of Marshall McLuhan, developing ideas about how the nature of social relations is determined by the forms of communication that a society employs. In so doing, Baudrillard progressed beyond both Saussure's and Roland Barthes's formal semiology to consider the implications of a historically understood version of structural semiology. According to Kornelije Kvas, "Baudrillard rejects the structuralist principle of the equivalence of different forms of linguistic organization, the binary principle that contains oppositions such as: true-false, real-unreal, center-periphery. He denies any possibility of a (mimetic) duplication of reality; reality mediated through language becomes a game of signs. In his theoretical system all distinctions between the real and the fictional, between a copy and the original, disappear".[67]

Simulation, Baudrillard claims, is the current stage of the simulacrum: all is composed of references with no referents, a hyperreality.[68] Baudrillard argues that this is part of a historical progression. In the Renaissance, the dominant simulacrum was in the form of the counterfeit, where people or objects appear to stand for a real referent that does not exist (for instance, royalty, nobility, holiness, etc.). With the Industrial Revolution, the dominant simulacrum becomes the product, which can be propagated on an endless production line. In current times, the dominant simulacrum is the model, which by its nature already stands for endless reproducibility, and is itself already reproduced.

The end of history and meaningEdit

Throughout the 1980s and 1990s, one of Baudrillard's most common themes was historicity, or, more specifically, how present-day societies use the notions of progress and modernity in their political choices. He argued, much like the political theorist Francis Fukuyama, that history had ended or "vanished" with the spread of globalization; but, unlike Fukuyama, Baudrillard averred that this end should not be understood as the culmination of history's progress,

The aim of this world order ... is, in a sense, the end of history, not on the basis of a democratic fulfillment, as Fukuyama has it, but on the basis of preventive terror, of a counter-terror that puts an end to any possible events.

— Baudrillard, The Intelligence of Evil or the Lucidity Pact . New York: Berg Publishing, 2005, Translated by Chris Turner[69]

but as the collapse of the very idea of historical progress. For Baudrillard, the end of the Cold War did not represent an ideological victory; rather, it signaled the disappearance of utopian visions shared between both the political Right and Left. Giving further evidence of his opposition toward Marxist visions of global communism and liberal visions of global civil society, Baudrillard contended that the ends they hoped for had always been illusions; indeed, as The Illusion of the End argues, he thought the idea of an end itself was nothing more than a misguided dream:

The end of history is, alas, also the end of the dustbins of history. There are no longer any dustbins for disposing of old ideologies, old regimes, old values. Where are we going to throw Marxism, which actually invented the dustbins of history? (Yet there is some justice here since the very people who invented them have fallen in.) Conclusion: if there are no more dustbins of history, this is because History itself has become a dustbin. It has become its own dustbin, just as the planet itself is becoming its own dustbin.[70]: 263 

Within a society subject to and ruled by fast-paced electronic communication and global information networks the collapse of this façade was always going to be, he thought, inevitable. Employing a quasi-scientific vocabulary that attracted the ire of the physicist Alan Sokal, Baudrillard wrote that the speed society moved at had destabilized the linearity of history: "we have the particle accelerator that has smashed the referential orbit of things once and for all."[70]: 2 

Russell stated that this "approach to history demonstrates Baudrillard's affinities with the postmodern philosophy of Jean-François Lyotard",[1] who argued that in the late 20th century there was no longer any room for "metanarratives." (The triumph of a coming communism being one such metanarrative.) But, in addition to simply lamenting this collapse of history, Baudrillard also went beyond Lyotard and attempted to analyse how the idea of positive progress was being employed in spite of the notion's declining validity. Baudrillard argued that although genuine belief in a universal endpoint of history, wherein all conflicts would find their resolution, had been deemed redundant, universality was still a notion used in world politics as an excuse for actions. Universal values which, according to him, no one any longer believed universal were and are still rhetorically employed to justify otherwise unjustifiable choices. The means, he wrote, are there even though the ends are no longer believed in, and are employed to hide the present's harsh realities (or, as he would have put it, unrealities). "In the Enlightenment, universalization was viewed as unlimited growth and forward progress. Today, by contrast, universalization is expressed as a forward escape."[71] This involves the notion of "escape velocity" as outlined in The Vital Illusion (2000), which in turn, results in the postmodern fallacy of escape velocity on which the postmodern mind and critical view cannot, by definition, ever truly break free from the all-encompassing "self-referential" sphere of discourse.

HyperrealityEdit

Political commentaryEdit

On the Bosnian WarEdit

Baudrillard reacted to the West's indifference to the Bosnian War in writings, mostly in essays in his column for Libération. More specifically, he expressed his view on Europe's unwillingness to respond to "aggression and genocide in Bosnia," in which "New Europe" revealed itself to be a "sham." He criticized the Western media and intellectuals for their passivity, and for taking the role of bystanders, engaging in ineffective, hypocritical and self-serving action, and the public for its inability to distinguish simulacra from real world happenings, in which real death and destruction in Bosnia seemed unreal. He was determined in his columns to openly name the perpetrators, Serbs, and call their actions in Bosnia aggression and genocide.[72]

On the Persian Gulf WarEdit

Baudrillard's provocative 1991 book, The Gulf War Did Not Take Place,[73] raised his public profile as an academic and political commentator. He argued that the first Gulf War was the inverse of the Clausewitzian formula: not "the continuation of politics by other means," but "the continuation of the absence of politics by other means." Accordingly, Saddam Hussein was not fighting the Coalition, but using the lives of his soldiers as a form of sacrifice to preserve his power.[73]: 72  The Coalition fighting the Iraqi military was merely dropping 10,000 tonnes of bombs daily, as if proving to themselves that there was an enemy to fight.[73]: 61  So, too, were the Western media complicit, presenting the war in real time, by recycling images of war to propagate the notion that the U.S.-led Coalition and the Iraqi government were actually fighting, but, such was not the case. Saddam Hussein did not use his military capacity (the Iraqi Air Force). His power was not weakened, evinced by his easy suppression of the 1991 internal uprisings that followed afterwards. Over all, little had changed. Saddam remained undefeated, the "victors" were not victorious, and thus there was no war—i.e., the Gulf War did not occur.

The book was originally a series of articles in the British newspaper The Guardian and the French newspaper Libération, published in three parts: "The Gulf War Will Not Take Place," published during the American military and rhetorical buildup; "The Gulf War Is Not Taking Place," published during military action; and "The Gulf War Did Not Take Place" published afterwards.

Some critics, like Christopher Norris[74] accused Baudrillard of instant revisionism; a denial of the physical action of the conflict (which was related to his denial of reality in general[74]). Consequently, Baudrillard was accused of lazy amoralism, cynical scepticism, and Berkelian subjective idealism. Sympathetic commentators such as William Merrin, in his book Baudrillard and the Media, have argued that Baudrillard was more concerned with the West's technological and political dominance and the globalization of its commercial interests, and what that means for the present possibility of war. Merrin argued that Baudrillard was not denying that something had happened, but merely questioning whether that something was in fact war or a bilateral "atrocity masquerading as a war." Merrin viewed the accusations of amorality as redundant and based on a misreading. In Baudrillard's own words:[73]: 71–2 

Saddam liquidates the communists, Moscow flirts even more with him; he gases the Kurds, it is not held against him; he eliminates the religious cadres, the whole of Islam makes peace with him.… Even…the 100,000 dead will only have been the final decoy that Saddam will have sacrificed, the blood money paid in forfeit according to a calculated equivalence... to preserve his power. What is worse is that these dead still serve as an alibi for those who do not want to have been excited for nothing: at least these dead will prove this war was indeed a war and not shameful and pointless.

On the terrorist attacks of 11 September 2001Edit

In his essay, "The Spirit of Terrorism," Baudrillard characterises the terrorist attacks of 11 September 2001 on the World Trade Center in New York City as the "absolute event."[75] Baudrillard contrasts the "absolute event" of 11 September 2001 with "global events," such as the death of Diana, Princess of Wales and World Cup. The essay culminates in Baudrillard regarding the U.S.-led Gulf War as a "non-event," or an "event that did not happen." Seeking to understand them as a reaction to the technological and political expansion of capitalist globalization, rather than as a war of religiously based or civilization-based warfare, he described the absolute event and its consequences as follows:

This is not a clash of civilisations or religions, and it reaches far beyond Islam and America, on which efforts are being made to focus the conflict to create the delusion of a visible confrontation and a solution based upon force. There is indeed a fundamental antagonism here, but one that points past the spectre of America (which is perhaps the epicentre, but in no sense the sole embodiment, of globalisation) and the spectre of Islam (which is not the embodiment of terrorism either) to triumphant globalisation battling against itself.[75]

In accordance with his theory of society, Baudrillard portrayed the attacks as a symbolic reaction to the inexorable rise of a world based on commodity exchange.

Debate with Jacques DerridaEdit

19 February 2003, with the 2003 invasion of Iraq impending, René Major [fr] moderated a debate entitled "Pourquoi La Guerre Aujourd’hui?" between Baudrillard and Jacques Derrida, co-hosted by Major's Institute for Advanced Studies in Psychoanalysis and Le Monde Diplomatique. The debate discussed the relation between terrorist attacks and the invasion.[47] University of Oklahoma professor Vincent Leitch states that "Where Baudrillard situates 9/11 as the primary motivating force" behind the Iraq War, whereas "Derrida argues that the Iraq War was planned long before 9/11, and that 9/11 plays a secondary role".[34]

The Agony of PowerEdit

During 2005, Baudrillard wrote three short pieces and gave a brief magazine interview, all treating similar ideas; following his death in 2007, the four pieces were collected and published posthumously as The Agony of Power, a polemic against power itself.[76] The first piece, "From Domination to Hegemony", contrasts its two subjects, modes of power; domination stands for historical, traditional power relations, while hegemony stands for modern, more sophisticated power relations as realized by states and businesses. Baudrillard decried the "cynicism" with which contemporary businesses openly state their business models. For example, he cited French television channel TF1 executive Patrick Le Lay who stated that his business' job was "to help Coca-Cola sell its products."[76]: 37  Baudrillard lamented that such honesty pre-empted and thus robbed the Left of its traditional role of critiquing governments and businesses: "In fact, Le Lay takes away the only power we had left. He steals our denunciation."[76]: 38–9  Consequently, Baudrillard stated that "power itself must be abolished—and not solely in the refusal to be dominated…but also, just as violently, in the refusal to dominate."[76]: 47 

The latter pieces included further analysis of the 11 September terrorist attacks, using the metaphor of the Native American potlatch to describe both American and Muslim societies, specifically the American state versus the hijackers. In the pieces' context, "potlatch" referred not to the gift-giving aspect of the ritual, but rather its wealth-destroying aspect: "The terrorists' potlatch against the West is their own death. Our potlatch is indignity, immodesty, obscenity, degradation and abjection."[76]: 67  This criticism of the West carried notes of Baudrillard's simulacrum, the above cynicism of business, and contrast between Muslim and Western societies:[76]: 67–8 

We [the West] throw this indifference and abjection at others like a challenge: the challenge to defile themselves in return, to deny their values, to strip naked, confess, admit—to respond to a nihilism equal to our own.

ReceptionEdit

James M. Russell in 2015 wrote that "The most severe" of Baudrillard's "critics accuse him of being a purveyor of a form of reality-denying irrationalism".[1]: 285–286  One of Baudrillard's editors, Mark Poster, remarked:[77]: 8 

Baudrillard's writing up to the mid-1980s is open to several criticisms. He fails to define key terms, such as the code; his writing style is hyperbolic and declarative, often lacking sustained, systematic analysis when it is appropriate; he totalizes his insights, refusing to qualify or delimit his claims. He writes about particular experiences, television images, as if nothing else in society mattered, extrapolating a bleak view of the world from that limited base. He ignores contradictory evidence such as the many benefits afforded by the new media 

But Poster still argued for his contemporary relevance; he also attempted to refute the most extreme of Baudrillard's critics:[77]: 7 

Baudrillard is not disputing the trivial issue that reason remains operative in some actions, that if I want to arrive at the next block, for example, I can assume a Newtonian universe (common sense), plan a course of action (to walk straight for X meters), carry out the action, and finally fulfill my goal by arriving at the point in question. What is in doubt is that this sort of thinking enables a historically informed grasp of the present in general. According to Baudrillard, it does not. The concurrent spread of the hyperreal through the media and the collapse of liberal and Marxist politics as the master narratives, deprives the rational subject of its privileged access to truth. In an important sense individuals are no longer citizens, eager to maximise their civil rights, nor proletarians, anticipating the onset of communism. They are rather consumers, and hence the prey of objects as defined by the code.

Russell wrote that "Baudrillard's writing, and his uncompromising - even arrogant - stance, have led to fierce criticism which in contemporary social scholarship can only be compared to the criticism received by Jacques Lacan." Christopher Norris's Uncritical Theory: Postmodernism, Intellectuals and the Gulf War,[74] to Russell, "seeks to reject his media theory and position on "the real" out of hand".[1]: 285 

Frankfurt school critical theorist Douglas Kellner's Jean Baudrillard: From Marxism to Postmodernism and Beyond[78]—seeks rather to analyse Baudrillard's relation to postmodernism (a concept with which Baudrillard has had a continued, if uneasy and rarely explicit, relationship) and to present a Marxist counter. Regarding the former, William Merrin (discussed above) published more than one denunciation of Norris' position. The latter Baudrillard himself characterised as reductive.[vague][79]

Kellner commented that Baudrillard's views were 'ultra-leftist' in his writing of Symbolic Exchange and Death.[20] Baudrillard later admitted that his views could be classified as right-wing "in objective terms", but found the Left–right political spectrum arbitrary.[32]

Mark Fisher pointed out that Baudrillard "is condemned, sometimes lionised, as the melancholic observer of a departed reality", asserting that Baudrillard "was certainly melancholic".[3] Poster stated that "As the politics of the sixties receded so did Baudrillard's radicalism: from a position of firm leftism he gradually moved to one of bleak fatalism."[77] Richard G. Smith, David B. Clarke and Marcus A. Doel instead consider Baudrillard "an extreme optimist".[80] In an exchange between critical theorist McKenzie Wark and EGS professor Geert Lovink, Wark remarked of Baudrillard that "Everything he wrote was marked by a radical sadness and yet invariably expressed in the happiest of forms."[81][82][83] Baudrillard himself stated "we have to fight against charges of unreality, lack of responsibility, nihilism, and despair".[84] Chris Turner's English translation of Baudrillard's Cool Memories: 1980–1985 writes, "I accuse myself of... being profoundly carnal and melancholy...AMEN [sic]".[27]: 38 

Art critic Adrian Searle in 1998 described Baudrillard's photography as "wistful, elegaic and oddly haunting", like "movie stills of unregarded moments".[15][16][17]

Terrorism commentsEdit

Baudrillard's stance on the 11 September 2001 attacks was criticised on two counts. Richard Wolin (in The Seduction of Unreason) forcefully accused Baudrillard and Slavoj Žižek of all but celebrating the terrorist attacks, essentially claiming that the United States received what it deserved. Žižek, however, countered that accusation to Wolin's analysis as a form of intellectual barbarism in the journal Critical Inquiry, saying that Wolin failed to see the difference between fantasising about an event and stating that one is deserving of that event. Merrin (in Baudrillard and the Media) argued that Baudrillard's position affords the terrorists a type of moral superiority. In the journal Economy and Society, Merrin further noted that Baudrillard gives the symbolic facets of society unfair privilege above semiotic concerns. Second, authors questioned whether the attacks were unavoidable. Bruno Latour, in Critical Inquiry, argued that Baudrillard believed that their destruction was forced by the society that created them, alluding to the notion that the Towers were "brought down by their own weight." In Latour's view, this was because Baudrillard conceived only of society in terms of a symbolic and semiotic dualism.[vague][85] Latour lamented of Baudrillard, "What has become of critique when a book that claims that no plane ever crashed into the Pentagon can be a bestseller? I am ashamed to say that the author was French, too.".[85]

LegacyEdit

Native American (Anishinaabe) writer Gerald Vizenor made extensive use of Baudrillard's concepts of simulation in his critical work.[86][clarification needed]

In popular cultureEdit

The Wachowskis said that Baudrillard influenced The Matrix (1999), and Neo hides money and disks containing information in Simulacra and Simulation. Adam Gopnik wondered whether Baudrillard, who had not embraced the movie, was "thinking of suing for a screen credit,"[87] but Baudrillard himself disclaimed any connection to The Matrix, calling it at best a misreading of his ideas.[88][89][90]

Some reviewers have noted that Charlie Kaufman's film Synecdoche, New York seems inspired by Baudrillard's Simulacra and Simulation.[91][92][93]

The album Why Hasn't Everything Already Disappeared? by rock band Deerhunter was influenced by Baudrillard's essay of the same name.[94][95][96]

BibliographyEdit

Books (English translations)Edit

  • 1968. The System of Objects
  • 1970. The Consumer Society: Myths and Structures [fr]
  • 1972. For a Critique of the Political Economy of the Sign
  • 1973. The Mirror of Production
  • 1976. Symbolic Exchange and Death
  • 1977. Forget Foucault
  • 1979. Seduction
  • 1981. Simulacra and Simulation
  • 1982. In the Shadow of the Silent Majorities
  • 1983. Fatal Strategies
  • 1983. Simulations
  • 1986. America
  • 1987. Cool Memories 1980–1985
  • 1987. The Ecstasy of Communication
  • 1990. The Transparency of Evil
  • 1991. The Gulf War Did Not Take Place
  • 1992. The Illusion of the End
  • 1995. The Perfect Crime
  • 1996. Cool Memories II 1987–1990
  • 1997. Fragments: Cool Memories III 1990–1995
  • 1998. Paroxysm: Interviews with Philippe Petit
  • 1999. Impossible Exchange
  • 2000. Passwords
  • 2000. The Singular Objects of Architecture
  • 2000. The Vital Illusion
  • 2002. The Spirit of Terrorism And Requiem for the Twin Towers
  • 2003. Fragments (Interviews with François L'Yvonnet)
  • 2003. Cool Memories IV 1995–2000
  • 2005. The Intelligence of Evil or the Lucidity Pact
  • 2005. The Conspiracy of Art
  • 2006. Utopia Deferred: Writings for Utopie (1967–1978)
  • 2006. Cool Memories V 2000–2004
  • 2007. Exiles from Dialogue
  • 2008. Radical Alterity
  • 2009. Why Hasn't Everything Already Disappeared?
  • 2010. Carnival and Cannibal, or the Play of Global Antagonisms
  • 2010. The Agony of Power
  • 2011. Telemorphosis
  • 2014. Screened Out
  • 2014. The Divine Left: A Chronicle of the Years 1977–1984

Articles and essaysEdit

 
Grave of Jean Baudrillard.
 
Grave of Jean Baudrillard in 2008.

InterviewsEdit

  • Jocks, Heinz-Norbert: Die Fotografie und die Dinge. Ein Gespräch mit Jean Baudrillard. In: Kunstforum International., No: 172, Das Ende der Fotografie. Editor: Heinz-Norbert Jocks, 2004, p. 70–83.
  • Smith, Richard G., David B. Clarke, eds. 2015. Jean Baudrillard: From Hyperreality to Disappearance: Uncollected Interviews. Edinburgh, UK: Edinburgh University Press. ISBN 978-0-7486-9429-7.
  • Smith, Richard G., David B. Clarke, eds. 2017. Jean Baudrillard: The Disappearance of Culture: Uncollected Interviews. Edinburgh, UK: Edinburgh University Press. ISBN 978-1-4744-1778-5.

Audio CDsEdit

See alsoEdit

NotesEdit

  1. ^
  2. ^ a b c "I am not interested in the rules of the game of the symbolic. By 'symbolic' I do not mean the Lacanian symbolic but the universe of mental simulation. . . . For me the symbolic order is the register of desire, where ideology is fatal. The Lacanian sign is a chain of representations, but I am interested in another kind of sign, which is elliptical, as in poetry, where the sign is fatal" (2015, 49–50). https://muse.jhu.edu/article/751101/summary
  3. ^
  4. ^

^ a: : Baudrillard: "The matter is complicated further by the play of terminology. Neither seduction nor love being precise notions (they have no place in the great conceptual systems, nor in psychoanalysis), they caneasily switch or be confused. So if one takes seduction to be a challenge, a game where the bets are never down, an uninterrupted ritual exchange, an infinite escalation of the ante, a secret complicity, etc., one can always answer: "But so defined, wouldn’t seduction be simply love?"... "We can even invert the relation and make love something more decisive, more challenging than seduction."[7]


ReferencesEdit

  1. ^ a b c d e f James M. Russell. "Meaning and Interpretation: The Continental Tradition". A Brief Guide to Philosophical Classics: From Plato to Winnie the Pooh.
  2. ^ Gane, M. (2017). Baudrillard. In A Companion to Continental Philosophy (eds S. Critchley and W.R. Schroeder). https://doi.org/10.1002/9781405164542.ch53
  3. ^ a b Mark Fisher (9 March 2007), 'MY DEATH IS EVERYWHERE, MY DEATH DREAMS', archived from the original on 6 January 2022, Baudrillard was never quite laborious or detached enough to qualify as a Continentalist, nor even as a philosopher (he was based, improbably, in a Sociology department). Always an outsider, projected out of the peasantry into the elite academic class, he ensured his marginalization with the marvellously provocative Forget Foucault, which wittily targeted Deleuze and Guattari's micropolitics as much as it insouciantly announced the redundancy of Focault's vast edifice.
  4. ^ Stephen Baker, The Fiction of Postmodernity, Rowman & Littlefield, 2000, p. 64.
  5. ^ Reversed Necropolitics and the Death Imaginary (PDF), 14 October 2016, archived from the original (PDF) on 24 July 2020
  6. ^ Terror And Performance – Asymmetric Warfare, Martyrdom, And Necropolitics. An application of Achille Mbembe's study of Necropolitics to Baudrillard's notion of death.
  7. ^ a b c d e f g Fatal Strategies Semiotext(e) FOREIGN AGENTS SERIES Originally published in 1983 as Les Strategies fatales by Editions Grasset, Paris. Translated by Philippe Beitchman and W. G. J. NiesluchowskiISBN 978-1-58435-061-3
  8. ^ a b c Baudrillard and the Art Conspiracy (ucla.edu) (PDF), archived from the original (PDF) on 12 September 2021, Baudrillard calls this situation "transaesthetics" which he relates to similar phenomena of "transpolitics," "transsexuality," and "transeconomics," in which everything becomes political, sexual, and economic, so that these domains, like art, lose their specificity, their boundaries, their distinctness. The result is a confused and imploded condition where there are no more criteria of value, of judgment, of taste, and the function of the normative thus collapses in a morass of indifference and inertia.
  9. ^ Baudrillard, J. (2005) The Conspiracy of Art: Manifestos, Interviews, Essays, New York, Los Angeles: Semiotext(e).
  10. ^ FROM NIETZSCHE TO BAUDRILLARD: SEMIOLOGICAL ABSORPTION AND SEDUCTIVE ATTUNEMENT 'Chapter Four: Raw Phenomenology and the Fundamental Rule of Reversibility' "Baudrillard has referred to his work as raw phenomenology"
  11. ^ Simulacra and Simulation, "Value's Last Tango", "Moebius: spiralling negativity"
  12. ^ Seduction, JEAN BAUDRILLARD, English language copyright New World Perspectives, 1990. translated by Brian Singer, ISBN 0-920393-25-X, page 134, "THE PASSION FOR RULES" "For us the finite is always set against the infinite; but the sphere of ritual is neither finite nor infinite- transfinite perhaps. It has its own finite contours, with which it resists the infinity of analytic space. To reinvent a rule is to resist the linear infinitude of analytic space in order to recover a reversible space." "For us the finite is always set against the infinite; but the sphere of games is neither finite nor infinite – transfinite perhaps. It has its own finite contours, with which it resists the infinity of analytic space. To reinvent a rule is to resist the linear infinitude of analytic space in order to recover a reversible space."
  13. ^ a b "The transfinite is a concept originating in set theory, and was developed for linguistics by Julia Kristeva." "Baudrillard introduces the idea of a new stage of value, beyond the structural revolution, and uses the concept of the "transfinite" to further characterize the generalized implosion of categories and erasure of distinctions that characterized modern thought and modern societies." Nihilism in Postmodernity: Lyotard, Baudrillard, Vattimo. Ashley Woodward (2009). ISBN 978-1-934542-08-8. The Davies Group, Publishers
  14. ^ Mike Gane: the transfinite "indicates that which has passed beyond the finite, which is thus 'more than' a finite figure, but is not infinite." Baudrillard's Bestiary: Baudrillard and Culture (London; New York: Routledge, 1991). 126-7.
  15. ^ a b c d "Transfini". Archived from the original on 14 June 2022. Baudrillard had once said, kindly: "I admire Derrida, but it's not my thing." He sympathized ironically with Americans who felt invaded by Derridean acolytes spreading the gospel of deconstruction: "That was the gift of the French. They gave Americans a language they did not need. It was like the Statue of Liberty. Nobody needs French theory."
  16. ^ a b c d e Poole, Steven (7 March 2007). "Jean Baudrillard. Philosopher and sociologist who blurred the boundaries between reality and simulation". The Guardian. London, England.
  17. ^ a b c d Steven Poole (8 March 2007). "Jean Baudrillard: French philosopher and sociologist who explored the changing nature of reality in the media age". The Guardian. Archived from the original on 24 January 2022. Baudrillard had once said, kindly: "I admire Derrida, but it's not my thing." He sympathized ironically with Americans who felt invaded by Derridean acolytes spreading the gospel of deconstruction: "That was the gift of the French. They gave Americans a language they did not need. It was like the Statue of Liberty. Nobody needs French theory."
  18. ^ Baudrillard, Žižek, and the Seduction of Christ. Marcus Pound. Retrieved on 28 December 2021 https://philpapers.org/rec/POUBZA http://zizekstudies.org/index.php/IJZS/article/view/89/86 https://core.ac.uk/reader/162911705
  19. ^ Radical Thought Jean Baudrillard Published 1995-04-19 Originally published as La Pensee Radicale
  20. ^ a b c d Kellner, Douglas. Winter 2019. "Jean Baudrillard." The Stanford Encyclopedia of Philosophy, edited by E. N. Zalta.
  21. ^ https://www.encyclopedia.com/people/social-sciences-and-law/economics-biographies/thorstein-veblen https://web.archive.org/web/20211216034301/https://www.encyclopedia.com/people/social-sciences-and-law/economics-biographies/thorstein-veblen[bare URL]
  22. ^ a b Baudrillard and Theology, James Walters (2012), T&T Clark International, ISBN: HB: 978-0-5675-4395-0 PB: 978-0-5675-5972-2 e-ISBN: 978-0-5670-0989-0
  23. ^ Simulacra and Simulation, "The Animals: Territory and Metamorphoses"
  24. ^ a b Revenge of the Crystal: An Interview with Jean Baudrillard by Guy Bellavance
  25. ^ Forget Foucault, page 71
  26. ^ a b Seagull Books 2009 Jean Baudrillard, Why Hasn't Everything Already Disappeared? English translation by Chris Turner 2009 First published in English by Seagull Books, 2009 ISBN 978-1-9064-9-740-8
  27. ^ a b Baudrillard, Jean (1990) [1987], Cool Memories: 1980–1985, Translated by Chris Turner, Paris: Verso Books, ISBN 9783882212488
  28. ^ a b The Intelligence of Evil, Berg (2005), Introduction and English translation by Chris Turner 2005 ISBN-13 9781845203276
  29. ^ The Agony of Power. Translated by Ames Hodges. semiotext(e). 2010. ISBN 978-1-58435-092-7 page 48, 90
  30. ^ The Ecstasy of Communication
  31. ^ "The Political Destiny Of Seduction, "Seduction", translated by Brian Singer, page 144, New World Perspectives, CultureTexts Series, ISBN 0-920393-25-X
  32. ^ a b c Dr. Bernardo Attias. "S(t)imulacrum(b)". Archived from the original on 15 April 2021. Retrieved 16 December 2022. A radical defense of structuralism against poststructuralism, although worded as a radical defense of "fatality" (i.e. destiny) against "chance" and "randomness." Rather than accepting the view of meaning/order as something imposed on disorder by the discourse of rationality, Baudrillard defends precisely the reverse; disorder is imposed upon order by the discourse of innocence (if everything is left up to chance, we escape human responsibility for social situations).
  33. ^ a b c "The art of disappearing – BAUDRILLARD NOW". 22 January 2021. Archived from the original on 22 January 2021. Retrieved 2 March 2022. Transmodernism is "better terms than “postmodernism”. It is not about modernity; it is about every system that has developed its mode of expression to the extent that it surpasses itself and its own logic. This is what I am trying to analyze." "There is no longer any ontologically secret substance. I perceive this to be nihilism rather than postmodernism. To me, nihilism is a good thing – I am a nihilist, not a postmodernist." "Paul Virilio uses the term 'transpolitical'."
  34. ^ a b "Critical Inquiry". Archived from the original on 28 March 2021.
  35. ^ Cody Wilson Uses COVID-19 Crisis To Re-enter Extremist Movement. Southern Poverty Law Center. Archived on 2022. "Citing Baudrillard, he spouts the conspiracy theory du jour: the current global pandemic is being leveraged to create a digital and philosophical police state. / Wilson suggests a solution to “check this system of deterrence in broad daylight,” again citing the post-Marxist cultural theorist: “This, Baudrillard tells us, only terrorism can do.”"
  36. ^ Possamai, A. (2012) "Handbook of Hyper-real Religions", Lieden: Brill
  37. ^ Sarup, Madan. An Introductory Guide to Post-structuralism and Postmodernism. Athens, II.: The University of Georgia Press, 1993. As quoted in FROM NIETZSCHE TO BAUDRILLARD: SEMIOLOGICAL ABSORPTION AND SEDUCTIVE ATTUNEMENT: Kroker "in many ways attempt to out-Baudrillard Baudrillard". (Sarup, 167)"
  38. ^ Lotringer, Sylvère. "Jean Baudrillard," Artforum, Summer 2007. Retrieved 7 October 2021.
  39. ^ Cities of God https://books.google.com.sg/books?id=0FCFAgAAQBAJ&printsec=frontcover&source=gbs_atb#v=onepage&q=baudrillard&f=false
  40. ^ Indecent Theology: Theological perversions in sex, gender and politics 2000 Marcella Althaus-Reid ISBN 0-203-46895-3 Master e-book ISBN ISBN 0-203-77719-0 (Adobe eReader Format) ISBN 0-415-23603-7 (hbk) ISBN 0-415-23604-5 (pbk) pg 7, 96, 98, 99
  41. ^ 2003 Marcella Althaus-Reid The Queer God page 140
  42. ^ "Baudrillard, Jean". Lexico UK English Dictionary. Oxford University Press. Archived from the original on 14 April 2021.
  43. ^ Baudrillard Live: Selected Interviews (Edited by Mike Gane). London and New York: Routledge "I really don't think of myself as a philosopher, my impulse comes from a radical temperament which has more in common with poetry than philosophy." Coulter, Gerry. "Baudrillard and Hölderlin and the Poetic Resolution of the World" (PDF). NEBULA: A Journal of Multidisciplinary Scholarship. Archived from the original (PDF) on 7 March 2022.. ISSN-1449 7751
  44. ^ Richard G. Smith, Edinburgh University Press, 2010, The Baudrillard Dictionary
  45. ^ a b "Aylesworth, Gary, "Postmodernism", The Stanford Encyclopedia of Philosophy (Spring 2015 Edition), Edward N. Zalta (ed.)". Retrieved 1 January 2020. The French, for example, work with concepts developed during the structuralist revolution in Paris in the 1950s and early 1960s, including structuralist readings of Marx and Freud. For this reason they are often called "poststructuralists." They also cite the events of May 1968 as a watershed moment for modern thought and its institutions, especially the universities. Baudrillard: "I have nothing to do with postmodernism."
  46. ^ Redhead, Steve. "All Things are Curves: Notes on the intersecting lives of Jean Baudrillard and Paul Virilio – Fusion Journal, no. 2, 2013" (PDF). Charles Sturt University Research Portal. Archived (PDF) from the original on 2021. Retrieved 26 February 2022.
  47. ^ a b MLA Brennan, Eugene. Review of Pourquoi la guerre aujourd’hui?, by Jean Baudrillard, Jacques Derrida. French Studies: A Quarterly Review, vol. 71 no. 3, 2017, p. 449-449. Project MUSE muse.jhu.edu/article/666299. APA Brennan, E. (2017). [Review of the book Pourquoi la guerre aujourd’hui?, by Jean Baudrillard, Jacques Derrida]. French Studies: A Quarterly Review 71(3), 449. https://www.muse.jhu.edu/article/666299. Chicago Brennan, Eugene. Review of Pourquoi la guerre aujourd’hui?, by Jean Baudrillard, Jacques Derrida. French Studies: A Quarterly Review 71, no. 3 (2017): 449–449. muse.jhu.edu/article/666299. Endnote TY – JOUR T1 – Pourquoi la guerre aujourd’hui? by Jean Baudrillard, Jacques Derrida (review) A1 – Brennan, Eugene JF – French Studies: A Quarterly Review VL – 71 IS – 3 SP – 449 EP – 449 PY – 2017 PB – Oxford University Press SN – 1468–2931 UR – https://muse.jhu.edu/pub/8/article/666299 N1 – Volume 71, Number 3, July 2017 ER -
  48. ^ http://www.critical-theory.com/nobody-needs-french-theory-baudrillard-slams-peers-in-2005-interview/ Baudrillard stating French theory "was like the Statue of Liberty. Nobody needs French theory."
  49. ^ https://euppublishingblog.com/2015/07/15/nobody-needs-french-theory-an-extract-from-jean-baudrillard-from-hyperreality-to-disappearance/ ‘Nobody Needs French Theory’
  50. ^ https://www.tandfonline.com/doi/pdf/10.1080/03085149300000030 Baudrillard: "I have nothing to do with postmodernism."
  51. ^ a b c d e f Francois L'Yvonnet, ed., Cahiers de l'Herne special volume on Baudrillard, Editions de l'Herne, 2004
  52. ^ In 1948, he completed his diplôme d'études supérieures [fr] (roughly equivalent to an MA thesis) on Friedrich Nietzsche and Martin Luther (see Journées Jean Baudrillard Musée du quai Branly Paris 17-18/09/2010).
  53. ^ Simmons, Arthur (1982). French Philosophers in the 20th Century, p. 9. MacMillan, London.
  54. ^ cf. Barry Sandywell's article "Forget Baudrillard", in Theory, Culture and Society (1995, issue 12)
  55. ^ Jean Baudrillard Faculty page at European Graduate School
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  58. ^ Violence of the Virtual and Integral Reality by Jean Baudrillard, translated by Marilyn Lambert-Drache. Taken from: Light Onwords / Light Onwards, Living Literacies Text of the 14–16 November 2002 Conference PART THREE: E-LITERACY
  59. ^ a b "Jean Baudrillard". The Independent. 9 March 2007. Retrieved 18 November 2020.
  60. ^ Samoyault, Tiphaine (13 January 2017). Barthes: A Biography. John Wiley & Sons. ISBN 978-1-5095-0569-2.
  61. ^ "Marine Dupuis Baudrillard". Delere Press. Retrieved 18 November 2020.
  62. ^ Peter Pericles Trifonas, Barthes and the Empire of Signs, Icon (2001).
  63. ^ see here Baudrillard's final major publication in English, The Intelligence of Evil, where he discussed the political fallout of what he calls "Integral Reality"
  64. ^ Baudrillard, Jean. 1985. The Perfect Crime. London: Verso Books.
  65. ^ see here The Transparency of Evil, Verso (1993)
  66. ^ a b Baudrillard, Jean. 1983. For a Critique of the Political Economy of the Sign. London: Verso Books. ISBN 9781788734844.
  67. ^ Kvas, Kornelije (2020). The Boundaries of Realism in World Literature. Lanham, Boulder, New York, London: Lexington Books. p. 13. ISBN 978-1-7936-0910-6.
  68. ^ Baudrillard, Jean. "Simulacra and Simulations: I. The Precession of Simulacra". European Graduate School. Translated by S. F. Glaser. Archived from the original on 29 July 2010.
  69. ^ https://web.archive.org/web/20220305234431/https://baudrillardstudies.ubishops.ca/virtuality-and-events-the-hell-of-power/ Retrieved 14 March 2022. "Virtuality and Events: The Hell of Power" ISSN 1705-6411. Jean Baudrillard. Translated by Chris Turner. From The Intelligence of Evil or the Lucidity Pact.
  70. ^ a b Baudrillard, Jean (1994). The Illusion of the End. Palo Alto, California: Stanford University Press. ISBN 978-0804725019.
  71. ^ Baudrillard, Jean. "The Violence of the Global," translated by F. Debrix. European Graduate School. Archived from the original on 27 May 2010.
  72. ^ Baudrillard, Jean; Petterson, James (1996). "No Pity for Sarajevo; The West's Serbianization; When the West Stands in for the Dead". This Time We Knew. NYU Press. pp. 79–89. JSTOR j.ctt9qfngn.7.
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  74. ^ a b c Christopher Norris (1992). Uncritical Theory: Postmodernism, Intellectuals, and the Gulf War. Lawrence & Wishart. ISBN 0-87023-817-5.
  75. ^ a b Baudrillard, Jean. [2001] 2010. "The Spirit of Terrorism," translated by R. Bloul. European Graduate School. Archived 25 August 2010 at the Wayback Machine.
  76. ^ a b c d e f Baudrillard, Jean. [2007] 2010. The Agony of Power, translated by A. Hodges, Semiotext(e) Intervention Series 6. Los Angeles: Semiotext(e). ISBN 9781584350927.
  77. ^ a b c Poster, Mark. 2002. "Introduction" in Jean Baudrillard: Selected Writings (2nd ed.), edited by M. Poster. Stanford: Stanford University Press. ISBN 978-0804742733.
  78. ^ Kellner, Douglas. Jean Baudrillard: From Marxism to Postmodernism and Beyond. ISBN 0-8047-1757-5.
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External linksEdit