Por Jean Baudrillard EL OTRO POR SI MISMO Resulta paradójico establecer el panorama retrospectivo de una obra que jamás se ha pretendido prospectiva. Es como cuando Orfeo se vuelve demasiado pronto hacia Eurídice y con ello la envía para siempre a los Infie
Para Jean Baudrillard, el arte se repite cada vez a más velocidad y tiende inevitablemente hacia la trivialidad. El pensamiento de Jean Baudrillard, en el que se perciben, entre otras, las huellas de Friedrich Nietzsche, Charles Baudelaire y Roland Barthes, tuvo una favorable recepción por parte de muchos artistas emergentes hacia principios de la década de los ochenta. Habían encontrado en la simulación y la hiperrealidad conceptos claves. Asimismo, en los años noventa, en una situación opuesta por el vértice, el sociólogo y filósofo estuvo entre los intelectuales que sostuvieron con mayor vehemencia la hipótesis de que el nuevo arte se había edificado sobre una impostura. En medio de esa trama de impugnaciones de toda índole, en la que también participaban Jean Clair (director del Museo Picasso), Ben Vautier y Jean-Philippe Domecq, Baudrillard publicó en Libération "El complot del arte", un artículo de tono escandaloso que comenzaba afirmando: "Si en l
Although I greatly prefer French news anchors to French intellectuals, it is appropriate to make mention of the death of Jean Baudrillard. Though probably I shouldn’t, since Baudrillard himself said the death of a person really mattered not at all. Of course, he would take issue with that. Smart ass intellectuals who have read too much Nietzsche, will always protest when anyone acts like they understand their thinking.Monsieur Baudrillard is best known for his idiotic statement that the first Gulf War never took place (but is a view which appears to be shared by George Bush) and the concept of simulation. And this has made him into something of the Timothy Leary of the Internet.What he said was that in our modern society, drowning in various media and electronic representation, reality is not natural. Rather, reality is produced as an effect of its representation. He called this living in a world of hyperreality. And though it was said this idea was the inspiration for the Matrix
Jean Baudrillard is (not) dead. From the Guardian:
Jean Baudrillard’s death did not take place. “Dying is pointless,” he once wrote. “You have to know how to disappear.” The New Yorker reported a reading the French sociologist gave in a New York gallery in 2005. A man from the audience, with the recent death of Jacques Derrida in mind, mentioned obituaries and asked Baudrillard: “What would you like to be said about you? In other words, who are you?” Baudrillard replied: “What I am, I don’t know. I am the simulacrum of myself.”
Love him or hate him, agree with him or not, one of the great thinkers of the age is no longer with us. A keen observer and harsh critic of consumer culture and the ‘hyperreality’ it creates around us, Baudrillard came to virtually define postmodern thought, to the point that, for me at least, he and Derrida become confused in my head sometimes, melding into one hyperreal postmodernist ent
...died today. The cultural theorist, philosopher, political commentator, and photographer died in Paris today after suffering illness. His work is frequently associated with postmodernism and post-structuralism. I'm really sad to hear about it since some friends of mine published a magazine on his "Simulacrum" thesis recently. He somehow was present the last couple of months and even (I hope I'm not wrong!) wrote an article for my friends magazine!? Well. we all are getting older and more and more (famous) people around us are dying... Uh that sounds quite sentimental, doesn't it?Actually Baudrillard is still on my reading list. Read more about him here. He definitely is/was one of the most important theorists of our times and a must read for every deep fashion lover (who's interessted in why thing are the way they are or seem to be...).Credit: grlucas.blogspot.com
Deep down, no one really believes they have a right to live. But this death sentence generally stays tucked away, hidden beneath the difficulty of living. If that difficulty is removed from time to time, death is suddenly there, unintelligibly. Thus perhaps at stake has always been the murderous capacity of images: murderers of the real; murderers of their own model as the Byzantine icons could murder the divine identity. To this murderous capacity is opposed the dialectical capacit of represenations as a visible and intelligible mediation of the real. All of Western faith and good faith was engaged in this wager on represenation: that a sign could refer to the depth of meaning, that a sign could exchange for meaning and that something could guarantee this excahnge--God, of course. But wha
