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Journal articles on the topic 'Baudrillard'

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Published: 4 June 2021

Last updated: 27 July 2024

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1

King, Matthew James. "Object-Oriented Baudrillard? Withdrawal and Symbolic Exchange." Open Philosophy 2, no. 1 (May 22, 2019): 75–85. http://dx.doi.org/10.1515/opphil-2019-0008.

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AbstractBy comparing Object-Oriented Ontology (OOO) and Baudrillard through the lens of a study of the notion of withdrawal in Heidegger’s tool analysis and “The Question Concerning Technology”, this article explores the extent to which an Object-Oriented Baudrillard is possible, or even necessary. Considering an OOO understanding of Mauss’s gift-exchange, a possible critique of duomining in Baudrillard and a revision of Baudrillard’s understanding of art, the prospects of a new reading of Baudrillard and interpretation of OOO’s genealogy are established. These lines of comparison qualify the role of withdrawal in Baudrillard and symbolic exchange for OOO, and lead towards the conclusion that an Object-Oriented Baudrillard is possible, but may not, conversely, be considered necessary.

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Ismatuloh, Muhammad Aghni. "Jean Baudrillard's Hyperreal." Lakon : Jurnal Kajian Sastra dan Budaya 12, no. 2 (November 30, 2023): 129–42. http://dx.doi.org/10.20473/lakon.v12i2.47118.

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Abstract: Jean Baudrillard is one among many prominent thinkers of postmodernism. One among many his notable idea is the Hyperreal In his book Simulacra and Simulation, Baudrillard’s proposes the idea of something that transcend beyond the state of fake and reality, the Hyperreal. This concept can be found as a theme in lyrics of a song titled Idol by Yoasobi. This paper try to dissect the lyrics and finding the implication of Baudrillard’s concept of Hyperreal within the implicit and explicit meanings of the lyrics. Idol is a certain profession that has gain significant rise in the 21th century. The common perception is that they are selling ‘fake identities’ to their audience. Nevertheless, the truth is more complicated than it is as with using Baudrillard’s theoretical framework of the Hyperreal, idol has cross the boundary between falsehood and authenticity and become ‘real’ in their own sense. Keywords: Baudrillard, Hyperreal, Simulation, Idol, Yoasobi Abstrak: Jean Baudrillard adalah salah satu dari banyak pemikir terkemuka di bidang pascamodernisme. Salah satu gagasan terkenalnya adalah Hyperreal. Dalam bukunya yang berjudul Simulacra and Simulation, Baudrillard mengusulkan konsep akan sesuatu yang melampaui keadaan palsu dan kenyataan, yaitu Hyperreal. Konsep ini dapat ditemukan sebagai tema dalam lirik lagu berjudul Idol oleh Yoasobi. Artikel penelitian ini mencoba menguraikan lirik lagu tersebut dan menemukan implikasi konsep Hyperreal dari Baudrillard dalam makna tersirat dan tersurat dari lirik. Idol adalah profesi tertentu yang mengalami peningkatan signifikan pada abad ke-21. Persepsi umum tentang idol adalah bahwa mereka menjual 'identitas palsu' kepada audiens. Namun, kenyataannya lebih rumit daripada itu, dengan menggunakan kerangka teoritis Hyperreal dari Baudrillard, profesi Idol telah melampaui batasan antara kepalsuan dan keaslian sehingga menjadi 'nyata' dalam arti mereka sendiri. Kata kunci: Baudrillard, Hyperreal, Simulasi, Idol, Yoasobi

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MONIN, Maxim, Elena LEDENEVA, and Elena SHADRINA. "Сoncept of Alienation in the Works of K. Marx and J. Baudrillard." WISDOM 26, no. 2 (June 25, 2023): 256–63. http://dx.doi.org/10.24234/wisdom.v26i2.997.

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This article explores the idea of alienation in J. Baudrillard’s philosophy, which is both a continuation and a critique of K. Marx’s understanding of alienation. A comparison of both philosophies is drawn based on the specific example of the concept of alienation, which played an exceptionally important role in both Marx’s and Baudrillard’s concepts. Baudrillard, like Marx, uses the concept of alienation mainly as a tool to criticize modern society and the human condition in it. Moreover, like Marx, Baudrillard views alienation in close connection with the notion of private property. Yet along with this, as the article demonstrates, Baudrillard, in contrast to Marx, sees alienation not at all as a separation of man from his own universal essence, but on the contrary, as a dissolution in the social (to which Baudrillard attributed not a universal, but a concrete-historical meaning; this is reflected, for example, in the name consumer society for Western society in the second half of the 20th century).

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Bakti, Indra Setia, Nirzalin Nirzalin, and Alwi Alwi. "Konsumerisme dalam Perspektif Jean Baudrillard." Jurnal Sosiologi USK (Media Pemikiran & Aplikasi) 13, no. 2 (December 17, 2019): 147–66. http://dx.doi.org/10.24815/jsu.v13i2.15925.

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Consumerism has revealed its form. The existence of the ideology has caused ridicule and even opposition from some groups of society, while some other groups support and make it a way of life. But times seem to influence more and more people to choose the consumerist path. Indications that support this argument can be seen from the phenomenon of society making material ownership a measure of success. This article explores consumerism in Jean Baudrillard's perspective using the literature study method. Several references such as books and journals and both written directly by Baudrillard and the works of other authors on the same theme. Baudrillard's three early works brought this study to the discussion of the concept of sign-values and simulation which had made a major contribution to the development of the sociology of consumption studies.AbstrakKonsumerisme sudah menampakkan wujudnya. Keberadaan paham ini memunculkan cemoohan bahkan penentangan dari sebagian pihak, sementara sebagian pihak yang lain justru mendukung dan menjadikannya sebagai cara hidup. Namun perjalanan waktu tampaknya menggoda semakin banyak orang untuk memilih jalan konsumeris. Indikasinya dapat dibaca dari kepemilikan komoditas tertentu sebagai ukuran kesuksesan hidup. Artikel ini mengupas tentang konsumerisme dalam perpektif Jean Baudrillard dengan menggunakan metode studi pustaka. Sejumlah referensi seperti buku dan jurnal dijadikan rujukan, baik karya yang ditulis langsung oleh Baudrillard maupun karya-karya penulis lain dalam tema yang sama. Tiga karya awal Baudrillard membawa studi ini mengerucut pada konsep nilai-tanda dan dunia simulasi yang telah memberi kontribusi besar dalam pengembangan ranah studi sosiologi konsumsi.

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5

Samsun, Meysem. "The end of art as a capitalist discourseKapitalist bir söylem olarak sanatın sonu." International Journal of Human Sciences 12, no. 2 (November 23, 2015): 1239. http://dx.doi.org/10.14687/ijhs.v12i2.3427.

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<p>In the present paper, the claim, art or painting is going through its end, is evaluated as a capitalist discourse; and some related samples were analyzed in terms of how they were passivized and become dysfunctional by the capitalist system. French thinker Jean Baudrillard is the most effective and distinguished sample of the claim, the end of art. In this point, after evaluating Danto’s ideas from the modern perspective, the claim of “end of art” will be discussed through Baudrillard’s post-modern perspective. When Baudrillard directed his gaze onto the world of art, the situation he saw was not a very optimistic one. Modern art and post-modern art, in which the thinker is also included, is the production of the Western World. As a result, in this sense, the literature of art is merely valid for the modern art taking its roots from the Western World and this domain of thinking. According to Baudrillard, art has lost its own privilege and purpose; it is not made for development of culture, but for consumption of this culture; and instead of existing through its own content of meaning, it has been unconsciously spread over all segments of the society. As a result, the discussion of what is art and what is not has progressively become more ambiguous.</p><p> </p><p><strong>Özet</strong></p><p>Bu çalışmada sanatın ya da resmin sonunun geldiği savı kapitalist bir söylem olarak değerlendirilmiş, sanatın kapitalist sistem tarafından nasıl edilgen ve işlevsiz kılındığına ilişkin örneklendirmelerle işlenmiştir. Sanatın sonu sav’ının, bu örneklendirme ile, en etkili duayen ismi Fransız düşünür Jean Baudrillard’dır. Burada, modern anlamda Danto’nun görüşlerine yer verildikten sonra ‘’sanatın sonu’’ savı, postmodern anlamda, Baudrillard üzerinden tartışılacaktır. Baudrillard bakışını sanat dünyasına çevirdiğinde gördüğü manzara iç açıcı değildir. Burada bahsedilen çağdaş sanat, postmodern sanat, düşünürün de içinde bulunduğu Batı dünyasının üretimidir. Dolayısıyla, bu bağlamda literatür, sadece Batı dünyası ve bu düşünce dünyasından beslenen çağdaş sanat için geçerlidir. Baudrillard’a göre sanat artık sahip olduğu ayrıcalığı ve amacını yitirmiş, kültürü geliştirmek için değil, tüketilmek için yapılmış ve kendi anlam içeriği ile var olmak yerine toplumun tüm katmanlarına bilinçsizce yaydırılmış ve neyin sanat olup neyin sanat olmadığı tartışmaları iyice bulanıklaşmıştır.</p>

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6

Maršálek, Jan. "Claude Lévi-Strauss v sociologii: Baudrillardova teorie společnosti konzumu." Teorie vědy / Theory of Science 31, no. 2 (November 11, 2009): 141–59. http://dx.doi.org/10.46938/tv.2009.18.

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Contrary to what is often thought, the structuralist approach has never been adopted in French sociology very extensively. When speaking about structuralism in this discipline, the work of Pierre Bourdieu is generally referred to. The present paper is intentionally heading in another direction and is questioning Lévi-Straussian traces in Baudrillard’s theory of the consumer society. First, Baudrillard acknowledges being in debt to Lévi-Strauss for his conception of consumption as a language. In this perspective exchanged goods are understood as object-signs. We believe nevertheless that Baudrillard goes even further when he analyzes the phenomenon of absurd violence, bearing in mind – even he does not directly disclose it – Lévi-Strauss’ concept of “free signifier”. All the same we finally conclude that Baudrillard’s use of Lévi-Strauss is rather cursory. Despite this fact it is of interest: Thus we follow Baudrillard’s analysis and consider the problem of social criticism, which is one of the main topics of his writings here discussed.

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7

Holt, Matthew. "Baudrillard and the Bauhaus: The Political Economy of Design." Design Issues 32, no. 3 (July 2016): 55–66. http://dx.doi.org/10.1162/desi_a_00399.

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Though better known in the Anglophone world as the guru of postmodern “hyperreality”, the French philosopher and radical sociologist Jean Baudrillard devoted a great deal of attention to theorizing design. This paper singles out the moment—inspired by a conference he attended in 1972 in New York at MoMA—where he advances the argument that contemporary design, understood as articulating and incorporating the entirety of the artificial environment, is a direct manifestation of the most significant development in political economy since the industrial revolution—what Baudrillard calls the “political economy of the sign.” According to Baudrillard the origin of this expanded sense of design is the Bauhaus. That school sought to extend the role and mission of design to all fabricated phenomena, in the process collapsing any distinction between objects (and environments), turning them all into a fusion of art and technology, aesthetics and functionality. In explicating Baudrillard's argument, this paper also traces the missing presence of design in traditional political economy, arguing that Baudrillard was one of the first authors, albeit critically, to identify the now essential role of design in postindustrial capitalism.

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8

Drigo, Maria Ogécia. "A publicidade na perspectiva de Baudrillard." Comunicação Mídia e Consumo 5, no. 14 (September 2, 2009): 171–85. http://dx.doi.org/10.18568/cmc.v5i14.142.

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Resumo O propósito deste artigo é apresentar as idéias de Baudrillard sobre publicidade, tratadas na obra O sistema dos objetos. Assim, discutem-se os conceitos de arranjo e de ambiência que culminam no conceito de funcionalidade, os quais permitem apresentar as relações que se estabelecem entre os seres humanos, e entre eles e os objetos. Em seguida, aborda-se o papel da publicidade em meio a esses objetos/signos. Palavras-chave: Jean Baudrillard; comunicação; publicidade; funcionalidade; objetos/signos. Resumen El propósito de este artículo es presentar las ideas de Baudrillard sobre la publicidad, que constan en la obra El sistema de los objetos. Se discuten los conceptos de arreglo y de ambiencia que culminan en el concepto de funcionalidad, los cuales permiten presentar las relaciones que se establecen entre los seres humanos y entre ellos y los objetos. En seguida,se aborda el papel de la publicidad en medio de esos objetos/signos. Palabras-clave: Jean Baudrillard; comunicación; publicidad; funcionalidad; objetos/signos. Abstract This article intends to present Baudrillard’s ideas about advertising as considered in “Le système des objects”, his first book. The concepts of settlement, ambience and functionality are discussed. They make it possible to present the relations constructed among human beings and among humans and objects. We then discuss the role of advertising amongst these objects/signs. Keywords: Jean Baudrillard; communication; advertising; functionality; objects/signs.

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9

Raffel, Stanley. "‘Baudrillard on Simulations: An Exegesis and a Critique’." Sociological Research Online 9, no. 2 (May 2004): 57–65. http://dx.doi.org/10.5153/sro.908.

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This paper is an attempt to explain, apply, and ultimately to point to certain limitations of, Baudrillard's idea that ours is the age of simulations. As the concept has not always been clearly discussed in the literature, early sections of the paper are devoted to describing the notion and providing some specific examples. How Baudrillard can claim that the age of simulations represents a new, qualitatively distinct, stage of society is also examined. Having articulated the basic idea, the paper goes on to try to show its power by utilizing it to analyze a typical contemporary phenomenon, Starbucks. Thus far the paper's main aim has been to argue that simulation is indeed an illuminating concept. However, we next point to a serious dilemma which is certainly not resolved by Baudrillard himself. This problem is the fact that he leaves us, apparently, with no ability to ever see through simulations. In response to this difficulty, the final sections of this article try to show how it is actually possible to accept Baudrillard's basic insight as to the existence and spread of simulations but also possess resources to detect them, thus resisting Baudrillard's pessimistic conclusion that there is no viable alternative to either living in or producing a world of simulated things. In this section of the paper, a major additional focus is Baudrillard's analysis of the first Gulf War.

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Butterfield, Bradley. "Ethical Value and Negative Aesthetics: Reconsidering the Baudrillard-Ballard Connection." PMLA/Publications of the Modern Language Association of America 114, no. 1 (January 1999): 64–77. http://dx.doi.org/10.2307/463427.

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Like today's masses, the characters in J. G. Ballard's Crash are fascinated by what Jean Baudrillard calls the accident, especially when it involves the death of a celebrity. Ballard's characters, however, reenact their accidents as sexual rituals of a marriage between technology and death that are beyond the realm of moral judgment, making Crash sci-fi, hypothetical, unrealistic. Calling Crash “the first great novel of the universe of simulation,” Jean Baudrillard has drawn heavy criticism for missing the alleged moral point, both in Crash and in the still-real world. As a fiction writer, Ballard is given a wide moral berth, but when Baudrillard's theory turns sci-fi, the question of ethical boundaries is broached, and leniency is less likely. In defense of Baudrillard, I read him, like Ballard, in the Nietzschean tradition of a purposefully amoral, negative aestheticism, which I argue is of value to ethics and radical politics in a world governed by instrumental simulacra.

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11

Liang, Jiajun. "The Glaciation Trilogy Directed by Michael Haneke from the Perspective of the Theories of Jean Baudrillard." Communications in Humanities Research 3, no. 1 (May 17, 2023): 817–22. http://dx.doi.org/10.54254/2753-7064/3/20221019.

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As one of the most celebrated film auteurs of contemporary European cinemas, Austrian film director Michael Haneke has achieved remarkable success at the Cannes International Film Festival. His films always represent the living status of the individuals in the postmodern capitalist society, showing criticism through the reflection on the media. The theory of the postmodern theorist Jean Baudrillard is highly relevant to the works of Haneke. The key notions of Baudrillard, such as simulacra and hyperreality, describe the media-dominated postmodern social landscape, as well as reveal the tension between the individual and society in the post-industrial and late capitalist periods. This research is a cross-study of film authorship and sociology. It takes Hanekes earlier film works, the glaciation trilogy, which are The Seventh Continent (1989), Bennys Video (1992), and 71 Fragments of a Chronology of Chance (1994) as examples, and analyzes the narrative, symbolism and audio-visual strategies through the theoretical perspective of Baudrillards theories. On the one hand, this research examines the Baudrillard themes of postmodernism, hyperreality and media alienation in the cases. On the other hand, it evaluates the cinematic style of Hanake and its relevance to a postmodern film ontology. Through the intertextuality between the works of Haneke and Baudrillard, this study is able to reveal the connection between postmodern sociological theories and contemporary auteur cinemas.

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Guillaume, Marc. "Jean Baudrillard." Médium 12, no. 3 (2007): 168. http://dx.doi.org/10.3917/mediu.012.0168.

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Hanks, Craig. "Jean Baudrillard." Radical Philosophy Review of Books 6 (1992): 26–31. http://dx.doi.org/10.5840/radphilrevbooks1992625.

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Madsen, Ulla Ambrosius. "Jean Baudrillard." Tidsskrift for Professionsstudier 18, no. 35 (September 19, 2022): 96–99. http://dx.doi.org/10.7146/tfp.v18i35.134059.

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Lotringer, Sylvere, and Jean Baudrillard. "Forgetting Baudrillard." Social Text, no. 15 (1986): 140. http://dx.doi.org/10.2307/466498.

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BUTLER, REX. "RECENT BAUDRILLARD." Journal of the Australasian Universities Language and Literature Association 93, no. 1 (May 2000): 83–95. http://dx.doi.org/10.1179/aulla.2000.007.

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Sandywell, Barry. "Forget Baudrillard?" Theory, Culture & Society 12, no. 4 (November 1995): 125–52. http://dx.doi.org/10.1177/026327695012004009.

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Manos, James A. "Jean Baudrillard." Teaching Philosophy 29, no. 1 (2006): 78–79. http://dx.doi.org/10.5840/teachphil200629116.

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Teh, David. "Jean Baudrillard." French Studies 60, no. 4 (January 1, 2006): 546–47. http://dx.doi.org/10.1093/fs/knl157.

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Rufo, Kenneth. "Later, Baudrillard." Communication and Critical/Cultural Studies 5, no. 1 (March 2008): 98–101. http://dx.doi.org/10.1080/14791420701840674.

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21

Tokarz, Mateusz. "Baudrillard, „Paryż, Teksas”. Wyobraźnia filmowa w socjologii i filozofii Jeana Baudrillarda." Kwartalnik Filmowy, no. 93-94 (June 30, 2016): 201–13. http://dx.doi.org/10.36744/kf.2242.

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W swym artykule Tokarz podejmuje refleksję nad filmową wyobraźnią w filozofii i socjologii Jeana Baudrillarda. Dokonuje zderzenia hipotez badawczych oraz teorii społecznych Baudrillarda, który zgłosił akces do ruchu postmodernistycznego, z wieloma odmianami kina współczesnego. Metoda pisarstwa Baudrillarda została zestawiona z metodą twórczą reżysera francuskiej Nowej Fali Jean-Luca Godarda. Tokarz przeprowadza analizę nawiązań Baudrillarda do awangardy wysokiego modernizmu oraz jego spojrzenia przez pryzmat filmów na USA w reportażu filozoficznym Ameryka. Ponadto autor rozpatruje kwestie filmu nostalgicznego, aplikacji Baudrillardowskiej teorii uwodzenia, zestawienia jego myśli z filmem Paryż, Teksas oraz parkosyzmów systemu medialnego. Kluczowa jest hipoteza o możliwości manipulowania historią dzięki doskonałej operacyjności zapisu cyfrowego. W świecie Baudrillarda spełniły się wszystkie utopie i dystopie. Pozostała nostalgia za autentycznością.

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Da Silva, Juremir Machado. "Em torno de uma noção baudrillardiana." Revista FAMECOS 19, no. 1 (May 25, 2012): 16. http://dx.doi.org/10.15448/1980-3729.2012.1.11338.

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Este texto examina uma noção concebida pelo pensador francês Jean Baudrillard: a mídia que, não se respeitando mais, toma-se pelo acontecimento. Trata-se, portanto, mais uma vez, do papel dos meios de comunicação numa sociedade extremamente midiatizada. Uma pergunta se impõe: mesmo o jornalismo tornou definitivamente entretenimento? Entre a teoria e a prática, os rastros da mutação parecem eliminar qualquer dúvida. De certo modo, passados cinco anos da morte de Baudrillard, este artigo faz um balanço do seu legado através de um fragmento da sua imensa, rica e polêmica obra de analista irônico. **************************************************** ABSTRACT This paper examines a concept conceived by the French philosopher Jean Baudrillard: the media which, not respecting anymore, takes itself as the event. Therefore, it is once again about the role of media in a highly mediatic society. A question arises: even journalism has definitely become entertainment? Between theory and practice, the traces of the mutation appear to eliminate any doubt. Somehow, five years after Baudrillard’s death, this paper takes stock of his legacy through a fragment of his vast, rich and controversial work as an ironic analyst.

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Ruzas, Mantautas, and Marius P. Šaulauskas. "POZITYVIOJI IR NEGATYVIOJI TIKROVĖS TEMATIZACIJA. ŠLIOGERIS IR BAUDRILLARD’AS." Problemos 78 (January 1, 2010): 74–82. http://dx.doi.org/10.15388/problemos.2010.0.1350.

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Straipsnis skirtas Arvydo Šliogerio filosofijos ontologinių nuostatų tyrimui, jame analizuojamos ir lyginamos Šliogerio ir Baudrillard’o tikrovės ontologinio statuso traktuotės. Šliogerio filosofijoje tikrovės ontologinis statusas tematizuojamas parodant ir tai, kas yra, ir tai, kas nėra tikrovė. Baudrillard’as tikrovės ontologinį statusą įvardija negatyviai tematizuodamas tik tai, kas nėra tikrovė. Šliogerio filosofija yra grindžiama paradoksalia ontologine prielaida, jog metadiskursyvinė tikrovė funkcionuoja kaip galutinis neredukuojamas referentas, kuris savo ruožtu traktuojamas kaip juslinė substancija (Esmas). Tačiau pati juslinė substancija, nors ir būdama pamatiniu principu, įgalinančiu prasmingumą, pati negali būti adekvačiai įvardyta ex definitio, nes ji iš principo esti neredukuojama į jokį prasminį darinį ir juo labiau į prasminę sistemą. Baudrillard’o filosofija grindžiama semiologiniu reduktyvizmu, t. y. prielaida, kad prasminės nuorodos į metadiskursyvinę tikrovę yra autoreferentiški simboliniai konstruktai (simuliakrai), todėl bet koks bandymas ir apčiuopti tikrovę, ir apibrėžti ją pozityviai tesukuria negatyvų efektą, t. y. spontanišką ir neišvengiamą kitų autoreferentiškų simbolinių konstruktų gamybą.Pagrindiniai žodžiai: Tikrovė, simuliakras, Baudrillard’as, Šliogeris, ontologija.Positive and Negative Thematization of Reality: Šliogeris and BaudrillardMantautas Ruzas, Marius P. Šaulauskas SummaryThe article aims to elucidate the dialectical nature of the most fundamental ontological tenets of Šliogerian philosophy while contrasting them to Baudrillard’s interpretation of the ontological status of the Real. In contrast to Šliogeris who thematizes the Real both in terms of what it is an what it is not, Baudrillard proceeds in a negative way only by showing what the Real is not. Šliogeris’ philosophy is based on a paradoxical ontological argument that the metadiscursive Real functions as the final non-reductive referent conceptualised as the ultimate perceptual substance (Isness). As an ultimate metaphysical principle, it serves as a core of experience, although it cannot be adequately described ex definitio or else somehow reduced to any meaningful counterpart of the conceptual system. Baudrillard’s philosophy, on the contrary, is based on the principle of semiological reductionism, i.e. on the premise that all meaningful links to metadiscursive reality follow the self-referential logic and therefore are merely interrelated symbolic constructions (simulacra) precluding any direct access to the Real and not only to its positive (cataphatic) articulation.Keywords: the Real, simulacrum, Baudrillard, Šliogeris, ontology.

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Habib, Munther Mohd. "Culture and Consumerism in Jean Baudrillard: A Postmodern Perspective." Asian Social Science 14, no. 9 (August 30, 2018): 43. http://dx.doi.org/10.5539/ass.v14n9p43.

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Postmodernism is a very deceptive term. It is very hard to define the term as it encompasses various meanings for various critics. The critics like Michel Foucault, Jean Baudrillard, Jean Lyotard and Jameson attempt to define postmodernism in terms of culture and consumerism. Baudrillard’s Simulacra and Simulacrum is a vital work to define modernism in terms of culture and consumerism. The present paper attempts to study culture and consumerism in Jean Baudrillard’s work. The paper concludes that the postmodern society carried out death in all aspects of life.

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Wikandaru, Reno. "METAFISIKA INFORMASI DALAM PERSPEKTIF PEMIKIRAN JEAN BAUDRILLARD: KONTEKSTUALISASINYA DENGAN PERTAUTAN MEDIA DAN POLITIK DI INDONESIA." Jurnal Filsafat 27, no. 2 (February 27, 2018): 264. http://dx.doi.org/10.22146/jf.32804.

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The 21st century is the age of information. Information spreads through newspapers, magazines, television; and also scattered very massively over the internet. This paper was written for two reasons. First, people sometimes perceive information identical with truth. Second, the metaphysics of information is important to be discussed when it is associated with the phenomenon of media and politics in Indonesia. This paper analyses the metaphysics of information by 'disclosing' information structures that refer to Jean Baudrillard's thought. For Baudrillard, behind the phenomenon of information there are actually three elements at once, namely representation, manipulation, and simulation. The three elements above, influence each other. Real information is the result of the process of representation, ie the process of re-preserving reality and then transmitting that representation of reality to others. Manipulation also becomes an important element in information. According to Baudrillard, the element of simulation in this information is still closely related to the first element, namely representation. Baudrillard said that in the simulation, information will be actualized, meaning that it will be dramatized in a spectacular fashion, but at the same time kept away from communication, and reduced to a sign.

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Laist, Randy. "Bullet-time in Simulation City." Alphaville: Journal of Film and Screen Media, no. 2 (February 14, 2012): 19–33. http://dx.doi.org/10.33178/alpha.2.02.

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The writers and directors of The Matrix famously claimed Jean Baudrillard as a source of inspiration for their movie, going as far as to feature a copy of Baudrillard’s signature book, Simulacra and Simulation, as a prominent prop in one of the movie’s first scenes. Baudrillard, however, explicitly disowned The Matrix as a representation of his worldview. When we follow the story of The Matrix from the perspective of the protagonist Neo, as the story compels us to do, we encounter a dualistic, Platonic division between reality and illusion which, as Baudrillard rightly observes, annuls the implosive dynamic that is the heart of the hyperreal condition. On the other hand, when we consider The Matrix from the perspective of its audience, the citizens of the “real 1999” (as opposed to the simulacral 1999 generated by the Matrix), we find late-century American culture refracted back to us as the kind of world that lends itself to “neural-interactive simulation.” By performing a reading of The Matrix that emphasizes its reference to its contemporary historical moment, we can identify a sense in which the film authentically captures a Baudrillardian variety of space-time.

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Baudrillard, Jean, and Jonathan W. Marshall. "Theatre of Revulsion." TDR/The Drama Review 57, no. 4 (December 2013): 52–59. http://dx.doi.org/10.1162/dram_a_00302.

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Published for Paris's 1985 Butô Festival, Jean Baudrillard's essay is important to the history of butoh. Responding to dancemakers Carlotta Ikeda and Ko Murobushi, Baudrillard employs three main descriptors: revulsion, convulsion, and repulsion. The dancer shifts from animal to mineral, while the body captures or draws into itself the surrounding space, before violently ejecting it.

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BAYARD, Caroline. "Épistémologie du corps et postmodernité: de l’apocalypse de Baudrillard à l’ Einfühlung de Maffesoli." Sociologie et sociétés 24, no. 1 (September 30, 2002): 19–32. http://dx.doi.org/10.7202/001029ar.

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Résumé Baudrillard et Maffesoli ont tenté de pratiquer de par leurs écrits une épistémologie du corps et de la postmodernité qui prenne acte des renversements paradigmatiques qui caractérisent la décennie des années 1980. Le premier en aura une vision essentiellement apocalyptique et nihiliste, qui lui donnera parfois et surtout le rôle de fossoyeur de la modernité, le deuxième nous en fournira une analyse infiniment plus optimiste, situationniste, relativiste, minimaliste. Baudrillard fonde ¡¡on analyse sur un Catastrophisme prophétique, Maffesoli sur une empathie (Elnfühlung), une effusion hédoniste qui privilégie le contractuel aux dépens des scissions du millenium, le vitalisme aux dépens du désenchantement du monde qui, pour Baudrillatd étaient les epitomes de la postmodernité. Ce sont donc deux visions opposées que le lecteur découvrira dans cet article, avec néanmoins, comme coda final, que ces deux penseurs ont été surdéterminés, à leur insu, par leur propre occidentalité et que les " autres " de la postmodernité (en particulier en Europe de l'Est) ont été complètement occultés de leurs analyses.

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Callejo Gallego, Javier. "Baudrillard el incierto." Sociología Histórica 11, no. 1 (August 2, 2021): 207–18. http://dx.doi.org/10.6018/sh.488381.

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Rojek, Chris. "Baudrillard and leisure." Leisure Studies 9, no. 1 (January 1990): 7–20. http://dx.doi.org/10.1080/02614369000390021.

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Ozga-Lawn, Matthew. "Baudrillard for Architects." Journal of Architecture 25, no. 7 (October 2, 2020): 952–56. http://dx.doi.org/10.1080/13602365.2020.1824386.

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Crogan, Patrick. "Remembering (Forgetting) Baudrillard." Games and Culture 2, no. 4 (October 2007): 405–13. http://dx.doi.org/10.1177/1555412007309531.

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Revill, David. "Report: Jean Baudrillard." Paragraph 13, no. 3 (November 1990): 293–300. http://dx.doi.org/10.3366/para.1990.0021.

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Kippur, Sara. "Baudrillard, Translingual Poet." Contemporary French and Francophone Studies 28, no. 2 (March 14, 2024): 272–83. http://dx.doi.org/10.1080/17409292.2024.2311537.

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Yang, Shanyi. "Theorizing Fatal Strategies: A New Leftist Vocabulary of Jean Baudrillard." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 289–98. http://dx.doi.org/10.54097/ehss.v21i.14018.

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This essay explores Jean Baudrillard’s “fatal strategies” outlined in his seminal work, Fatal Strategies. It also explores their relevance to contemporary postmodern capitalist culture. Baudrillard’s writing style mirrors the ecstatic nature of the society he critiques, employing symbolic exchange to intensify its logic to the point of collapse. The essay further examines Baudrillard’s possible leftist vocabulary rooted in critical theory, poststructuralism, and anti-capitalist critique. Baudrillard’s leftist gesture rejects Enlightenment humanist presumptions, particularly the notion of “the social.” He argues that modern technology exposes humans’ predictability and heteronomy, rendering the Enlightenment ideals obsolete yet still haunting the postmodern “desert of the real.” Baudrillard’s work becomes an exorcism, banishing these specters by asserting that responsible collective subjects and genuine social projects never truly existed. Instead, he highlights “figures of the transpolitical,” such as the obese, hostages, and the obscene, as more indicative of contemporary reality. Moreover, Baudrillard challenges the historical privilege of the subject over the object, exploring the “fatal strategy” of the object “taking revenge” on the subject. His intellectual work, though unsystematic, consistently concerns the system of signs of ideology and the role of media and technology in shaping leftist identities. This essay thus sheds light on Baudrillard’s distinct perspective within the leftist cultural critique, providing insights into the postmodern condition and methodological prospects.

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Faturohman, Ari Rizal. "Simulacra in mobile legends." SMARATUNGGA: JURNAL OF EDUCATION AND BUDDHIST STUDIES 2, no. 1 (June 27, 2022): 57–69. http://dx.doi.org/10.53417/sjebs.v2i1.72.

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The current era of online games is very admired, especially among teenagers. This phenomenon is due to the sophistication of technology as a fruit of human thought, one of which humans managed to create a Mobile Legends Online game. This paper will describe the research results with the theme of Mobile Legends analysis of Simulacra by Jean P. Baudrillard. The method used in this study is a descriptive-analytic method using a literature study on related sources. The author uses the theoretical basis of Jean P Baudrillard’s theory about simulacra and hyperreality. The results obtained from this study indicate that the Mobile Legends is the result of human simulation. The conclusion is that the game and all elements resulting from human visualization of reality will impact the player as described by Jean P. Baudrillard, such as simulation, implosion, subject’s death, loss of binary opposition, and death of reality.

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Sementelli, Arthur J., and Terence M. Garrett. "MOOCs: meaningful learning tools for public administration education or academic simulacra?" Education + Training 57, no. 4 (May 11, 2015): 461–70. http://dx.doi.org/10.1108/et-03-2014-0031.

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Purpose – The purpose of this paper is to explore and critically assess the potential value and effectiveness of massive open online courses (MOOCs) for public administration education. Design/methodology/approach – The research in this conceptual paper offered a critical examination of MOOCs using the work of Baudrillard, Debord, and others to re-frame and reconsider our understanding of this emerging educational strategy. Findings – Baudrillard’s simulacrum and Debord’s spectacle concepts can inform the discussion and understanding of MOOCs in higher education. Research limitations/implications – This is an emerging area that needs further study and development. Practical implications – MOOCs might contribute to the blurring of lines between educational products that are needed and products for which a need is manufactured by corporate interests. Social implications – MOOCs might contribute to the commodification of knowledge in higher education. Originality/value – This is the first conceptual paper exploring MOOCs and their issues using Baudrillard and Debord.

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Duvenage, Pieter. "The Ecstasy of Communication. Critical remarks on Jean Baudrillard." Communicare: Journal for Communication Studies in Africa 25, no. 2 (October 20, 2022): 13–24. http://dx.doi.org/10.36615/jcsa.v25i2.1739.

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The socio-cultural criticism of Jean Baudrillard (born 1929), spans from the political turmoil ofFrance in the late-1960s, to the mediatised world of the 1990s and early 21st century.1 In thisprocess his provocative work on the socio-political role of signs, symbolic exchange, simulation,and hyperreality has important implications for communication studies – and more specificallycommunication theory. The point is that with the “… greater mediatization of society … we arewitnessing the virtualization of our world.”2 This contribution briefly reconstructs, firstly, two phasesin Baudrillard’s intellectual career – phases that shifted from an early neo-Marxist critique of themodern consumer society to a post-Marxist or postmodern view of society (which includeengagements with socio-anthropology; psychoanalysis, sociology, semiology and media theory),and eventually ends in a kind of anti-theory with an extreme fatal vision of the world.3 In section2 the implications of these two shifts in Baudrillard’s intellectual career are contextualized in thefield of media and communication studies – and specifically his concept of the “ecstasy ofcommunication”. Finally (in Section 3) some critical remarks are made on Baudrillard’s fascinating,but problematic, project.

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Hamou, Sion. "Baudrillard ou le spectateur absolu [À propos de Jean Baudrillard, Amérique]." Littérature 77, no. 1 (1990): 112–16. http://dx.doi.org/10.3406/litt.1990.1519.

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Purwanti, Silviana. "Melihat Dunia dengan Simulakra (Mengkaji Baudrillard dan Masyarakat Konsumsi)." Jurnal Komunikatif 11, no. 2 (December 2022): 220–30. http://dx.doi.org/10.33508/jk.v11i2.4328.

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This paper is a literature review that elaborates Baudrillard's thoughts on Simulacra in Consumption Society which can be used as a study in understanding the phenomenon of consumption society today and in the future. Basically, according to Baudrillard, consumption in its process can be analyzed in two basic perspectives, namely: as a process of meaning and communication based on rules (code), where consumption practices appear and receive their meaning. Here, consumption is a language-appropriate system of exchange. Second, as a process of social classification and differentiation, this time defines objects/signs not only as significant differences in one code, but as values (rules) that are appropriate in a hierarchy. Consumption can be the subject of strategic power-determining discourse here, especially in the distribution of values that follow rules (except in relation to other social signals: knowledge, power, culture, etc.). In other words, Baudrillard's theory is able to connect the dynamics of consumption society with self-actualization and social needs.

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Cline, Kurt R. "“A Quotation from Baudrillard”." Glimpse 18 (2017): 87–93. http://dx.doi.org/10.5840/glimpse20171810.

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42

Badarevski, Bobi, and Rodna Ruskovska. "In Memoriam Jean Baudrillard." Identities: Journal for Politics, Gender and Culture 5, no. 2 (June 1, 2006): 9–10. http://dx.doi.org/10.51151/identities.v5i2.187.

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Author(s): Bobi Badarevski | Боби Бадаревски Title (English): In Memoriam Jean Baudrillard Title (Macedonian): In Memoriam Жан Бодријар Translated by (Macedonian to English): Rodna Ruskovska | Родна Русковска Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 5, No. 2 (Summer 2006) Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute Page Range: 9-10 Page Count: 2 Citation (English): Bobi Badarevski, “In Memoriam Jean Baudrillard,” translated from the Macedonian by Rodna Ruskovska, Identities: Journal for Politics, Gender and Culture, Vol. 5, No. 2 (Summer 2006): 9-10. Citation (Macedonian): Боби Бадаревски, „In Memoriam Жан Бодријар“, Идентитети: списание за политика, род и култура, т. 5, бр. 2 (лето 2006): 9-10.

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43

Lemert, Charles C., and Mark Poster. "Jean Baudrillard: Selected Writings." Contemporary Sociology 18, no. 4 (July 1989): 639. http://dx.doi.org/10.2307/2073151.

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Poster, Mark. "Jean Baudrillard: Selected Writings." Journal of Aesthetics and Art Criticism 47, no. 1 (1989): 102. http://dx.doi.org/10.2307/432019.

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Dobrowolski, Jacek. "Baudrillard and Postmodernist Nihilism." Dialogue and Universalism 19, no. 3 (2009): 167–77. http://dx.doi.org/10.5840/du2009193/555.

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Mascarello, Fernando. "Tarantino, Deleuze, Baudrillard, tomates." Revista FAMECOS 3, no. 5 (April 9, 2008): 91. http://dx.doi.org/10.15448/1980-3729.1996.5.2952.

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Bessis, Raphaël, and Lucas Degryse. "Entretien avec Jean Baudrillard." Le Philosophoire 19, no. 1 (2003): 5. http://dx.doi.org/10.3917/phoir.019.0005.

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Machado Da Silva, Juremir. "Jean Baudrillard (1929-2007)." Hermès 48, no. 2 (2007): 221. http://dx.doi.org/10.4267/2042/30601.

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Jappe, Anselm. "Baudrillard, détournement par excès." Lignes 31, no. 1 (2010): 67. http://dx.doi.org/10.3917/lignes.031.0067.

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Briche, Gérard. "Baudrillard lecteur de Marx." Lignes 31, no. 1 (2010): 87. http://dx.doi.org/10.3917/lignes.031.0087.

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