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Proceedings of the XXIII World Congress of Philosophy

Volume 1, 2018

Aesthetics and Philosophies of Art

Ludmila Demchenko
Pages 59-64

J. Baudrillard’s “Simulative” Reality Concept as “The Transformed Forms” Expression in the Modern World

Philosophy transformations in the modern world are fully represented in J. Baudrillard’s “simulative” reality concept based on the cardinal social changes in which new technical and information processes, the global capital are fancifully interwoven, giving rise to the so-called “simulative” vir­tual reality and showing the development dead ends of post-industrial technology, contradictions and development threats of the “virtual” financial capital as the dominant form of contemporary social reality. The reality vision through the prism of simulation phenomenon becomes the determining fact in J. Baudrillard’s philosophy, which in his interpretation means a self-sufficient reality acquisition by signs, images, symbols, which fill the validity, start to absorb, assimilate the existing objective reality. Moreover, there are various forms of visibility not only economic, but also political, social, cultural ideological etc. In J. Baudrillard’s interpretation of “simulative” reality there is content of such a phenomenon identified and labeled by K. Marx as the ‘commodity fetishism’ on the basis of which “the converted forms” of the public reality are formed, in which the money as signs, cost forms replace and absorb real public processes, and derive the real sources of “simulative” reality, while its postmodern version only establishes and describes the contemporary forms of its manifestation. In search of the adequate explanation in J. Baudrillard, he actually identifies the virtual and the objective and the real, verbally allocating the simulacra with the substantive status in the world, and in this sense “simulative” reality in the concept of the given thinker takes the central place and confidently guides the ball, replacing by itself the objective reality by means of the entire sequence of brighter and picturesque, but substantially emasculated effects of the real, the truth and objectivity.

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