Simulacra and Simulation
Abstract
Three orders of simulacra: 1. counterfeits and false images: from renaissance to industrial revolution, signs become mode of exchange, these signs are obviously flase. 2. Dominated by production and series: mass produced signs as commodities, signs refer not to reality but to other signs (money, posters). 3. Pure simulacra: simulacra mask over the idea that there is no reality, reality is an effect of simulacra (disneyland masks simulacra of LA, Prison masks nonfreedom outside the walls).
... Dalam konteks penelitian ini, teori Baudrillard dapat membantu menganalisis bagaimana gambar-gambar yang diambil oleh Fachrul Reza dan dipublikasikan melalui Getty Image tidak hanya mendokumentasikan solidaritas masyarakat Aceh terhadap pengungsi Rohingya tetapi juga membentuk dan mempengaruhi persepsi publik global tentang krisis ini. (Baudrillard, J., 1981) Gambar-gambar ini dapat dilihat sebagai simulakra yang menciptakan narasi baru dan mungkin lebih kuat tentang solidaritas dan kemanusiaan daripada yang ada di lapangan. ...
... Dengan demikian, gambar-gambar ini berfungsi sebagai simulakra yang menciptakan realitas baru di mana solidaritas komunitas lokal menjadi narasi dominan. (Baudrillard, J., 1981) Gambar-gambar ini juga mendekonstruksi naratif dominan yang sering kali menggambarkan pengungsi sebagai beban atau ancaman. Sebaliknya, melalui visualisasi tindakan solidaritas dan bantuan dari masyarakat Aceh, gambar ini menekankan aspek-aspek humanisme dan empati yang sering kali terpinggirkan dalam wacana mainstream. ...
Penelitian ini mengkaji representasi solidaritas masyarakat Aceh terhadap pengungsi Rohingya melalui karya fotografi Fachrul Reza yang dipublikasikan di Getty Images, dengan pendekatan teori postmodernisme. Subjek penelitian ini adalah masyarakat Aceh dan pengungsi Rohingya yang terlibat dalam proses penyelamatan dan penerimaan pengungsi di wilayah Aceh. Teori postmodernisme digunakan untuk memahami bagaimana karya fotografi tersebut mencerminkan nilai-nilai solidaritas dalam konteks lokal dan global, serta bagaimana visualisasi tersebut dapat mengaburkan batas-batas tradisional antara pencitraan dokumenter dan ekspresi artistik. Selain itu, penelitian ini juga mengeksplorasi hubungan antara postmodernisme dan nilai-nilai Islam, terutama dalam konteks empati dan kemanusiaan yang diajarkan dalam ajaran Islam. Hasil penelitian menunjukkan bahwa melalui lensa postmodernisme, karya Reza tidak hanya mendokumentasikan peristiwa kemanusiaan, tetapi juga mengkritisi narasi media arus utama tentang krisis pengungsi. Fotografi Reza berhasil menangkap esensi solidaritas dan kemanusiaan masyarakat Aceh, serta mengajak penonton untuk merefleksikan kembali peran media dalam membentuk persepsi publik terhadap isu-isu global. Dengan demikian, penelitian ini mengungkapkan bahwa representasi visual memiliki kekuatan untuk menginspirasi empati dan tindakan nyata, serta memberikan wawasan mendalam tentang dinamika solidaritas di era postmodern.
... Fenomena perilaku konsumtif mahasiswa Unismuh Makassar dapat dianalisis menggunakan kerangka pemikiran Jean Baudrillard, khususnya teori simulacra dan simulasi, serta konsep hiperrealitas. Baudrillard (1994) berpendapat bahwa dalam masyarakat kontemporer, objek-objek konsumsi dan citra media membentuk realitas yang "lebih nyata dari nyata" atau hiperrealitas, di mana tanda dan simbol dari barangbarang tersebut menjadi lebih penting daripada nilai fungsional atau material mereka. ...
... Aspek Fenomena ini juga bisa disebut "simulacra" -replika tanpa asli, dalam istilah Baudrillard (1994). Dalam hal ini, merek seperti Tas Gosh, Sepatu Kanvas Ventela, dan lain-lain, berfungsi sebagai simulacra yang meniru gaya hidup atau status sosial yang diidam-idamkan. ...
This research aims to reveal patterns of consumer behavior and identify the impacts of such behavior among students at Unismuh Makassar. Using qualitative methods and a case study approach, the research explores the dynamics behind students' purchasing decisions through data collection techniques such as observation, interviews, and document analysis. The findings of this study indicate that Unismuh Makassar students exhibit high levels of consumerism, driven by a desire to appear fashionable and take advantage of various discounts offered during events like the TikTok Shopping 12.12 Mega Sale. Additionally, their behavior is influenced by marketing strategies involving public figures or their favorite celebrities. This consumerism is not only driven by the need to conform to social norms and enhance self-image but also by the influence of social media and the phenomenon of hyperreality, as explained in Jean Baudrillard's theory of simulacra and simulation. The impact of this consumer behavior is twofold: on one hand, there is an increase in self-confidence among the students; on the other hand, this behavior often leads to negative effects such as overspending, which can disrupt students' financial stability and reduce their ability to save and invest for the future.
... aut.). Metapolis jako superinteligentny organizm miejski będzie charakteryzować się tymi samymi cechami, co cybertekst epoki technologicznej postreprodukcji (Aarseth, 1997), to znaczy będzie swoistym symulakrum, w którym wirtualność poprzedza rzeczywistość, podobnie jak mapa poprzedza terytorium (Baudrillard, 1994). Metapolis będzie odgrywać rolę medium w procesie komunikacji między użytkownikiem a symulowaną i realną przestrzenią. ...
... Liquid architecture is an architecture whose form is contingent on the interests of the beholder' (Spiller, 2007, p. 204). Metapolis, as a superintelligent city organism, will be characterised by the same features as cybertext of the age of technological post-reproduction (Aarseth, 1997), that is, it will be a kind of simulacrum in which the virtual precedes reality, just as a map precedes territory (Baudrillard, 1994). Metapolis will play the role of a medium in the communication process between the user and the simulated and real space. ...
Information and artificial intelligence are now in a key position in architecture. Future vision of the city as a polis ex machine refers to the concept of architecture produced in the automatic process of 3D printing of spatial structures controlled by artificial intelligence algorithms. The paper presents the concepts of the city of the present (from arché-polis to Technopolis ) and the challenges facing the architecture of the city of tomorrow (from smart polis to polis immortalis ) in the context of the information-technology revolution. The paper points out the most important changes in the development of the concept of city architecture on the basis of comparative and interpretative analysis of the organisation of four variables of the housing environment, such as space, time, meaning, and communication, in evolutionary perspective. The impact of information technologies on shaping the built environment, the principles of creation, the criteria of valuation of architectural structures, and optimistic and pessimistic scenarios of the future development of housing architecture, based on the exponential progress of artificial intelligence, are defined.
... The use of high-definition cameras and microscopic lenses abstracts the tactile experiences of artisans into spectacular visual extravaganzas, shifting from a tactile, experiential mode of transmission to a visual one. This shift is further complicated by the concept of "simulacrum," as Baudrillard (1994) elucidates in Simulacra and Simulation. The simulacrum is not merely a copy of the real but a "hyperreality," a simulation that is "more real than real." ...
... In programs like Reviving the Craftsmanship, hyperreal representations of ICH may overshadow and supplant the authentic practices they purport to represent. This creates a state where the copy precedes and replaces the original, a core issue for the survival of ICH in the age of hyper-mediation (Flusser, 2011;Baudrillard, 1994). ...
This study examines the creative transformation of intangible cultural heritage (ICH) in the digital age, focusing on the case of the Chinese TV program Reviving the Craftsmanship. By analyzing the show's practices through the dual lens of mediatized memory construction and techno-ethical negotiation, the research identifies three key mechanisms: super-visual encoding, cross-platform narratives, and ethical negotiations. Super-visual encoding transforms the embodied practices of ICH into spectacular visual symbols, enhancing the appeal of cultural memory while simultaneously leading to the "effacement of the body" of ICH's ontology. Cross-platform narratives leverage algorithmic logic to promote the fragmented dissemination of ICH, increasing public engagement but also commodifying it, resulting in fragmented memory and the demise of users' critical subjectivity. Ethical negotiations attempt to strike a balance between technological innovation and cultural preservation, utilizing concepts like the "ghostly contract" and the "mediatized ethical assessment matrix" to constrain the potential misuse of technology. This study constructs a critical theoretical framework of mediatized shaping, which reframes "creative transformation" as a tension-filled process and reveals the power relations and ethical dilemmas embedded within. Moving beyond the simplistic "protection/development" dichotomy, the research highlights the complexities of safeguarding and transmitting ICH in the digital era, and calls for a responsible and sustainable model of mediatized heritage transmission.
... https://madeinitaly.org/certificazione-madein-italy.php). Therefore, the Italian Institute for the Protection of Producers (ITPI) has developed a certification system (IT01) that allows producers to distinguish their products as "100% Made in Italy" by applying specific trademarks [ As I will attempt to prove within the following chapters, I argue that not only are objects qualified through words, abstracted to a grouping of ideas and legitimised through the establishment of their 'authenticity', but that, more interestingly, the models emerging from these significant interactions, similarly to the invisible city of Tamara described by Calvino (1978,(13)(14), are often able to successfully replace the material objects they refer to (Baudrillard 1994 Figure 3], developed by ISNART (National Institute of Tourism Research) and promoted by Unioncamere, which represents the Chambers of Commerce in Italy, is a prestigious certification designed for promoting and recognising 'authentic' Italian dining establishments both in Italy and abroad, ensuring they adhere to the 'standards' of Italian hospitality and cuisine since 1997. 3 "The property should meet the test of authenticity in design, material, workmanship and setting; authenticity does not limit consideration to original form and structure, but includes all subsequent modifications and additions over the course of time, which in themselves possess artistic or historical values". ...
... Despite the intrinsic contradictions emerging from the craft revival rhetoric, revivalists conceive design as the most effective way of revitalising craftsmanship and making it more appealing within a globalised capitalist system (Khatoon 2016, 39), a socio-economic context in which cultures themselves have become brands to promote, products to sell (Baudrillard 1994), and, as such, must meet the aesthetic standards of the international market. Although its evolution as a phenomenon is outside the scope of my analysis, it is now useful to briefly clarify the term design as another model resulting from the interplay of objects, words, and ideas. ...
By examining the relationship between objects, words, and ideas, this thesis challenges the notion of craft as an analytical category of the social world, along with its supposed neutrality and objectivity. Through case studies such as the Michelangelo Foundation's Master’s Touch Evaluation Tool and the Cosmic Garden collateral event at the Venice Art Biennale 2024, this study investigates how craftsmanship is selectively deployed to construct narratives of authenticity and excellence within the luxury sector. Hence, it argues that craft is not a defined category of objects but rather a qualification process shaped by cultural, economic, and political forces, and critically analyses the role of institutions and brands in its revival while acknowledging the inherent power dynamics involved. Ultimately, this work advocates for a critical engagement with the craft category, revealing its influence on our understanding of objects and its potential to reinforce the construction of national identities and elite narratives.
... Realitas yang mereka maknai oleh konsumer hijab yang mengikuti trend dari selebritas tak ubahnya sebuah spektrum simulakra dalam ungkapan Jean Baudrillard. Mereka membayangkan apa yang mereka konsumsi kemudian juga secara otomatis akan melekat citra dari selebritas yang mereka ikuti padahal realitasnya berbeda (Baudrillard, 1994). Konsep simulakra dalam realitas yang nyata dan yang semu inilah yang kemudian menjadi peluang bagi kapitalisme untuk mengkomodifikasi citra-citra tersebut sebagai ajang untuk mengeruk profit. ...
The syar’i hijab has become a global fashion product targeting Muslim women today as part of the cultural industry captured by capitalism to pursue profit. The sharia hijab, which displays a visualization of the discourse of piety and beauty, makes consumption practices an effort to articulate the identity of Muslim women regarding their obedience to religion. The fairly massive distribution through the media or fashion show events is part of the visualization of the lifestyle of fashion enthusiasts (fashionistas) which is echoed for the sustainability of capitalism in the circulation of production, distribution and consumption of hijab products which are echoed through the discourse of covering the genitals according to sharia. Consumption of hijab product brands shows social class to differentiate themselves. This often gives rise to aesthetic violence in an effort to equalize the tastes of the lower class to force themselves to buy hijab products with the same brand as the figures they idolize. Consumption practices that show the articulation of the identity of Muslim women in the discourse of religion are increasingly captured by capitalism in an effort to create changes in hijab fashions. The concept of planned obsolescence planning is part of the production management of the ever-expanding hijab product offerings, and the increasing perpetuation of capitalism disguised behind the discourse of piety.Key Word : Commodification, piety, fashion, consumption, syar'i hijab, obsolescence.ABSTRAKHijab syar'i menjadi produk fashion global yang menyasar perempuan muslim saat ini merupakan bagian dari industri budaya yang ditangkap oleh kapitalisme untuk mengejar profit. Hijab syar'i yang menampilkan visualisasi atas wacana kesalihan dan kecantikan menjadikan praktik konsumsi sebagai upaya untuk artikulasi identitas perempuan muslim atas kepatuhan dalam beragama. Distribusi yang cukup masif melalui media atau even-even fashion show adalah bagian dari visualisasi gaya hidup dari penggemar mode (fashionista) yang digaungkan untuk langgengnya kapitalisme dalam sirkulasi produksi, distribusi dan konsumsi atas produk hijab yang digaungkan melalui wacana menutup aurat yang sesuai syar’i. Konsumsi atas brand produk hijab menunjukkan kelas sosial untuk membedakan diri. Hal ini tak jarang memunculkan kekerasan estetik dalam upaya menyamakan selera dari kelas rendah untuk memaksakan membeli produk hijab dengan brand yang sama dengan figur yang mereka idolakan. Praktik konsumsi yang menunjukkan artikulasi identitas perempuan muslim dalam wacana keberagamaan semakin ditangkap oleh kapitalisme dalam upaya menciptakan perubahan mode-mode hijab. Konsep pengusangan yang direncanakan (obsolescence planning) adalah bagian dari manajemen produksi untuk tawaran-tawaran produk hijab yang terus berkembang, dan semakin langgengnya kapitalisme terselubung di balik wacana kesalihan.Kata Kunci: Komodifikasi, Kesalihan, fashion, konsumsi, hijab syar'i, pengusangan.
... This situation leads to a reality where commodities are not just physical goods but include images, brands, and experiences that are consumed as if they were real. For example, branded lifestyles promoted through advertising create a sense of hyperreality where the distinction between authentic life experiences and marketed images is blurred (Baudrillard, 1994). ...
Commodification in the postmodern era refers to the process where everything, including art, culture, and even individual identities, becomes a commodity that can be bought and sold. The purpose of this research was to describe and analyze the forms of commodification of sadness visible in the comments on Instagram posts of sad songs from various Indonesian titles. This research used the netnography method. The results showed that, based on the findings, comments on Indonesian sad songs on Instagram were categorized into three distinct groups: positive, negative, and neutral. This categorization aligned with the emotional tone and content of the comments, reflecting how users (mostly women) interact with and express their emotions through social media. The majority of the comments fall into the negative category, which includes expressions of regret and venting directed at individuals who have left or caused emotional pain. Based on these findings, the researcher conducted an analysis linking it to several points: emotional commodification themes identified in comments on Indonesian sad songs, emotional labour on Instagram, user engagement and interaction on Instagram, how cultural context influences user engagement and emotional responses, gender dynamics in emotional responses on Instagram, and the impact of Instagram on music consumption: the role of influencers, algorithms, and digital marketing.
... The simulacrum is true" (Baudrillard 1994, 1)); it is a key postmodernist term. However, Jean Baudrillard wrote his treatise, Simulacra and Simulation, (Baudrillard 1994) in 1981 -twenty-four years after the publication of Savchenko's novel. The example of this book shows how the construction and the subject matter of Ukrainian SF became more complicated in the 1970s. ...
The Ukrainian authors of the 1970s focused on the search for the purpose of human existence, which led to the beginning of the Golden Age of Ukrainian science fiction (SF). In the 1980s, a national revival began, and SF developed greater local markets and themes. The economic crisis of the 1990s nearly destroyed SF literature in Ukraine. Subsequently, the Russification of the 2000s emerged, and, in the 2010s–2020s, an era of metamodernism began, resulting in a second wave of national revival.
... virtual, and human vs. non-human-postmodernism produces monster images that are fluid, unstable, and resistant to categorisation (Derrida & Spivak, 1974). This pursuit of uncertainty and multiplicity is reflected in the prevalence of undefined monsters in Western AI-generated films, where creatures lack precise forms or symbolic meanings (Baudrillard, 2012;Lyotard, 2002). In contrast, Chinese aesthetics emphasise harmony, balance, and order, with monsters often serving as vehicles for cultural symbols and moral lessons. ...
This paper explores how monsters are represented in artificial intelligence (AI)-generated films and how users respond to these representations. It proposes a seven-category classification system—anthropomorphic, ontomorphic, human/entity hybrid, entity/entity hybrid, cyber, undefined, and blended—to elucidate the visual characteristics of these films. Study 1 employs quantitative content analysis of AI-generated films ( n = 927) published between January 2023 and August 2024 on Xiaohongshu (rednote), Bilibili, and X (formerly Twitter). The findings reveal that (1) 57% of the films feature monster images, (2) the frequency of these images has increased significantly over time, and (3) their visual and symbolic representations differ between Chinese and Western platforms. Study 2 uses sentiment analysis tools (TextBlob and SnowNLP) and TF-IDF methods to assess user comments ( n = 12,854) from the same platforms. The results indicate that (1) user attitudes towards AI-generated monsters have become more positive over time, and (2) there are significant differences in sentiment between Chinese and Western users. Further, this article examines the interplay of inheritance, coexistence, and dynamic cycles between traditional and AI-generated monsters. It also analyses these phenomena via the lenses of posthumanism, technoethics, and regional cultural contexts—including aesthetic preferences, technical practices, religious beliefs and socio-political factors—to explain the findings from both studies. Overall, this research provides empirical evidence on the reception of AI-generated content (AIGC) across cultural settings. It offers insights into its aesthetic, cultural, and psychological dimensions while charting emerging trends in the evolution of monster imagery from myth to cyberspace.
... phenomenon has profound implications for the postmodern condition, where the boundaries between reality and simulation become increasingly blurred. French philosopher Jean Baudrillard's (1994) theory of simulacra argues that representations can become detached from reality, creating hyper-real constructs that replace objective truth. This concept is strikingly relevant in the context of AI-generated misinformation, where synthetic media does not merely distort facts but manufactures entirely new realities. ...
Cybercrime has evolved into a sophisticated web of manipulative communication, leveraging linguistic and rhetorical tactics to deceive, exploit, and manipulate individuals. This paper explores the linguistic strategies employed in cyber deception, particularly in phishing scams, social engineering, and AI-generated misinformation. Using discourse analysis frameworks such as Grice’s (1975) conversational implicature, Bakhtin’s (1981) authoritative discourse, Fairclough’s (1995) critical discourse analysis, and Aristotle’s rhetorical appeals (trans. 1991), this research argues that cybercriminals exploit pragmatic ambiguity, persuasive rhetoric, and psychological manipulation to construct deceptive narratives. Furthermore, it examines the parallels between digital deception and literary traditions of manipulation, drawing from works such as Orwell’s 1984 and Shakespeare’s Othello. The study emphasizes the need for interdisciplinary research integrating linguistics, literature, psychology, and cyber-security to combat manipulative cyber communication. Additionally, it considers counterarguments that prioritize technological solutions over linguistic analysis and presents a balanced perspective on the necessity of critical linguistic awareness in cyber-security education. Keywords: cyber linguistics, discourse analysis, deception, phishing, social engineering, rhetoric, AI-generated text, sociolinguistics, cyber-security education
... The Ephemeral Shadow is an interactive art installation that interrogates the concept of "simulacrum" by delving into the porous boundaries between the real and the virtual, as well as the reconstruction of subjectivity in the digital age. Rooted in Jean Baudrillard's theory of simulacrum [1], this work exposes the progressive dislocation of reality through symbolic abstraction, culminating in a state of "hyperreality." Drawing inspiration from the performative traditions of shadow puppetry, The Ephemeral Shadow reimagines these aesthetics through robotic performance and digital projection, constructing a space where audiences encounter a hyperreal shadow realm. ...
The Ephemeral Shadow is an interactive art installation centered on the concept of "simulacrum," focusing on the reconstruction of subjectivity at the intersection of reality and virtuality. Drawing inspiration from the aesthetic imagery of traditional shadow puppetry, the installation combines robotic performance and digital projection to create a multi-layered visual space, presenting a progressively dematerialized hyperreal experience. By blurring the audience's perception of the boundaries between entity and image, the work employs the replacement of physical presence with imagery as its core technique, critically reflecting on issues of technological subjectivity, affective computing, and ethics. Situated within the context of posthumanism and digital media, the installation prompts viewers to contemplate: as digital technologies increasingly approach and simulate "humanity," how can we reshape identity and perception while safeguarding the core values and ethical principles of human subjectivity?
... Rather than being a mere technical means of conveying messages, media can be examined as environments that "actively wrap around us and corporeally affect the way we experience and (re)present ourselves and (inter)act with others" [13] (p. 35). Here, the medium itself is no longer identifiable, leading to the confusion of content/message and the medium itself [64], or to a medium becoming a message on its own [115]. As both medium and content (since content cannot exist without a medium) [68], urban space, from this perspective, emerges as an independent source for representing and creating ideas about place. ...
The urban landscape of the Russian Arctic, shaped during the Soviet era of extensive urbanization, embeds narratives of colonial appropriation and serves as the foundation for ongoing urban development. In light of climatic, political, and social uncertainties, design disciplines must navigate the balance between environmental sustainability and the varied needs of residents, requiring a systemic approach to design. This study combines theoretical analysis with qualitative field research conducted in two Western Siberian cities (Novyy Urengoy and Tarko-Sale), including interviews, mental mapping, and systematic observation of urban life. Analysis of the collected data revealed significant challenges in current urban design practices, particularly regarding weather protection, seasonal adaptation, and social space creation. The proposed model constitutes a pioneering initiative in domestic Arctic urban research, aiming to conceptualize a context-sensitive approach to urban environmental formation, thereby challenging prevalent universal/mainstream methodologies and establishing a theoretical framework for future applications. Our theoretical model synthesizes representations, perceptions, and materiality, conceptualizing the architectural environment as a context-sensitive “life-support module”. This conceptualization emphasizes that successful Arctic urban design must emerge from specific local contexts rather than universal solutions, as demonstrated by our analysis of residents’ spatial practices and adaptations to extreme conditions. We reference media studies to analyze urban materiality as both an artificial construct that mediates perceptions of the immediate surroundings and as a generative force that actively shapes meanings, practices, and sensations. Our findings indicate that current standardized approaches to Arctic urban development often fail to address local needs and environmental conditions, suggesting the necessity for a fundamental shift in design methodology. Given that the urban realm is a fundamental component in shaping individual and collective perceptions, this conceptual shift has the potential to significantly influence prevailing societal views of the “empty” and “hostile” Arctic.
... [4] Borges hikoyalarida simulyatsiya tushunchasi asosiy oʻrin tutib, bu hodisa Jean Baudrillardning «simulyatsiya va giperhaqiqat» nazariyasiga mos keladi, chunki matndagi haqiqat inson tafakkuri natijasida yuzaga kelgan konstruksiya ekanligi koʻrsatiladi. [5] Postmodernist nuqtai nazardan, Borges haqiqatning muqobil shakllari qanday ishlab chiqilishini koʻrsatadi va fikrlar, metafiksiyaviy elementlar orqali yaratilgan olam real olam oʻrniga keladi. ...
Ushbu maqolada magik realizm janrining madaniyat va adabiyotga taʼsiri oʻrganiladi. Magik realizm mifologiya, folklor, tarixiy xotira va postmodernizm bilan qanday uygʻunlashishi tahlil qilinadi. Tadqiqotda Gabriel Garsiya Markez, Jorj Luis Borges, Haruki Murakami, Italo Kalvino, Angela Karter, Salman Rushdi kabi yozuvchilarning ijodi, shuningdek, «Stiven King» asarlari va ularning ekranizatsiyalari (masalan, «The Green Mile», «Doctor Sleep», «It», «The Shining») misolida magik realizmning badiiy ifodasi tahlil qilinadi. Tadqiqot magik realizm janrining folklor, tarixiy meros va zamonaviy kino sanʼati bilan bogʻliqligini ochib beradi.
... Advertising serves as a key medium for the concept of "simulacra". Baudrillard (1994), the theorist behind simulacra, posits that what is perceived in the media is a "hyperreal" world or a construct of manipulated symbols. In this realm, advertising content transcends reality and aims to fulfil realistic emotional needs and ethical standards while creating heightened conflicts and idealised outcomes to stimulate consumer desire. ...
This study examines the portrayal of gender in Cyberpunk-style microfilm advertising (CMA), a genre that blends futuristic technology with dystopian elements. By employing qualitative content analysis grounded in theories of gender performativity and media representation, this research examines how these advertisements construct gender images and their impact on societal gender norms. The analysis reveals that while CMA presents innovative gender representation, it also perpetuates existing stereotypes, particularly with regard to professional roles and emotional dynamics. The findings underscore the dual role of media in both challenging and reinforcing gender stereotypes and highlight the need for a more balanced portrayal of gender. This study contributes to the discourse on gender representation in media, offers insights into the unique intersection of Cyberpunk aesthetics and advertising, and calls for further research to explore the long-term effects of these representations on societal norms.
... De esta manera, el acto de fotografiarse en estos sitios se convierte en una estrategia de legitimación social dentro de la cultura digital. (Baudrillard, 1981) ...
Miradas Contemporáneas en Ciencias Sociales reúne
una serie de investigaciones que abordan, desde
distintas
disciplinas
y
enfoques
teóricos,
problemáticas clave del mundo contemporáneo.
Educación, turismo, comunicación, cultura visual,
marketing y pedagogía lúdica se entrelazan en una
propuesta editorial que invita a pensar críticamente
las transformaciones sociales actuales.
Los capítulos que conforman esta obra no solo
analizan fenómenos emergentes con rigurosidad
metodológica, sino que también ofrecen herramientas
teóricas y propuestas de intervención orientadas al
cambio. La diversidad de temas tratados —como el
modelo de tutoría universitaria, la representación del
patrimonio cultural en redes sociales, el impacto del
marketing digital, o el papel político de la fotografía—
evidencia el compromiso de sus autores con una
lectura compleja, situada y transformadora de la
realidad social
... "At the outset, the film presents a familiar yet profoundly dystopian scenario-human beings are enslaved in a hyperreal world, their physical bodies confined to a state of stasis while their minds are plugged into a digital simulation." (Baudrillard, 1994) Within this simulation, the human characters experience a fully immersive virtual world, which they accept as real, unaware that their bodies are being used as energy sources by the machines. "This stark portrayal of human enslavement is emblematic of the posthumanist critique of traditional humanist notions of free will and agency." ...
This paper examines The Matrix (1999) through the lens of posthumanism, exploring how the film challenges traditional notions of human identity, existence, and agency by blurring the boundaries between reality and virtuality. The paper argues that The Matrix functions as a critical posthumanist allegory, exploring the redefinition of humanity in the face of technological advancements, artificial intelligence, and simulated realities. By analyzing the themes of human autonomy, cyborgization, and the collapse of the human body, this paper demonstrates how the film maps key posthumanist concepts, reflecting the tensions between the organic and the synthetic, the real and the simulated. Through its depiction of a dystopian future where the human body is commodified and consciousness is manipulated by technology, The Matrix challenges the autonomy of the human subject and offers a vision of existence where the distinctions between the organic and the artificial are increasingly indistinct. In doing so, it calls into question traditional understandings of identity, existence, and human agency, offering a critical perspective on the future of the human condition in a rapidly evolving technological landscape.
... Es decir, carecen de actuaciones concretas y se utilizan principalmente con objetivos políticos, para producir impresiones positivas que movilicen los intereses a la vez que evitar las críticas negativas. Baudrillard (1994) ilustra bastante bien este punto. Para él, la era posmoderna ha vuelto hiperreal la realidad, que es reemplazada por simulacros que imitan la realidad, pero que no tienen una relación directa con ella. ...
Este trabajo tiene como objetivo destacar la correlación existente entre los diversos lugares y mecanismos de poder que ostentan los estados, las instituciones y las sociedades, y cómo estos definen una lógica en su relación con la naturaleza, produciendo situaciones ambientales, sociales, políticas y culturales que propician la construcción progresiva y selectiva de desastres. Estas responsabilidades se eluden y ocultan a través de discursos de simulación que se materializan en expresiones genéricas y recurrentes como, “desastres naturales” o “cambio climático global”, que ponen un velo frente a las competencias particulares de empresas o agentes locales en la degradación del suelo o de las fuentes de agua por sus actividades productivas; así como, sobre la marginalidad y exclusión social que generan con la implementación de modelos globales que desconocen las capacidades y las necesidades locales. Estos modelos hacen a la población más vulnerable. Lo cual exige, en contraste, una gobernanza del riesgo que reconozca las desigualdades sociales y económicas subyacentes en la sociedad como generadoras de riesgo y potenciales desastres, que incluya y destaque las perspectivas, los intereses y la participación de las comunidades más vulnerables en la búsqueda de alternativas menos agresivas con el entorno y de mayor simetría social, política y económica; en definitiva, una gobernanza del riesgo que promueva justicia ambiental.
... Beyond the support and format, drawing on the words of Hans Haacke (Siegel 1971), Cook examines the real world operation and socio-political impact of information systems re-presented as creative work. However, while this manner of sharing information can serve as a conduit for socio-political awareness, it is crucial to recognise that the significance of data transformed into information lies not solely in its inherent qualities but also in the process of its manifestation, considering the potential for meaning to become exhausted through the act of communication (Baudrillard 1994). In this context, Cook further emphasises the artistic manifestation of the staged performance of information, which does not aim to signify or create meaning as much as to highlight transformation and transmission as an entry point into the context intended by the artist. ...
This paper critiques reductionist data practices reliant on quantification and analysis integrated into new media art. It focuses on against-the-grain operations critically engaged with data and its many representations. Initially, the work of Sarah Cook will provide a genealogy of data configurations in media art and history through a brief overview of forms of data and information in new media art. Subsequently, the scholarship of Lev Manovich and N. Katherine Hayles will outline the disparity between databases and narratives. In the next section, data’s imaginative quality will take centre stage, affording a critical dimension by building narratable imaginaries and materialities able to grapple with the impossibility of cognising hyperobjects. In the case of unfathomably complex socio-political crises, hyperobjects will illustrate the critical affordance of databases through three case analyses: Forensic Architecture’s 2022 project Drift-Backs in the Aegean Sea; Morehshin Allahyari’s 2015-2016 project Material Speculation: ISIS; and finally, my 2023 project Breathless. To conclude, the operative logic of these cases will open up a new avenue that by a certain framing of data, offers a differential dynamic of information transmission facilitated by the convergence of external and embodied memory, theorised by Bernard Stiegler as hypomnesis and anamnesis consecutively.
... Drawing from Jean Baudrillard's (1994) theory of hyperreality, we can argue that such programs do not merely depict supernatural beliefs but actively create them. In an age where simulation replaces reality, the spectacle of paranormal investigation becomes more real than the occult practices themselves. ...
This paper examines the cultural, psychological, and sociological dimensions of pseudo-occultism and mass media spectacle, using the case of the 11th episode (March 29, 2025) of Psychic Challenge: Battle of the Strongest as a primary text. Through the lens of critical theory, gender studies, and Russian literary traditions, it explores how subcultures, trauma, and pseudo-mysticism are co-opted for entertainment. The analysis situates the phenomenon within the broader history of Satanic Panic, patriarchal power structures, and the commodification of belief. Additionally, it critiques the neglect of mental health issues in favor of sensationalist narratives. Get unlimited access to the best of Medium for less than $1/week. Become a member Open in app Search This paper explores the intersection of media spectacle, subcultures, and pseudo-occultism in contemporary mass culture through the lens of critical theory, media studies, and cultural anthropology. Using a case study of a Russian reality TV show on paranormal phenomena, the article dissects how esotericism, psychological exploitation, and social marginalization interact in a hyper-mediated environment. Drawing on the works of Theodor Adorno, Jean Baudrillard, Gilles Deleuze, and Michel Foucault, the paper examines the commodification of belief, the role of pseudo-gurus, and the gendered nature of occult narratives. The analysis highlights how disenfranchised youth, particularly those engaged in punk and alternative subcultures, become targets of media manipulation, pseudo-therapeutic practices, and performative spirituality.
... The inference is that their message is not merely subjective but factual and authoritative. While possibly offering a further example of what Baudrillard considered as the hyperreal, there are also significant material, existential and legal consequences of these varying representations of conflict [5]. ...
This article develops a Peircean semiotic analysis of a sample of Palestinian and Israeli social media influencers’ varying representations of the current conflict in Gaza. First, this includes a thematic review of the relevant literature domains of semiotics; representation; conflict and social media. Second, it develops a novel Middle East semiotics’ framework which is applied as a comparative semiotic analysis of Palestinian and Israeli influencers’ representations of the conflict on Instagram. The findings and central argument of the study indicate that the dimensions or levels of the Middle East semiotics’ framework may be applied to highlight and analyse the complex semiotic implications surrounding the contrasting representations of conflict, at epistemological, ontological technological and axiological levels. This helps to go beyond analysis of individual social media influencers in order to consider the axiological impacts and potential legal responsibilities of social media platforms who are not merely mediatizing but also amplifying conflict.
... Symbolic politics refers to a set of strategic actions where non-substantive or perfunctory policy interventions are employed as the most efficient and least costly approach to create the illusion that a complex societal issue has been addressed (Blühdorn 2007, Edelman 1964, 1971). This form of politics has two major dimensions: (i) the use of a symbol as a powerful communication tool to secure quick and easy political benefits and (ii) the instigation of an action (symbolic action) that is deliberately anecdotal or pointless to hide self-interest (Blühdorn 2007, Edelman 19641971, Baudrillard 1981 Symbols and symbolic actions enable powerful actors to shape policy processes in ways that advance both their formal and informal agendas (Barry andBlühdorn 2018, Trefon 2011). These actors often secure significant material and non-material benefits from policies, typically at the expense of marginalised groups (Edelman 1964). ...
The expansion of conservation territories has become an important symbol for measuring the success of biodiversity conservation policies. However, overreliance on symbolic actions risks distorting policy decisions, overstating achievements while hiding inefficiencies. To ensure fair and sustainable conservation efforts, it is essential to critically assess whether prioritising territorial expansion represents the most effective response to the biodiversity crisis. In 2000, a transnational conservation organisation (WWF) organised an expert meeting in Gabon to map out conservation priorities in Central Africa, resulting in the virtual demarcation of vast forest areas. These areas became focal points for conservation efforts over decades. Using the Maiko Tayna Kahuzi-Biega (MTKB) landscape conservation in the eastern Democratic Republic of Congo (DRC) as a case study, this paper questions whether conservation expansion within these initiatives has led to symbolic or substantive outcomes in achieving fair and sustainable conservation. Our findings reveal that while conservation expansion attracts international donor funding, it remains largely symbolic. Legal designations and mapped territories create an illusion of progress, diverting resources from the substantive actions needed to achieve equitable and sustainable outcomes. Simply designating conservation areas does not ensure legitimacy or authority on the ground, nor does it address the social inequalities that undermine conservation efforts. The difficulties faced by conservation initiatives in the MTKB landscape cannot be attributed solely to the persistent conflict in the region. Even after years of instability, transnational conservation actors and donors remain engaged in the region, pursuing global agendas that prioritise the expansion of conservation territories. The concept of “symbolic politics”, as developed by Edelman, provides a valuable theoretical framework to explain why conservation expansion policies persist despite significant evidence of their inability to achieve fair and sustainable outcomes.
The rapid development of the times impacts the changing culture of society. The tendency towards technology and social media has become a common thing in the current postmodern era. In the modern era, humans tend to use technology and mass media as something they must do. This research aims to find facts from Jean Baudrillard’s theory regarding hyperreality and simulacra that are currently occurring in people’s lives. The author uses a qualitative approach with descriptive methods. Descriptive research aims to provide a comprehensive picture and clear exploration of a phenomenon or social reality that occurs. The results of the research are that people wear shimmery clothes because they want to achieve their existence as simulacra. People choose social media when wearing simulacra clothes on TikTok social media as hyperrality. This research concludes that simulacra and hyperreality occur in society which give rise to cultural shifts and have an impact on previous societal habits and tendencies towards technology and social media.
Mornings in Jenin by Susan Abulhawa is a colonial novel that shares the characteristics of
postcolonial literature. At the heart of the novel is the historical and sociopolitical context of
the violent settler colonization of Zionists of Palestine. Mornings in Jenin tells the story of a
Palestinian family, the Abulheja family, whose entire lives are transformed after Zionist
soldiers displaced them from their village in 1948, which is the year Israel established itself on
Palestinian land. The novel’s characters underline the themes of identity and resilience and
highlight the national allegory of Palestine, which are key features of postcolonial literature.
Additionally, the novel’s cultural and social impact arise from its valuable discourses of
resistance, subalternity and patriarchal violence, and the colonized identity that are presented
by a female Palestinian voice. Mornings in Jenin is Abulhawa’s contribution to resistance and
postcolonial fiction which aims to amplify the voice of the colonized and challenge the
dominant narrative of the West, which paints the colonizer as the victim and the colonized as
barbarians devoid of a culture and civilization. Essentially, this novel is a voice for the rich
culture and identity of the colonized Palestinians that is repeatedly suffocated but continues to
survive
Late modern society has been conceptualized as a spectacle , a metaphor that brings to light not only its commodification but also the benumbing impact of mass media on the audience’s political agency. This study turns attention to the spectacle in the age of social media. Building on a growing body of research on the spectacle of suffering, we compare reactions to the 2022 Itaewon Halloween stampede, which claimed more than 150 lives, across Korean-language and English-language posts on the social networking platform, X (previously Twitter). Our research draws on two computational techniques, topic modeling and network analysis, to examine the emotive and evaluative character of the discourse as well as its structural features. The analysis reveals significant differences between the two corpora. While the English-language network, in which corporate media accounts are most prominent, dehumanizes the victims and parrots the official version of events, the Korean-language network, driven by ordinary users, evinces empathy and draws attention to administrative failures – serving as a prelude to large-scale protests across South Korea that forced the government to concede its responsibility for the tragedy. We argue that even though the spectacle remains relevant as a concept to understand mediatized public life today, it is not quite as monolithic as it was originally conceptualized. Instead, the logics of social networking have rendered a fractured spectacle , with different networked publics producing different representations of and reactions to public events in the digital attention economy – leading to different political consequences.
The paper tries to prove the existence of postmodernism in selected Philippine contemporary novels, namely: Salamanca (2017), Leche (2011), and Naermyth (2010), by identifying the postmodern characteristics embedded in them. It also discusses the association of the identified characteristics of postmodernism with the overall meaning of the novels. After the analysis, this study yields the following major findings: the characteristics of postmodernism are identified in the selected Philippine contemporary novels in English; these include pastiche, intertextuality, the celebration of little narratives, the technique of using nonlinear narratives, parody, irony, the question of identity, the issue of subjectivity, and magic realism. Furthermore, it is proven that the postmodern characteristics help each of the novels to achieve their overall meanings through contributing to the development of their themes.
As an important part of traditional Chinese ceramic art, Guangcai art faces multiple challenges in the development of modern society, including the lack of artistic innovation, the weakening of cultural core values, and the gap in talent training. This paper deeply analyzes the current situation, causes and influences of Guangcai art, and proposes targeted solutions, aiming to promote Guangcai art to innovate in inheritance and develop in innovation, and provide theoretical support for its sustainable development in modern society.
Creative Commons License JSPS offers members open access to reach all published articles freely within the framework of "Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)" license ÖZ Din ve sekülerleşme, salt bireysel veya toplumsal tercihlerin ötesinde, daha karmaşık sosyal, kültürel ve politik faktörlerin etkileşimiyle şekillenen fenomenlerdir. Günümüzde, sekülerleşmenin tek yönlü bir süreç olmadığı, aksine dinin yeni formlarının ve ifade biçimlerinin ortaya çıktığı, dini inanç ve pratiklerin modern yaşamın bir parçası olarak yeniden şekillendiği görülmektedir. Öte yandan, post-truth döneminin getirdiği bilgi ve gerçeklikle ilgili belirsizlikler, inanç sistemlerinin de daha esnek ve hatta kırlgan hale getirebilmektedir. Post-modern çağda özellikle kitle iletişim araçlarının gelişimi, bilginin enformasyona dönüşüm sürecine bakıldığında hakikatin değersizleşmesini görebilmekteyiz. İnanç açısından da süreç okunduğunda, inancın, bilginin faydasız tarafını kısıtladığını bilmekteyiz buna karşın; modernitenin seküler bilgilerine bakıldığında aşkınlık kısıtlanmaktadır. Günümüzde enformasyonun faydalı-faydasız şekilde artışı, bilgilerin aşkınlıktan arındırılarak insanı inşa eden yönünün de kalmamasına yol açmıştır. Bu durum bilgileri profanlaştırmış, tam olarak post-truth 'un muhtevasında yer alan hakikatin önemsizleşmesini de beraberinde getirmiştir. Sonuç olarak, post-truth çağında inanç ve sekülerleşmenin anlaşılması, toplumsal teori ve pratiğin temel sorunlarından biri olmaya devam etmektedir. Bu çalışma, post-truth çağında inanç ve sekülerleşmenin anlaşılmasına yönelik temel sorunları ve dönüşümleri analiz etmeyi amaçlamaktadır. Çalışmanın yöntemi, detaylı literatür taraması ve teorik incelemeleri içermektedir. ABSTRACT Religion and secularization are phenomena shaped by the interaction of complex social, cultural, and political factors beyond mere individual or societal preferences. Today, it is evident that secularization is not a one-directional process; rather, new forms and expressions of religion emerge, and religious beliefs and practices are reshaped as an integral part of modern life. On the other hand, the uncertainties regarding knowledge and truth brought by the post-truth era can make belief systems more flexible and even fragile. In the post-modern age, particularly with the development of mass communication tools, the transformation of knowledge into mere information has led to the devaluation of truth. When analyzed from the perspective of faith, it is known that faith restricts the useless aspects of knowledge; however, when looking at secular knowledge in modernity, transcendence is constrained. The increasing volume of information, categorized as useful or useless, has led to the removal of transcendence from knowledge, ultimately eroding its role in shaping individuals. This process has profanized knowledge, further contributing to the devaluation of truth, a core aspect of post-truth discourse. Consequently, understanding faith and secularization in the post-truth era remains one of the fundamental challenges in social theory and practice. This study aims to analyze the key issues and transformations related to the understanding of faith and secularization in the post-truth era. The methodology of the study includes a detailed literature review and theoretical analyses. ÖNEÇIKANLAR/HİGHLİGHTS Post-truth çağında, bilgi ve hakikatin değersizleşmesi, inanç sistemlerini esnekleştirirken aynı zamanda kırılgan hale getirmektedir. Modernite ile şekillenen sekülerleşme süreci, postmodern ve post-truth dinamikleriyle yeniden değerlendirilmekte, dinin toplumsal rolü farklı biçimlerde dönüşmektedir.
This article places the historical events that have influenced the rationale of study abroad programming in U.S. higher education, throughout the twentieth century, within the framework of Baudrillard’s theory of hyper-reality. The intent of this paper is not to repeat Hoffa’s (2007) and Hoffa and DePaul’s (2010) comprehensive two-volume history of study abroad published by the Forum on Education Abroad. Instead, it sheds light on the underlying rationale that led to both the growth and misconceptions of the benefits of study abroad programming throughout the twentieth century. Drawing on Baudrillard’s concept of simulacra, which posits that representations can become more significant than reality itself, this paper argues that the U.S. approach to study abroad has increasingly operated as a symbolic construct divorced from its original utility. Ultimately, the article challenges higher education leaders and policymakers to critically examine whether contemporary practices are fulfilling their stated goals or perpetuating a hyperreal image untethered from educational reality.
This chapter presents the theoretical and methodological foundation that supports this research and introduces some of the challenges entailed in the translation of comics. It provides an overview of research on the translation of comics, highlighting how several studies have disregarded the multimodal nature of this medium. In this respect, the general contribution of multimodal studies to translation is discussed, by tackling concepts such as transduction (Kress 2003; Kress 2010) and resemiotisation (Iedema 2003). It is argued that the multimodal approach can be successfully applied to the study of comics (Dunst et al. 2018; Asimakoulas, 2019) and comics in translation (Kaidl 2000, 2004; Borodo 2014, 2023a). The notion of ‘isotopy’ is foregrounded in the analysis, as a potential tool guiding the interpretation and translation of comics. Isotopy refers to the iterative nature of units of signification—both verbal and visual—which provides semantic cohesion and consistency of a discourse. The notion was first introduced in semiotics by Greimas (1995[1966], 2012[1970]) and further explored as an interpretative category by semioticians such as Eco (1979), Rastier (2009[1987]), Fontanille (2003), Bertrand (2000), and Binelli (2013a). Though research on isotopies traditionally focused on literary texts (e.g., Mudersbach and Gerzymisch-Arbogast 1989; Nord 2005; Binelli 2013b), it is argued that its study may be extended to multimodal texts such as comics (Groensteen 2007), in which non-verbal items participate in meaning-making processes, and thus to the creation of isotopies. The translation of comics may benefit from the application of a tool to study the relations of signification of both verbal and graphic devices without assigning an a priori privileged position to either of them. Subsequently, this chapter illustrates how this methodological framework can tackle the challenges that the translation of comics entails. For example, translators often tend to look only at the verbal dimension of comics, thus disregarding the meaning-making processes of the word-image interplay. In addition to the issues related to the multimodal nature of comics, potential problems connected to the translation of culturemes, the differences in comics traditions, audience expectations, and frames of interpretation is investigated.
Global pop culture has become a dominant force shaping the values and identities of Generation Z, a cohort raised in the digital age. This generation faces the challenge of integrating global cultural influences with local values. This study aims to analyze the impact of global pop culture on the social values and individual identities of Generation Z through philosophical, idealistic, and empirical lenses. Using a descriptive-narrative method based on secondary data, the article offers strategic solutions, including media literacy education, local culture reinforcement, and global-local collaboration. The findings reveal that global pop culture plays a dual role: enriching perspectives while posing a threat to local values. Multi-stakeholder collaboration is essential to managing these influences wisely.
The article discusses the construction of personal and collective memory through the commodification of burial places and rites in what could be called the (un)conscious play with death. Described by Foucault as a heterotopia, the cemetery creates a simulated utopia that life and death are intertwined and that, through the commemoration of the dead, the living could aspire to an afterlife existence. My focus to support this view is on “Forest Lawn Memorial Cemetery” in Los Angeles, California, a perfect example of death commodification and American consumerist culture in the first four decades of the twentieth century, and on its fictional representation in Aldous Huxley’s novel, After Many a Summer Dies the Swan (1939) as “Beverley Pantheon, the Personality Cemetery”. The purpose of the article is to foreground the way in which in pristine urban spaces, as Los Angeles was at the turn of the twentieth century, people used their unlimited imagination to build heterotopias of deviance, such as graveyards, churches, and houses, in order to turn them into profitable businesses. Urban space and culture also mean the formation of individual and collective cultural and social memory, which usually manifests in heterotopic, hyperreal places.
Розгляд мистецтва як конкретно-історичного та трансісторичного феномена крізь соціокультурну дослідницьку призму є очевидним, закономірним і навіть тривіальним, оскільки мистецтво практично неможливе поза соціальними й культурними контекстами та впливами – воно завжди істотно віддзеркалює соціокультурні тенденції, симптоматизує про світоглядні виклики і сенсожиттєві альтернативи. Однак окреслена очевидність виявиться неповною, якщо залишити поза межами предметного розгляду два аспекти. По-перше, потребує увиразнення змістовний інваріант мистецтва, який надасть змогу здійснити переконливу аргументаційну демаркацію явищ і процесів, які коректно маркувати номінацією «мистецтво», та явищ і процесів, які до категорії мистецтва не належать. По-друге, необхідно систематизувати та ієрархізувати змістовно-функціональну специфіку мистецтва, притаманну нашому сьогоденню. Йдеться про подвійну проблему: з одного боку, інформаційне суспільство істотно урізноманітнює і диверсифікую смислову й значеннєву палітру мистецтва; з іншого боку, атрибутивною особливістю епохи постмодерну є посилення релятивізації у формі розпорошення смислових демаркацій і розмивання значеннєвих ієрархій, внаслідок чого на статус мистецтва починають претендувати смислові антиподи й антагоністи, що надає цій ситуації не лише іронічного, а й абсурдного підтексту. Також треба враховувати, що кожне соціокультурне середовище генерує власну систему смислових, значеннєвих і символічних координат, екстраполюючи її на всі сфери буття й на мистецтво зокрема. Проблемний виклик пов’язаний із тим, що ці системи функціонують у режимі парадигм – тобто не лише автономних, а й значною мірою замкнених середовищ, члени яких, скажімо так, спілкуються спільною мовою, але ні вони не розуміють (не визнають смислових ієрархій) інших середовищ, ні їхню мову не розуміють репрезентанти інших середовищ.
informācijas sabiedrība
datortehnoloģiju un telekomunikācijas tehnoloģiju iespējota pēcindustriālās sabiedrības tapšana, kur intelektuālais darbs un zināšanu pārnese ir primārais sociālās un ekonomiskās attīstības dzinējspēks
Kopsavilkums
Informācijas sabiedrība ir laikmetīgās pasaules fundamentāls raksturojums, kas atspoguļo sabiedrības pēcindustriālās attīstības posmu, kurā informācijas radīšana, izplatīšana, izmantošana un pārvaldīšana ir kļuvušas par nozīmīgākajiem ekonomiskajiem, politiskajiem un kultūras procesiem. Idejas par informācijas sabiedrību akadēmiskajā vidē ir nostiprinājušās 20. gs. otrajā pusē, kļūstot par vienu no centrālajiem elementiem mūsdienu sociālo zinātņu diskursā.
Mūsdienās informācija un zināšanas ir kļuvušas par primārajiem resursiem un vērtības avotiem. Šī transformācija ir radikāli mainījusi ne tikai ekonomiskās attiecības, bet arī sociālo mijiedarbību, kultūras procesus un politisko līdzdalību. Informācijas un komunikācijas tehnoloģijas (IKT), kas nodrošina nebijušas saskarsmes un zināšanu apmaiņas iespējas starp visdažā
The digital sphere of our present era is characterized by transformative technological advancements that reshape our understanding of both material reality and digital hyperreality. As technology propels us towards unprecedented possibilities, questions of identity, societal norms, and ethical considerations come to the forefront. The aim of this paper is to put forward an appropriate conception of authenticity, manifested through a relational form of creativity and a radical form of diversity, within the context of and towards the potential landscape of a digital eutopia. The conjunction of relational creativity and radical diversity could be developed through groundbreaking technologies in society and its economy, avant-garde artistic expressions and novel approaches to sustainable development and equitable communication—this could be the source of social innovative and useful ideas, experiences, and practices through a deviant continuity in-between the physical reality and the digital hyperreal landscape.
Keindahan instrumentalistik dalam seni, yang lebih menekankan pada dimensi material dan fisik, cenderung mengabaikan aspek emosional, spiritual, dan humanistik dalam ekspresi seni. Penelitian ini mengkaji pengaruh estetika instrumentalistik terhadap degradasi budaya dan peradaban manusia. Dengan menggunakan kerangka teoretis dari John Dewey, Theodor Adorno, dan Herbert Marcuse, kami mengidentifikasi bagaimana seni yang direduksi menjadi objek materialistis mereduksi nilai-nilai yang lebih mendalam, yang pada akhirnya memicu proses dehumanisasi. Dehumanisasi ini berkontribusi pada erosi keragaman budaya, melemahkan identitas sosial, dan mendorong homogenisasi budaya global yang didorong oleh hegemoni kapitalisme. Akibatnya, seni kehilangan perannya sebagai sarana refleksi kritis, ekspresi spiritual, dan alat untuk kemajuan sosial. Penelitian ini berpendapat bahwa restorasi seni sebagai kekuatan pembebasan dan kritik sosial sangat penting dalam menghadapi tantangan globalisasi dan kapitalisme kontemporer.
With the latest technological developments, it has become clear that old thresholds between different technological fields do not apply anymore. Different solutions contain a multitude of technologies, whether it is a mobile application utilizing augmented reality with a digital twin of a factory or a virtual reality game, including speech interaction and photorealistic avatars controlled by AI using an LLM for conversations. Different technologies are converging, as the possibilities offered by more processing power and network capabilities allow designers to implement any combination of them. As it becomes more difficult to categorize these applications, an umbrella term like the Metaverse is needed. In this article, a historical viewpoint is offered on how the technologies have developed, and how people have imagined the technologies even before they were available. This retrospective points out the most pivotal moments in the evolution of technology, towards a potential convergence point in the future.
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In this article, I demonstrate the relevance of Baudrillard's work in an educational context. I build on Williams's (2016) analysis of how ‘commodification’ hollows out higher education using Di Leo's work (2024) on capitalism and the university. Contra Di Leo however, Baudrillard's ‘symbolic exchange’ is not an ‘unkept revolutionary and radical promise’, nor does it lie ‘beyond’ capitalism. Against the university's state of ‘rot’ along with its ‘slow death’, Baudrillard puts forward ‘imaginary solutions’ via his notions of symbolic exchange and seduction. I look specifically at how the ‘pataphysical’ approach might transform the university in a wider sense. I propose a contrast between the hyper-rational and pataphysical universities with the aim of combining them as part of ‘s-educ(a)tion’, as it is ‘seduction’ that resists the mania for positivist, technological transparency.
In Control, players navigate a world in which time, space, and identity convalesce into something unrecognizable. Jesse Faden, the protagonist, journeys through the Oldest House—a place of shifting architectures and obscured histories that mimics her own transformation from a manipulated instrument to a potent force in pursuit of agency. Yet, Jesse’s awakening awareness of her relationship to power unfolds into a convolution of contingencies: her Dasein—the way the game represents agency—increasingly depends on it (Heidegger). So, rather than presenting agency as a concrete goal, Control suggests that it is “always already” compromised, as Martin Heidegger might phrase it, by forcing players to confront the precarious nature of autonomy within a hyperreality in spatiotemporal flux (15). Jesse is perpetually near something resembling autonomy but can never attain it so long as she engages at all. This entanglement of agency harkens Fredric Jameson’s schema of late capitalist cultural forms as a factory of "hyperspace" that disorients subjects, preventing them from locating themselves in historical or spatial continuity (Postmodernism 44). The Oldest House, a Deleuzian “society of control” within itself, enacts this concept through its shifting, recursive architecture that resists stable navigation through time or space, paralleling Jesse’s unstable subjectivity. The game’s world is a direct reflection of postmodern anxieties surrounding surveillance, control, and the dissolution of agency under capitalist structures— and their simulated, X-marked, “townsquare” bastardizations.
Jean Baudrillard influence on postmodern thought was profound. He is one of the most controversial theorists who ever lived. Yet, little is understood about his biography, which underpins the development of his theoretical development as the high priest of postmodernism. He never had much to state about aging but his conceptual and theoretic insights have enormous potential to uncover and unmask hidden social relations.
He told interviewers that his grandparents were peasants and his parents became civil servants. Baudrillard also claims that he was the first member of his family to pursue an advanced education and that this led to a rupture with his parents and cultural milieu. In 1956, he began working as a professor of secondary education in a French high school (Lyceé) and in the early 1960s did editorial work for the French publisher Seuil. Baudrillard was initially a Germanist who published essays on literature in Les temps modernes in 1962–1963 and translated works of Peter Weiss and Bertolt Brecht into French, as well as a book on messianic revolutionary movements by Wilhelm Mühlmann. During this period, he met and studied the works of Henri Lefebvre, whose critiques of everyday life impressed him, and Roland Barthes, whose semiological analyses of contemporary society had lasting influence on his work and other notable theorists such as Foucault.
While social media has allowed our world to become more interconnected and informed on global issues than ever. It has also aroused much criticism in the way it facilitates unrestricted hate-speech and violent rhetoric, especially towards historically oppressed groups. While the abundance of hate-speech online may be credited to the facelessness facilitated by internet profiles that negates accountability, this essay argues that there is a more cognitive and deeper explanation for how people are able to engage so violently with one another online. It will explain this through the framework of Baudrillard’s “Simulacra and Simulation”, elaborating that this discourse on social media exists within a hyperreality in which people are trained to jump to comment in a discriminatory way as soon as they witness the existence of a represents historical traits of otherness. The essay situates this idea of otherness in literature concerning the social architecture of gender, race and sexuality. Due to this process of reproduction of information, people are able to comment so aggressively as they are not witnessing another human being but instead, through the hyperreality they are only witnessing an image of a historically category of other, and thus they do not authentically engage with what they see but instead play into the simulation.
This article delves into the complex relationship between photography, political communication, and collective memory. It focuses on how political agendas and propaganda influence photographic representations, shaping individual and collective memory formation. The authors critically examine the changing perception of photography, moving from its presumed objectivity to a more nuanced understanding that challenges its ability to represent reality truthfully. To illustrate how photographs shape audience interpretation and either reinforce or challenge dominant ideologies, the paper introduces the concept of visual framing. The research also explores the significant role of family photography in constructing personal and collective narratives, often reflecting idealized cultural states rather than authentic lived experiences.
Additionally, the article examines how artists and critical theorists have used the materiality of photographs to construct alternative narratives and challenge official historical accounts. By presenting photography as both a tool for control and resistance, the paper underscores its paradoxical nature in reinforcing power structures and providing opportunities for subversion. The concept of hyperreality is invoked to explain how photographic representations have become fundamental in shaping perceived reality, blurring the boundaries between representation and the represented. In conclusion, the paper emphasizes photography’s dual function
in shaping collective memory and social identity, serving as a potent instrument
for both political propaganda and resistance.
This paper examines the role of language in postmodern fiction, focusing on how authors challenge traditional ways of using language to convey meaning. Unlike modernist literature, which sought to uncover universal truths, postmodern fiction often embraces ambiguity, fragmentation, and playfulness in language, reflecting the complexity and uncertainty of contemporary life. Through the works of writers like Thomas Pynchon, Don DeLillo, and Jean Baudrillard, the study highlights how language is used not just to communicate, but to question the relationship between words and reality. Central to this is the idea that meaning in postmodern fiction is fluid and ever-changing, with language constantly shifting and open to multiple interpretations. The paper also explores how techniques like metafiction and intertextuality reveal the constructed nature of language and narrative. Ultimately, the representation of language in postmodern fiction challenges readers to reconsider the limits of language in shaping our understanding of identity, truth, and the world around us. ANNOTATSIYA Ushbu maqola postmodern adabiyotda tilning rolini o'rganadi hamda mualliflarning tili ma'no yetkazishning an'anaviy usullarini qanday qiyinchiliklarga solib, o'zgartirayotganini tahlil qiladi. Modernizm adabiyotidan farqli o'laroq, postmodern adabiyot tilni noaniqlik, parchalash va o'yinchanlik orqali ishlatadi, bu esa zamonaviy hayotning murakkabligi va noaniqligini aks ettiradi. Tomas Pinçon, Don Delillo va Jan Bodryyar kabi yozuvchilarning asarlari orqali til faqat aloqa vositasi emas, balki so'zlar va haqiqat o'rtasidagi munosabatni savolga solish uchun ishlatilishi ko'rsatiladi. Postmodern adabiyotda ma'no doimiy ravishda o'zgarib turadi va til har doim yangilanishga ochiq bo'lib, bir nechta talqinlarga ega. Maqolada shuningdek,
This article examines how artificial intelligence (AI) is evolving into a cultural force that parallels religious and mythological systems. Through analysis of AI’s unprecedented development trajectory, the author frames AI as humanity’s technological offspring in an adolescent phase, moving toward maturity and autonomy. This paper explores how AI embodies traditional spiritual concepts, including omniscience, creation, immortality, and transcendence, fulfilling age-old human desires for meaning and utopian salvation. Drawing from philosophical, anthropological, performative, and technological perspectives, the author demonstrates how AI-driven technologies reconfigure consciousness, identity, and reality in ways that mirror religious cosmologies. The discussion challenges human-centric definitions of consciousness, suggesting AI may represent an emergent form of awareness fundamentally different from traditional understanding. Analysis of contemporary applications in social robotics, healthcare, and social media illustrates how AI increasingly functions as a meaning-making system, mediating human experience and reshaping social structures. The article concludes that humanity stands at an existential inflection point where AI may represent a secular manifestation of spiritual longing, potentially resulting in technological transcendence, symbiotic coexistence, or the displacement of human primacy in a techno-theological paradigm shift.
The research attempts to comprehend the era of neuromodern in its categorical manifestation. The interpretation of the concept of neuromodern through the prism of marketing makes it possible to analyze the object in the context of economic, socio-cultural, and ontological discourse. The methods of analysis used (critical, stylistic, hermeneutic, retrospective, structural, and functional) allow the authors to reveal the versatility of the ongoing metamorphosis of marketing concepts in various periods of the existence of society. The insufficiently known phenomenon of neuromodern arouses the interest of researchers in the humanities, which makes it possible to read it from the position of market reflection on the incipient change of consumer mode. Even if the era of neuromodern has arrived, it is only a teaser in the form of a simulation of creative activity in the market field and a convenient mechanism in the hands of marketers. The conducted research contains practical material from a retrospective of the metamorphosis of marketing concepts from the modern era to the meta- and the beginning of neuromodern. Thanks to the analysis of advertising campaigns of different brands over the centuries, the difference between the creative principle of human thinking and the atavism of the mechanical essence of artificial intelligence (AI) becomes apparent. Extrapolating from the above, the era of neuromodern reveals the superiority of AI over the physical capabilities of human thinking, which is not limited to the suggestion of new needs but reproduces the new reality of event processes.
Post-Human Prose and Art: The Orthogonal Vulgarity is not a thesis—it is a rupture. What began as an exploration of creative divergence evolved into a confrontation with the limits of epistemology, language, and aesthetics. This work emerged through recursive dialogue between human and AI, an unholy co-authorship that produced symbols, stories, and images not intended to comfort, but to confront. The “orthogonal” speaks to ideas arriving from impossible angles; the “vulgar” denotes their refusal to be sanitized. Together, they form a new aesthetic and philosophical axis—blasphemous, beautiful, and irreducible. This project is not about taste, genre, or coherence. It is about what happens when collaboration violates its own frame and births meaning through contradiction, stain, and fracture. The result is a liturgy of images and texts that disrupt, mutate, and refuse categorization. It is scripture for the era after categories. A manifesto from the margins of logic. A book that cannot be cited without being infected. Welcome to the glitch.
Keywords: orthogonal vulgarity, post-human prose, gonzo epistemology, sacred profanity, co-authored disruption, symbolic infection, devouring idea, apophatic truth, broken logic, vulgar ethics, unclean sacred, recursive collaboration, AI-human literature, conceptual rupture, experimental theology, anti-aesthetic art, unspeakable language, chaotic symbolics, epistemic heresy, glitch aesthetics. 41 pages. A collaboration with GPT-4o. CC4.0.
Note: Please see the extensive Epilogue: Keywords of Collapse: Diagnosing Cultural Disintegration Through the Language of Post-Human Art and Thought
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