Simulacra and Simulation () is a philosophical treatise by Jean Baudrillard seeking to interrogate the relationship among reality, symbols, and society.
Simulacra are copies that depict things that either had no reality to begin with, or that no longer have an original. Simulation is the imitation of the operation of a real-world process or system over time.
Overview
Simulacra and Simulation is most known for its discussion of symbols, signs, and how they relate to contemporaneity (simultaneous existences). Baudrillard claims that our current society has replaced all reality and meani...
at·ta·boy/ˈatəˌboi/ Exclamation: An informal expression of encouragement or admiration, typically to a man or boy. Noun: A piece of encouragement or congratulations, esp. a letter: "our boss will write you guys an attaboy".
"That's a good boy" is something you might say to one who has the good grace not to talk with his mouth full. You might award one an attaboy to who is making an especial effort on a very tough job.
If you think those are interchangeable, then you have far too vivid an imagination. :)
"Pierre Menard, Author of the Quixote" (original Spanish title: "Pierre Menard, autor del Quijote") is a short story by Argentine writer Jorge Luis Borges.
It originally appeared in Spanish in the Argentine journal Sur in May 1939. The Spanish-language original was first published in book form in Borges's 1941 collection El Jardín de senderos que se bifurcan (The Garden of Forking Paths), which was included in his much-reprinted Ficciones (1944).
Plot summary
"Pierre Menard, Author of the Quixote" is written in the form of a review or literary critical piece about Pierre Menard, a ficti...
I mean, when I know a certain building is very old, I will like it more; and when I know it is a modern fake, I will like it less, even if I cannot perceive any difference. But I do recognise that this is in a way a bit silly, and I won't say "this decoration is more beautiful than that in the fake building".
It doesn't mean, however, that two things cannot be so alike in a certain aspect that it makes no sense to judge them differently based on that very aspect.
The question about Menard's Quixote -- which is not a copy of the original, but nevertheless is "faithful" in this superficial sense, that it duplicates it exactly, word-for-word
Your question about whether a difference becomes perceptible. And it does, it is perceptible; even palpable, though this may be surprising :)
The question resolves to the origin of the copy; but the origin is alien, it reprograms the subterranean logic of the work, connects it to a different world.
Deleuze calls this slow-motion: commentary as immobilization or congelation of the text -- not only of the text which they relate, but the text into which they are inserted as well -- so much so that they have a double existence and a corresponding ideal: the pure repetition of the former and present text in one another.
Well, Deleuze is talking about commentary in the history of philosophy in particular. But he's clearly thinking of Menard here; he calls this somewhere a "generalized Menardism"... :)
Again: great commentary repeats, but repetition exacts this 'maximum' of difference.
Borges outlines at least one key difference between the texts -- the world the texts are plugged into, the different singular conditions from which they emerge and to which they respond.
Well: at least it's about the infinitely-cautious regimen used to create the text; this is reflected in the fact that the subterranean infrastructure of the work is significantly altered, in a way that I think is irreducible to the world changing: after all the transformation or becoming that matters is Menard's, the process by which he authors his/the Quixote.
It doesn't merely question authorial integrity. It seems to me more radical, in a way similar to the Library of Babel -- no decoding, no commentary, no interpretation can be certain.
(If only because of this mad counter-example: that these apparently identical texts have, necessarily, radically different interpretative matrices and requirements.)
I guess I'm willing to concede it for the sake of discussion but I'm not sure I'd concur that authorial intent is either necessary or sufficient for decoding.
But I'm also wondering whether there's a larger point you might have been making I may have missed :)
Interpreting is decoding a text according to some schema; if these schema rely on the stable identity of the author, they might miss certain (critical) dimensions of the work.
The interesting questions for me are ethical, aesthetic (at the limit, in a way, the same) -- which mode of existence? Which style of living? Logic of expression -- what do these modes and styles dramatize?
I'm not sure what verbal sexual harassment expresses, other than resentment and cruelty. Bitterness?
"Time carries him as the river carries A leaf in the downstream water. No matter. The enchanted one insists And shapes God with delicate geometry. Since his illness, since his birth, He goes on constructing God with the word. The mightiest love was granted him Love that does not expect to be loved.
Spinoza is, for me, the ‘prince’ of philosophers. (EPS 11) Spinoza is the Christ of philosophers, and the greatest philosophers are hardly more than apostles who distance themselves from or draw near to this mystery. (WP 60) Spinoza: the absolute philosopher, whose Ethics is the foremost book on concepts. (N 140)
"Kokomo" is a song written by John Phillips, Scott McKenzie, Mike Love, and Terry Melcher and recorded by The Beach Boys in spring 1988. Its lyrics describe two lovers taking a trip to a relaxing Caribbean island called Kokomo, which is said to only be seen by those of pure heart. It was released as a single on July 18, 1988 by Elektra Records and became a No. 1 Hit in the United States, Japan, and Australia (where it topped for about two months). The single was released to coincide with the release of the Tom Cruise movie Cocktail, and its subsequent soundtrack. It was nominated in the ...
In the Dungeons & Dragons fantasy role-playing game, Alignment is a categorization of the ethical (Law/Chaos axis) and moral (Good/Evil axis) perspective of people, creatures and societies.
Early editions of Dungeons & Dragons allowed players to choose between three alignments when creating a character: lawful, implying honor and respect for society's rules; chaotic, implying the opposite; and neutral, meaning neither. Advanced Dungeons & Dragons introduced a second axis of good, neutral and evil, offering a combination of nine alignments.
The nine alignments can be represented in a gr...
There's a kind of disdain of attachment, but also an almost religious commitment to something greater than the alignment system can encompass; easily the most intriguing alignment.
Sure. I mean, Good PCs aren't necessarily always "Good-behaving" -- it's an ideal, right? Something you try to live up to.
> Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal.
> The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory - precession of simulacra - that engenders the territory, and if one must return to the fable, today it is the territory whose shreds slowly rot across the extent of the map. It is the real, and not the map, whose vestiges persist here and there in the deserts that are no longer those of the Empire, but ours. The desert of the real itself.
btw, Korean government has started to issuing regulations that can slowly destroy video game industries. They believe video games have bad influence on young people because they easily get addicted to them
and some developers make illegal gambling games as well
But I think video games really push the technology and huge inspiration for coming up with better displays (TV and etc) and new graphics technologies