Jean Baudrillard is one of the most famous and controversial of writers on postmodernism. But what are his key ideas? Where did they come from and why are they important? This book offers a beginner's guide to Baudrillard's thought, including his views on technology, primitivism, reworking Marxism, simulation and the hyperreal, and America and postmodernism. Richard Lane places Baudrillard's ideas in the contexts of the French and postmodern thought and examines the ongoing impact of his work. Concluding (...) with an extensively annotated bibliography of the thinker's own texts, this is the perfect companion for any student approaching the work of Jean Baudrillard. (shrink)

The Psychology of Screenwriting is more than an interesting book on the theory and practice of screenwriting. It is also a philosophical analysis of predetermination and freewill in the context of writing and human life in our mediated world of technology. Drawing on humanism, existentialism, Buddhism, postmodernism and transhumanism, and diverse thinkers from Meister Eckhart to Friedrich Nietzsche, Theodor Adorno, Jacques Derrida, Jean Baudrillard and Gilles Deleuze, The Psychology of Screenwriting will be of use to screenwriters, film students, philosophers (...) and all those interested in contemporary theory. This book combines in-depth critical and cultural analysis with an elaboration on practice in an innovative fashion. It explores how people, such as those in the Dogme 95 movement, have tried to overcome traditional screenwriting, looking in detail at the psychology of writing and the practicalities of how to write well for the screen. This is the first book to include high-theory with screenwriting practice whilst incorporating the Enneagram for character development. Numerous filmmakers and writers, including David Lynch, Jim Jarmusch, David Cronenberg, Pedro Almodóvar, Darren Aronofsky, Sally Potter and Charlie Kaufman are explored. The Psychology of Screenwriting is invaluable for those who want to delve deeper into writingfor the screen. (shrink)

This article commemorates Jean Baudrillard’s career with an account of the consistency of his interventionist logic, the subtlety of his styles of argument and the prescience of his observations. It provides an account of Baudrillard’s sustained engagement with the intensification of simulation that has increasingly codified trends in communications, technology politics, the social, the psychological and economics in the name of functionality. The consistency of Baudrillard’s arguments belies the many superficial judgements made about them, which were anyway (...) often knowingly encouraged by Baudrillard’s rhetorical strategies. (shrink)

Stratagem of the Corpse is a philosophical and literary exposition of death not so much as seen by Baudrillard but Baudrillard as seen by death.

7 Klaus Hansen Feindberiihrungen mit versohnlichem Ausgang Carl Schmitt und der Liberalismus Das Ende des "Dritten Reiches" liegt iiber 40 Jahre zuruck. Noch immer hiilt sich eine ganze Gesellschaft, die es "nicht fertiggebracht hat, eine andere Geschichte hervorzubringen" (Jean Baudrillard), durch die nachgetragene Kritik und Schuldfeststellung ihrer Meisterdenker schadlos. Der "Nazi-Philosoph" Martin Heidegger beherrscht die feuilletonistische Hermeneutik der Jahreswende 1987 / 88; der "Nazi-Jurist" Carl Schmitt war von 1945 bis zu seinem Tode, 40 Jahre spiiter, immer wieder Gegenstand poli­ (...) tologischer und politi scher Verdammungsverdikte. Wer sich auf Carl Schmitt einliillt, begibt sich in einen Irrgarten, der emp­ fanglichen Gemiitern ein Faszinosum fUr sich ist. Die Beitriige von Sombart, Altmann und Thcker im vorliegenden Buch versuchen, dieser Schmitt'schen Attraktion auf die Spur zu kommen - und stellen dabei mehr Forschungsdesi­ derate als gesicherte Erkenntnisse fest. Vor allem aber geht es in dies em Buch darum, Carl Schmitt die Gerechtig­ keit einer angemessenen Auseinandersetzung widerfahren zu lassen. Freilich nicht dem "ganzen" Carl Schmitt, aber doch jenen Aspekten seines Werkes, die sich mit der Kritik des Liberalismus befassen. Carl Schmitt kritisiert den Liberalismus aus der Position eines Anti-Libera­ len, die sich in vierfacher Umschreibung skizzieren liillt. Der Anti-Liberalismus Schmitts ruhrt 1. von der anthropologischen Grundauffassung her. In der Tradition von Ma­ chiavelli und Hobbes stehend, sieht Schmitt den Menschen als "bose" und "gefahrlich" an. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Rancière Now?Joseph J. Tanke (bio)I. IntroductionAs philosophy's representative at an art college, a question is put to me by my colleagues, students, and other art-world types frequently enough that it is worth considering systematically: Why Rancière now? The query is in large part prompted by a recent issue of Artforum devoted to the work of the French philosopher Jacques Rancière, the publication of which caps a seemingly overnight (...) ascendance within discussions of art and politics. The very temporality of the question indicates that the discovery of Rancière by art professionals is a relatively recent development. Why is this taking place now? To begin to answer this question, we must first understand something about the current relationship between theoretical discourse and artistic practice.That Rancière is only now beginning to be discussed within the art world is indeed surprising, given the long-standing reliance upon theoretical approaches and the fact that Baudrillard, Derrida, and Deleuze now function as standard reference points. While it would be incorrect to say that Rancière was an unknown quantity in the Anglophone world until recently, the sense of revelation suggested by the query "Why now?" must be understood in terms of the ongoing exchange between European theory and contemporary art. This is a conversation that, independent of one's perspective as to whether it has had positive or negative consequences, cannot be denied. With this relationship between Continental philosophy, art making, and critical discourses, one is justified in asking, Why is Rancière only now coming to be read with any seriousness in art circles? The point is sharpened when we note that Rancière's work, unlike that of some of the more [End Page 1] celebrated names, is more readily suited for an interface with critical art discourse, concerned as it is with aesthetic issues and the analysis of contemporary art.One might be tempted to find lurking behind our question a certain amount of suspicion about further incursions by theory and detect a sense of exasperation at having yet another French name to pronounce. Those of us who find this interaction between art and theory edifying, however, should not simply shrug off this question and attribute it to an aversion to philosophy, or to a backlash against the excess of the past two decades. Understanding the context in which the question is posed allows us to expand it. And, while not all would agree, I think it is safe to say that there is a tacit consensus that fruitful arrangements between art and philosophy can be forged. With this situation in mind, we might, therefore, transform our question into something like the following: What might Rancière contribute to the work of the nonphilosopher, placed, for good or ill, within a dispositif wherein art and European theory discourse about many of the same phenomena, but in different idioms? The advantage of this formulation, of course, is that it allows us to avoid many of the facile responses to our initial question, variations on a theme suggesting that Rancière is simply one of the few members of that esteemed generation of thinkers still living and that the turning to his work is indicative of a generalized anxiety about the future of theoretical developments. We might also, in thus expanding our question, sketch an answer directed at those working at the edges of their respective disciplines: philosophers, artists, critics, historians—in short, all those interested in questions of contemporary culture. In accordance with what Rancière describes as the fortuitous breakdown of specializations, my efforts in this essay are intended as a contribution to an interdisciplinary conversation that is grappling with the intellectual issues raised by works of art, their reception, and the historical discourses that are created around them.II. To Avoid Two Discourses of MourningThe temporality of our question, why now?, is hinted at by Rancière at various points throughout his own work and pertains to what might be characterized as the default theoretical position of art, that of "mourning." For Rancière, this mourning takes two major forms: spectacle and the impossible. The former finds its genesis... (shrink)

Subjects and Simulations presents essays focused on suffering and sublimity, representation and subjectivity, and the relation of truth and appearance through engagement with the legacies of Jean Baudrillard and Philippe Lacoue-Labarthe.

Marx's historical-materialist philosophy of history has often been criticized for being ethnocentric. Jon Elster (1985, 490), for example, suggests that it has become a "conceptual straight-jacket for the study of much non-western history." Marshall Sahlins, in his book, Culture and Practical Reason (1976), as well as critics like Baudrillard (1975, 59, 65-67) Balbus (1982, 33-36), and Aronowitz (1981, 67-68), have argued that Marx develops a single, necessary historical pattern, worked up on the basis of the historical development of Western (...) societies, which is then conceptually imposed on all societies, including non-Western ones. Also, that this pattern of historical development proceeds from "lower," more "primitive" stages to "higher," more "civilized" ones and culminates in modern Western capitalist societies as the highest stage before socialism. Marx's productivism, escpecially, has been criticized along these lines. The term productivism is shorthand for the claim that material conditions, economic conditions, or the forces and relations of production are the factors that predominate in determining all aspects of a sociocultural world. These critics argue that the productivist claim is true, at best, only for modern societies. It is certainly not true, as some of these critics think Marx holds it is, for earlier or "primitive" societies. In the latter societies, as Sahlins (1976, vii-viii) puts it, cultural modes of symbolization predominate and no symbolic scheme is the only one possible given a specific set of material conditions. (shrink)

When Fatal Strategies was first published in French in 1983, it represented a turning point for Jean Baudrillard: an utterly original, and for many readers, utterly bizarre book that offered a theory as proliferative, ecstatic, and hallucinatory as the postmodern world it endeavored to describe. Arguing against the predetermined outcomes of dialectical thought with his renowned, wry, ambivalent passion, with this volume Jean Baudrillard mounted an attack against the "false problems" posed by Western philosophy. If his Marxist days (...) were firmly behind him, Baudrillard here indicated that metaphysics had also gone the way of sociology and politics: the contemporary world demanded nothing less than Pataphysics, Alfred Jarry's absurdist philosphy that described the laws of the universe supplementary to this one. In effect, with Fatal Strategies, Baudrillard became Baudrillard. In his extrapolationist manner, Baudrillard sought to replace Western philosophy's circular arguments with a ritualistic Theater of Cruelty. Using this line of thought developed in Fatal Strategies, Baudrillard went on, throughout the 1980s, to find new and shatteringly accurate ways of discussing American corporatocracy, arms build-up, and hostage taking. Fatal Strategies asserts a profound critique of American politics, and it is an important step towards his examination of evil.Jean Baudrillard was a philosopher, sociologist, cultural critic, and theorist of postmodernity who challenged all existing theories of contemporary society with humor and precision. An outsider in the French intellectual establishment, he was internationally renowned as a twenty-first century visionary, reporter, and provocateur. His Simulations instantly became a cult classic and made him a controversial voice in the world of politics and art. (shrink)

The modern realities of life in Ukraine, plunged into war by the Russian Federation, as well as those countries that are in a state of ontological threat, with new force actualize the problem unfolding in the social plane (we are talking about the antinomy of “chaos – stability”). In other words, modern social cataclysms – COVID-19 and war – have disrupted the stability of everyday life. The presence of the threat of nuclear escalation of the international conflict expands the metaphysical (...) horizons of thanatological and suicidal problems, the aggravation of which can destroy the established order of the civilized world, which has found itself in a borderline situation. In view of the above, the purpose of this study is to clarify the essence of the phenomenon of chaos and social processes derived from it – the end, catastrophe, according to the philosophical views of the French thinker J.Baudrillard. Achieving the specified goal will contribute to the development of modern methods and technologies of social work in the community to minimize/overcome difficult life circumstances determined by the war situation. J.Baudrillard was deeply convinced that chaos is not completely opposed to rationality. The thinker believed that the dominance of rationality over reality is limited, because in reality it is not the subject who dominates the objective world, but the competition between the subject and the object. This study is focused on the actual existential problem of a person being in a borderline situation of chaos, determined by the reality of a thanatological situation, which enables the perspective of an ontological threat of a planetary scale, the origins of which are contained in the obsessive idea of total control, the realization of which leads to the disappearance of the social and the replacement of reality with an illusion, including even the illusion of security as a fundamental basis of the rescue economy, which is clearly observed in the ideology of the russian federation, which is based on the consumption of disaster in everyday life. The social work specialist’s awareness that chaos is not the end of everything (it is better to define this phenomenon as the end of the old order transformed into disorder, an example of which can be anomie), but the beginning of a new order, will directly contribute to the achievement of effective results in his professional activities in the community, in particular, in the direction of minimizing/overcoming the consequences of anomie as a type of chaos. (shrink)

Jean Baudrillard is one of the most important and provocative writers in the contemporary era. Widely acclaimed as the prophet of postmodernism, he has famously announced the disappearance of the subject, meaning, truth, class and the notion of reality itself. Although he worked as a sociologist, his writing has enjoyed a wide interdisciplinary popularity and influence. He is read by students of sociology, cultural studies, philosophy, literature, French and geography. Organized into eight sections, the volumes provide the most complete (...) guide to Baudrillard currently available: Section 1: Theoretical Issues In this section the central themes informing Baudrillard's work are defined and discussed. Baudrillard's place in contemporary social thought is examined through considerations of how his work has been received. The importance of signs and the sign economy in Baudrillard's analysis is highlighted. The case for treating Baudrillard as a seminal theorist in contemporary social thought is elucidated. Section 2: Postmodernism Baudrillard is reluctant to regard himself as a postmodernist. Nonetheless, it is as the leading theorist of postmodernism that he is widely celebrated and generally known. This section explores Baudrillard's relation to postmodernism and demonstrates his specific contribution. Questions of Baudrillards relation to capitalism, commodification, fatalism, Lyotard, Jameson and politics are explored. Section 3: Culture It is now commonplace to refer to the period since the late 1980s as `the cultural turn'. Baudrillard's work provided a leading exponent of the significance of culture in understanding contemporary life. Included here are reflections on Baudrillard and corporate culturalism, power, ideology, simulation, mass media, Disney, hyperreality and leisure. Section 4: War In the 1990s Baudrillard became famous for the thesis that `the gulf war did not happen'. For some critics, it revealed the poverty of Baudrillard's approach. For others it showed more profoundly why his thought is an indispensable tool in grappling with the complexities of contemporary society. At all events, Baudrillard's treatment of the war represented a climacteric in critical responses to Baudrillard. In this section the various range of responses to Baudrillard's intervention are precisely delineated, providing the reader with the essential data required to decide if Baudrillard's thesis is right or wrong. Section 5: America America dazzles and appalls Baudrillard. In America and of Cool Memories 1&2, he documents his violent responses to America as an idea; a physical space. Included here are reflections on Baudrillard, America and postmodernism; Baudrillard's significance as an ethnographer of US life; Baudrillard and American film; Baudrillard and Reagan's America; and Baudrillard, America and the politics of simulation. Section 6: Seduction Baudrillard's theory of seduction is, like much else in his work, controversial. This section examines how the theory has been interpreted and criticized. The relationship between Baudrillard and feminism is examined. Applications of his theory to art and work are explored. Section 7: Fiction and Art Baudrillard is an unusual contemporary thinker, in as much as his writing is taken seriously by artists. Baudrillard himself has responded to this, by becoming more interested in photography in the last ten years. This section aims to provide an essential guide to the relationship between Baudrillard and art. Included here are enquiries into Baudrillard and science fiction, the relationship between Baudrillard and J G Ballard's `Crash'; Baudrillard and abstract painting; Baudrillard and Francis Bacon; Baudrillard, Benjamin and Lichtenstein; Baudrillard, Barthes and photography; and Baudrillard's theory of communication. Section 8: Baudrillard and Other Social Theorists The concluding part of the collection aims to situate Baudrillard in the field of contemporary social theory. Interestingly, Baudrillard himself has never attempted to compare and contrast his theoretical ideas with those of others. The 14 contributions included in this section, seek to rectify this shortcoming. The contributions cover Baudrillard and Marx; Baudrillard, Durkheim and Rousseau; Baudrillard and psychoanalysis; Baudrillard and Bataille; existentialism, postmodernism and Baudrillard; Baudrillard and McLuhan; Baudrillard and Critical Theory; Baudrillard and Habermas; Baudrillard and Deleuze; Baudrillard and de Certeau; and the fictional Baudrillard, as dreamt up by Alan Sokal and Jean Bricmont. The contributions are selected and introduced by Mike Gane, Professor of Sociology at the University of Loughborough. With publications like Baudrillard's Bestiary, Baudrillard: Critical & Fatal Theory and Baudrillard Live, Gane is widely recognized as the leading secondary commentator on the work of Baudrillard. No-one else matches him in the appreciation and critical understanding of Baudrillard. In a full length `Introduction' to the volumes, written with verve and penetration, Gane shows exactly why Baudrillard is a key thinker of our times. Mike Gane is Professor of Sociology at University of Loughborough. (shrink)

El artículo trata de analizar las repercusiones que tiene nuestro tiempo de “sociedad del espectáculo” en la construcción de realidades históricas. Para ello se analizarán las propuestas de S. Zizek y de J. Baudrillard en torno a lo Real, la realidad y el simulacro, empleando algunos planteamientos de la filosofía de F.W.J. Schelling, mostrando así la relevancia de la filosofía schellinguiana para entender para entender esta construcción.

Information can be public among a group. Whether or not information is public matters, for example, for accounts of interdependent rational choice, of communication, and of joint intention. A standard analysis of public information identifies it with (some variant of) common belief. The latter notion is stipulatively defined as an infinite conjunction: for p to be commonly believed is for it to believed by all members of a group, for all members to believe that all members believe it, and so (...) forth. This analysis is often presupposed without much argument in philosophy. Theoretical entrenchment or intuitions about cases might give some traction on the question, but give little insight about why the identification holds, if it does. The strategy of this paper is to characterize a practical-normative role for information being public, and show that the only things that play that role are (variants of) common belief as stipulatively characterized. In more detail: a functional role for “taking a proposition for granted” in non-isolated decision making is characterized. I then present some minimal conditions under which such an attitude is correctly held. The key assumption links this attitude to beliefs about what is public. From minimal a priori principles, we can argue that a proposition being public among a group entails common commitment to believe among that group. Later sections explore partial converses to this result, the factivity of publicity and publicity from the perspective of outsiders to the group, and objections to the aprioricity of the result deriving from a posteriori existential presuppositions. (shrink)

This text contemplates Western culture "after the orgy" - the revolutions of the 1960s. The author argues that the sexual revolution has led not to sexual liberation but to a reign of transvestism, to a confusion of the categories of man and woman, and a "transaesthetic realm of indifference".

Should we regard Jennifer Lackey’s ‘Creationist Teacher’ as understanding evolution, even though she does not, given her religious convictions, believe its central claims? We think this question raises a range of important and unexplored questions about the relationship between understanding, factivity and belief. Our aim will be to diagnose this case in a principled way, and in doing so, to make some progress toward appreciating what objectual understanding—i.e., understanding a subject matter or body of information—demands of us. Here is the (...) plan. After some ground clearing in §1, §2 outlines and motivates a plausible working model—moderate factivity—for characterising the sense in which objectual understanding should be regarded as factive. §3 shows how the datum that we can understand false theories can, despite initial suggestions to the contrary, be assimilated straightforwardly within the moderate factivity model. §4 highlights how the inverse kind of case to that explored in §3—viz., a variant of Lackey’s creationist teacher case—poses special problems for moderate factivity. With reference to recent work on moral understanding by Hills, §5 proposes a solution to the problem, and §6 attempts to diagnose why it is that we might originally have been led to draw the wrong conclusion. (shrink)

Aren't we actually sick of sex, of difference, of emancipation, of culture? With this provocative taunt, the indomitable sociologist Jean Baudrillard challenges us to face up to our deadly, technologically empowered renunciation of mortality and subjectivity as he grapples with the complex issues that define our postmillennial world. What does the advent and proliferation of cloning mean for our sense of ourselves as human beings? What does the turn of the millennium say about our relation to time and history? (...) What does the instantaneous, virtual realm of cyberspace do to reality? In _The Vital Illusion_--as always--Baudrillard leads his readers to some surprising conclusions. Baudrillard considers how human cloning--as well as the "cloning" of ideas and social identities--heralds an end to sex and death and the divagations of living by instituting a realm of the Same, beyond the struggles of individuation. In this day and age when everything can be cloned, simulated, programmed, and genetically and neurologically managed, humanity shows itself unable to brave its own diversity, preferring instead to regress to the pathological eternity of self-replicating cells. By reverting to our viral origins as sexless immortal beings, we are, ironically, fulfilling a death wish, putting an end to our own species as we know it. Next, Baudrillard explores the "nonevent" that was and is the turn of the millennium. He provocatively puts forward the thesis that the arrival of the year 2000 could never take place because we could neither resolve nor leave behind our history, nor could we stop counting down toward our future. For Baudrillard, the millennial clock reading to the millionth of a second on its way to zero is the perfect symbol of our time: history decays rather than progresses. In closing, Baudrillard examines what he calls "the murder of the real" by the virtual. In a world of copies and clones in which everything can be made present in an instant by technology, we can no longer even speak of reality. Beyond Nietzsche's symbolic murder of God, our virtual world free of referents is in the process of exterminating reality, leaving no trace: "The corps(e) of the Real--if there is any--has not been recovered, is nowhere to be found." Peppered with Baudrillard's signature counterintuitive moves, prophetic visions, and dark humor, _The Vital Illusion_ exposes the contradictions that guide our contemporary culture and rule our lives. (shrink)

An expanded edition of the first comprehensive overview of Baudrillard's work, this new edition adds examples from after 1985.

Baudrillard's bewildering thesis, a bold extrapolation on Ferdinand de Saussure's general theory of general linguistics, is in fact a clinical vision of contemporary consumer societies where signs don't refer anymore to anything except themselves. They all are generated by the matrix. Simulations never existed as a book before it was "translated" into English. Actually it came from two different bookCovers written at different times by Jean Baudrillard. The first part of Simulations, and most provocative because it made a (...) fiction of theory, was "The Procession of Simulacra." It had first been published in Simulacre et Simulations. The second part, written much earlier and in a more academic mode, came from L'Echange Symbolique et la Mort. It was a half-earnest, half-parodical attempt to "historicize" his own conceit by providing it with some kind of genealogy of the three orders of appearance: the Counterfeit attached to the classical period; Production for the industrial era; and Simulation, controlled by the code. It was Baudrillard's version of Foucault's Order of Things and his ironical commentary of the history of truth. The book opens on a quote from Ecclesiastes asserting flatly that "the simulacrum is true." It was certainly true in Baudrillard's book, but otherwise apocryphal.One of the most influential essays of the 20th century, Simulations was put together in 1983 in order to be published as the first little black book of Semiotext's new Foreign Agents Series. Baudrillard's bewildering thesis, a bold extrapolation on Ferdinand de Saussure's general theory of general linguistics, was in fact a clinical vision of contemporary consumer societies where signs don't refer anymore to anything except themselves. They all are generated by the matrix.In effect Baudrillard's essay was upholding the only reality there was in a world that keeps hiding the fact that it has none. Simulacrum is its own pure simulacrum and the simulacrum is true. In his celebrated analysis of Disneyland, Baudrillard demonstrates that its childish imaginary is neither true nor false, it is there to make us believe that the rest of America is real, when in fact America is a Disneyland. It is of the order of the hyper-real and of simulation. Few people at the time realized that Baudrillard's simulacrum itself wasn't a thing, but a "deterrence machine," just like Disneyland, meant to reveal the fact that the real is no longer real and illusion no longer possible. But the more impossible the illusion of reality becomes, the more impossible it is to separate true from false and the real from its artificial resurrection, the more panic-stricken the production of the real is. (shrink)

All we have left of the millenarian dateline is the countdown to it. The digital clock at the Beaubourg Centre, which shows the countdown in millions of seconds, is the perfect symbol for this century as it illustrates perfectly the reversal of modernity's relation to time. Time is no longer counted progressively from an origin but by subtraction, as with rocket launches or time bombs. This is a perspective of entropy. We no longer live with a vision of a world (...) of progress and production. When you count the seconds separating you from the end, it means that everything is already at an end; we are already beyond the end. (shrink)

Protagoras, of all the ancient philosophers, has perhaps attracted the most interest in modern times. His saying ‘Man is the measure of all things’ caused Schiller to adopt him as the patron of the Oxford pragmatists, and has generally earned him the title of the first humanist. Yet the exact delineation of his philosophcal position remains a baffling task. Neumann, writing on Die Problematik des ‘Homo-mensura’ Satzes in 1938,2 concludes that no certainty whatever can be reached on the meaning of (...) the dictum, since ‘man’, ‘measure’, and ‘things’ are all ambiguous, nor can we tell which of the three is the predicate. The time is past when it was believed that a man's philosophy could be understood apart from the events of his life and the circumstances of his age: yet in the case of Protagoras the historical method of approach has hardly been attempted, although the impact of environment was perhaps more decisive in the formation of philosophical concepts in the Greek world than anywhere else. The reality about which the Greek philosopher spoke had three aspects: it was either the one universe of physics, or the political unity, or God. For example, the book of Heracleitus Περ φσεως was divided into three chapters or logoi, About the Whole, a political, and a theological. Neither physics nor theology supplies from its own subject-matter the form in which this reality was described. (shrink)

An expanded edition of the first comprehensive overview of Baudrillard's work, this new edition adds examples from after 1985.

Baudrillard's remarkably prescient meditation on terrorism throws light on post-9/11 delusional fears and political simulations. Published one year after Forget Foucault, In the Shadow of the Silent Majorities may be the most important sociopolitical manifesto of the twentieth century: it calls for nothing less than the end of both sociology and politics. Disenfranchised revolutionaries hoped to reach the masses directly through spectacular actions, but their message merely played into the hands of the media and the state. In a media (...) society meaning has no meaning anymore; communication merely communicates itself. Jean Baudrillard uses this last outburst of ideological terrorism in Europe to showcase the end of the "Social." Once invoked by Marx as the motor of history, the masses no longer have sociological reality. In the electronic media society, all the masses can do—and all they will do—is enjoy the spectacle. In the Shadow of the Silent Majorities takes to its ultimate conclusion the "end of ideologies" experienced in Europe after the Soviet invasion of Hungary and the death of revolutionary illusions after May 1968. Ideological terrorism doesn't represent anything anymore, writes Baudrillard, not even itself. It is just the last hysterical reaction to discredited political illusions. (shrink)

The achievements of the textile industry in Roman Britain are often underestimated as a result of the meagreness of our available evidence. The Edict on maximum prices issued by Diocletian in A.D. 301 shows that British capes commanded high prices on the markets of the Empire, and that in the late third century A.D. British rugs were the best in the world. In view of the competition from the traditional centres of rug manufacture in the East, this is an astonishing (...) achievement. (shrink)

The received translation and interpretation of many of the technical terms current in the textile industry of the Roman Empire are inaccurate, because lexicographers have either fought shy of being precise, or have thought that they recognized in the ancient world technical processes which originated at a much later date. The evidence is often equivocal or insufficient, but may still yield details that have been overlooked. The textile expression scutulatus, to take an example, deserves more attention than Blümner has devoted (...) to it. When it refers to the appearance of a garment, Lewis and Short, s.v. scutulatus, translate ‘diamond or lozenge-shaped, checkered’. It seems worth while to attempt a more precise translation, and, if possible, to estimate the significance in context of the goods so designated. (shrink)

Characterizing it as a "mythic discourse," Jean Baudrillard proceeds, in this brilliant essay, to dismantle the powerful, seductive figure of Michel Foucault. In 1976, Jean Baudrillard sent this essay to the French magazine Critique, where Michel Foucault was an editor. Foucault was asked to reply, but remained silent. Forget Foucault made Baudrillard instantly infamous in France. It was a devastating revisitation of Foucault's recent History of Sexuality—and of his entire oeuvre—and also an attack on those philosophers, like (...) Gilles Deleuze and Félix Guattari, who believed that desire could be revolutionary. In Baudrillard's eyes, desire and power were interchangeable, so desire had no place in Foucault's work. There is no better introduction to Baudrillard's polemical approach to culture than these pages, in which Baudrillard dares Foucault to meet the challenge of his own thought. This Semiotext edition of Forget Foucault is accompanied by a dialogue with Sylvère Lotringer, "Forget Baudrillard," a reevaluation by Baudrillard of his lesser-known early works as a post-Marxian thinker. Lotringer presses Baudrillard to explain how he arrived at his infamous extrapolationist theories from his roots in the nineteenth and early twentieth century social and anthropological works of Karl Marx, Marcel Mauss, and Emil Durkheim. (shrink)

This book marks an important evolution in Jean Baudrillard's thought as he leavesbehind his older and better-known concept of the "simulacrum" and tackles the new problem of digitaltechnology acquiring organicity. The resulting world of cold communication and its indifferentalterity, seduction, metamorphoses, metastases, and transparency requires a new form of response.Writing in the shadow of Marshall McLuhan, Baudrillard insists that the content of communication iscompletely without meaning: the only thing that is communicated is communication itself. He sees themasses writhing (...) in an orgiastic ecstasy of communications. Baudrillard navigates the Object'smaelstrom with the euphoria of the astronaut reentering Earth's atmosphere with no possibility ofassistance from Mission Control. (shrink)

If the world itself is metaphysically indeterminate in a specified respect, what follows? In this paper, we develop a theory of metaphysical indeterminacy answering this question.

An early work in which Baudrillard became Baudrillard. When Fatal Strategies was first published in French in 1983, it represented a turning point for Jean Baudrillard: an utterly original, and for many readers, utterly bizarre book that offered a theory as proliferative, ecstatic, and hallucinatory as the postmodern world it endeavored to describe. Arguing against the predetermined outcomes of dialectical thought with his renowned, wry, ambivalent passion, with this volume Jean Baudrillard mounted an attack against the (...) “false problems” posed by Western philosophy. If his Marxist days were firmly behind him, Baudrillard here indicated that metaphysics had also gone the way of sociology and politics: the contemporary world demanded nothing less than Pataphysics, Alfred Jarry's absurdist philosphy that described the laws of the universe supplementary to this one. In effect, with Fatal Strategies, Baudrillard became Baudrillard. In his extrapolationist manner, Baudrillard sought to replace Western philosophy's circular arguments with a ritualistic Theater of Cruelty. Using this line of thought developed in Fatal Strategies, Baudrillard went on, throughout the 1980s, to find new and shatteringly accurate ways of discussing American corporatocracy, arms build-up, and hostage taking. Fatal Strategies asserts a profound critique of American politics, and it is an important step towards his examination of evil.Jean Baudrillard was a philosopher, sociologist, cultural critic, and theorist of postmodernity who challenged all existing theories of contemporary society with humor and precision. An outsider in the French intellectual establishment, he was internationally renowned as a twenty-first century visionary, reporter, and provocateur. His Simulations instantly became a cult classic and made him a controversial voice in the world of politics and art. (shrink)

In this article I try to refute the so-called "libertarian" theory of free will, and to examine how our conclusion ought to modify our common attitudes of praise and blame. In attacking the libertarian view, I shall try to show that it cannot be consistently stated. That is, my dscussion will be an "analytic-philosophic" one. I shall neglect what I think is in practice an equally powerful method of attack on the libertarian: a challenge to state his theory in such (...) a way that it will fit in the modern biology and psychology, which are becoming increasingly physicalistic. (shrink)

The perfect crime -- The spectre of the will -- The radical illusion -- Trompe-l'œl genesis -- The automatic writing of the world -- The horizon of disappearance -- The countdown -- The material illusion -- The secret vestiges of perfection -- The height of reality -- The irony of technology -- Machinic snobbery -- Objects in this mirror -- The Babel syndrome -- Radical thought -- The other side of the crime -- The world without women -- The surgical (...) removal of otherness -- The "laying-off" of desire -- The new victim order -- Indifference and hatred -- The revenge of the mirror people. (shrink)

Living out of silence, out of a fully functioning, lovingly attentive mind, and not just out of thought, out of a partially functioning mind, is requisite for depth or profundity in living or relating. A fully attentive, truly silent or meditative mind sees that there is real dualism of time and the timeless and that time and the timeless each has its own unique value. The timeless, or real silence, that which alone can make for depth in one's living and (...) relating, can be there only when, in one's awareness, time and all that is related to time, have come to an end. An examination of a wide variety of statements made by writers, both past and present, shows that these understandings are seldom there in contemporary writings, just as they were not there in writings that have come down to us from the past. 'Living beyond the One and the Many' invites readers to consider the possibility that what is presented in it can bring deep meaning to one's way of living in the world"--Publisher's description, back cover. (shrink)

This new collection gathers 23 highly insightful yet previously difficult-to-find interviews with Baudrillard, ranging over topics as diverse as art, war, technology, globalisation, terrorism and the fate of humanity. From familiar themes to the less well understood aspects of his thought, these interviews give you an overview of Baudrillard's ideas - without the jargon typical of written texts. Read as Baudrillard himself discusses, explains and elaborates on his ideas, making this collection essential for understanding many of his (...) other works. (shrink)

Telling a patient that the outcome of his illness is not good, or even hopeless, requires sensitivity and the ability to communicate with him in the setting of a hospital which is an unnatural environment divorced from family and friends. It is a task which must be taught and learned by doctors and nurses.