Difference between revisions of "Simulacrum"
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| − | In Latin this word denoted a material representration or image, usually a deity. | + | In [[Latin]] this [[word]] denoted a [[material]] representration or image, usually a deity. |
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The term has been given a new importance by [[Baudrillard]]'s account of postmodernity. | The term has been given a new importance by [[Baudrillard]]'s account of postmodernity. | ||
| − | A discussion of the role of the simulacrum in Greek and Roman theories of representation can be found in the Appendices to [[Deleuze]]'s ''Logic of Sense'' (1969). | + | A [[discussion]] of the [[role]] of the simulacrum in Greek and Roman theories of [[representation]] can be found in the Appendices to [[Deleuze]]'s ''[[Logic]] of [[Sense]]'' (1969). |
| − | [[Baudrillard]]'s most systematic expositions of his theory of simulacra are to be found in his ''Symbolic Exchange and Death'' (1976) and ''Simulacra and Simulations'' (1981). | + | [[Baudrillard]]'s most systematic expositions of his [[theory]] of simulacra are to be found in his ''[[Symbolic]] [[Exchange]] and [[Death]]'' (1976) and ''Simulacra and Simulations'' (1981). |
| − | For [[Baudrillard]], a [[simulacrum]] is a reproduction of an [[object]] or [[event]] characteristic of a specific stage in the history of the [[image]] or [[sign]]. | + | For [[Baudrillard]], a [[simulacrum]] is a reproduction of an [[object]] or [[event]] characteristic of a specific stage in the [[history]] of the [[image]] or [[sign]]. |
He traces a series of [[stage]]s in its emergence. | He traces a series of [[stage]]s in its emergence. | ||
===First Order=== | ===First Order=== | ||
| − | Whereas the [[image]] was once a [[reflection]] of a basic [[reality]], as in the [[feudal order]] in which [[sign]]s were clear indications of hierarchical status, it came to mask or [[pervert]] a basic [[reality]] when, in the baroque period that privileged [[artifice]] and [[counterfeit]] over natural [[sign]]s, arbitrary or artificial [[sign]]s began to proliferate. | + | Whereas the [[image]] was once a [[reflection]] of a basic [[reality]], as in the [[feudal order]] in which [[sign]]s were clear indications of hierarchical status, it came to mask or [[pervert]] a basic [[reality]] when, in the baroque period that privileged [[artifice]] and [[counterfeit]] over [[natural]] [[sign]]s, [[arbitrary]] or artificial [[sign]]s began to proliferate. |
| − | Such [[sign]]s are described as first order [[simulacra]]. | + | Such [[sign]]s are described as first [[order]] [[simulacra]]. |
| − | ===Second Order | + | ===Second Order=== |
| − | With the mass production of industrial objects in [[Benjamin]]'s 'era of mechanical reproduction', second order [[simulacra]] predominated as 'originals' lost their mystic [[aura]]. | + | With the mass production of industrial [[objects]] in [[Benjamin]]'s 'era of mechanical reproduction', second order [[simulacra]] predominated as 'originals' lost their [[mystic]] [[aura]]. |
| − | Such [[simulacra]] signal the [[absence]] of a basic [[reality]]. | + | Such [[simulacra]] [[signal]] the [[absence]] of a basic [[reality]]. |
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===Third Order=== | ===Third Order=== | ||
| − | The third order [[simulacra]] of [[postmodernity]] have no relation to [[reality]] whatsoever, and are their own pure [[simulacrua]] or imitations of imitations. | + | The [[third]] order [[simulacra]] of [[postmodernity]] have no relation to [[reality]] whatsoever, and are their own pure [[simulacrua]] or imitations of imitations. |
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The ultimate [[simulacra]] is Disneyland. | The ultimate [[simulacra]] is Disneyland. | ||
| − | According to [[Baudrillard]], Disneyland is presented as imaginary - or simulates its own imaginary nature - in order to make us believe that the rest of America is real rather than something belonging to the order of [[simulation]] and [[hyperreality]]. | + | According to [[Baudrillard]], Disneyland is presented as [[imaginary]] - or simulates its own imaginary [[nature]] - in order to make us believe that the rest of America is [[real]] rather than something belonging to the order of [[simulation]] and [[hyperreality]]. |
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<references/> | <references/> | ||
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[[Category:Postmodern theory]] | [[Category:Postmodern theory]] | ||
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[[Category:Terms]] | [[Category:Terms]] | ||
Latest revision as of 23:14, 20 May 2019
In Latin this word denoted a material representration or image, usually a deity.
Contents
Baudrillard
The term has been given a new importance by Baudrillard's account of postmodernity.
A discussion of the role of the simulacrum in Greek and Roman theories of representation can be found in the Appendices to Deleuze's Logic of Sense (1969).
Baudrillard's most systematic expositions of his theory of simulacra are to be found in his Symbolic Exchange and Death (1976) and Simulacra and Simulations (1981).
For Baudrillard, a simulacrum is a reproduction of an object or event characteristic of a specific stage in the history of the image or sign.
He traces a series of stages in its emergence.
First Order
Whereas the image was once a reflection of a basic reality, as in the feudal order in which signs were clear indications of hierarchical status, it came to mask or pervert a basic reality when, in the baroque period that privileged artifice and counterfeit over natural signs, arbitrary or artificial signs began to proliferate.
Such signs are described as first order simulacra.
Second Order
With the mass production of industrial objects in Benjamin's 'era of mechanical reproduction', second order simulacra predominated as 'originals' lost their mystic aura.
Such simulacra signal the absence of a basic reality.
Third Order
The third order simulacra of postmodernity have no relation to reality whatsoever, and are their own pure simulacrua or imitations of imitations.
Disneyland Example
The ultimate simulacra is Disneyland.
According to Baudrillard, Disneyland is presented as imaginary - or simulates its own imaginary nature - in order to make us believe that the rest of America is real rather than something belonging to the order of simulation and hyperreality.
