Concepts Of Simulacrum

Specifically, he notes if the similar work is well done and has aesthetic value. Essentially he argues that forgeries do not indeed lose any aesthetic value, because they are in fact well-crafted and executed but rather, compromise the nonaesthetic standard of judgment (92). The piece of art, regardless of its quality, loses its extrinsic value. It is no longer considered a trademark of its society, there is no novelty in regards to a historical artistic period. Without this nonaesthetic standard of judgment, a forgery thus becomes inferior. He notes that it is not primarily due to the fact that a successful forgery is deceitful and tricks novice audience and expert critics alike. Yet, it exacerbates the quality of intangibility and mystic that gives a piece of art aesthetic value, which makes critical analysis of art seem to lack logical, concrete reasoning. A key nonaesthetic value that becomes questioned is the idea of originality. The concept of originality is tangible and thus gives authentic pieces ‘imaginative novelty’ (97), which has no regards to aesthetic value. Everything created is original as another object of the type will never exist. Whether one piece looks identical to another is not a testament to its originality, because all things created are original. Lessing makes this point and mentions that maybe the term individuality should be more

Postmodern intellectual discourse and fiction refers to simulacrum not only in the original sense of the term – an image and a representation of an object – but also in a discussion and critique of different modern cultural, political, and social phenomena. If to summarise three main postmodern intellectual writers discussed in the theoretical part of the present Master thesis, Jean Baudrillard was interested in different manifestations of simulacrum and simulation in contemporary culture and society, Umberto Eco, on the contrary, in his essay was mainly focused on how various museums, tourist attractions, and historical places around the United States are exhibiting and producing replicas, while Gilles Deleuze in his discussion of simulacra paid more attention to the concepts of identity, appearance, representation, model, difference, and repetition. Thus, all of three had their own focus and approach to the study of simulacrum, simulation, and

Think about the last time you sent a text in order to communicate with another person. You may have been under the impression that you were talking with someone, but in reality you were simply pressing down on your phone and watching the pixels on the screen move. According to Jean Baudrillard’s ideologies, you were the mere product of a simulation. In “Simulacra and Simulations” and “Simulacra and Science Fiction”, author and sociologist Jean Baudrillard explains this phenomenon by exploring the concept of simulacrum and simulations. Baudrillard argues that we live in a simulation that is more real than reality, and thus no longer even bears a resemblance to reality. In other words, the reality we think we know is really just an illusion. One movie with an exceptional amount of parallels to Baudrillard’s ideologies is The Matrix, directed by the Wachowskis. Many people believe that foundation of The Matrix’s plot is based off Baudrillard’s philosophies, however this has been met with numerous counterarguments. While The Matrix’s plot may correspond with many Baudrillard’s beliefs, it is my belief that The Matrix is not solely based on Baudrillard’s works but instead incorporates ideas from a variety of different sources.

For many years photojournalism has been considered a transformative form of media, meaning that through the use of photographs photojournalism has the ability to transform our way of thinking by reconstructing the conscious of our society. Photojournalism achieves this effect by forcing society to reconsider its actions as it relates to humanity by using photographs to both illicit emotions and cause reactions that, if done properly can result in social change. Photojournalism is an important branch of visual media when

In his article, The Precession of Simulacra, Baudrillard establishes simulation as a copy of an original or otherwise reality. This concept is even apparent in the title, The Precession of Simulacra, since precession is something that precedes or comes first, and a simulacrum is an image or representation of something else; in that sense, the title literally states that an image precedes its original. Thus, Baudrillard argues that simulation adopts a reality effect in which the viewer’s view of the real world is skewed and this notion is easily seen throughout the CSI episode of “The Living Doll.”

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

With images, words, and sounds been almost endlessly reproduced and distributed, various critics of modern culture suggest that traditional ideas about art and authenticity are no longer applicable. The problem is said to have been noticed back in the 1930s in the popular essay The Work of Art in the Age of Mechanical Reproduction that was concerned about what would happen to the “aura” of unique works of art when photography and other techniques if anybody could make unlimited copies of images. With the rise of digital technology, copying ability became vast and complex and hence the idea of originality is thrown into

No matter it’s effect, photography was and is very pivotal throughout society. Photography can be a beautiful but yet haunting form of art. It displays an image which is characterizing

Our memories often time embellish the memories we once had of such great people, places, times, and etc. We live these times up to standard that makes us reminisce, hurt, contemplate and so much more. The power of a photograph has been described to have worth a thousand words, metaphorically meaning of course, that what an image can capture in one instance, something that may not ever be captured through words. For too many centuries we have been without, what many of us now take for granted, the photograph. What we capture in a picture, has much more value than we often time see in our commercials, people, places, they tell a story to the ignorant, paint a picture for blind, give the deaf something to listen to, and so much more.

Re-made and re-carved works have been around for hundreds of years as artists take inspiration from whom the original was recreated. In Roman art history, certain artists would re-make Roman portraits to honor those before them. However, this was not always the case as individuals would destroy and damage art as a damnation of memory. What determined our understanding of the specific work depended on why the remade or re-carved work was created. These re-made and re-carved artworks revealed a deeper meaning about the individual, culture and the society for whom the original was recreated.

The essays by Berger and Benjamin are similar in several ways in the sense that they follow a common theme and put forward similar arguments. Mechanical reproduction changed the way we view and experience art. Their perspectives on the reproduction of art changed our thinking and feelings for what it can bring.

People say life is a mystery and is not susceptible to anything except for death. Most say that there is even life after death. But what if all of that was just futile. That we were not even real. That we are just a dream or a simulation of some other world. This is the topic that could make most confused or skeptical and make some question our very existence. Are we real? Do we have free will? Is life a simulation? Life could be a simulation or a dream in the sense that we have the technology to do so. To be able to run a simulation, we would have to have the processing power to be able to interact with every A.I. and to process every thought and action that everything does. But we are decades away from that.

Simulacrum means interrogating the relationships among reality, symbols, and society. The film consists of simulacrum because of imitating a real life without

Much of what Benjamin discusses in his essay has to do with what he describes as the “aura” or spirit of an artwork. He discusses this spirit and how it is obtained, lost, given and received. He suggests that the aura of an artwork we know and understand today is much different from how it was understood in the time and place of its production. The aura Benjamin speaks of is obtained because of the artwork’s uniqueness and authenticity, which in turn is lost due the act of mass production. In describing this

The term ‘realism’ has a long history but the formal trend beginning with mid 19th century Anglo- Francophone writers, depicting contemporary life and society as it was, or is, authors opted for depiction of everyday life and banal activities and experiences, instead of a romanticized or similarly stylized repetition. But now the Post-realist aesthetics situated within a Baudrillarean realm of ‘Simulacra’ has come to dominate much of contemporary fiction. The reality is so much than the real one. The code doesn’t present prior social reality. It creates a new social reality, created or simulated from models or defined by reference to models- generated from ideas. This cybernetic game ultimately results in loss of reality: the first phase displays basic reality; the second one in excessive