By Kim Toffoletti
Jean Baudrillard has been a distinct highbrow voice in lots of of the major debates and concerns dealing with an more and more globalised, media-driven international. Baudrillard Reframed deals these operating with Baudrillard's principles an obtainable evaluate of his better-known arguments, in addition to extending past them to seriously have interaction together with his radical notions of phantasm, singularity and the deadly. Kim Toffoletti surveys the information of this influential - frequently provocative - French philosopher as they relate to today's image-saturated setting. She demonstrates their relevance to analysing modern visible phenomena akin to advertisements, images, truth television, style, paintings, pornography and digital truth. Baudrillard's key subject matters and arguments are illustrated via more than a few visible works, from the graffiti artwork of Banksy, Katharine Hanett's protest t-shirts, to Sophie Calle's images.
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Extra info for Baudrillard Reframed: Interpreting Key Thinkers for the Arts (Contemporary Thinkers Reframed)
40 Baudrillard Reframed illustrating his argument for the increasing commodification of culture, Baudrillard discusses the pop-art movement – citing Jasper Johns, Robert Rauschenberg and Andy Warhol – which he considers emblematic of the commercialisation of culture (Baudrillard 1998: 115–17). If signs are the language through which we make sense of the world, then in order for culture to mean anything, it also must become part of a system of signs and derive its meaning relative to all other signs.
Initially likened to the fractal or virus, the fourth order is the phase of ‘integral reality’. Writing in 2005, Baudrillard describes this moment as a ‘kind of ultra reality that puts an end to both reality and to illusion’ (Baudrillard 2005e: 2). In this – our current – phase, the image is so far removed from its original function that it can’t 29 The image the real thing. The purpose of this strategy is to hide the fact that there is no true or authentic reality, only the simulation of reality.
What makes art different, he insists, is that ‘It plays on the fossilised irony of a culture that no longer believes in that value … the artistic world no longer believes deeply in a destiny of art’ (Baudrillard 2005a: 56). In other words, it is art’s own knowledge that it only attempts to simulate itself which makes it null or banal. It can no longer strive for transcendence or convey a higher purpose. We can see this tendency in the work of an artist like Tracey Emin, whose deliberate use of unremarkable materials and subject matter forms the basis of her art.