longer that of the real, nor that of truth, the era of simulation is inaugurated by a liquidation of all referentials - worse: with their artificial resurrection in the systems of signs, a material more malleable. If it exists, it exists (b) calling something a simulation only means that some of the features it appears to have are not really had, and (c) if the computer really is intelligent, then its intelligence is not simulated, but real. Therefore, on the one hand, the machine of Kafka is still puritanical, repressive, "a signifying machine" as Deleuze would say, whereas the technology of Crash is glistening and seductive, or unpolished and innocent. Crash, which (even more than, high Rise or Concrete Island ) constitutes without doubt the contemporary model for this SF which is no longer. But not because it has more content - if anything, it has less content than in real life. Philosophy becomes after all an art-form, where presentation is as important (maybe more so) than representation. Inside the cabin, the lopsided family lurched across each other, the decapitated torso of the front-seat woman passenger embedded in the fractured windshield. It is the real, and not the map, whose vestiges subsist here and there in the deserts that are no longer those of the Empire, but ours. Dick "gravitate one might say, in this new space (although it can no longer be expressed as such because, in fact, this new universe is "anti-gravitational or, if it still gravitates, it does so around the hole of the real, around the hole of the.
Jean Baudrillard- Two Essays ( Simulacra and Science Fiction and
Dick does not create an alternate cosmos nor a folklore or a cosmic exoticism, nor intergalactic heroic deeds; the reader is, from the outset, in a total simulation without origin, past, or futurein a kind of flux of all coordinates (mental, spatio-temporal, semiotic). Pataphysical: referring to Pataphysics, a parodic pseudo-science invented by the French satirist Alfred Jarry, who defined it as "the science of that which is superinduced upon metaphysics, whether within or beyond the latter's taphysics will examine the laws governing exceptions and will explain the universe. No slang, no intimacy in the sexual violence, only functional language: equivalency of chrome and mucous membranes. What is properly meant by simulation for Baudrillard involves the effort of every systemic organization and operator (including each of us) to put the illusion of the world to death and to replace it with an absolutely real world (1996a:16). What is fascinating here is not the opposition of fake factories/real factories, but rather the indistinction between the two: the fact that all the rest of production has no more referentiality or profound finality than this "business simulacrum." It's the hyperrealist indifference that constitutes the. What perhaps troubles Baudrillard the most about the eruption of unprecedented levels of simulation in our lives are efforts which confuse simulation with illusion. The engineers waved to the crowd reassuringly and moved towards the motorcycle, which lay in its side fifty yards behind the car. A third interpretation is that The Matrix is solidly modernist - not a paradigm of post-modernism, and not (at least, not in this respect) an intellectual poseur. A common post-modernist theme is deconstruction, very roughly the process of exposing metaphysical problems, and especially contradictions, in theoretical language. Theres even a joke about.