Hyperreality : The Simulacra + The Folly

STUDIOS

SALON

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HYPERREALITY

excerpt from Simulacra + Simulations -

A b s tr a c ti o n t o d a y i s no lo nger t ha t o f th e m a p , t he d o ub le, t he mi r r o r o r t he c o n c e p t. Si mula t i o n i s no lo nger t ha t o f a te r r i t o r y , a r ef er ent i a l b ei ng o r a s u b s ta n c e.

I t i s th e gener a t i o n b y mo d els o f a r ea l w i th o u t or i gi n o r r ea li t y : a hy p er r ea l.

- J e a n B aud r i lla r d

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THE SIDE OF TRUTH

THE SIDE OF DECEIT

• SIMULATION • t h e i m i ta ti o n o f th e o p e r a ti o n o f a re a l - w o r l d p r o c e s s o r s y s te m o v er ti m e .

• SIMULACRA • co p i es t ha t d ep i ct t hi ngs t ha t ei t her ha d no o r i gi na l t o b egi n wi t h, o r t ha t no lo nger ha v e a n o r i gi na l.

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Marily n Mon roe, p u blicity sh ot for ‘Niagara’ • G e ne Korman 1953

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M a r i l yn M on r oe • An dy Wa r h ol 1962-1967

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“I r i se s” • P ainting s by Marc Qu in n 2 0 0 9 - P re se nt

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P h ot og r aphs o f muse um x - rays • David Maisel 2015

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S e l e ct e d wo rk s • G o rdo n Matta-Clark

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The Allegory of the Cave - Plato T he a l l e g ory is rel a te d to Pl a to ’ s theory of F orm s, w h i c h h o l d s th a t the tru e e sse n ce of a n o b je c t i s n o t what w e p e rce ive w i th o u r s e n s e s , but rat h e r it s q u al i ty , a n d th a t m o s t people p e rce ive o n l y th e s h a d o w o f the ob j e ct an d are th u s l i m i te d to fals e p e rce p t io n .

Speaks t o t w o k in d s o f i m a g e - m a king : th e f a i t hful c op y a n d th e i n t e nti onal d i st o rt i o n.

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plato’s opinion

“FAITHFUL COPY” / TRUTH

• SIMULATION • t h e i m i ta ti o n o f th e o p e r a ti o n o f a re a l - w o r l d p r o c e s s o r s y s te m o v er ti m e .

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“INTENTIONAL DISTORTION” / FICTION

• SIMULACRA • co p i es t ha t d ep i ct t hi ngs t ha t ei t her ha d no o r i gi na l t o b egi n wi t h, o r t ha t no lo nger ha v e a n o r i gi na l.

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G irl with a Pearl Earrin g • Joh an n es V ermeer 1665

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T h e M a s c h i n e n m e n s c h i n “ M e tr opol i s ” • Fr i tz La n g 1927

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Disneyland exists in order to hide that it is the “real” country, all of “real” America that is Disneyland (a bit like prisons are there to hide that it is the social in its entirety, in its banal omnipresence, that is carceral). Disneyland is presented as imaginary in order to make us believe that the rest is real, whereas all of Los Angeles and the America that surrounds it are no longer real, but belong to the hyperreal order and to the order of simulation. It is no longer a question of a false representation of reality (ideology) but of concealing the fact that the real is no longer real, and thus of saving the reality principle.

Simulacra and Simulation • Jean Baudrillard 1984

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baudrillard’s interpretation

E R

S

P

U

N E T E

E

•

•

P

E

P

R

R

V

•

•

• E

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C

S

O

IO

P

Y

N

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DESTABILIZATION OF REALITY

“INTENTIONAL DISTORTION” / FICTION

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“FAITHFUL COPY” / TRUTH

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•

COPY •

i s a “ re fl e ct io n o f p r o f o u n d r e a l i ty ” , thi s i s a g ood ap p e a r a n c e ; w e m a y e ve n b e l ie ve i t to b e r e a l .

Win ter Su n r i s e , Si e r r a N e va da f r om Lon e Pi n e • An s e l Ada m s 1944

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G u e r r i l l e ro He ro ico • A lbe rto Korda 1960

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Begin n in gs of Fi n g e r pr i n ti n g 1859

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•

PERVERSION •

this is w h e re w e co m e to b e l i e v e th e s i g n to b e an u n fai th f u l c o p y , w h i c h “ mas ks + d e n a t u res ” r e a l i ty a s a n “ evi l a p p e a ra n ce—i t i s o f th e o r d e r of m a l e fi c e n c e ” . here, sig n s an d i m a g e s d o n o t faithf u l l y re ve a l re a l i ty to u s , b u t c an hin t a t t h e e xi s te n c e o f a n o bs c ure re al it y w h ich th e s i g n i ts e l f i s in cap a b l e o f e n c a p s u l a ti n g .

Dismaland • B a n ks y, e t. a l 2015

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A B C A r t ( L o w R e lie f ) : A / A nt, Etc. (Keyboard) • Joh n Baldessari 2017

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•

PRETENSE •

mas k s t h e ab se n ce o f a p r o f o u n d r e ality, w h e re t h e sig n p r e te n d s to b e a faith fu l co p y, b u t i t i s a c o p y w i th n o o rig i n a l . s i g ns a n d im ag e s c l a i m to r e p r e s e n t s omet h in g re a l , b u t n o r e p r e s e n tati on is t a k in g p l a ce a n d a r b i tr a r y i mag es a re m e re l y su g g e s te d a s th i n g s whic h t h e y h ave n o r e l a ti o n s h i p to .

Dismaland • B a n ks y, e t. a l 2015

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I n st a g r a m R e pro ductio ns 2017

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PURE •

T he fo u rt h st a g e is p u r e s i m u l a c r u m , in which t h e sim u l a c r u m h a s n o r elati onsh ip t o an y r e a l i ty w h a ts o e ver. Here , sig n s m e r e l y r e f l e c t o th e r s i g ns an d a n y cl aim to r e a l i ty o n th e part o f im ag e s o r si g n s i s o n l y o f th e ord e r o f o t h e r s u c h c l a i m s .

Th e Tru ma n Sh ow • Pe te r We i r 1998

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S t il l s f r om the f ilm “Me tro polis” • F ritz Lan g 1927

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PHASE 1 •

FAITHFUL COPY

Portrayal of Wayn e’s origin al b aseme n t.

Stills from th e F ilm “Wayn e’s World ” • Pe n e l ope Sph e e r i s 1992

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PHASE 2 •

DENATURING OF REALITY

Stu d io rep lica of Wayn e’s Basement

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•

PHASE 3 •

MASKS THE ABSENCE OF REALITY

U se of th e b lu e screen d ivorces th e s e t f r om a n y r e a l i ti e s .

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Wayn e even tu ally gets fired .

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PHASE 4 •

PURE SIMULACRUM

Wayn e’ s World con tin u es with n o W a yn e - be c om i n g a f u l l s i m u l a c r u m .

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Simulated realities - to what end ?

H yp e r r e ality i s a n i na b i li t y o f co ns c i o u s n ess t o d i st i ngui sh r ea li t y f r o m a s i m u l a t i o n o f r ea li t y , esp eci a lly i n te c h n o l o gi ca lly a d v a nced p o st mo d e r n s o c i et i es. Hy p e rre a lity i s seen a s a c o n d i ti o n i n whi ch wha t i s r ea l a nd w h a t i s fi ct i o n a r e sea mlessly b lende d to g e th er so t ha t t her e i s no clea r d i s ti n c ti o n b et ween wher e o ne end s U n t it l e d P ie ce s • W anda Ko op 2015

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a n d th e o t her b egi ns.

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my bright idea HYPERREALITY

“FAITHFUL COPY” / TRUTH

“INTENTIONAL DISTORTION” / FICTION

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2D 3D

REALITY

SIMULATION •

“RATIONALISM” / ORDER OF FORMS

•ARCHITECTURE •

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SIMULACRA •

“POST-RATIONALISM” / FOLLY

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FOLLY •

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La b y r i n t h o f B o o le an Vo ids • Gijs V an V aeren b ergh 2015

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La b y r i n t h o f B o o le an Vo ids • Gijs V an V aeren b ergh 2015

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La b y r i n t h o f B o o le an Vo ids • Gijs V an V aeren b ergh 2015

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S p a ce s f o r H o pe • Me hdi G had yan loo 2017

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S p a ce s f o r H o pe • Me hdi Gh adyan loo 2017

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S p a ce s f o r H o pe • Me hdi Gh adyan loo 2017

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S e r p e n t i ne Pavilio n • H e rz og & de Meu ron + Ai Weiwei 2012

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S e r p e n t i ne Pavilio n • H e rz og & de Meu ron + Ai Weiwei 2012

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S e r p e n t i ne Pavilio n • H e rz og & de Meu ron + Ai Weiwei 2012

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S e r p e n t i ne Pavilio n • H e rz og & de Meu ron + Ai Weiwei 2012

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The

postmodern

semiotic

of

Baudrillard

“hyperreality” in

Simulacra

was

contentiously

and

Simulation.

coined

by

French

sociologist

defined

“hyperreality”

as

“the generation by models of a real without origin or

hyperreality

is

a

reality”;

Jean

concept

representation,

a

sign,

without

an

Baudrillard

original

refer-

ent. Baudrillard believes hyperreality goes further than confusing or blending the ‘real’ with the symbol which represents it; it involves creating a symbol or set of signifiers which represent something that does not actually exist, like Santa Claus. on Jean Baudrillard’s view of “hyperreality”

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Letter to Gala Eluard -

It is possible for an activity having a moral bent to originate in a violently paranoiac will to systemitize confusion.

The very fact of paranoia, and particularly consideration of its mechanism as a force and power, brings us to the possibility of a mental attack which may be the order of, but in any case the opposite pole to, the attack to which we are brought by the fact of hallucination.

I believe the moment is at hand when, by a paranoiac and active advance of the mind it will be possible (simultaneously with automatism and other passive states) to systematize confusion and thus to help to discredit completely the world of reality.

The new images which paranoiac thought may suddenly release will not merely spring from the unconscious; the force of their paranoiac power will itself be at the

service of the unconscious.

These new and menacing images will act skillfully and corrosively, with the clarity of daily physical appearances; while its particular self-embarrassment will make us yearn for the old metaphysical mechanism having about it something we shall readily confuse with the very essence of nature, which.. delights in hiding itself.

- Salvador Dali 1970

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• Suggested Readings • Gilles Deleuze as translated by Rosalind Krauss • Plato and the Simulacrum Jean Baudrillard • Simulacra and Simulation Edwin A. Abbott • Flatland : A romance of Many Dimensions Plato • Republic “The Allegory of the Cave” • Image Sources • archdaily.com butdoesitfloat.com thisiscolossal.com dezeen.com wikipedia.org

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