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"Wheres the simulacrum had given Deleuze the opportunity to invert the Platonic hierarchies and provide a new model for artistic production that did not privilege the unique, the ideal, and the numinous, it still did so within the realm of aesthetics. The writings of Jean Baudrillard, most notably his famous/infamous work of 1981, Simulacres et simulation, by contrast, placed the issue at the center not of philosophical but of social debate. The apocalyptic tones and millennial ferver of Baudrillard's theories of simulation derive from wider philosophical and political currents that were affecting art criticism in these years as never before. These are his readings of Marxism (the economy of images), Maussian anthropology (the symbolic exchange of images), and the writings of American cultural critic Marshall McLuhan (the medium and message of images). "The Precession of Simulacra", the first essay in the book and the one translated and reprinted many times in art journals and anthologies, has had a far-reaching effect upon contemporary artists and critics and its most shocking statements return to the Platonic dichotomy, only to reverse it. "It is no longer a question of imitation, nor even a parody. It is rather a question of substituting signs of the real for the real itself.... Illusion is no longer possible because the real is no longer possible" (Baudrillard 1994, 19)."

aus: Michael Camille: Simulachra, in: Critical Terms for Art History, hrsg. von Robert S. Nelson und Richard Shiff, Chicago 1996, S 35-48, hier S. 40.

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