SECOND ISSUE

Jean Baudrillard, Florian Rötzer

… We’ve already run through the entire cycle of critical thought. My earlier books were still thoroughly critical. But since Symbolic Exchange and Death I’ve entered into another discourse, even though this book is still critical in so far as there is in it a desire for a symbolic exchange.

Thorsten Botz-Bornstein

The hyperreal America is best encountered in simulated places like Disneyland and Las Vegas but is perceptible on many different levels within American civilization. In America, Baudrillard experiences the New World through an exoticizing lens of estrangement that has been shocking for many Americans because the country appears as distant and culturally removed as if the author were writing about China…

Steve Gennaro and Blair Miller

In theorizing about the self and digital media, it is worthwhile to posit a certain way of thinking about digital media and its relationship with identity that both respects its dynamism, that possibility for change and expression, as well as being keenly aware of its perils.  The work of Jean Baudrillard inhabits this space comfortably, marrying the contemporary self with notions of simulation, representation and reality.

Oleg Maltsev

Jean Baudrillard pays particular attention to signs and symbols in diverse publications and essays, reflecting upon their role in the economic, social, and political spheres, as well as the subsequent repercussions of symbols on people. Baudrillard has noticed that the symbolic system explicitly defines the fate of the individual and society.

Lucien Oulahbib

Á la recherche du réel» titrait naguère le physicien Bernard d’Espagnat à propos de notre «micro» monde (les «quanta») qu’il serait possible de transcrire métaphoriquement au niveau «macro» (le réel «des travaux et des jours» Hésiode) par : «pourquoi y-a-t-il rien au lieu de quelque chose»?

Jeremy Fernando

… comes to us, perhaps came to us, is quite possibly always coming to us, from our dear friend, our teacher, to remind us, to quite possibly never let us forget, that “the whole art is to know how to disappear before dying and instead of dying”. After all, he be the one who called for a disappearance even before he disappeared.

Alexzander Mazey

It is no matter of convenience that so much of late capitalism’s ‘non-places’ feature heavily in the mise en scène of ‘The Matrix Trilogy’. Consider, for example, the prevalence of these places, the frequent inclusion of elevators, subways, terminal stations, hotel lobbies…