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Javier E

(1) Mimetic Collapse, Our Destiny - Freddie deBoer - 0 views

freddiedeboer.substack.com/...mimetic-collapse-our-destiny

art simulacra baudrillard literature

shared by Javier E on 22 Oct 23 - No Cached
  • this recent piece from The New York Times Magazine, which argues that the artistic obsession with novelty and experimentation, the primary obsession of modernism and so something like the default goal of artists for more than a century, has recently run aground. This turn from the primacy of the new does not stem from a choice to reject it, but because culture is truly spent, and can produce nothing original
  • the condition that Farago describes is ultimately the same condition that leads Rolling Stone to publish an anti-Infinite Jest piece in twenty goddamn twenty-three - discursive exhaustion, the inevitable dark side of meme culture, the sputtering firehose of human expression that is the internet running dry. CT Jones wrote that piece because it’s a thing people write, Rolling Stone published it because it’s a thing publications publish, and people read it because it’s a thing people are known to think. These are not ideas so much as they are the impressions of where ideas once were, like the lines you find on your face the morning after you sleep on the wrong pillow.
  • The litbro, in other words, is a simulacra, a symbol that has eaten what it was meant to symbolize, a representation of something that has never existed. The idea is Jean Baudrillard’s, expressed in several texts but most famously in Simulacra & Sign, published in 1981
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  • In it, Baudrillard argues that there are four phases of the image - a faithful depiction of that which really is, an unfaithful depiction of that which really is, a depiction that covers up for the fact that there is nothing which is actually being depicted, and the simulacra, which exists in a human culture of such universal equivalency that no one has the grounding necessary to know what “reality” might even be outside of equivalencies, outside of depiction
  • at this stage, the litbro really exists precisely within Baudrillard’s concepts - it is a representation of someone else’s representation, a second-hand depiction, an archetype that is now developed fully through reference to itself rather than to some underlying reality. Baudrillard said that the development of simulacra is “a question of substituting the signs of the real for the real.”
  • Another example you often hear is the 1950s diner, the joint that has the neon signs and the art deco styling and the mini jukeboxes at the tables. This classic bit of Americana is not, in fact, based on what diners were like in the 1950s; it’s someone’s idea of what 1950s diners were like, which then spread mimetically from the actual physical 1950s diners that had been built to films and television, which then acted as “proof” that the imaginary diners were real, creating a social expectation of what a diner looks like that diner owners then felt pressure to fulfill…. Eventually most people came to believe that this is what diners were like in the 1950s. The point, though, is not that this is an act of deception. The point is that the consumerist reality in which these restaurants exists obliterates any belief in a true or false depiction. (No one cares whether the classic 1950s diner actually depicts a historical truth, really
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