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anonymous

Blog - Internet of Things Consortium - 0 views

  • Internet of Things should deliver consumer experiences that were not possible 2-3 years ago. These new experiences not only deliver consumer value but awe and delight as well. Products that tap into these human emotions will become the corner stones of tomorrows connected reality.
  • Based on the data the we have collected and analyzed there are three interesting questions to ask when approaching consumer based IoT products:      Does the product leverage ambient intelligence as the consumer interface?What is the unprecedented consumer experiences created from the product? How does the product connect with other products to deliver unique consumer services? 
morganaletarg

The Dynamics of Fandom: Exploring Fan Communities in Online Spaces | Myc Wiatrowski - A... - 3 views

    • morganaletarg
       
      "not unreal" tell my mom that
  • A thoroughknowledge of the community is required to be able to understand the group, as well asunderstand the individual’s place in the whole. This knowledge allows a group to build asocially imagined concept of communal belief. It creates a method for demarcating who is and isnot an insider, and allows the group to come to terms with their shared ‘canonical’ text(s).
    • morganaletarg
       
      e.g. "my feels"
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  • Often fans are recognized within the American cultural  zeitgeist  in just this way: fanatical, out of control, frantic and frenzied. In point of fact, fangroups are frequently ‘Othered’ by the dominant culture at large as being significantly differentfrom the mainstream norm.
    • morganaletarg
       
      perhaps this may be WHY THEY'RE ON THE INTERNET HMMM
  • we can say that fans are a group that consumes a text (or texts) enmasse , that in turn uses that consumption as a basis for creating something new that is tailored totheir specific concerns. In short, a fandom can be defined by its consumption of a text and itssubsequent cultural productions of and about that text.
  • we must turn our attention to the productions of the insider community. That is to say we must recognize that the urtext  , if it can be so described, does notmeet the needs of the group, so new material is produced by the community to fill the void.
    • morganaletarg
       
      ~*FANFICTION*~
  • “fans of a popular television series[and/or film] may sample dialogue, summarize episodes, debate subtexts, create original fanfiction, record their own soundtracks, make their own movies – and distribute all of thisworldwide via the internet”
  • In creating new artifacts for the group, thus theoretically fillingthe needs of the cyber-fandom as a whole, the group is further able to fashion both an ideologicaland consumable concept of Browncoat-ness and further contribute to the re-visioning and re-drawing of their community.
  • At a very base level these available narrative strains that existwithin the community function as a group rhetoric that ultimately reflects the fictional“Browncoats” of the program’s universe.
    • morganaletarg
       
      are people fans of people like themselves, or do people make their fans want to be more like them?
  • Each party in a struggle over hegemonic power exercises their leverage from time to time, creating an almost ever present struggle in fancommunities between themselves and the producers of their canon.
  • Fans attack and criticize media producers whom they feel threaten their meta-textual interests, but producers also respond to these challenges, protecting their  privilege by defusing and marginalizing fan activism. As fans negotiate positionsof production and consumption, antagonistic corporate discourse toils to managethat discursive power, disciplining productive fandom so it can continue to becultivated as a consumer base.
  • There is a delicate balance between fans and media producers suggested by Johnson. Fansnegotiate their power in virtual spaces, both consuming and producing texts, yet corporate mediaentities struggle to both restrict fan activity, thus allowing them further opportunity to exploitthem capitalistically, while concurrently attempting to cultivate fan production to a degree so asnot to alienate the consumer base all together.
  • Building a complex, onlinecommunity constructed of both a social imaginary and an empirical reality allows the group tonot only form a space wherein they can participate but where they can assert their control over culturally significant texts.
  • n moving to online spaces fandoms remain able to function as traditional communitieswould be expected to. But the mediated interface and its ability to allow communities tocongregate in greater numbers regardless of spatial or temporal limitations, also permits cyber-fandoms to amplify their voice, giving them greater power in space as Foucault would have it.Exercising their power from self-created points in a virtual space allow the community greater    Wiatrowski control over both the texts upon which they’ve created a group and over their imagined sense of the community. In the end, the move to online spaces allows the group to exist both as it oncehad and in ways that are new and more powerful than they had perhaps previously imagined.
George Neff

Binge viewing now pervasive in UK, US » Digital TV Europe - 0 views

  • The PR firm, which surveyed 3,000 consumers in the UK, US and China through its Edelman Berland research arm, found that the percentage of US consumers who binge-watch has “increased significantly” in the past year – rising from 86% in 2013 to 94% this year. In China the figure was found to be an “almost universal” 99%.
  • 72% of respondents watching so they ‘know what happens next’ and 57% noting that they do so to ‘feel caught up
  • Half of respondents said they were likely to use an app or website to interact with the content if it was designed by the creator (US 56%; UK 46%; China 81%) or not designed by the creator (US 52%; UK 44%; China 71%).
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  • “This year, we found that consumers want their entertainment ‘selfie-style’ – content centred on them, immediately gratifying, engaging and shareable across their social networks. Brands that can successfully deliver or enhance compelling entertainment to consumers stand to gain through positive word-of-mouth and association,” said Gail Becker, president, strategic partnerships and global integrations, Edelman.
perezmv

Independent Survey Finds Advertisers and Media Companies Alike View Technology as Key D... - 0 views

  • The survey included 150 advertisers, media companies and agencies across the U.S. and Canada and was designed to explore the hypothesis that the evolving combination of data, technology and cross-device viewing would lead to holistic, platform-agnostic planning of linear television and digital video advertising
  • consumer engagement with content on a second screen will increase moderate or significantly
  • Another key finding is that while all parties agree that technology will be a differentiator, there are still multiple views on what this technology should enable and the capabilities that it should offer,”
mjminutoli

Visual Culture Is Taking Over and Other Insights From Media | Media - Advertising Age - 2 views

    • mjminutoli
       
      Its alarming how beauty companies have been able to cash in on woman's insecurities by exploiting it
    • mjminutoli
       
      I think that the work Dove is doing is great and should be more advertised
    • mjminutoli
       
      I find it interesting that the most visual of the social networks in the one on the rise.
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    • mjminutoli
       
      I think this has to do with the idea that we are growing up in a more technological age that nurtures our love of new inventions.
    • mjminutoli
       
      I find it interesting that shows viewers correspond to what events are happening in the real world.
  • llennials -- the largest and most important consumer segment. The populari
  • The quick popularity of "24" showed a hardening of the public's stance on security post9/11. And popular shows such as "Modern Family" and "Glee" include prominent portrayal of lead gay characters in interesting stories, indicating something of a coming out for Middle America.
  • millennials -- the largest and most important consumer segment
  • that geeks and technology have officially become cooler than chasing fame and fortune
  • the rise of Pinterest, the online pinboard for sharing images and video -- and currently the fastest-growing social-media platform.
anonymous

Ambient intelligence - Wikipedia, the free encyclopedia - 0 views

  •  
    "In computing, ambient intelligence (AmI) refers to electronic environments that are sensitive and responsive to the presence of people. Ambient intelligence is a vision on the future of consumer electronics, telecommunications and computing that was originally developed in the late 1990s for the time frame 2010-2020. In an ambient intelligence world, devices work in concert to support people in carrying out their everyday life activities, tasks and rituals in an easy, natural way using information and intelligence that is hidden in the network connecting these devices (see Internet of Things). As these devices grow smaller, more connected and more integrated into our environment, the technology disappears into our surroundings until only the user interface remains perceivable by users."
wstrahan

"Spotify Was Designed from the Ground Up to Combat Piracy" | TorrentFreak - 0 views

  • “Spotify was designed from the ground up to combat piracy,” the company confirms. “Founded in Sweden, the home of The Pirate Bay, we believed that if we could build a service which was better
  • than piracy, then we could convince people to stop illegal file-sharing, and start
  • consuming music legally again.”
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  • Right from the beginning Spotify founder Daniel Ek held a solid belief that if his service offered a better experience and superior convenience than that being offered by The Pirate Bay, people would jump on board.
  • And they have. Earlier this year the service confirmed it had amassed a total of 24 million users worldwide, 18 million on their ad-supported service and 6 million paying a subscription.
  • The notion, that “it’s impossible to compete with free”, sat well with lawmakers and governments, who looked at offerings coming out of The Pirate Bay and thousands of other similar sites and widely agreed that no-one will pay for something if they can get it for nothing.
  • “A key part of this [success] has been in ensuring that Spotify has a free [ad supported] tier. By offering this free tier, Spotify is able to compete with piracy on cost and bring music consumers into the legal framework,” the company notes.
  • In Sweden, a market that should be the most difficult to turn around if file-sharing traditions are any barometer, Spotify says that the number of people who pirated music fell by 25 percent between 2009 and 2011.
  • In Denmark the IFPI reports that 48% of users using streaming services had previously been illegal downloaders. An impressive 8 out of 10 of those have now stopped completely.
  • Norway, a success story documented earlier this year, has seen its piracy rates drop to just one-fifth of their levels four years earlier, with streaming services taking most of the credit.
  • There can be little doubt that torrent sites such as The Pirate Bay will always have a following, but when services such as Spotify offer their basic services for free, one has to question why people wouldn’t at least try them
wstrahan

Streaming revenues turn the tide against digital pirates - FT.com - 0 views

  • Spotify, the subscription streaming service, has more than 6m subscribers. In video, Netflix, boosted by original productions such as House of Cards , has more than 36m subscribers. Amazon, Google and now Apple, with iTunes Radio, are bringing streaming to a much wider audience
  • This is – at last – translating into meaningful income. The Recording Industry Association of America calculates that revenues from services including Spotify, Pandora and YouTube went from 3 per cent of industry revenues in 2007 to 15 per cent, or more than $1bn, in 2012.
  • Apple’s strategy has pleased some music companies because its streaming service also encourages downloads. But many content owners still believe that streaming cannibalises download and DVD revenues
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  • What is lost from many calculations is the fact that the urge to own may be weaker in the age of streaming, but so is the urge to steal
  • Traffic to peer-to-peer file-sharing and torrent sites is declining where legal alternatives are offered
  • . Netflix’s Ted Sarandos said in May: “When we launch in a territory, the BitTorrent traffic drops as the Netflix traffic grows.”
  • In an analysis of the Dutch market, Will Page, an economist working for Spotify, found that releases by Rihanna and Taylor Swift that were held off Spotify sold just one legal copy for each BitTorrent download, while hits from One Direction and Robbie Williams that were instantly available for streaming sold four copies. “The legitimate market is beginning to outshine the illegitimate market,” says Cary Sherman, the RIAA’s chairman.
  • High rates of piracy for hits such as Game of Thrones in markets such as Australia show that consumers still look to illegal sources if content is not available legally in all parts of the world the minute that US consumers get it.
  • No one is ready to declare victory against the pirates, but the tide is starting to turn against them. The Napster generation is growing up – and behind it is an iTunes, Netflix or Spotify generation that has higher expectations of online content, but is more willing to pay.
George Neff

Will Netflix Kill TV? | PopMatters - 0 views

  • Live and weekly DVR ratings have plummeted for most broadcast programs, as many viewers can now catch their favorite shows on demand via Hulu or illegal torrents.
  • Neither of these represent the biggest problem facing TV – that would be Netflix. More specifically, it’s the streaming giant’s foray into the original programming game that should cause all couch potatoes’ skin to crawl.
  • The service is a massive hit. Netflix currently takes up one-third of all the downstream bandwidth the web can provide. The average subscriber watches 87 minutes of programming per day. While short of the 18-24-year-old live television average of 3.5 hours per day, that latter number is split across hundreds of network and cable channels. Netflix has a captive audience.
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  • Netflix is like an indulgent parent – offering unlimited sweets without any responsibility on the child’s behalf. Subscribers are spoiled with the model, gratifying themselves on a whim by binging new releases without regard for any psychological implications that may take place. American culture now expects instant gratification: fast food, instant messaging, instant streaming. There is virtue in patience, a virtue Netflix disregards in the name of better serving the consumer. Unfortunately, faster service does not always equal better service.
  • When network shows are stripped of commercials and sent to Netflix, the viewing experience is somewhat hollowed. Audiences have grown more used to this with TV on DVD and the restructuring of story beats on premium cable channels, but many comedies still require room to laugh and dramas room to breathe. Binging on Netflix turns distinct three-act episodes into an elongated 13th-act behemoth.
  • Conversation becomes stunted or clandestine, which eliminates much of the buzz that builds pre-season – buzz that is necessary come June when Emmy voters fill out their ballots.
  • Television executives have a right to be both frustrated with and terrified by the advent of the Netflix model.
  • Original shows ushered in using the Netflix model, like House of Cards and Hemlock Grove, have cut out the advertisers. Netflix functions as the network, and if the company decides to evolve from simply licensing original programming to actually producing, they’ll be the studio, too. Netflix is making all the money, monopolizing our attention and making poor consumers out of its subscribers. If this model becomes the norm, the producer/advertiser relationship will be pushed to the breaking point.
  • The folks at Netflix have little to fear. House of Cards executive producer Beau Willimon, in a recent Q&A for Vulture, responded to a question regarding the Netflix model and said, “Our show simply gave people the experience they had already grown accustomed to on Netflix — viewer empowerment. People like being able to decide for themselves when, where, and in what quantities they will watch their content.”
  • We’ve seen how this user-driven, consumerist approach has transformed the music industry into a shell of its former self.
  • What is the informed television devotee to do? Netflix is not inherently evil, and at only $8 a month, the access to vast libraries of programming is an invaluable asset. The answer doesn’t lie in unsubscribing from Netflix, but rather in promoting the traditional broadcast model. By watching live, conversing with friends, coworkers and strangers on Twitter, and even purchasing overpriced merchandise from beloved shows, TV buffs everywhere can help keep the industry afloat. In the hands of the responsible, Netflix is a mighty tool for good. In the hands of the ignorant, it’s a weapon that could destroy all television.
  • But what happens once Netflix reaches the point where profiting only on its own original programming makes more sense than continuing to pay licensing fees, which will skyrocket as the studios jack up prices due to diminished on-air returns? Netflix is positioning itself as its own network, assembling a lineup of programming that will survive the inevitable scripted network TV apocalypse. And once the people lose instant access to former network favorites like How I Met Your Mother and The Office, they’ll rebel by cancelling their subscriptions, the fees will also increase as competition is defeated. But by that point the damage will be irreparable – both television and Netflix will be dismantled by the impatient viewer.
perezmv

Pandora - Investor Relations - News Release - 0 views

  • Both have established impressive track records leading Pandora’s strong team of technologists.
  • “I’m excited to promote two top technology leaders to these important positions.
  • Mr. Conrad has led Pandora’s engineering and product organization from the product’s inception and has guided the team as they delivered increasingly sophisticated playlist techniques, mobile, consumer electronics and in-car listening technology, as well as sophisticated advertising solutions
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  • “Our team of engineers has developed some of the most innovative music technology in the world and changed the way we all consume music,” said Chris Martin, Pandora’s new Chief Technology Officer. “Tom and I have built an incredibly strong team, and I am energized by the opportunity to help Pandora drive forward the future of radio.”
  • “Pandora created the most effective way for music and technology to enhance the lives of music fans and artists alike,” said Mr. Conrad. “As a company, Pandora has always been driven by that intersection between creativity and technology. I am proud to have been a part of this effort, working with an incredibly talented and creative group of technologists. Everything I wanted to know about following one’s passion and running a business I learned at Pandora.”
  • “As Pandora continues to grow, we need to ensure our technology resources are optimized to deliver the best experience possible for listeners, partners and advertisers.”
George Neff

Netflix vs. Cable: How Viewers Watch TV in the Summer - 0 views

  • About 99% of U.S. households (the total of which are in the 115 million range) have a TV, and 56% have cable. Compare that to Netflix, which has more than 48 million members worldwide. That means its entire global viewership is still not even half the U.S. However, that's not bad for a company founded in 1997, tackling a nearly 64-year-old industry.
  • In the summer months, it's easy to assume Netflix usage would go through the roof, thanks in part to younger students who now have three free months of time.
  • While Netflix doesn't share specific data on its viewers, spokeswoman Jenny McCabe said the site doesn't acquire more subscribers during the summer months. Rather, it picks up more viewers in Q1 (January, February and March) and Q4 (October, November and December).
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  • In Q4 2013, Netflix acquired 2.3 million new American households, the highest performance in three years.
  • From a strategic standpoint, Netflix is starting to up the ante for summer viewers by airing original shows like Orange is the New Black in June.
  • It just cares about what people are watching, McCabe says.
  • The average user prefers to watch a series from beginning to end, consume it wholly, then move on to the next thing, according to McCabe.
  • Thanks to summer vacations, kids are watching way more Netflix. Considering how tech-literate children have become, it will be interesting to watch how cable TV fares against Netflix as this younger generation gets older, raised with both options.
gerellmalazarte

E.U. to Tighten Web Privacy Law, Risking Trans-Atlantic Dispute - NYTimes.com - 0 views

  • BERLIN — The European Commission is planning a legal change next year that may prompt U.S. Web giants like Google and Facebook to rethink how they store and process consumer data, raising the prospect of a trans-Atlantic dispute over Internet privacy.
  • The European law gives individuals more control over the use of data they enter on free Web services, but it has not been revised since 1995, when the Internet was still in its infancy.
  • Facebook and Google have signed the Safe Harbor Agreement, a 2000 pact between the United States and the European Union under which U.S. signatories promise to handle the data of European citizens according to E.U. rules.
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  • Facebook also declined to tell Mr. Schrems whether it had kept a biometrical file of his face, which he said the company was using to identify him in its photo tagging feature.
wstrahan

China and Nigeria: Neo-Colonialism, South-South Solidarity, or Both? | Daniel Wagner - 0 views

  • Bilateral relations between China and Nigeria will likely take one of two paths in the long term: either China will remain the overwhelmingly dominant actor or Nigeria will become a regional superpower, evening out the playing field. If China remains the stronger player it will shape Nigeria in its own interests (commonly referred to as "Chinese Imperialism").
  • During the first eleven years of its independence, Nigeria and China had no diplomatic relations. The Nigerian government's view of China grew especially sour after Mao officially supported the secessionist state in Biafra by supplying the Biafran administration with weapons.
  • During the period of General Abacha's military rule (1993-1998), Beijing's no-strings-attached development projects were increasingly well received. Nigeria's leaders grew resentful of Western conditions for aid and investment, and many Nigerians began to question what a generation of economic dependence on the West achieved for Nigeria.
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  • Abuja subsequently adopted a new approach to international trade, balancing traditional Western partners and China.
  • The evolution of Nigerian-Chinese relations mirrors that of China's relationship with other African states (such as Angola, Sudan, and Zimbabwe) that sought alternative forms of aid and development packages following the imposition of sanctions by Western nations based on alleged human rights violations.
  • Today, more than 200 Chinese firms operate in Nigeria.
  • China agreed to provide Nigeria with a soft loan of $1.1 billion loan in exchange for Nigeria agreeing to increase its daily supply of oil to China ten-fold (from 20,000 barrels per day to 200,000) by 2015.
  • China recently embraced a new foreign policy in West Africa that contrasts with its traditionally passive approach to the spread of Islamic terrorism and extremism in Africa. Last year a Chinese diplomat in Mali pledged support for the Economic Community of West African States (ECOWAS)'s military campaign to dislodge Al Qaeda-affiliate groups in northern Mali.
  • China's number one concern in West Africa is access to natural resources and new consumer markets
  • While many Nigerians consider China's growing presence to be nothing short of a God send, others have raised concerns about Nigerian sovereignty, bearing in mind the impact Chinese trade and investment has had on other African countries.
  • The Chinese model of importing its own workers to build infrastructure projects, for example, does not sit well with many Nigerians.
  • A number of Nigerians have also voiced objections to the "slave-like" labor conditions in Chinese-operated factories across Nigeria. Attention was first brought to these conditions when 37 Nigerian workers died after being trapped inside a locked Chinese-owned factory that caught fire in 2002
  • Western powers that claim a desire to help Nigeria develop are often perceived as insincere, with their own aid being viewed as an infringement on Nigeria's sovereignty, since it often comes with strings attached.
anonymous

Why Wikipedia Does Belong in the Classroom - ReadWrite - 1 views

  • Teach students that the act of writing in any setting is defined by both form and content. I don’t let my students cite Wikipedia in their academic papers (GASP!) because I don’t believe it to be proper academic form. I don’t let them cite the Britannica or dictionary either. In an effort to shape informed consumers of information I teach them how Wikipedia should and should not be used. I agree with Proffitt when he says it’s a great place to start and a terrible place to finish. Though in some academic circles, the tide is turning.
Kathleen Hancock

Take Action: DANGER: Dolphin Meat is Poisoned by Mercury | SaveJapanDolphins.org - 0 views

  • We know, from Japanese scientists, that dolphins and small whales are heavily contaminated by mercury.  No one should be eating meat from dolphins and small whales.
  • Yet the Japanese government, fully aware of the dangers of mercury contamination, ignores this problem and allows mercury-poisoned dolphin and whale meat to be sold in markets.  Japanese consumers are exposed to danger but not warned.
  • Mercury is the second most toxic poison in the world, second only to plutonium.  Mercury attacks the brain and the nervous system, causing horrible damage to eyesight, hearing, and motor-skills, as well as interfering with memory and thought processes leading to dementia.
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  • Dolphins and small whales are at the top of the food chain in the ocean.  As such, they concentrate pollutants in their meat.  Mercury enters the ocean from a variety of sources, especially from the atmosphere, as coal-fired power plants emit tons of mercury into the air.   As organisms absorb mercury in the ocean, it gets more and more concentrated the higher up the food chain one examines.
  •  
    Toxic dolphin and whale meat- info about Mercury
Kathleen Hancock

The Power Of Poop: A Whale Story : Krulwich Wonders... : NPR - 0 views

  • with an enormous population of plankton, a few whales and a few krill, and slowly but surely the whales will multiply, pooping more iron into the ocean to produce more krill, which produces more whales, then more krill, then more whales, then more krill, until you could support an ocean teeming with whales
  • He found that on average whale faeces had 10 million times as much iron as Antarctic seawater
  • ." Basically, that's iron concentrate. And strategically emitted — which would have to be up near the ocean surface, where the sun shines — that extra iron would create blooms of phytoplankton, which would then be eaten by krill, leading to a boost in the krill population, leading to ... yes ... bigger whale dinners!
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  • baleen whales prowl the seas consuming immense quantities of krill, they might, during digestion, concentrate their food into iron-rich deposits which, when the time comes, they eject back into the ocean.
  • Krill need iron to grow and multiply.
  • there's not enough iron in the southern ocean water to support that many krill. So either the whales had smaller meals a century ago, or somehow the oceans got an extra kick or boost of iron to create more krill.
  •  
    Food pyramid
nbell003

Technology's Impact On Trend & Fashion Forecasting | InsideFMM - 0 views

  • WB: Technology and forecasting are forever joined together. Retailers demand trend information at a moment notice, while manufactures are in search of key selling silhouettes.  Forecasters are open to new technology and have fully embraced new tools for tracking and monitoring the consumer.  Technology continues to unlock new explorations from aviator societies to new technology driven materials.
Will Sullivan

Simulacra and Simulation - Wikipedia, the free encyclopedia - 1 views

  • "Simulacra and Simulation" breaks the sign-order into 4 stages: The first stage is a faithful image/copy, where we believe, and it may even be correct, that a sign is a "reflection of a profound reality" (pg 6), this is a good appearance, in what Baudrillard called "the sacramental order". The second stage is perversion of reality, this is where we come to believe the sign to be an unfaithful copy, which "masks and denatures" reality as an "evil appearance—it is of the order of maleficence". Here, signs and images do not faithfully reveal reality to us, but can hint at the existence of an obscure reality which the sign itself is incapable of encapsulating. The third stage masks the absence of a profound reality, where the simulacrum pretends to be a faithful copy, but it is a copy with no original. Signs and images claim to represent something real, but no representation is taking place and arbitrary images are merely suggested as things which they have no relationship to. Baudrillard calls this the "order of sorcery", a regime of semantic algebra where all human meaning is conjured artificially to appear as a reference to the (increasingly) hermetic truth. The fourth stage is pure simulation, in which the simulacrum has no relationship to any reality whatsoever. Here, signs merely reflect other signs and any claim to reality on the part of images or signs is only of the order of other such claims. This is a regime of total equivalency, where cultural products need no longer even pretend to be real in a naïve sense, because the experiences of consumers' lives are so predominantly artificial that even claims to reality are expected to be phrased in artificial, "hyperreal" terms. Any naïve pretension to reality as such is perceived as bereft of critical self-awareness, and thus as oversentimental.
  •  
    This is a short passage from a very interesting book about Symbols in modern culture.
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