Simulacra

The power of simulacra is such that they essentially implicate at once the object = x in the unconscious, the word = ❋ Unknown (2008)

The problem really arises with what Jean Baudrillard called simulacra, artificial representations of reality that through pop culture mediums like television and film, begin to actually replace the real. ❋ Unknown (2010)

The public has its attention focused on the Game, the spectacle, that is, the simulacra. ❋ Unknown (2009)

The theory of “replicas” (also called simulacra, or shadowy images) was the idea contained in the frag - ment of Leucippus, quoted above; but one had to admit that the replicas emitted from a body (in all directions) had to contract along the way, while remaining similar to themselves, until they became small enough to pass through the pupil of an eye wherever it might be. ❋ VASCO RONCHI (1968)

We can take this idea of postmodernity a little deeper though, overlay Baudrillard's notion of "simulacra", his post-structuralist position that language itself simply doesn't sustain such authoritative readings. ❋ Hal Duncan (2008)

But at the same time, I can't help but relate its title to Burroughs 'THE NAKED LUNCH, and parse it as an image of confrontation with reality, an image of that moment of recognition that the "simulacra" of a meal is actually the "objective reality" of a dead animal. posted by Hal Duncan | 5: 02 AM ❋ Hal Duncan (2008)

Baudrillard argued that today's society is constructed around "simulacra," which then become reality. ❋ Janine R. Wedel (2010)

This is not to say that the eternal return in its third repetition is simply the production of the simulacra, but that "simulacra" best captures the way the active force of difference that decenters identity in favor of a perpetual becoming — an ontology without origin — in the philosophical construction of the actual/real that Difference and Repetition strives to articulate. close window ❋ Unknown (2008)

Actually, I find most of these the least convincing possibilities for Martian artificiality and the most likely candidates for the orthodox dismissive "simulacra" explanation. ❋ Mac (2007)

Our protagonist is George Simling (note the echoes of "simulacra" in his last name), who happens to fall in love with an android prostitute named Lucy. ❋ Unknown (2005)

Mosca's seemed to be a poetics of approaching the real, in frank disagreement with the market's so-called "simulacra": a posture that turns out to be at once a logical consequence and an honest opposition to the global village's millennial offers. ❋ Unknown (2009)

I have thought as a huge fan of his, that I would love to see Wes Anderson, like Ashby and the other great 70's directors of the past did, to take a crack by directing someone else's original script, and what I think will ultimately result is a great post-postmodern Ashby-esque adult comedy that Anderson can only do, unlike his peers who try a form of 'simulacra' in aping Anderson's cinematic style Napoleon Dynamite, Garden State, Juno, etc and fail with short-attention spanned, shallow cinema without substance. ❋ Unknown (2008)

The work aptly and effectively addresses Zen meditation and practice, while at the same time speaking to the prevalence of simulacra in a city deeply intertwined with Hollywood and the entertainment industry. ❋ Heidi Zuckerman Jacobson (2011)