Podcasts about baudrillard

“The hyperreal is the real. The surreal is the real in The United States. We've reached that point. The absurd is the real. And so that's what I was trying to capture in the book.” — Ben Fountain Our absurdist-in-chief wants a $250 banknote with his face on it. But the satirist Ben Fountain gives the President something even more valuable. In his new novel Rasputin Swims the Potomac, Fountain delivers something quite priceless: a book that Trump deserves. In Fountain's novel, a sitting president, running for a third term, enlists a world champion professional wrestler, Grigory Yefimovich Rasputin, to help secure his re-election. Born Patrick Walsh Strickland in Buffalo, New York, Rasputin served in special forces in Afghanistan and Iraq, spent six years in a monastery, became fluent in Russian, and claims to be a real Russian monk. Evangelicals start defecting to Rasputin. A pandemic of “weeping sickness” sweeps the nation. It's almost as unbelievable as a sitting President wanting a $250 banknote glowing with his orange face. Fountain's parallels with late Tsarist Russia are hard to miss — the chasmic wealth inequality, the impossible get-rich schemes, the quack religions, the gilded decadence, the dying social classes, the mad politicians. It's scary stuff. Fountain says that we should even be careful taking his summer novel to the beach. Rather than Jaws-dropping, Rasputin Swims the Potomac, he warns, might bite us back. Maybe we should put Ben Fountain's face on that $250 bill. Five Takeaways •       The Hyperreal Is the Real: America Has Beaten Its Satirists: When Fountain sat down to write the book in early 2023, he was thinking about the blurring of the line between reality and fantasy in American life. Trump, throughout his career, has blurred that line to masterful effect. Fountain's question: what would be the next step on that continuum? His answer: professional wrestling — famously fake, scripted, and yet real, happening in real flesh and blood. Suppose a wrestler ran for president as his wrestling persona, with the fake baked in and everyone knowing it's fake. Suppose the country buys it. Because the hyperreal is the real. The surreal is the real. America has already reached that point. •       Why Wrestling, Not Politics: Jesse Ventura — “Jesse the Body” — ran for governor of Minnesota and won. But he ran as Jesse Ventura himself. Fountain's innovation: a wrestler who runs as his or her wrestling persona, with the character fully intact. Rasputin — born Patrick Walsh Strickland in Buffalo, special forces veteran, six years in a Russian monastery, world champion wrestler in Japan, legally changed name — never breaks character. He is the historical Rasputin, back from the dead, a holy man of the Russian Orthodox Church. Evangelicals start defecting to him because he's speaking their language. The fake is the real. •       Late Tsarist Russia and Contemporary America: Striking Parallels: Fountain read three or four biographies of the historical Rasputin. The deeper he got, the more striking the parallels. Late Tsarist Russia: extreme wealth inequality, get-rich schemes everywhere in St Petersburg and Moscow, quack religions and spiritualists plying their trade, extreme decadence among the upper classes. A social structure that could not be maintained. People's emotional responses to chaos. Fountain: not just in material terms but in terms of how people were feeling, the parallels to the United States are really striking. Gogol, not Baudrillard, is his natural ancestor. •       The Satirist as Realist: Andrew raises Baudrillard and hyper-realism. Fountain's response: he is a realist down to his bones. Whatever he does, it has to be anchored in some fundamental sense in the real world, as he understands it. American life has become such that the surreal is the real, the comical is the real, the absurd is the real. He didn't set out to write satire. He set out to write the story as genuinely and authentically as he could. The question of genre came afterwards, asked by other people. He is just a realist. It's just that American reality is Rasputin swimming the Potomac. •       Living in the Belly of the Beast: Dallas and North Carolina: Fountain lived in Dallas, Texas for forty-one years — what he calls the most American city of all, better and worse. In Dallas, the free market and capitalism are so much a part of daily consciousness that there's very little awareness that there might be different ways of living. Fountain: it's very conservative and very conservative. For someone to the left of Gandhi, his assumptions are always being challenged. He has to think about how he's thinking about things. That productive discomfort — not Brooklyn, not Los Angeles — is where this book comes from. About the Guest Ben Fountain is the author of Rasputin Swims the Potomac (Flatiron Books, June 9, 2026), Billy Lynn's Long Halftime Walk (National Book Critics Circle Award winner, National Book Award finalist), Beautiful Country Burn Again, and Brief Encounters with Che Guevara (PEN/Hemingway Award). He is the recipient of the Joyce Carol Oates Prize, the Thomas Wolfe Prize, and a Whiting Writers Award. He lives in New Bern, North Carolina. References: •       Rasputin Swims the Potomac by Ben Fountain (Flatiron Books, June 9, 2026). Named a Best Book of Summer by the LA Times, Kirkus, Publishers Weekly, Boston Globe, Newsday, and New York Post. •       Billy Lynn's Long Halftime Walk by Ben Fountain (2012) — the predecessor referenced throughout. •       Beautiful Country Burn Again: Democracy, Rebellion, and Revolution by Ben Fountain (2018) — his 2016 election nonfiction, referenced in the conversation. About Keen On America Nobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,900 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting. WebsiteSubstackYouTubeApple PodcastsSpotify Chapters: (...

20. yüzyılın önemli isimlerinden biri olan Jean Baudrillard, modern dünyayı, medya, tüketim ve teknoloji üzerinden çözümleyen, post-modernizmin en radikal sosyoloğu ve filozofudur. Baudrillard, ‘'gerçekliğin ölümü'' fikri üzerinden modern topluma en çarpıcı teşhislerinden birini koyarak, simülasyon, simulakr, hipergerçeklik ve tüketim toplumu kavramları üzerinden bir tanımlama yapar.

This summer, HRP is reading Pedagogies of Collapse: A Hopeful Education for the End of the World As We Know It, by Ginie Servant-Miklos, and we're inviting you to join us. Visit humanrestorationproject.org/book-club to sign up for our summer book club, where we'll meet to discuss the ideas and implications of Pedagogies of Collapse and be joined by the author, for a Q&A on July 31. I'll include a link to the book in the show notes, which is available on Open Access through Bloomsbury. Hope to see you there!I'm back this week with another narrated piece from our upcoming Progressive Education Primer. If you like this format and want to have more narrated essay content, or if you can't stand it, leave a comment on YouTube or Discord to let us know. This one is written by our Executive Director, Chris McNutt, titled Teaching in the Wreckage of the Real.HRP Book ClubPedagogies of Collapse, Bloomsbury Open AccessTeaching in the Wreckage of the Real, Chris McNuttAdditional music credits: Dandelion by | e s c p | https://www.escp.space | https://escp-music.bandcamp.com

Chris Paul and Burning Bright tackle the much-maligned middle child of the Matrix trilogy, the 2003 Wachowski sequel starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, and Hugo Weaving. Burning Bright admits he used to dismiss this one entirely, but a fresh rewatch reveals a film that is not dumb at all, just trying to wrestle with much harder ideas than the original. The guys dig into the philosophical bedrock the film sits on, including Baudrillard's Simulacra and Simulation and what it means to live in a hyperreality where signs replace the thing itself. They unpack why Zion is presented as such a hedonistic, animalistic place, and whether the Wachowskis really intended it to be the paradise worth saving. From there, they work through the Architect scene as a meditation on how systems build their own opposition into themselves, the Oracle as a mirror for the Q drops, the Merovingian as a possible fallen prior One and a Lucifer figure in the underworld of the matrix, and Neo's final choice to save Trinity as the only morally coherent rejection of the system.

Vad händer när föreställningarna lossnar från verkligheten? Göran Rosenberg återvänder till Baudrillards tankar om hyperverklighet och till myten Amerika. Lyssna på alla avsnitt i Sveriges Radios app. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Vad håller samman detta Amerika, var en fråga jag ofta fick anledning att ställa mig under mina år som TV-korrespondent i USA. Amerika var det ord jag använde om det USA som inte riktigt gick att ta på, den svårfångade idén om vad som menas med att vara amerikan, om vad slags samhälle Amerikas Förenta stater var tänkt att vara eller bli. Hur gick de högstämda orden från det amerikanska grundandet ihop med en ofta nog så brutal social och ekonomisk verklighet? Hur kunde den amerikanska drömmen om individuell frihet och framgång leva vidare i ett samhälle stöpt i slaveri, raslagar, folkfördrivning och inbördeskrig?Det vilade något overkligt över det amerikanska projektet, för ett slags projekt var det, ett helt nyskapat samhälle med en riktning, ett mål och en mening. Någon skulle säga att overkligheten var själva styrkan. Förmågan hos det amerikanska projektet att gång efter annan mana fram bilden av en framtid där vars och ens ambitioner och livsdrömmar skulle förverkligas – om inte idag så i morgon, om inte för dig själv så för dina barn. Det var ett samhälle som inte hölls samman av ett gemensamt förflutet, som i den gamla världen, utan av en gemensam framtid i den nya. Amerika var löftet om att om och om igen kunna lämna det som varit och börja livet på nytt.Det var ett löfte som i längden bara kunde hållas vid liv av en idé stark nog att med jämna mellanrum besegra verkligheten, eller åtminstone den handfasta erfarenheten av svikna förväntningar och personliga misslyckanden, i ett Amerika där risken för bådadera tidvis var större än någon annanstans, och den sociala rörligheten, dvs möjligheten att ta sig från en samhällsklass till en annan, lägre än i de flesta europeiska länder.Vilket i sin tur krävde att idén om Amerika måste ges ny luft under vingarna så snart den riskerade att störta mot marken – vilket hade hänt gång efter annan i den amerikanska historien. När jag i mitten av 1980-talet kom till USA hade det just hänt igen, i självtvivlen efter Vietnamkrigets politiska och militära nederlag, och Nixon-erans moraliska moras, och de stora orden i den amerikanska idén syntes mera verklighetsfrämmande än någonsin.Men det var också då här åren som idén fick sin senaste – och kanske sista –livräddande injektion. Och det var inte helt förvånande en tidigare Hollywoodskådespelare, Ronald Reagan, som levererade den. Amerika, sa han, var fortfarande den skinande stad på berget, det nya Jerusalem, som de protestantiska invandrarna från England, puritanerna, hade sett framför sig när de i början av 1600-talet landsteg i den nya världen. Amerika var fortfarande en dröm värd att tro på.Under mina år i USA var det inte svårt att se hur högt höjd över den sociala och ekonomiska verkligheten idén var för de flesta amerikaner, men jag kunde också se hur starkt dess grepp fortfarande kunde vara om människors fantasier och drömmar. Jag minns särskilt ett valmöte med Ronald Reagan på hösten 1986 i Orange County, Kalifornien, med en publik till stor del bestående av människor som nyss hade kommit hit med den amerikanska framgångsdrömmen på näthinnan.Och när presidenten till sist klev in på scenen och med sin välmodulerade röst än en gång tog de stora amerikanska orden i sin mun, och folkjublet steg mot luften, slog det mig på nytt i hur hög grad idén eller drömmen har varit beroende av ledare med den retoriska förmågan att göra myt av den amerikanska verkligheten.”Behöver Amerika en magiker för att hålla sina myter vid liv? Eller en kejsare som med jämna mellanrum förmår övertyga folket om att kostymen är verklig?”, undrade jag i en bok skriven efter mina år i USA.En bok som redan då gjorde ett starkt intryck på mig, var Jean Baudrillards Amerika. Den franske filosofen och sociologen hade där satt sina högst egna ord på den konstellation av idé och verklighet, modernitet och primitivitet, magiskt tänkande och jordnära realism, rotlöshet och målmedvetenhet, religiositet och materialism, som så påtagligt skilde Amerika från snart sagt alla andra samhällen i vår tid. Hyperrealitet eller hyperverklighet är det begrepp som Baudrillard myntar för att beskriva ett tillstånd där gränsen mellan fantasi och verklighet hade suddats ut, där människors föreställningar om verkligheten till stor del formas i en värld av mediala bilder och tecken. kan framstå som mera verklig än den verklighet vi erfar med våra sinnen.I viss mån gäller väl det här oss alla. Ingen av oss lever i verkligheten som den är utan i våra mer eller mindre erfarenhetsbaserade föreställningar om den. Men vad Baudrillard på sitt omisskännliga sätt sätter ord på är ett säreget amerikanskt tillstånd där föreställningarna alltför lätt lossar från erfarenheterna, och människor får svårt att skilja verklighet från dröm, sant från falskt, äkta från oäkta. Ungefär som en sekt – instängd i sina mer eller mindre verklighetsfrämmande föreställningar om världen. Varför är sekterna i Amerika så mäktiga och dynamiska? frågar sig Baudrillard.Och hans svar är att de sekter som i Amerika trodde sig ha grundat det nya Jerusalem hade bevarat, som han skriver, ”sitt ursprungs praktiska religiösa svärmeri och sin moraliska besatthet.””Mängden enskilda sekter får inte bedra oss, fortsätter han, det viktiga är att hela Amerika är engagerat i sektens moraliska institution, i dess omedelbara krav på saliggörande, dess begär efter rättfärdiggörande, och utan tvekan också dess vanvett och delirium.”Jag hade ju själv sett detta sekternas Amerika växa sig starkt under Reagans 80-tal, med extatiska teve-predikanter som i gigantiska megakyrkor lovade ett nytt, moraliskt renat, kristet Amerika. Jag hann också se hur deras löften och fantasier trängde in i politiken och undan för undan förvandlade det republikanska partiet till ett slags sekt det också. När Donald Trump 2016 gick till val på att göra Amerika stort igen så var det sektens språk han talade och det var som sektledare han skulle komma att dyrkas av de tiotals miljoner amerikaner som blint slöt upp bakom honom.Likt en sentida Tocqueville reste Baudrillard till 1980-talets Amerika för att spana efter mänsklighetens framtid. 40 år senare, med Donald Trumps Amerika framför ögonen, började hans iakttagelser framstå som närmast profetiska.”Det primitiva”, skriver Baudrillard, ”har trängt in i den självförhärligande och omänskliga karaktären hos ett universum som kraftigt överskrider sitt moraliska, sociala eller ekologiska förnuft”.Jag ser alla de understrykningar jag gjorde när jag läste Baudrillards Amerika för första gången och jag får god lust att stryka under samma meningar igen, bara hårdare, och med ännu större förundran över träffsäkerheten i dem.Göran RosenbergförfattareLitteraturJean Baudrillard: Amerika. Översättning: Johan Öberg. Bokförlaget Faethon, 2026.

Amerika stond lang symbool voor vrijheid en bevrijding, en dat werd volop uitgedragen in populaire cultuur. Los van hoe terecht was, is dat beeld nu niet meer te rijmen met de politieke realiteit. In deze aflevering verwonderen de Mediadoctoren zich over cultureel imperialisme en Trumps Amerika. Dat doen we met Jaap Kooijman, Universitair Hoofddocent Mediastudies aan de Universiteit van Amsterdam. We krijgen college in Baudrillard en praten over de universaliteit waarmee Amerikaanse popcultuur zich presenteert. Is Amerika ‘uit'? Kunnen/mogen we nog plezier hebben in Amerikaanse popcultuur? Link bij deze aflevering: Boek Kooijman Fabricating the absolute fake. Verwante afleveringen uit het archief: Afl 179: Hoe populaire cultuur de democratie kapotmaakt, met Joke Hermes; Afl 202: 4Chan, met Sal Hagen; Afl 203: Muziek- en jeugdcultuur onder Trump, met Tom ter Bogt; Afl 213: De gedachtevorming van rechts, met Merijn Oudenampsen; Afl 215: Sinofuturisme, met Jori Snels. Onze sponsor is Club Church www.clubchurch.nl

This week Coop and Taylor discuss chapters 7, 8, and 9 of Moishe Postone's Time, Labor, and Social Domination. We discuss ties to our manuscript, Deleuze & Guattari, and Baudrillard. William Wordsworth's The World is Too Much With Us: https://www.poetryfoundation.org/poems/45564/the-world-is-too-much-with-us I Pencil PDF: https://fee.org/wp-content/uploads/ebooks/i-pencil-final-proof-for-website-pdf.pdf I Pencil Milton Friedman Video: https://youtu.be/67tHtpac5ws?si=g_2vxJt5pOH0nmu8 Support us on Patreon: www.patreon.com/muhh Twitter: @unconscioushh

Em tempos que talvez nem possam ser outra coisa senão uma pura efabulação, um desvio, uma desordem dessas para as quais nos viramos quando os sonhos se põem a lutar contra o mundo, chegávamos a um desses textos onde parecia que o intuito, todo o esforço em que alguém se empenhou, passava por “escrever páginas e páginas, enchê-las de pedras, de erva, de floresta, de céus, de movimentos das pessoas na rua, de vozes, de casas, do passado, do hoje, de quadros, de estátuas, de rios e de ondas e de copos e de frascos e de gesso branco no meu ateliê e de nuvens, criança deitada na liberdade…” (Alberto Giacometti). Seria um modo de um tipo vestir o mundo como uma segunda pele, resvalar consistentemente entre as coisas, ser de tal modo substantivo que deixava de se considerar um indivíduo. A solidão estava dispersa, absorta. Mas agora que os poetas também se consideram personagens essenciais da beleza publicitária, talvez até mais no momento em que se julgam separados da restante massa de gente, apenas vinculados a uma suposta autonomia das formas artísticas, regulando-se por outras leis num mundo que se encontra em todos os seus aspectos prostituído, é bom lembrar aquilo que notou Barthes, vincando como toda a publicidade dos produtos de beleza se baseia numa espécie de representação épica da intimidade. Num tempo em que os indivíduos se vêem transformados em seres abstractos, o modo como cada um enfatiza a sua realidade íntima, engrandecendo-a para costurar a mitologia patética de si mesmo, é assim que o discurso consegue alcançar a superfície, andar a par dessa superfície viva que é a pele, onde se organizam as miragens galopantes deste tempo, um discurso inteiramente absorvido pelas aparências, por fazer funcionar essa ordem de representações. Seres que são coisas, mas sem qualquer substância. Talvez por isso, naquele breve romance com esse título, Perec diz-nos que o inimigo passou a ser invisível… “Ou melhor, estava neles, tinha-os apodrecido, gangrenado, destruído. Eram os tansos da história. Pequenos seres dóceis, reflexos fiéis de um mundo que escarnecia deles. Estavam enterrados até ao pescoço num bolo de que nunca teriam mais do que migalhas.” Não damos já com esse orgulho dos monstros, que caíam nas zonas mais inesperadas “para revelar a entristecidos burgueses que a sua vida de todos os dias tem de raspão assassinos sedutores, ardilosamente guindados até ao seu sono, que eles atravessam por uma qualquer escada de serviço que não rangeu, armada em cúmplice” (Genet), e isto de modo a fazer explodir de aurora as sugestões dos seus crimes, como segredos entre os quais a língua se recompõe e parece respirar de novo, fazendo-se entender por gestos de tal modo vivos, e encarniçados, que parecem a um tempo absurdamente espontâneos e longamente premeditados. A partir de um certo momento o mal é a única forma de clareza que nos resta, e tem do seu lado toda a razão, toda essa razão que foi votada a uma existência clandestina por aqueles que quiseram livrar-se das suas próprias consciências. Bataille diz-nos que o interesse da obra de Genet não se deve à sua força poética, mas ao ensinamento que resulta das suas fraquezas. “Existe nos escritos de Genet qualquer coisa de frágil, de frio, de friável, que não detém necessariamente a admiração, mas que suspende a harmonia. A harmonia, o próprio Genet a recusaria, se por um erro indefensável lha quiséssemos aplicar. Esta comunicação que se esquiva, quando o jogo literário faz dela a exigência, pode deixar uma sensação de fingimento, e pouco importa se o sentimento de uma falta nos reenvia à consciência da fulguração que é a comunicação autêntica. Na depressão, resultante destas trocas insuficientes, em que se mantém uma divisória embaciada que nos separa, leitores, daquele autor, tenho a seguinte certeza: a humanidade não é feita de seres isolados, mas de uma comunicação entre eles; jamais nos damos, nem que seja a nós próprios, senão numa rede de comunicação com os outros: estamos mergulhados na comunicação, encontramo-nos reduzidos a essa comunicação incessante da qual, mesmo no fundo da solidão sentimos a ausência, enquanto sugestão de múltiplas possibilidades, como a espera de um momento em que ela se resolve num grito que outros ouvem. Porque a existência humana apenas é em nós, nesses pontos em que periodicamente se estabelece, linguagem gritada, espasmo cruel, riso louco, onde a harmonia nasce de uma consciência enfim partilhada da impenetrabilidade de nós mesmos e do mundo.” E se algum dos ditos ‘poetas' nos segue, convinha que fixasse pelo menos isto, para nunca o esquecer: “jamais nos damos, nem que seja a nós próprios, senão numa rede de comunicação com os outros…, jamais nos damos, nem que seja a nós próprios, senão numa rede de comunicação com os outros”. Mas, hoje, tudo parece invertido, como se submetido a uma radiância de astros de luto, de tal modo que mesmo o desejo e o prazer estão novamente inscritos no quadro das formas de profanação e degradação íntima, por todo o lado vemos essa pressão de uma moral que se impõe em todos os aspectos da vida e leva a que as relações sexuais sejam “tematizadas como práticas altamente problemáticas, traumatizantes, das quais se arrisca sempre, ao aventurar-se nelas, sair-se ferido e, portanto, em relação às quais seria preciso estabelecer os processos necessários para poder obter uma reparação” (Geoffroy de Lagasnerie). Neste episódio entrelaçámos uma série de fios das conversas que vimos mantendo, e contámos com os impulsos e as sugestões de Maria Leonor Figueiredo, que além de ter desenvolvido estudos no campo literário e artístico, mantém desde há muito um compromisso com as lutas políticas deste tempo, e assinou na rede anticapitalista um conjunto de intervenções importantes sobre tantos destes temas. Em “a nova (des)ordem sexual: consentimento, trauma e identidade”, refere que, se falar mais sobre trauma trouxe conquistas inegáveis, e deu legitimidade a experiências antes silenciadas, criando novas formas de reconhecimento, por outro lado, também trouxe uma armadilha, que se prende com a transformação do trauma em identidade política. “A centralidade do trauma é também sintoma de uma época que transformou o sofrimento em capital simbólico e, portanto, em poder. Neste contexto, o espaço político tende a organizar-se em torno da competição por reconhecimento individual. O trauma deixa de ser uma experiência que exige transformação colectiva e passa a ser um selo de autenticidade.” Neste momento parece decisivo assinalar que, num esforço para compreender a metamorfose contemporânea das questões sexuais, não podemos perder de vista como, até há algumas décadas, esteve em campo uma forma de pensar a sexualidade como força de desestabilização, como energia capaz de corroer instituições, códigos e hierarquias. Em Barthes, o amor aparecia como um discurso marginal, uma fala que não encontrava lugar na linguagem dominante, e em Foucault, a sexualidade era inseparável das redes de poder que a produzem, classificam e administram, mas, depois da orgia, Baudrillard foi dos primeiros a dar-se conta de que o desejo começava já a dissolver-se numa cada vez mais acelerada e indiferente circulação de signos. O recuo actual não consiste, como tantas vezes se repete, num simples retorno à moral conservadora clássica, a um reconvir do puritanismo. O que se verifica é algo mais subtil: uma transformação da própria lógica da libertação sexual em dispositivo de controlo. A partir dos anos 60 e 70, a esquerda ocidental assumiu a descriminalização, a despatologização, a ampliação dos direitos sexuais como parte integrante do seu horizonte emancipatório. O combate contra a repressão jurídica e médica — contra a polícia dos corpos, contra o tribunal das perversões — era inseparável de uma crítica mais ampla ao capitalismo disciplinar. Mas, como mostrou Foucault, a sexualidade nunca foi apenas aquilo que o poder reprime, mas passava também por aquilo que o poder produz, organiza, incentiva a confessar. O paradoxo instala-se quando a energia crítica que denunciava a vigilância se converte ela própria em instância vigilante. A esquerda, que outrora suspeitava das categorias fixas e das identidades rígidas, passou a investir numa taxonomia minuciosa das posições subjectivas, numa ontologia de micro-identidades que exigem reconhecimento permanente. O gesto que visava libertar o desejo de normas opressivas transformou-se, assim, num gesto de reinscrição normativa: o comportamento desviante deixa de ser perseguido em nome da moral religiosa ou familiar, mas passa a sê-lo em nome de uma moral da protecção, da segurança, do dano potencial. A linguagem do pecado vê-se substituída pela linguagem do trauma e a figura do pecador pela do agressor, enquanto a denúncia pública, a exclusão simbólica, a penalização social, passam a engendrar uma nova forma de recriminação e regulação punitiva. Não se trata de negar a existência real de abusos ou violências, mas de observar como o campo sexual, que fora pensado como laboratório de liberdade, se converteu em campo privilegiado de policiamento discursivo. E se a suspeita generalizada se instala como norma, a ambiguidade, que foi sempre constitutiva do desejo e da busca pelo prazer, bem como o jogo de sedução, que sempre comportou risco e assimetria, são submetidos a protocolos quase administrativos. Neste ponto, Baudrillard ajuda-nos a compreender esta mutação, notando como a sexualidade contemporânea não tem sido tanto reprimida como hiperexposta, saturada de imagens, convertida em espectáculo permanente. A pornografia deixa de ser marginal e infiltra-se na publicidade, na moda, na política. O erotismo, que supõe distância, espera, segredo, é absorvido pela transparência obscena de uma visibilidade total. Ora, quanto mais visível se torna o sexo, mais rarefeito se torna o desejo. A proliferação de signos sexuais não intensifica a experiência, mas, pelo contrário, neutraliza-a. A esquerda, que deveria ter articulado uma crítica a esta mercantilização integral, preferiu muitas vezes alinhar com uma ética da exposição e da denúncia que coincide, paradoxalmente, com a lógica capitalista da transparência e da gestão de riscos. Se tudo deve ser explicitado, nomeado, regulado, é porque tudo deve ser integrado num sistema de cálculo. A sexualidade, que outrora escapava à contabilidade, passa a ser quantificada em consentimentos, protocolos, declarações prévias. E se ainda quisermos falar de amor, se nos atrevermos a isso, podemos virar-nos para Erich Fromm, que nos desafiou a pensar o amor como arte, sublinhando como este sentimento, guindado a uma razão idealizadora, implica desde logo sair do narcisismo, reconhecer a alteridade irredutível do outro. Ora, o que se observa hoje é uma derrota dessa dimensão exigente: sacrificado à lógica do consumo, o amor vende seja o que for, adapta-se, estende-se como justificação para que sejam reinvindicados todos os caprichos e apetites. O amor que foi sempre difícil, hoje conta com a conveniência e o infinito desdobramento das aplicações de encontros, algoritmos de compatibilidade, mercados de afinidades, beneficiando dos modelos preditivos para nos proteger dos nossos erros e fornecer uma escolha optimizada. E, com isto, o outro surge já como mero elemento de validação, como aquele ser-espelhar que deve confirmar, consolidar a narrativa que temos sobre nós próprios. A ideia de ser transformado pelo outro, de ser compelido a um radical desvio face a si mesmo, e ao contexto, esse perigo ou vertigem já nem se colocam. Nos seus fragmentos sobre o discurso amoroso, Barthes mostrava como o amante fala numa língua minoritária, desajustada, vulnerável. Hoje, essa vulnerabilidade é frequentemente lida como fraqueza, dependência, falha de autonomia. A cultura contemporânea exalta a auto-suficiência, a gestão emocional, o empoderamento individual. O amor, que implica risco de perda e exposição ao sofrimento, torna-se ameaça à integridade narcísica, sendo de preferir a circulação incessante de experiências breves, intercambiáveis, as dinâmicas poliamorosas, onde a substituição rápida protege contra o investimento profundo. Com tudo isto, o puritanismo contemporâneo não se funda já na proibição do prazer, mas na sua gestão e programação até dissolver o desejo pelo outro e focalizar cada vez mais na relação que o indivíduo mantém consigo mesmo, na sua capacidade de satisfazer as suas projecções e de se auto-validar. A sexualidade já não pode, assim, representar qualquer efeito transgressivo, uma vez que passou a estar pautada pela proliferação jurídica. Assim, os aparelhos de vigilância conseguem delimitar o aceitável, estigmatizar o excesso, sancionar o desvio. Ao reivindicar protecção absoluta, segurança total, reconhecimento permanente, temos vindo a permitir o reforço de uma ordem normativa infinitamente minudente, em que cada relação é enquadrada de antemão reconhecendo um potencial litígio, tomando-se cada gesto como susceptível de ser entendido como uma agressão, e devendo estar submetido ao escrutínio moral público. Aos poucos, o desejo retrai-se ou converte-se em cálculo, preferindo-se cada vez mais o semelhante, o compatível, o previsível. O outro é convocado para legitimar uma imagem de si que já está pronta. Entre o puritanismo progressista e o hedonismo administrado, o amor torna-se ele mesmo a fachada para uma indústria de produtos culturais e experiências programadas. E a esquerda, ao abandonar a crítica radical das formas de poder que atravessam o desejo, assiste e promove esta lógica de controlo que domina no mesmo sentido todo o espectro político.

No ano da sua morte, 1988, António José Forte lembrava, numa entrevista que deu a Ernesto Sampaio para o “Diário de Lisboa”, a frase que por aqueles dias ainda podia ler-se num muro da Avenida de Berna: “Não vos inquieteis, é a realidade que se engana”. Tinha 57 anos feitos naquele mês de Fevereiro, dava-se como vivo a pouco mais de nove meses do fim, e garantia que não se inquietava. Tinha a confiança daqueles dois olhos grandes, que sabiam ler bem como só poucos alguma vez foram capazes. E não se inquietava porque há muito se apercebera de que a realidade não era senão outra aparência, um acordo de bestas que o poeta deve repudiar. Por isso mesmo, logo na sua primeira intervenção escrita – “Quase 3 Discursos Quase Veementes” –, no segundo número da revista “Pirâmide”, em Junho de 1959, vincava: “Não estranheis os sinais, não estranheis este povo que oculta a cabeça nas entranhas dos mortos. Fazei todo o mal que puderdes e passai depressa.” Hoje ainda vamos falando muito de realidade, das suas espécies ou diferentes níveis, mas isto não passa há muito de uma forma de jactância e soberba, pois há muito que vamos abrindo mão desses acentos mais agudos ou extremos que procuram engrenar aquela capacidade de nos devolver ao assombro inaugural dos efeitos de nomeação. Num mundo cada vez mais virtual, a pergunta que Baudrillard ia fazendo é: haverá um além do virtual? A gramática e o léxico deixaram de ser uma membrana viva e há muito se foram cristalizando a ponto de impedirem a intervenção de novas formas de sensibilidade, assim, e através da frequência dos clichés, dos símiles mecânicos e dos automatismos, condenamo-nos a um registo cada vez mais esclerosado desse plano onde os nossos sentidos e alcance se exprimem. Para nos servirmos da articulação de Steiner, tornamo-nos prisioneiros de um traçado linguístico que se volve cada vez mais inerte, emurchecido, incapaz de desposar a paisagem cambiante dos factos, servindo apenas para formalizar as reacções humanas ao invés de as estimular. Assim, na senda de Kraus, também aquele crítico literário indagou sobre a possibilidade de a língua recair num embolorecimento, sobrecarregando-se de uma fraseologia hierática e imutável, deixando de assegurar um modelo disponível e gerador de realidade. “As palavras, esses guardiões do sentido, não são imortais, do mesmo modo que não são também invulneráveis", escrevia Adamov nos seus cadernos, em 1938. Embora algumas vão sobrevivendo, outras são atingidas de um modo incurável. Quando a guerra rebentou, ele acrescentava: “Gastas, transparentes, corroídas, as palavras tornaram-se cadáveres de palavras, palavras-fantasma; mascamo-las, regurgitamos o seu som, sem convicção, entre os maxilares.” Há muito que Kraus havia pressagiado uma “era glacial para o espírito”, sendo que, para ele “o verdadeiro fim do mundo é o aniquilamento do espírito”. Em seu entender, o acto adâmico da nomeação tinha-se constituído por fidelidade a uma origem essencial em virtude da qual natureza e linguagem se entreteciam para constituir um livro da criação. E era em atenção a esta dignidade ontológica outorgada por ele à linguagem, que Kraus entendia como ao embrutecê-la era a própria vida que se embrutecia. Por isso dedicou todos os seus esforços a preservar a harmonia da palavra enquanto combate moral. Não concebia separação alguma entre o que um homem é e o que diz, nem entre o que diz e a sua forma de o dizer: se alguém pecasse contra a lei cristalizada na linguagem, pecava contra a verdade. Para ele, todo o erro transporta uma culpa: “a má arte e a vida degradada são espelhos uma da outra e comprovam uma identidade atroz”. Em seu entender, por efeito dos rituais que diariamente vulgarizam a linguagem, e sobretudo por acção da imprensa, o que passara a determinar o tempo presente eram os clichés, os quais trabalhavam já autonomamente. Assim, devia ser assumida pelos homens de espírito a tarefa sagrada de cuidar e proteger as palavras atingidas pela doença, procurando restaurar uma certa pureza originária, uma precisão etimológica. Desde o primeiro número de A Torcha (Die Fackel), o seu anti-jornal, Kraus dispôs-se a confrontar a realidade da sua época com uma “lei de fogo”, produzindo uma desesperada antítese a esse tempo presente consumido pelos “átomos da trivialidade” e que tanto o repugnava. Sabendo que toda a letra se pode transformar em catástrofe, ele quis submergir-se no “pântano da fraseologia” de modo a levar a cabo a sua dissecação. Steiner reforça a ideia de que a linguagem é o principal aparelho de apreensão da realidade, e nota como “no Livro de Isaías, a gramática dos profetas dá corpo a um profundo escândalo metafísico – a intervenção do tempo futuro que expande a linguagem no tempo”. Por sua vez, diz-nos ele, “a obra de Tucídides é habitada por uma descoberta contrária – Tucídides é o primeiro a compreender bem que o passado é uma construção linguística, que a única garantia da história é o tempo passado dos versos. A vivacidade prodigiosa dos diálogos platónicos, a adopção da dialéctica como método de investigação intelectual, é inseparável da descoberta de que as palavras, uma vez postas à prova, e podendo afrontar-se numa batalha ou articular-se numa dança, abrem caminho a novas formas do entendimento.” Por sua vez, Eduardo Brito em “Procura Nada” vem interrogar a estrutura da verdade como ficção, celebrando a teoria da relatividade e, ao mesmo tempo, fornecendo também “uma espécie de loa ao mais elegante tempo verbal, o futur antérieur, que em português tem o nome de futuro composto e perde, na poesia, o que ganha em rigor terminológico: o futuro do verbo auxiliar avoir ou être e o particípio passado do verbo principal, a anterioridade em relação a um momento determinado de algo indeterminado, como se fosse tudo assim tão relativo como o tempo: quando partir, já terei voltado.” Trata-se, portanto, de investigar os processos que nos alertam para a heterogeneidade neste mundo, contra a homogeneização e a uni-dimensionalidade. Corroendo as lógicas unívocas, esta narrativa mostra-se capaz de infectar o próprio decurso da história, como se a vontade fosse capaz de lhe alterar o desfecho, atingindo o sentido de fatalidade que associamos ao passado. A certa altura, e num dos momentos mais instigantes deste livro, Brito fala-nos de alguns velejadores que, em 1968, participaram na mítica regata promovida pelo jornal inglês The Sunday Times. Os oito marinheiros foram desafiados a circum-navegarem o globo, partindo de Inglaterra, e seguindo o caminho que quisessem, desde que o fizessem solitariamente. Se, dos oito, quatro desistiram pouco depois do começo, e um quinto abandonou a prova a meio, por naufrágio, Brito não perde tempo com aquele que ganhou, mas foca-se nos dois que poderiam ter ganhado a corrida, mas que por razões diferentes não o fizeram: o velejador francês Bernard Moitessier e Donald Crowhurst. Este engenheiro eletrotécnico embarcara na prova sem qualquer experiência enquanto navegador, e depois de forjar uma rota que não chegou a percorrer, veio a aportar secretamente o seu trimarã na Argentina, onde deixou passar o tempo que julgou suficiente para ficar em último lugar, acabando por retomar a corrida numa altura em que estava a caminho de se tornar vencedor, mas, receando ser exposto pela sua fraude, acabou por enlouquecer e se suicidar. Quem também ficou cativada por Crowhurst foi a artista visual Tacita Dean, que reconstituiu aquele período final da sua vida, as semanas em que já não sabia onde se encontrava. “Tinha perdido completamente a noção do tempo e desenvolvido uma relação obsessiva com o seu cronómetro avariado, o instrumento que mede o Tempo Médio de Greenwich a bordo. Começou a sofrer de ‘loucura do tempo', um problema familiar aos marinheiros cuja única forma de localizar a sua posição depende de uma observância rigorosa do tempo. Quando o seu sentido do tempo se distorceu, deixou de ter qualquer ponto de referência na massa mutável do oceano cinzento. Oprimido pela enormidade do seu engano e pela ofensa ao princípio sagrado da verdade — aquilo que acreditava ser o seu ‘Pecado da Ocultação' — Crowhurst ‘abandonou o jogo' e tudo indica que se terá lançado ao mar com o seu cronómetro, a apenas algumas centenas de milhas da costa da Grã-Bretanha.” Hoje, muitos de nós estamos também devastados por esta incapacidade de nos situarmos, incapazes de nos reconhecermos nos elementos cada vez mais deslassados e inconstantes da crónica que vamos fazendo, e, por essa razão, estamos a sofrer também os sintomas de uma loucura do tempo. A linguagem adoecida serve-nos cada vez de menos, e se considerarmos, como anota Steiner, que mesmo a história não passa de um acto de discurso, um uso selectivo do tempo passado, e que, sem essa ficção verdadeira da história, sem a animação ininterrupta de um passado escolhido, não passamos de sombras vazias, começa a ficar claro como nos destinamos a uma deriva na massa mutável do oceano cinzento, desses desertos nos quais não somos capazes de nos guiar por nenhum elemento constante. “Os vestígios, como os monumentos e lugares históricos, por mais concretos que sejam”, lembra Steiner, “têm também de ser ‘lidos', quer dizer, situados num contexto de reconhecimento verbal, a fim de adquirirem uma presença real”… Então, a pergunta que Steiner formula é: “de que realidade palpável dispõe a história fora da linguagem e da nossa crença reflexiva em testemunhos que são de ordem fundamentalmente linguística?” E entre os principais elementos de erosão do sentido, além das pragas, dos vermes e dos incêndios que são capazes de danar parcialmente os arquivos, há ainda a pressão dos regimes totalitário, que trabalham para destruir não apenas esses testemunhos, mas degradar a consciência do passado e até aquilo que nos permite a todo deslocarmo-nos na dimensão temporal, esse livro da criação, essa linguagem que visa a ressonância da construção de um passado.

Adam's intensive Kant course now enrolling: https://www.acidhorizonpodcast.com/2026-classesIn this episode, we revisit Jean Baudrillard's The Gulf War Did Not Take Place, a text that diagnosed the emergence of war as media event, non-event, and managed spectacle. Joining us is friend and returning guest Cameron Carsten, a graduate student in continental philosophy whose work explores the state, power, and the production of reality across Baudrillard and Deleuze. Rather than treating Baudrillard's claims as prophetic or obsolete, the conversation puts them to work against the present—testing the fate of hyperreality in the age of Trump, AI-mediated images, and escalating political violence. What emerges is a question that now presses harder than ever: has the simulacrum collapsed, or has the real returned with a vengeance?Cam's blog: https://camtology.substack.com/Support the showSupport the podcast:Current classes at Acid Horizon Research Commons (AHRC): https://www.acidhorizonpodcast.com/ahrc-mainWebsite: https://www.acidhorizonpodcast.com/Linktree: https://linktr.ee/acidhorizonAcid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcast Boycott Watkins Media: https://xenogothic.com/2025/03/17/boycott-watkins-statement/ Subscribe to us on your favorite podcast: https://pod.link/1512615438Merch: http://www.crit-drip.comSubscribe to us on your favorite podcast platform: https://pod.link/1512615438 LEPHT HAND: https://www.patreon.com/LEPHTHANDHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/

Por toda a parte os mesmos sinais, frases, cadências, até as moscas estão a ler o mesmo que nós, esta literatura imunda que tomou conta de cada ruído, mastigamos lendo, como se a nossa falta de carácter ou convicção fosse compensada pela persistência implacável de tudo o que nos cerca, esta doença do que todos sabemos, esta acusação que nos é dirigida, fartos das sórdidas intrigas que parecem repugnar a própria existência. “O apocalipse não nos vem do exterior. Somos nós quem o transporta”, escreveu Eduardo Lourenço. O pior é darmo-nos conta de que toda esta devastação corresponde fielmente à nossa intimidade. De tanto dirigirmos para o mundo um olhar que não quer nada, que é incapaz de obter qualquer tipo de satisfação, de nos aferrarmos ao que não está nem aqui nem em lado nenhum, os nossos desejos vão cada vez mais no sentido de ausências, de abstracções. E isso de comprar barato aqui para ir vender caro ali, essa ganância metida em tudo, que, já em 1758, levou Rousseau a falar de “homens tão odiosos, que se atrevem a ter mais do que é necessário quando outros morrem de fome”, como se explica? E todos esses que se dizem herdeiros dos ideais iluministas e não vivem senão para distorcer a moral e justificar seja o que for... De tal modo o instinto burguês da propriedade se tornou uma força motriz, que não aceita ser questionado. Foi ocupando o lugar de todos os outros instintos e ideais, e quem quer que tenha conseguido agarrar-se a alguma coisa e reclamá-la fá-lo com uma tenacidade desesperada, levando a que a ideia da redistribuição lhe cause um medo de morte. Em todos os lugares constatamos como a vida está identicamente ausente, a humanidade degradou-se por essa submissão a uma ideia de riqueza que se exprime neste mundo como uma coisa grotesca, uma forma carregada de miséria. Esta é uma realidade tão destituída de qualquer razão de ser, de um sentido de equilíbrio, de inteireza, que, por falta justamente dessa interioridade, se viu obrigada a virar-se do avesso. “É uma sociedade que incansavelmente faz a sua própria apologia, ou que se justifica perpetuamente por existir”, diz-nos Baudrillard. “Tudo deve ser tornado público, aquilo que se vale, aquilo que se ganha, a forma como se vive – não há espaço para subtilezas.” As condições existencial e estética confundem-se a um mesmo nível, só podendo ser definidas como autopublicitárias. Tudo só adquire alguma importância a partir do momento em que lhe possa ser atribuído um valor de troca. Assim, a publicidade define inteiramente o teatro das relações sociais. Comprar barato e vender caro, diz-nos Robert Owen, é uma ocupação que deteriora as melhores e mais refinadas capacidades da nossa natureza, acabando por as destruir. O filósofo galês relata como depois de um período de largos anos em que passou por todos os graus de ofícios, das fábricas e do comércio, ficara com a certeza absoluta de que nenhum carácter superior se pode formar neste sistema totalmente egoísta. “Neste sistema não pode haver verdadeira civilização, visto que todos são incentivados pela sociedade ao confronto e muitas vezes também à destruição mútua, através de uma oposição de interesses artificial. É um modo baixo, reles, ignorante e inferior de conduzir os assuntos da sociedade, e nenhuma melhoria permanente, geral e significativa será possível se não surgir uma melhor solução para a formação de carácter e a criação de riqueza.” Como fazem notar os curadores da exposição Complexo Brasil, a palavra portuguesa feitiço foi contrabandeada de uma forma muito curiosa entre tantos idiomas por meio desse subtil desvio do fetiche e do fetichismo, um conceito que, hoje, como sabemos tem apelo e uma força de irradiação e significado tão importante em disciplinas como a economia e a psicanálise. Uma breve nota logo à entrada daquela mostra na Gulbenkian refere como, no século XVI, esta palavra foi usada para “rebaixar as culturas animistas, seus sujeitos periféricos, objectos de escravização”. Tanto tempo depois, o feitiço revela a sua plena maturação, e vemos como carregámos todo este tempo uma maldição, pois éramos nós quem tínhamos chegado ao novo mundo dominados por uma ganância absurda, esse fetiche da mercadoria, que é incapaz de ver seja o que for, de encontrar o mundo na sua riqueza, preferindo extrair algum lucro obsceno e que reduz tudo a uma ausência cuja acção hoje devasta todo o planeta. No fundo, o deserto somos nós. O apocalipse somos nós. Aquilo que fomos perdendo ao atravessar o mundo, tudo aquilo que desprezámos e destruímos enquanto buscávamos alguma fonte de valor para ser levada de volta, tentando aplacar a nossa miséria, isso mesmo significava a nossa indisponibilidade face ao mundo. Os nossos valores nunca foram outro sinal do que esse terror que nos consome, esse vazio. Outra das notas que se podia ler naquela exposição, fala da antropofagia, algo que sempre inquietou as nossas imaginações tão frágeis, sempre representada como um acto de maldade voraz, “um canibalismo glutão”. Mas os curadores esclarecem que a antropofagia, vivida por populações indígenas do século XVI, era um paradoxal rito de reconhecimento da humanidade do inimigo. “Os cativos de guerra, tomados geralmente de povos de mesma língua e costumes, viviam longo tempo em liberdade vigiada na tribo de seus captores, recebiam mulheres como esposas, transformavam-se em parentes afins e eram executados num ato solene de valor iniciatório para o oficiante (que não participava do banquete e entrava em um período de luto no qual se entregava a um processo de identificação com o ‘contrário').” Ainda hoje o canibalismo é usado para instigar em nós esse terror face aos bárbaros, mas já no século XVI Montaigne reconhecia que a antropofagia empalidecia se comparada com a crueldade com que os seus contemporâneos europeus, vendo-se consumidos por guerras religiosas atrozes, “e sem grandeza espiritual para comer do inimigo morto, torturavam e estraçalhavam o inimigo vivo em nome da piedade e da religião”. Aquela estupenda nota termina lembrando o génio do poeta brasileiro Oswald de Andrade, que “tomou a antropofagia como uma arma criativa de combate contra a sujeição cultural do colonizado, e como uma instigação à capacidade de ser outro ao reconhecer o outro em si”. “Tupi or not tupi, that is the question”, escreveu ele. Neste episódio, e com o intuito de levarmos um pouco mais longe as nossas explorações e indagações no confronto com esta terra devastada que parece servir apenas de pasto a fantasmas, contámos novamente com Luís Bernardo, um desses tipos que tem a decência de responder às suas inquietações fazendo um sério trabalho de pesquisa de fontes e análises que escapam inteiramente às intrigas paroquiais em que refocila o nosso enredo mediático.

In 1991, the philosopher Jean Baudrillard published a series of essays in Libération and The Guardian entitled The Gulf War Did Not Take Place. Baudrillard's argument was effectively twofold. Firstly, since the American military overwhelmed the Iraqi army so easily and barely sustained casualties, what took place for the West was not really a war per se.Secondly, the new medium of cable news television meant that viewers in the United States were able to watch the war unfold in real time, albeit through a lens of carefully curated propaganda. Viewers were told that they were being given real-time insight into war, but in reality, they were being fed a simulation of war that was, in many ways, more fictional than they would receive from high quality war fiction.Our guest today, Anon writer and Substack Amerikanets has written a new essay in this genre entitled Virtual War Simulated Conflict in the Trump era (https://www.amerikanets.com/)In the essay, Amerikanets described the same experience on the morning after the capture of Venezuelan president; a feeling of unreality. The initial images and news stories available that morning suggested something like a major American military strike on a capital city. But as the smoke cleared and time went on, it became increasingly evident that all was not what seemed.The war simulation machine appears to have now reached its nadir, but it has not resulted in a unified propaganda net where everyone unquestioningly accepts the American narrative of global conflict.Rather, it has created an extremely fragmented reality where no one is really sure what is going on. And as Amerikanet's essay shows, the more you actually understand what happened, the greater the looming sense of unreality becomes.Remember you can get special paywalled premium episodes of Multipolarity every month on Patreon: https://patreon.com/multipolarity or by becoming a member on our YouTube Channel (just click Join).

Baudrillard, Batı toplumlarında gerçeklik kavramının çöktüğünü; onun yerine simülasyonun geçtiğini söyler. Gerçeklik algısının bu denli değişmesinde elbette sosyal medya araçlarının rolü büyük. Ayrıca algoritmalar ile artık duygular da manipüle edilerek insanlar yığın haline getiriliyor.

Joseph Turner is a PhD student in the English Department at the University of Wisconsin-Madison, specializing in the dialogue between continental and Japanese philosophical traditions. His dissertation explores the development of a political ontology that bridges Nishitani Keiji's concept of emptiness with Jean-Luc Nancy's shared ontology of "being-with."He holds an MA in Literary Studies from the University of Nebraska-Lincoln and has published on Jean Baudrillard's work. Joseph has presented at numerous academic conferences on philosophers, including Baudrillard, Giorgio Agamben, Nishitani Keiji, and Jean-Luc Nancy. His research contributes to cross-cultural philosophical dialogue and offers new perspectives on political ontology that transcend frameworks of predetermined political antagonisms. Based in Madison, Wisconsin, Joseph works at the intersection of Eastern and Western philosophical traditions, bringing attention to underexplored thinkers and fostering promising theoretical frameworks.He also works with Incite Seminars, where he is currently co-teaching a seminar on cybernetics with his friend and colleague Matthew Stanley and will be organizing a class on an introduction to political ontologies soon after.---Become part of the Hermitix community:Hermitix Twitter - ⁠⁠ / hermitixpodcast⁠⁠ Hermitix Discord - ⁠⁠ / discord Support Hermitix:Hermitix Subscription - ⁠⁠https://hermitix.net/subscribe/⁠⁠ Patreon - ⁠⁠ www.patreon.com/hermitix⁠⁠ Donations: - ⁠⁠https://www.paypal.me/hermitixpod⁠⁠Hermitix Merchandise - ⁠⁠http://teespring.com/stores/hermitix-2⁠⁠Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLKEthereum Donation Address: 0xfd2bbe86d6070004b9Cbf682aB2F25170046A996

Mary Harrington joins the pod to discuss Baudrillard's 1986 book America, NYC vs. LA vs. London, and Reagan's culture war.Subscribe to our Substack: https://cracksinpomo.substack.com

Mary Harrington joins the pod to discuss Baudrillard's 1986 book America, NYC vs. LA vs. London, and Reagan's culture war.Subscribe to our Substack: https://cracksinpomo.substack.com

Some academics go into the office every day; some are rarely ever seen on campus. Is one way better than the other? Who better to ask than the brilliant Ella Hafermalz who spent her career on the topic of remote work and its implications for belonging, community, collaboration, and performance. She points out that academia has always been a distributed and flexible profession. Researchers need flexibility and freedom to figure out their own best way of solving problems and doing their work, some of which may mean sitting at a desk, but maybe also involve lab or field work. On the other hand, pure freedom for individual academics makes a university nothing more than a collection of hired guns without a true community. How do we find the best balance and what is a good balance to begin with? Episode reading list Chang, S. (2025): China's unemployed young adults who are pretending to have jobs. BBC News, 11 August 2025, https://www.bbc.com/news/articles/cdd3ep76g3go. Hafermalz, E., & Riemer, K. (2021). Productive and Connected While Working from Home: What Client-facing Remote Workers can Learn from Telenurses about 'Belonging Through Technology'. European Journal of Information Systems, 30(1), 89-99. Huysman, M. (2025). Studying AI in the Wild: Reflections from the AI@Work Research Group. Journal of Management Studies, https://doi.org/10.1111/joms.70021. The Professor and the Madman. https://www.imdb.com/title/tt5932728/. Hafermalz, E. (2021). Out of the Panopticon and into Exile: Visibility and Control in Distributed New Culture Organizations. Organization Studies, 42(5), 697–717. Rovelli, C. (2022). Helgoland: The Strange and Beautiful Story of Quantum Physics. Penguin Books. Carroll, S. (2019). Something Deeply Hidden: Quantum Worlds and the Emergence of Spacetime. Dutton. Sting, F. J., Tarakci, M., & Recker, J. (2024). Performance Implications of Digital Disruption in Strategic Competition. MIS Quarterly, 48(3), 1263-1278. Archive.org: Philosophy 185 Heidegger: Lectures from the course Philosophy 185 Heidegger by Hubert Dreyfus. https://fourble.co.uk/podcast/philosophy185heidegger. Baudrillard, J. (1981). Simulacra and Simulation. University of Michigan Press. Retkowsky, J., Hafermalz, E., & Huysman, M. (2024). Managing a ChatGPT-empowered Workforce: Understanding its Affordances and Side Effects. Business Horizons, 67(5), 511-523. Haubrich, G. F., Soekijad, M., & Hafermalz, E. (2025). 'What's Up with Work?'Bringing Screens into a Theory of Hybrid Working Situations. Academy of Management Annual Meeting Proceedings, https://doi.org/10.5465/AMPROC.2025.10670abstract. Tekeste, M. (2025). Under Pressure: Becoming the Good Enough Academic. Organization, https://doi.org/10.1177/13505084251383285. LinkedIn Community: The Digital Visibility Group: https://www.linkedin.com/groups/13346086/.

In dit gesprek spreekt Ad Verbrugge met filosoof Ger Groot over zijn bijdrage aan het boek Denken over film. Aan de hand van de serie Westworld onderzoekt Groot wat er gebeurt wanneer de grens tussen mens en machine vervaagt. Wat zegt de aantrekkingskracht van geweld, vrijheid en schijn over onze tijd? En wat betekent bewustzijn in een wereld van kunstmatige wezens?-

Also frivolous lawsuits and the insidiousness of dishonest analysis. ----- Appeals court decides that some things are best left unsaid. And among those things are calling your judge the c-word. Just so we're clear, even though this was over Zoom, we're not talking about "cat." After trying to bully Michigan Law Review through litigation, the anti-DEI publicity hounds at FASORP have dropped the case. And with Trump inching closer to declaring martial law in America's cities, right-leaning legal analysts have started the process of normalizing abuse of the Insurrection Act by pretending its strict limits are really just open-ended invitations and if anyone's to blame for Donald Trump's authoritarianism, it's really Joe Biden. We manage to talk about AI and Baudrillard in a single episode.

Also frivolous lawsuits and the insidiousness of dishonest analysis. ----- Appeals court decides that some things are best left unsaid. And among those things are calling your judge the c-word. Just so we're clear, even though this was over Zoom, we're not talking about "cat." After trying to bully Michigan Law Review through litigation, the anti-DEI publicity hounds at FASORP have dropped the case. And with Trump inching closer to declaring martial law in America's cities, right-leaning legal analysts have started the process of normalizing abuse of the Insurrection Act by pretending its strict limits are really just open-ended invitations and if anyone's to blame for Donald Trump's authoritarianism, it's really Joe Biden. We manage to talk about AI and Baudrillard in a single episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

Most think that algorithms are the modern root cause of innovations. But says not only are organizations today powered by data, they innovate through data. With several other colleagues, Marta is bringing data studies back to the forefront of information systems research. She produces workshops, a forthcoming book, and an online bibliography with seminal readings. We talk to Marta about the relationship between data and meaning, representation versus innovation, and whether we all soon live in a hyperreality created through synthetic data that lost all connection to the real-world. Episode reading list Alaimo, C., & Kallinikos, J. (2022). Organizations Decentered: Data Objects, Technology and Knowledge. Organization Science, 33(1), 19-37. Aaltonen, A., Stelmaszak, M., & Xu, D. The Data Studies Bibliography. . Chen, H., Chiang, R., & Storey, V. C. (2012). Business Intelligence and Analytics: From Big Data to Big Impacts. MIS Quarterly, 36(4), 1165-1188. Wand, Y., & Wang, R. Y. (1996). Anchoring Data Quality Dimensions in Ontological Foundations. Communications of the ACM, 39(11), 86-95. Xu, D., Stelmaszak, M., & Aaltonen, A. (2025). What is Changing the Game in Data Research? Insights from the “Innovating in Data-based Reality” Professional Development Workshop. Communications of the Association for Information Systems, 56(8), 194-208. Kent, W. (1978). Data and Reality. North-Holland. Hirschheim, R., Klein, H. K., & Lyytinen, K. (1995). Information Systems Development and Data Modeling: Conceptual and Philosophical Foundations. Cambridge University Press. Goodhue, D. L., Wybo, M. D., & Kirsch, L. J. (1992). The Impact of Data Integration on the Costs and Benefits of Information Systems. MIS Quarterly, 16(3), 239-311. Aaltonen, A., & Stelmaszak, M. (2024). Data Innovation Lens: A New Way to Approach Data Design as Value Creation. SSRN, . Recker, J., Indulska, M., Green, P., Burton-Jones, A., & Weber, R. (2019). Information Systems as Representations: A Review of the Theory and Evidence. Journal of the Association for Information Systems, 20(6), 735-786. Bowker, G. C., & Star, S. L. (1999). Sorting Things Out: Classification and Its Consequences. MIT Press. Baudrillard, J. (1981). Simulacra and Simulation. University of Michigan Press. Harari, Y. N. (2024). Nexus: A Brief History of Information Networks from the Stone Age to AI. Random House. Wittgenstein, L. (1953). Philosophical Investigations. Basil Blackwell. Stelmaszak, M., Wagner, E., & DuPont, N. N. (2024). Recognition in Personal Data: Data Warping, Recognition Concessions, and Social Justice. MIS Quarterly, 48(4), 1611-1636. Aaltonen, A., Stelmaszak, M., & Lyytinen, K. (Eds.). (2026). Research Handbook on Digital Data: Interdisciplinary Perspectives. Edward Elgar Publishing. 

What do Warren Buffett and Friedrich Nietzsche have in common? Why does Baruch Spinoza's understanding of irrational emotions help explain financial markets? How did Voltaire's success in a bond lottery arbitrage shape his writing? Can David Hume teach an investor when to buck the consensus and when to heed it?Exploring these questions and many others, Ethan A. Everett reveals the surprising lessons we can learn about investing from major philosophers. Demystifying ideas and texts that can often seem intimidating or irrelevant, he shows how philosophical concepts can be fruitfully applied to financial markets. Everett shares how philosophers' insights have informed his development as an investor, and he considers how great investors have embodied philosophical wisdom in their own endeavors.Ranging from the birth of modern securities markets in seventeenth-century Amsterdam to recent trends like meme stocks, this book shows why a philosophical perspective can prove invaluable to challenging common assumptions in finance. Thinkers like Spinoza or Baudrillard are sometimes envisioned as disembodied minds constructing opaque, self-enclosed theoretical systems, but Everett elegantly concretizes their teachings, brings them to bear on our lived experience of the world, and shows how they can help us better appreciate the joys and vicissitudes of the market. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What do Warren Buffett and Friedrich Nietzsche have in common? Why does Baruch Spinoza's understanding of irrational emotions help explain financial markets? How did Voltaire's success in a bond lottery arbitrage shape his writing? Can David Hume teach an investor when to buck the consensus and when to heed it?Exploring these questions and many others, Ethan A. Everett reveals the surprising lessons we can learn about investing from major philosophers. Demystifying ideas and texts that can often seem intimidating or irrelevant, he shows how philosophical concepts can be fruitfully applied to financial markets. Everett shares how philosophers' insights have informed his development as an investor, and he considers how great investors have embodied philosophical wisdom in their own endeavors.Ranging from the birth of modern securities markets in seventeenth-century Amsterdam to recent trends like meme stocks, this book shows why a philosophical perspective can prove invaluable to challenging common assumptions in finance. Thinkers like Spinoza or Baudrillard are sometimes envisioned as disembodied minds constructing opaque, self-enclosed theoretical systems, but Everett elegantly concretizes their teachings, brings them to bear on our lived experience of the world, and shows how they can help us better appreciate the joys and vicissitudes of the market. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

What do Warren Buffett and Friedrich Nietzsche have in common? Why does Baruch Spinoza's understanding of irrational emotions help explain financial markets? How did Voltaire's success in a bond lottery arbitrage shape his writing? Can David Hume teach an investor when to buck the consensus and when to heed it?Exploring these questions and many others, Ethan A. Everett reveals the surprising lessons we can learn about investing from major philosophers. Demystifying ideas and texts that can often seem intimidating or irrelevant, he shows how philosophical concepts can be fruitfully applied to financial markets. Everett shares how philosophers' insights have informed his development as an investor, and he considers how great investors have embodied philosophical wisdom in their own endeavors.Ranging from the birth of modern securities markets in seventeenth-century Amsterdam to recent trends like meme stocks, this book shows why a philosophical perspective can prove invaluable to challenging common assumptions in finance. Thinkers like Spinoza or Baudrillard are sometimes envisioned as disembodied minds constructing opaque, self-enclosed theoretical systems, but Everett elegantly concretizes their teachings, brings them to bear on our lived experience of the world, and shows how they can help us better appreciate the joys and vicissitudes of the market. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/finance

What do Warren Buffett and Friedrich Nietzsche have in common? Why does Baruch Spinoza's understanding of irrational emotions help explain financial markets? How did Voltaire's success in a bond lottery arbitrage shape his writing? Can David Hume teach an investor when to buck the consensus and when to heed it?Exploring these questions and many others, Ethan A. Everett reveals the surprising lessons we can learn about investing from major philosophers. Demystifying ideas and texts that can often seem intimidating or irrelevant, he shows how philosophical concepts can be fruitfully applied to financial markets. Everett shares how philosophers' insights have informed his development as an investor, and he considers how great investors have embodied philosophical wisdom in their own endeavors.Ranging from the birth of modern securities markets in seventeenth-century Amsterdam to recent trends like meme stocks, this book shows why a philosophical perspective can prove invaluable to challenging common assumptions in finance. Thinkers like Spinoza or Baudrillard are sometimes envisioned as disembodied minds constructing opaque, self-enclosed theoretical systems, but Everett elegantly concretizes their teachings, brings them to bear on our lived experience of the world, and shows how they can help us better appreciate the joys and vicissitudes of the market. Learn more about your ad choices. Visit megaphone.fm/adchoices

We talk about Jean Baudrillard’s Simulacra and Simulation. You can find Historiographies of Game Studies here. Preorder CMRN's book! Preorder here as well! Buy the shirt! Support this show on Patreon! Buy books from our Bookshop.org page! Chris Hunt created the theme song for this show.

Joseph Turner is a PhD student in the English Department at the University of Wisconsin-Madison, specializing in the dialogue between continental and Japanese philosophical traditions. His dissertation explores the development of a political ontology that bridges Nishitani Keiji's concept of emptiness with Jean-Luc Nancy's shared ontology of "being-with."He holds an MA in Literary Studies from the University of Nebraska-Lincoln and has published on Jean Baudrillard's work. Joseph has presented at numerous academic conferences on philosophers, including Baudrillard, Giorgio Agamben, Nishitani Keiji, and Jean-Luc Nancy. His research contributes to cross-cultural philosophical dialogue and offers new perspectives on political ontology that transcend frameworks of predetermined political antagonisms. Based in Madison, Wisconsin, Joseph works at the intersection of Eastern and Western philosophical traditions, bringing attention to underexplored thinkers and fostering promising theoretical frameworks.He also works with Incite Seminars, where he is currently co-teaching a seminar on cybernetics with his friend and colleague Matthew Stanley and will be organizing a class on an introduction to political ontologies soon after.---Become part of the Hermitix community:Hermitix Twitter - ⁠⁠ / hermitixpodcast⁠⁠ Hermitix Discord - ⁠⁠ / discord Support Hermitix:Hermitix Subscription - ⁠⁠https://hermitix.net/subscribe/⁠⁠ Patreon - ⁠⁠ www.patreon.com/hermitix⁠⁠ Donations: - ⁠⁠https://www.paypal.me/hermitixpod⁠⁠Hermitix Merchandise - ⁠⁠http://teespring.com/stores/hermitix-2⁠⁠Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLKEthereum Donation Address: 0xfd2bbe86d6070004b9Cbf682aB2F25170046A996

Membership | Donations | Spotify | YouTube | Apple PodcastsWhat the hell is going on with culture right now? The Web is running evolution in fast-forward, remixing the very substrates of identity and personhood in a molten broil of post-ironic, post-human, post-truth meme-play that reminds me of nothing more than the porous networked selfhood of bacterial in a molten wash of horizontal gene transfer. RIP the genre and all hail the hyper-real individual as institution, the self-fulfilling prophecies of [EDIT: Guy Debord's] society of the spectacle [and Baudrillard's simulation], the revenge of religion as our accelerating techno-social evolution prompts a kind of reversal as the movement of the Tao that challenges the dreams and ideals of the Enlightenment…it is a time of monsters, a rapid recombination of worlds and ways of living in them. How to make sense of it all…or is making sense even a viable strategy when rifts and ruptures are the name of the game?Amidst the chaos of pop culture and mainstream news, my friend Rina Nicolae of Incognita swims comfortably as a thoughtful commentator. Riffing philosophically on network society and its discontents, the emergent spiritual traditions of digital natives, and the posthuman bestiary of our AI- and biotech-saturated century, Rina's Substack is a handbook to the cyborg aesthetic, the imagistic/algorithmic complex of online identity, our entanglement with capital and the possession by and performance of meme-space.How do we not become caricatures of ourselves in the world-creating and -destroying flood of remix culture? How do we cultivate roughness, fractality, wildness, illegigility? How do we stay, as Cadell Last put it in the previous episode, “in the gaps and cracks” instead of becoming prey to the new monsters of the unleashed imagination? How do we *befriend* those monsters?William Irwin Thompson said noise characterizes the emergence of planetary culture — an age in which “Technology slays the victim” of the mind “resurrects it as art” in a new ecology of consciousness. If, then, the only way through is up and out, then join me as, once more, we dive into the noise and make music together with Rina…Links• Hire me for speaking or consulting• Explore the Humans On The Loop archives• Dig into nine years of mind-expanding podcasts• Browse the books we discuss on the show at Bookshop.org• Explore the interactive knowledge garden grown from over 250 episodes• Join the Wisdom x Technology (open) & Future Fossils (legacy) Discord serversDiscussedProphets Of A Machine FutureWhat Is Posthumanism?The New MonstrousMilady Infiltrates The VaticanKim Kardashan Was Never HumanThe AI That Can Change Your MindMentionedPriya RoseDonna HarawayBobby AzarianDavid DeutschJack HalberstamJulia ChristevaTimothy MortonK. Allado-McDowellMary ShelleyBenjamin BrattonCharlotte FangMarshall McLuhanJimi HendrixTaryn SouthernJim O'ShaughnessyKevin Kelly This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit michaelgarfield.substack.com/subscribe

Why does truth no longer seem to matter? In this episode, we explore the philosophical and psychological roots of today's crisis of reality. Drawing on Jean Baudrillard's theory of hyperreality and Carl Gustav Jung's concept of the Shadow, I unravel how modern society's obsession with materialism, the proliferation of simulations, and the repression of symbolic, non-material dimensions of human experience have led to the current breakdown of truth. We will examine how Baudrillard's insights reveal a world where images no longer reflect reality but replace it entirely, and how Jung's warning about the dangers of ignoring the unconscious has manifested in distorted, collective forms. Together, these perspectives illuminate why facts are increasingly dismissed in favour of emotionally compelling narratives. Finally, I propose a path forward: a reintegration of critical thinking and symbolic imagination as essential tools for restoring our relationship with reality and cultivating a culture where truth matters once again. Join me as we delve into the death of the real — and how we might yet reclaim it.CONNECT & SUPPORT

Hello Interactors,This week, the European Space Agency launched a satellite to "weigh" Earth's 1.5 trillion trees. It will give scientists deeper insight into forests and their role in the climate — far beyond surface readings. Pretty cool. And it's coming from Europe.Meanwhile, I learned that the U.S. Secretary of Defense — under Trump — had a makeup room installed in the Pentagon to look better on TV. Also pretty cool, I guess. And very American.The contrast was hard to miss. Even with better data, the U.S. shows little appetite for using geographic insight to actually address climate change. Information is growing. Willpower, not so much.So it was oddly clarifying to read a passage Christopher Hobson posted on Imperfect Notes from a book titled America by a French author — a travelogue of softs. Last week I offered new lenses through which to see the world, I figured I'd try this French pair on — to see America, and the world it effects, as he did.PAPER, POWER, AND PROJECTIONI still have a folded paper map of Seattle in the door of my car. It's a remnant of a time when physical maps reflected the reality before us. You unfolded a map and it innocently offered the physical world on a page. The rest was left to you — including knowing how to fold it up again.But even then, not all maps were neutral or necessarily innocent. Sure, they crowned capitals and trimmed borders, but they could also leave things out or would make certain claims. From empire to colony, from mission to market, maps often arrived not to reflect place, but to declare control of it. Still, we trusted it…even if was an illusion.I learned how to interrogate maps in my undergraduate history of cartography class — taught by the legendary cartographer Waldo Tobler. But even with that knowledge, when I was then taught how to make maps, that interrogation was more absent. I confidently believed I was mediating truth. The lines and symbols I used pointed to substance; they signaled a thing. I traced rivers from existing base maps with a pen on vellum and trusted they existed in the world as sure as the ink on the page. I cut out shading for a choropleth map and believed it told a stable story about population, vegetation, or economics. That trust was embodied in representation — the idea that a sign meant something enduring. That we could believe what maps told us.This is the world of semiotics — the study of how signs create meaning. American philosopher Charles Sanders Peirce offered a sturdy model: a sign (like a map line) refers to an object (the river), and its meaning emerges in interpretation. Meaning, in this view, is relational — but grounded. A stop sign, a national anthem, a border — they meant something because they pointed beyond themselves, to a world we shared.But there are cracks in this seemingly sturdy model.These cracks pose this question: why do we trust signs in the first place? That trust — in maps, in categories, in data — didn't emerge from neutrality. It was built atop agendas.Take the first U.S. census in 1790. It didn't just count — it defined. Categories like “free white persons,” “all other free persons,” and “slaves” weren't neutral. They were political tools, shaping who mattered and by how much. People became variables. Representation became abstraction.Or Carl Linnaeus, the 18th-century Swedish botanist who built the taxonomies we still use: genus, species, kingdom. His system claimed objectivity but was shaped by distance and empire. Linnaeus never left Sweden. He named what he hadn't seen, classified people he'd never met — sorting humans into racial types based on colonial stereotypes. These weren't observations. They were projections based on stereotypes gathered from travelers, missionaries, and imperial officials.Naming replaced knowing. Life was turned into labels. Biology became filing. And once abstracted, it all became governable, measurable, comparable, and, ultimately, manageable.Maps followed suit.What once lived as a symbolic invitation — a drawing of place — became a system of location. I was studying geography at a time (and place) when Geographic Information Systems (GIS) and GIScience was transforming cartography. Maps weren't just about visual representations; they were spatial databases. Rows, columns, attributes, and calculations took the place of lines and shapes on map. Drawing what we saw turned to abstracting what could then be computed so that it could then be visualized, yes, but also managed.Chris Perkins, writing on the philosophy of mapping, argued that digital cartographies didn't just depict the world — they constituted it. The map was no longer a surface to interpret, but a script to execute. As critical geographers Sam Hind and Alex Gekker argue, the modern “mapping impulse” isn't about understanding space — it's about optimizing behavior through it; in a world of GPS and vehicle automation, the map no longer describes the territory, it becomes it. Laura Roberts, writing on film and geography, showed how maps had fused with cinematic logic — where places aren't shown, but performed. Place and navigation became narrative. New York in cinema isn't a place — it's a performance of ambition, alienation, or energy. Geography as mise-en-scène.In other words, the map's loss of innocence wasn't just technical. It was ontological — a shift in the very nature of what maps are and what kind of reality they claim to represent. Geography itself had entered the domain of simulation — not representing space but staging it. You can simulate traveling anywhere in the world, all staged on Google maps. Last summer my son stepped off the train in Edinburgh, Scotland for the first time in his life but knew exactly where he was. He'd learned it driving on simulated streets in a simulated car on XBox. He walked us straight to our lodging.These shifts in reality over centuries weren't necessarily mistakes. They unfolded, emerged, or evolved through the rational tools of modernity — and for a time, they worked. For many, anyway. Especially for those in power, seeking power, or benefitting from it. They enabled trade, governance, development, and especially warfare. But with every shift came this question: at what cost?FROM SIGNS TO SPECTACLEAs early as the early 1900s, Max Weber warned of a world disenchanted by bureaucracy — a society where rationalization would trap the human spirit in what he called an iron cage. By mid-century, thinkers pushed this further.Michel Foucault revealed how systems of knowledge — from medicine to criminal justice — were entangled with systems of power. To classify was to control. To represent was to discipline. Roland Barthes dissected the semiotics of everyday life — showing how ads, recipes, clothing, even professional wrestling were soaked in signs pretending to be natural.Guy Debord, in the 1967 The Society of the Spectacle, argued that late capitalism had fully replaced lived experience with imagery. “The spectacle,” he wrote, “is not a collection of images, but a social relation among people, mediated by images.”Then came Jean Baudrillard — a French sociologist, media theorist, and provocateur — who pushed the critique of representation to its limit. In the 1980s, where others saw distortion, he saw substitution: signs that no longer referred to anything real. Most vividly, in his surreal, gleaming 1986 travelogue America, he described the U.S. not as a place, but as a performance — a projection without depth, still somehow running.Where Foucault showed that knowledge was power, and Debord showed that images replaced life, Baudrillard argued that signs had broken free altogether. A map might once distort or simplify — but it still referred to something real. By the late 20th century, he argued, signs no longer pointed to anything. They pointed only to each other.You didn't just visit Disneyland. You visited the idea of America — manufactured, rehearsed, rendered. You didn't just use money. You used confidence by handing over a credit card — a symbol of wealth that is lighter and moves faster than any gold.In some ways, he was updating a much older insight by another Frenchman. When Alexis de Tocqueville visited America in the 1830s, he wasn't just studying law or government — he was studying performance. He saw how Americans staged democracy, how rituals of voting and speech created the image of a free society even as inequality and exclusion thrived beneath it. Tocqueville wasn't cynical. He simply understood that America believed in its own image — and that belief gave it a kind of sovereign feedback loop.Baudrillard called this condition simulation — when representation becomes self-contained. When the distinction between real and fake no longer matters because everything is performance. Not deception — orchestration.He mapped four stages of this logic:* Faithful representation – A sign reflects a basic reality. A map mirrors the terrain.* Perversion of reality – The sign begins to distort. Think colonial maps as logos or exclusionary zoning.* Pretending to represent – The sign no longer refers to anything but performs as if it does. Disneyland isn't America — it's the fantasy of America. (ironically, a car-free America)* Pure simulation – The sign has no origin or anchor. It floats. Zillow heatmaps, Uber surge zones — maps that don't reflect the world, but determine how you move through it.We don't follow maps as they were once known anymore. We follow interfaces.And not just in apps. Cities themselves are in various stages of simulation. New York still sells itself as a global center. But in a distributed globalized and digitized economy, there is no center — only the perversion of an old reality. Paris subsidizes quaint storefronts not to nourish citizens, but to preserve the perceived image of Paris. Paris pretending to be Paris. Every city has its own marketing campaign. They don't manage infrastructure — they manage perception. The skyline is a product shot. The streetscape is marketing collateral and neighborhoods are optimized for search.Even money plays this game.The U.S. dollar wasn't always king. That title once belonged to the British pound — backed by empire, gold, and industry. After World War II, the dollar took over, pegged to gold under the Bretton Woods convention — a symbol of American postwar power stability…and perversion. It was forged in an opulent, exclusive, hotel in the mountains of New Hampshire. But designed in the style of Spanish Renaissance Revival, it was pretending to be in Spain. Then in 1971, Nixon snapped the dollar's gold tether. The ‘Nixon Shock' allowed the dollar to float — its value now based not on metal, but on trust. It became less a store of value than a vessel of belief. A belief that is being challenged today in ways that recall the instability and fragmentation of the pre-WWII era.And this dollar lives in servers, not Industrial Age iron vaults. It circulates as code, not coin. It underwrites markets, wars, and global finance through momentum alone. And when the pandemic hit, there was no digging into reserves.The Federal Reserve expanded its balance sheet with keystrokes — injecting trillions into the economy through bond purchases, emergency loans, and direct payments. But at the same time, Trump 1.0 showed printing presses rolling, stacks of fresh bills bundled and boxed — a spectacle of liquidity. It was monetary policy as theater. A simulation of control, staged in spreadsheets by the Fed and photo ops by the Executive Branch. Not to reflect value, but to project it. To keep liquidity flowing and to keep the belief intact.This is what Baudrillard meant by simulation. The sign doesn't lie — nor does it tell the truth. It just works — as long as we accept it.MOOD OVER MEANINGReality is getting harder to discern. We believe it to be solid — that it imposes friction. A law has consequences. A price reflects value. A city has limits. These things made sense because they resist us. Because they are real.But maybe that was just the story we told. Maybe it was always more mirage than mirror.Now, the signs don't just point to reality — they also replace it. We live in a world where the image outpaces the institution. Where the copy is smoother than the original. Where AI does the typing. Where meaning doesn't emerge — it arrives prepackaged and pre-viral. It's a kind of seductive deception. It's hyperreality where performance supersedes substance. Presence and posture become authority structured in style.Politics is not immune to this — it's become the main attraction.Trump's first 100 days didn't aim to stabilize or legislate but to signal. Deportation as UFC cage match — staged, brutal, and televised. Tariff wars as a way of branding power — chaos with a catchphrase. Climate retreat cast as perverse theater. Gender redefined and confined by executive memo. Birthright citizenship challenged while sedition pardoned. Even the Gulf of Mexico got renamed. These aren't policies, they're productions.Power isn't passing through law. It's passing through the affect of spectacle and a feed refresh.Baudrillard once wrote that America doesn't govern — it narrates. Trump doesn't manage policy, he manages mood. Like an actor. When America's Secretary of Defense, a former TV personality, has a makeup studio installed inside the Pentagon it's not satire. It's just the simulation, doing what it does best: shining under the lights.But this logic runs deeper than any single figure.Culture no longer unfolds. It reloads. We don't listen to the full album — we lift 10 seconds for TikTok. Music is made for algorithms. Fashion is filtered before it's worn. Selfhood is a brand channel. Identity is something to monetize, signal, or defend — often all at once.The economy floats too. Meme stocks. NFTs. Speculative tokens. These aren't based in value — they're based in velocity. Attention becomes the currency.What matters isn't what's true, but what trends. In hyperreality, reference gives way to rhythm. The point isn't to be accurate. The point is to circulate. We're not being lied to.We're being engaged. And this isn't a bug, it's a feature.Which through a Baudrillard lens is why America — the simulation — persists.He saw it early. Describing strip malls, highways, slogans, themed diners he saw an America that wasn't deep. That was its genius he saw. It was light, fast paced, and projected. Like the movies it so famously exports. It didn't need justification — it just needed repetition.And it's still repeating.Las Vegas is the cathedral of the logic of simulation — a city that no longer bothers pretending. But it's not alone. Every city performs, every nation tries to brand itself. Every policy rollout is scored like a product launch. Reality isn't navigated — it's streamed.And yet since his writing, the mood has shifted. The performance continues, but the music underneath it has changed. The techno-optimism of Baudrillard's ‘80s an ‘90s have curdled. What once felt expansive now feels recursive and worn. It's like a show running long after the audience has gone home. The rager has ended, but Spotify is still loudly streaming through the speakers.“The Kids' Guide to the Internet” (1997), produced by Diamond Entertainment and starring the unnervingly wholesome Jamison family. It captures a moment of pure techno-optimism — when the Internet was new, clean, and family-approved. It's not just a tutorial; it's a time capsule of belief, staged before the dream turned into something else. Before the feed began to feed on us.Trumpism thrives on this terrain. And yet the world is changing around it. Climate shocks, mass displacement, spiraling inequality — the polycrisis has a body count. Countries once anchored to American leadership are squinting hard now, trying to see if there's anything left behind the screen. Adjusting the antenna in hopes of getting a clearer signal. From Latin America to Southeast Asia to Europe, the question grows louder: Can you trust a power that no longer refers to anything outside itself?Maybe Baudrillard and Tocqueville are right — America doesn't point to a deeper truth. It points to itself. Again and again and again. It is the loop. And even now, knowing this, we can't quite stop watching. There's a reason we keep refreshing. Keep scrolling. Keep reacting. The performance persists — not necessarily because we believe in it, but because it's the only script still running.And whether we're horrified or entertained, complicit or exhausted, engaged or ghosted, hired or fired, immigrated or deported, one thing remains strangely true: we keep feeding it. That's the strange power of simulation in an attention economy. It doesn't need conviction. It doesn't need conscience. It just needs attention — enough to keep the momentum alive. The simulation doesn't care if the real breaks down. It just keeps rendering — soft, seamless, and impossible to look away from. Like a dream you didn't choose but can't wake up from.REFERENCESBarthes, R. (1972). Mythologies (A. Lavers, Trans.). Hill and Wang. (Original work published 1957)Baudrillard, J. (1986). America (C. Turner, Trans.). Verso.Debord, G. (1994). The Society of the Spectacle (D. Nicholson-Smith, Trans.). Zone Books. (Original work published 1967)Foucault, M. (1977). Discipline and Punish: The Birth of the Prison (A. Sheridan, Trans.). Vintage Books.Hind, S., & Gekker, A. (2019). On autopilot: Towards a flat ontology of vehicular navigation. In C. Lukinbeal et al. (Eds.), Media's Mapping Impulse. Franz Steiner Verlag.Linnaeus, C. (1735). Systema Naturae (1st ed.). Lugduni Batavorum.Perkins, C. (2009). Philosophy and mapping. In R. Kitchin & N. Thrift (Eds.), International Encyclopedia of Human Geography. Elsevier.Raaphorst, K., Duchhart, I., & van der Knaap, W. (2017). The semiotics of landscape design communication. Landscape Research.Roberts, L. (2008). Cinematic cartography: Movies, maps and the consumption of place. In R. Koeck & L. Roberts (Eds.), Cities in Film: Architecture, Urban Space and the Moving Image. University of Liverpool.Tocqueville, A. de. (2003). Democracy in America (G. Lawrence, Trans., H. Mansfield & D. Winthrop, Eds.). University of Chicago Press. (Original work published 1835)Weber, M. (1958). The Protestant Ethic and the Spirit of Capitalism (T. Parsons, Trans.). Charles Scribner's Sons. (Original work published 1905) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

This week, Kevin goes off the fitness path and dives deep into philosophy, exploring how our senses—and even industries like fitness—can deceive us. From Plato and Descartes to The Matrix and Baudrillard, he explains why what you think is real might just be a well-crafted illusion. Plus, hear how you can keep connecting with Kevin after his final episode.Get-Fit Guy is hosted by Kevin Don. A transcript is available at Simplecast.Have a fitness question? Email Kevin at getfitguy@quickanddirtytips.com or leave us a voicemail at (510) 353-3014.Find Get-Fit Guy on Facebook and Twitter, or subscribe to the newsletter for more fitness tips.Get-Fit Guy is a part of Quick and Dirty Tips.Links:https://www.quickanddirtytips.comhttps://www.facebook.com/GetFitGuyhttps://twitter.com/GetFitGuyhttps://www.kevindon.com/

Was passiert, wenn deine Hologramme dich einsperren, weil sie denken, SIE wären das Original? Willkommen bei Star Trek: Prodigy S02E06 – „Imposter Syndrome“. Wir reden über Identitätskrisen, Replikator-Tests und warum Milchshakes philosophischer sind, als du denkst. Außerdem: Baudrillard, der französische Q der Medienkritik. Jetzt reinhören – es wird absurd, tiefgründig und garantiert doppelt!

Cameron Carsten is back with us to enjoy an exploration of Jean Baudrillard's concept of “absolute advertising” and its transformation of communication, desire, and the public sphere.  This discussion addresses the rise of techno-fascism and the symbolic saturation of everyday life in view of Baudrillard's 'Simulacra and Simulation'. What happens when advertising becomes the default mode of mediation, indistinguishable from culture itself? Together, we unravel how content collapses into form—and how even resistance may be a commodity.Cameron's blog: https://camtology.substack.com/Hire the inimitable Adam C. Jones: @SanktMaxTCI on Twitter or email us: https://www.acidhorizonpodcast.com/Support the showSupport the podcast:https://www.acidhorizonpodcast.com/Linktree: https://linktr.ee/acidhorizonAcid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcast Boycott Watkins Media: https://xenogothic.com/2025/03/17/boycott-watkins-statement/ Join The Schizoanalysis Project: https://discord.gg/4WtaXG3QxnSubscribe to us on your favorite podcast: https://pod.link/1512615438Merch: http://www.crit-drip.comSubscribe to us on your favorite podcast: https://pod.link/1512615438 LEPHT HAND: https://www.patreon.com/LEPHTHANDHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.com​Revolting Bodies (Will's Blog): https://revoltingbodies.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/

durée : 00:46:01 - Les Nuits de France Culture - par : Mathias Le Gargasson - En 2005, le philosophe Jean Baudrillard, auteur de "La Société de consommation" revient sur son analyse de la disparition du réel en cherchant à en faire connaître les tenants et les aboutissants. Le réel étant mort, nous ne vivons que dans de la fausseté, une hyperréalité qui se prend pour le réel. - réalisation : Thomas Jost - invités : Jean Baudrillard Philosophe et sociologue

MITOLOGOS a fine marzo: https://www.cogitoacademy.it/prodotto/seminario-mitologos/ MITOLOGOS a maggio: https://www.cogitoacademy.it/prodotto/seminario-mitologos-maggio/ Con il codice DAILYCOGITO7 puoi iniziare un percorso su Serenis per prenderti cura del tuo benessere mentale a un prezzo convenzionato. Scopri di più su https://bit.ly/serenisdufer ⬇⬇⬇SOTTO TROVI INFORMAZIONI IMPORTANTI⬇⬇⬇ Abbonati per live e contenuti esclusivi ➤➤➤ https://bit.ly/memberdufer I prossimi eventi dal vivo ➤➤➤ https://www.dailycogito.com/eventi Scopri la nostra scuola di filosofia ➤➤➤ https://www.cogitoacademy.it/ Racconta storie di successo con RISPIRA ➤➤➤ https://cogitoacademy.it/rispira/ Impara ad argomentare bene ➤➤➤ https://bit.ly/3Pgepqz Prendi in mano la tua vita grazie a PsicoStoici ➤➤➤ https://bit.ly/45JbmxX Il mio ultimo libro per Feltrinelli ➤➤➤ https://amzn.to/3OY4Xca La newsletter gratuita ➤➤➤ http://eepurl.com/c-LKfz Tutti i miei libri ➤➤➤ https://www.dailycogito.com/libri/ Il nostro podcast è sostenuto da NordVPN ➤➤➤ https://nordvpn.com/dufer #Baudrillard #rickdufer #filosofia INSTAGRAM: https://instagram.com/rickdufer INSTAGRAM di Daily Cogito: https://instagram.com/dailycogito TELEGRAM: http://bit.ly/DuFerTelegram FACEBOOK: http://bit.ly/duferfb LINKEDIN: https://www.linkedin.com/pub/riccardo-dal-ferro/31/845/b14 -------------------------------------------------------------------------------------------- Chi sono io: https://www.dailycogito.com/rick-dufer/ -------------------------------------------------------------------------------------------- La musica della sigla è tratta da Epidemic Sound (author: Jules Gaia): https://epidemicsound.com/ - la voce della sigla è di CAROL MAG (https://www.instagram.com/carolmagmusic/) Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:16:19 - Les Nuits de France Culture - par : Mathias Le Gargasson - Au début des années 1980, il a conquis presque l'ensemble de la planète. Paradis ou enfer, ouverture ou enfermement, mode éphémère ou signe des temps, ce petit appareil qu'est le walkman suscite bien des interrogations comme on peut l'entendre dans cet entretien avec le philosophe Jean Baudrillard. - réalisation : Thomas Jost - invités : Jean Baudrillard Philosophe et sociologue

In this special bonus episode of ONE HEAT MINUTE, I talk to another faithful Michael Mann acolyte, author of MICHAEL MANN: A CONTEMPORARY RETROSPECTIVE, Jean-Baptise Thoret, about his curation of incredible insights. About Jean-Baptiste ThoretJean-Baptiste Thoret is a French director, historian and film critic born in 1969, a specialist in American cinema and, particularly, New Hollywood and Italian cinema of the 1970s. He is the author of fifteen books on cinema, including American Cinema of the 1970s. In 2017, he directed We Blew It, his first feature film.Book: Michael Mann: Mirages of the ContemporaryGravity of the Flux: Michael Mann's Miami ViceThe Seventies Reloaded: (What does the cinema think about when it dreams of Baudrillard?)One Heat Minute ProductionsWEBSITE: oneheatminute.comPATREON: One Heat Minute Productions PatreonTWITTER: @OneBlakeMinute @katiewalshstx & @OHMPodsSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Jean Baudrillard is a French sociologist and philosopher famous for his exploration of symbols, meaning, and communication. Despite being characterized as a postmodern thinker, his focus on media, culture, and technology contains many insights that can help to frame issues that the Right is struggling with today. Podcaster Mikeofpol joins me to discuss Baudrillard's work. Follow on: Apple: https://podcasts.apple.com/us/podcast/the-auron-macintyre-show/id1657770114 Spotify: https://open.spotify.com/show/3S6z4LBs8Fi7COupy7YYuM?si=4d9662cb34d148af Substack: https://auronmacintyre.substack.com/ Twitter: https://twitter.com/AuronMacintyre Gab: https://gab.com/AuronMacIntyre YouTube:https://www.youtube.com/c/AuronMacIntyre Rumble: https://rumble.com/c/c-390155 Odysee: https://odysee.com/@AuronMacIntyre:f Instagram: https://www.instagram.com/auronmacintyre/ Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a free preview of a paid episode. To hear more, visit www.politix.fmIt's the final Politix podcast of Joe Biden's presidency! Soon Donald Trump will be inaugurated president for a second, non-consecutive term. Inflation and crime and border crossings will fall, wages will rise, and America will be great again. Except…all those things already happened.In this episode, Matt and Brian discuss:* Why did the Biden presidency end in political failure, given the rosy macro picture?* What connectivity is there between the Biden administration's conception of itself—and its ensuing approach to policy—and its unpopularity?* Would a younger president (even a younger version of Biden) operating under otherwise identical material circumstances have been able to spin the outputs of this administration into political gold?Then, behind the paywall, what if anything have Democrats taken from Biden's struggles, and are they applying those lessons to their early opposition? Why are they poised to help Republicans pass the Laken Riley Act? Do they really think holding Trump to bad-faith campaign promises will hurt him when, e.g., the cost of eggs doesn't go down? Or is it likelier that, with Trump claiming credit for Biden's economy, voters will stop citing the cost of living as their top political concern?All that, plus the full Politix archive are available to paid subscribers—just upgrade your subscription and pipe full episodes directly to your favorite podcast app via your own private feed. Further reading:* Brian can't pronounce Baudrillard, but he did write about how Democrats should rethink the idea that delivering good macroeconomic conditions is the key to winning elections, and rethink their political strategies from scratch. * Matt thinks Democrats can just follow Joe Manchin's lead. * Dylan Matthews argues that Biden did himself in by refusing to make hard-nosed decisions.

On this episode, we speak with Ana Andjelic, the strategic branding mastermind who knows her Bs from "Brand" to "Baudrillard," author of the Sociology of Business Substack and of the new book Hitmakers: How Brands Influence Culture. We discuss how the luxury industry went off rails through over-expansion, the difference between the luxury and fashion mentality and the luxury and commodity thinking, and what it will take to turn things around. We discuss how fashion trends are really created and why everything looks interchangeable. We finish the episode with a surprising marketing case-study!Support the show

WARP SPEED! HYPERREALITY! WE'RE SLOWING DOWN TO SPEED UP!!!! A stroll near my home in nipaluna turns into a much needed debrief about time (yes, time), cultural identity, and Baudrillard's whole thing about simulacra. As a beautiful-sweet-boss-baby-princess-daughter of an immigrant who's been in Australia for FOURTY YEARS, I've been thinking a lot about what it means to keep your culture alive in a world that's obsessed with stuff. Throw in Western ideas of time being all straight lines and clocks, compared to the Aboriginal Australian understanding of time as a CYCLE (everything, everywhere, all at once!) and suddenly I'm in philosopher mode. If you've ever felt like you're juggling a million versions of yourself—or just trying to make sense of it all—this one's for you. It's called No Deep Dives, but, uh… we might've gotten a little deep. If you like seeing me inject more personal musings, or perhaps you want to learn more about astrology, esotericism, metaphysics and witchcraft, find me on Patreon @moreflexmami You can also watch this episode on YouTube!!!   Timestamps 00:00 is this … a guided meditation? 02:46 (simulacra) do you even know what's real anymore. 10.38 role playing culture 24:59 time is not linear 43:23 I'm off to get hypnotised, bye!   Resources/Links SIMULARA DISSECTING AUSTRALIA'S BIRTH CHART Editing Flex Note: If you came here looking for the video I referenced about Australia having no culture so the immigrants are lost … I've lost the link! If you know who said it, please let me know so I can credit them!

In this episode we discuss Jean Baudrillard's philosophical conception of “Symbolic Ex-termination.” There is a YouTube video with slides that accompanies this podcast, it can be accessed here: https://youtu.be/PNRSVmWIDXk This episode is the culmination of a series of episodes beginning in late 2023 and appearing throughout 2024 regarding Post-Modernism and Post-Humanism. . Please post your questions or comments on The Philosophemes YouTube Channel. Accessible through this Linktree link: https://linktr.ee/philosophemes . Amazon Author Page: https://amzn.to/4cM6nzf . Epidemic Sound Referral Link: https://share.epidemicsound.com/ann4jg . Waves Referral Link: https://www.waves.com/r/1268613 . Coffee? Cheers! https://ko-fi.com/philosophemes . #philosophy, #existentialism, #FrankScalambrino, #Baudrillard, #psychology, #posthumanism, #transhumanism, #Postmodernism, #nihilism, #philosophypodcast . Some links may be “affiliate links,” which means I may I receive a small commission from your purchase through these links. This helps to support the channel. Thank you. Editorial, educational, and fair use of images. © 2024, Frank Scalambrino, Ph.D. https://evergreenpodcasts.com/the-philosophemes-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:59:11 - Toute une vie - par : Martin Quenehen - Rendre au monde son étrangeté, l'appréhender avec un regard séducteur, telle fut l'entreprise de Baudrillard. Sociologue, philosophe, poète ? Baudrillard est inclassable, et s'est toujours tenu à la marge des institutions académiques, créant son propre style. - invités : Marine Baudrillard Épouse de Jean Baudrillard.; François L'Yvonnet Professeur de philosophie et éditeur; Sylvère Lotringer Philosophe français, professeur à l'université Columbia de New York.; François Cusset Historien des idées, professeur de civilisation américaine à l'Université de Paris Nanterre; Jacques Donzelot Maître de conférences en sociologie politique à l'Université de Paris X Nanterre.; Robert Maggiori Philosophe, journaliste de "Libération" et co-fondateur et président du Jury des Rencontres philosophiques de Monaco

Support the Kickstarter campaign as you listen: https://www.kickstarter.com/projects/acephalous/acephalous-the-erotic-tarot-of-georges-bataille"Are We Still Able to Die?": https://camtology.substack.com/p/are-we-still-able-to-dieIn this episode of Acid Horizon, we are joined by philosopher and writer Cameron Carsten to discuss his recent blog post, "Are We Still Able to Die?"—the first installment in his series Power as Reality. Cameron's work delves into the nature of power as the control over reality, tracing its manifestations through domination, hegemony, and the symbolic dimensions of life and death. Drawing on thinkers like Baudrillard, Foucault, Deleuze, and Guattari, this conversation also confronts urgent questions of meaning, fulfillment, and resistance in the shadow of the emerging Trump 2.0 era.Support the show

Take the PCFM pill. Critical Media Theory at Theory Underground - From Marx, through McLuhan, to Baudrillard. Join ongoing research seminar and unlock past courses + forums on the TU Discord by becoming a member via the monthly subscription: https://theoryunderground.com/products/tu-subscription-tiers ABOUT Theory Underground is a research, publishing, and lecture institute. TU exists to develop the concept of timenergy in the context of critical social theory (CST). To get basically situated in this field you will have to know a handful of important figures from a bunch of areas of the humanities and social sciences. That would be a lot of work for you if not for the fact that Dave, Ann, and Mikey are consolidating hundreds of thousands of hours of effort into a pirate TV-radio-press that goes on tours and throws conferences and stuff. Enjoy a ton of its content here for free or get involved to access courses and the ongoing research seminars.  GET INVOLVED or SUPPORT  Join live sessions and unlock past courses and forums on the TU Discord by becoming a member via the monthly subscription! It's the hands-down best way to get the most out of the content if you are excited to learn the field and become a thinker in the milieu: https://theoryunderground.com/products/tu-subscription-tiers Pledge support to the production of the free content on YouTube and Podcast https://www.patreon.com/TheoryUnderground Fund the publishing work via the TU Substack, where original works by the TU writers is featured alongside original works by Slavoj Zizek, Todd McGowan, Chris Cutrone, Nina Power, Alenka Zupancic, et al. https://theoryunderground.substack.com/ Get TU books at a discount: https://theoryunderground.com/publications CREDITS / LINKS Missed a course at Theory Underground? Wrong! Courses at Theory Underground are available after the fact on demand via the membership. https://theoryunderground.com/courses If you want to help TU in a totally gratuitous way, or support, here is a way to buy something concrete and immediately useful https://www.amazon.com/hz/wishlist/ls/2MAWFYUJQIM58? Buy Dave and Ann a coffee date: https://www.venmo.com/u/theoryunderground  https://paypal.me/theorypleeb If Theory Underground has helped you see that text-to-speech technologies are a useful way of supplementing one's reading while living a busy life, if you want to be able to listen to PDFs for yourself, then Speechify is recommended. Use the link below and Theory Underground gets credit! https://share.speechify.com/mzwBHEB  Follow Theory Underground on Duolingo: https://invite.duolingo.com/BDHTZTB5CWWKTP747NSNMAOYEI  See Theory Underground memes and get occasional updates or thoughts via the Instagram : https://www.instagram.com/theory_underground MUSIC CREDITS Logo sequence music by https://olliebeanz.com/music https://creativecommons.org/licenses/by-nc-sa/4.0/legalcode Mike Chino, Demigods https://youtu.be/M6wruxDngOk  

An essential work.   ABOUT Theory Underground is a research, publishing, and lecture institute. TU exists to develop the concept of timenergy in the context of critical social theory (CST). To get basically situated in this field you will have to know a handful of important figures from a bunch of areas of the humanities and social sciences. That would be a lot of work for you if not for the fact that Dave, Ann, and Mikey are consolidating hundreds of thousands of hours of effort into a pirate TV-radio-press that goes on tours and throws conferences and stuff. Enjoy a ton of its content here for free or get involved to access courses and the ongoing research seminars.  GET INVOLVED or SUPPORT  Join live sessions and unlock past courses and forums on the TU Discord by becoming a member via the monthly subscription! It's the hands-down best way to get the most out of the content if you are excited to learn the field and become a thinker in the milieu: https://theoryunderground.com/products/tu-subscription-tiers Pledge support to the production of the free content on YouTube and Podcast https://www.patreon.com/TheoryUnderground Fund the publishing work via the TU Substack, where original works by the TU writers is featured alongside original works by Slavoj Zizek, Todd McGowan, Chris Cutrone, Nina Power, Alenka Zupancic, et al. https://theoryunderground.substack.com/ Get TU books at a discount: https://theoryunderground.com/publications CREDITS / LINKS Missed a course at Theory Underground? Wrong! Courses at Theory Underground are available after the fact on demand via the membership. https://theoryunderground.com/courses If you want to help TU in a totally gratuitous way, or support, here is a way to buy something concrete and immediately useful https://www.amazon.com/hz/wishlist/ls/2MAWFYUJQIM58? Buy Dave and Ann a coffee date: https://www.venmo.com/u/theoryunderground  https://paypal.me/theorypleeb If Theory Underground has helped you see that text-to-speech technologies are a useful way of supplementing one's reading while living a busy life, if you want to be able to listen to PDFs for yourself, then Speechify is recommended. Use the link below and Theory Underground gets credit! https://share.speechify.com/mzwBHEB  Follow Theory Underground on Duolingo: https://invite.duolingo.com/BDHTZTB5CWWKTP747NSNMAOYEI  See Theory Underground memes and get occasional updates or thoughts via the Instagram : https://www.instagram.com/theory_underground MUSIC CREDITS Logo sequence music by https://olliebeanz.com/music https://creativecommons.org/licenses/by-nc-sa/4.0/legalcode Mike Chino, Demigods https://youtu.be/M6wruxDngOk  

This episode includes a discussion of the history of the swastika as well as a discussion of War (e.g., assassination of al-Zawari) and Media games (Ain't It Awful). The U.S. war machine influences the mainstream media to manufacture consent for war. In the book, “The Gulf War Did Not Take Place,” Jean Baudrillard describes how totalizing media coverage of an event, e.g., war, is an invitation into a game (con). The aim is to create consensus and illusions in the mind of the citizen:  “Information has a profound function of deception. It matters little what it “informs” us about, its “coverage” of events matters little since it is precisely no more than a cover: its purpose is to produce consensus by flat encephalogram.” The sexual life of children and adolescents (e.g., Columbine killers) as well as the dominant socialization process are described in this episode. This is in the context of constructing a manuscript titled “Games Fascists Play: The Psychology of Supremacy” and solutions to games. Additionally, the 2020 U.S. presidential election is discussed; not from the perspective of “stop the steal,” and instead, Google's role in the manipulation of potential voters. In 2020, ultra-monopoly Google, encouraged Democrats or Democrat-leaning voters to show up to vote. Voting badges were placed at the top of their social media newsfeeds, but these were specifically and intentionally absent from news feeds for Republicans. The way Google's search engine functions also has a liberal bias. Additionally, Google's ability to use “ephemeral impressions” to make lasting impressions on undecided voters swayed millions of votes away from Trump. This manipulation and behavioral modification led to a Biden White House (let's all just forget about Hunter's laptop). Despite Trump's decry of “election interference” and that the election was “stolen,” a state-corporate symbiosis by one of the most powerful corporations (Google) on the planet heavily influenced the vote totals. Recorded on 9/20/2023 References p. 68, Baudrillard, J., & Patton, P. (1995). The gulf war did not take place. Indianapolis: Indiana University Press. Visit MankatoTherapist.com for more information and to contact Andrew Archer.

We move from Durkheim to Marcel Mauss and his book The Gift: The Form and Reason for Exchange in Archaic Societies. Referenced by Bataille, Levi-Strauss, Derrida and Baudrillard—this is a mandatory reading.The full episode and many more are available at https://www.patreon.com/plasticpills

Sorry, what's your name? Grinning in a movie theatre bathroom stall, and weeping in the car watching NASA Live. Fascination at the ‘close friends' of the ultra-famous. Is it Baudrillard or Baudelaire? Applauding celestial bodies and researching kettles. Toothless and tea-less, we need the real moon again. A scratched pan for which no one is to blame and suspicion over a missing spatula. Kate is neglecting the neck and chopping tiny. Texting the Healer's wife, Jacqueline's eyebrows are fully f*cking lifted. It's called stepping into the reality of your life! Sincerely Begging For: Goop Kitchen, Graza Brands Mentioned: Lyma, Great Jones, Caraway Edited and mixed by Allie Graham.See omnystudio.com/listener for privacy information.

The New Discourses Podcast with James Lindsay, Episode 130 The issue is never the issue; the issue is always the revolution. The issue is never the issue; the issue is always the revolution. This is a core maxim of Marxist activist thought, and it explains so much. In the early 1990s, the French Postmodernist philosopher Jean Beaudrillard put it another way, though, in a sense. He provocatively published a book with the title The Gulf War Did Not Take Place (https://amzn.to/3QHprG9). What Baudrillard meant is that the Gulf War was an event that happened in the Persian Gulf, but what we call the "Gulf War" was a propaganda and media creation by Western intelligence communities and mass media to achieve specific political warfare aims with the public. In that sense, just like how the issue, whether Covid, BLM, Drag Queen Story Hour, Ukraine, "Palestine," or whatever else, is never the issue; each of those Current Things did not take place, in the Baudrillardian sense. In this provocative episode of the New Discourses Podcast, host James Lindsay explains the maxim and Baudrillard's point and uses them to reveal Leftist tactics as well as political warfare strategies and counters. Join him to understand. Get James Lindsay's new book, The Marxification of Education: https://amzn.to/3RYZ0tY Support New Discourses: https://newdiscourses.com/support Follow New Discourses on other platforms: https://newdiscourses.com/subscribe Follow James Lindsay: https://linktr.ee/conceptualjames © 2023 New Discourses. All rights reserved. #NewDiscourses #JamesLindsay #Marxism