Jacques Derrida argued that access to meaning and the ' real ' was always deferred, and sought to demonstrate via recourse to the linguistic realm that " There is nothing outside the text "; at the same time, Jean Baudrillard theorised that signs and symbols or simulacra mask reality ( and eventually the absence of reality itself ), particularly in the consumer world.

The seminal work in this respect is Jean Baudrillard's ( b. 1929 ) L ' échange symbolique et la mort ( 1976 ), in which Baudrillard claims that in the course of the 20th century reality has been superseded by " simulacra ", by representations of the original which — in a world where technology has developed the means to replicate each and everything, including works of art ( cf.

Baudrillard called this phenomenon the " precession of simulacra ".

Baudrillard theorizes that the lack of distinctions between reality and simulacra originates in several phenomena:

It is important to note that when Baudrillard refers to the " precession of simulacra " in Simulacra and Simulation, he is referring to the way simulacra have come to precede the real in the sense mentioned above, rather than to any succession of historical phases of the image.

The subject of their lyrics ranges from sex to Jean Baudrillard and his philosophy about simulacra.

" " Erewhon " refers to the " nomadic distributions " that pertain to simulacra, which " are not universals like the categories, nor are they the hic et nunc or now here, the diversity to which categories apply in representation.

By simulacra numinum the historian Tacitus refers to the " statues of the active powers ".

His holo-addiction is first seen in the episode " Hollow Pursuits ", in which he creates simulacra of the ship's bridge officers, who are now completely responsive to Barclay's every whim.

Economic and technological conditions of our age have given rise to a decentralized, media-dominated society in which ideas are only simulacra, inter-referential representations and copies of each other with no real, original, stable or objective source of communication and meaning.

These ideas are simulacra, and only inter-referential representations and copies of each other, with no real original, stable or objective source for communication and meaning.

Moreover, these simulacra are not merely mediations of reality, nor even deceptive mediations of reality ; they are not based in a reality nor do they hide a reality, they simply hide that anything like reality is irrelevant to our current understanding of our lives.

" Kitsch, using for raw material the debased and academicized simulacra of genuine culture, welcomes and cultivates this insensibility.

* Artistic discourse about recurring elements of simulated architecture and simulacra in both the actual planning and media representation of Germania ( with several pictures and German text ) by Erratik Institut Berlin

Smith began as an Agent, an AI program in the Matrix programmed to keep order within the system by terminating human simulacra which would bring instability to the simulated reality, as well as any rogue programs that no longer serve a purpose to the Machine collective.

The information gleaned from cadaver research and animal studies had already been put to some use in the construction of human simulacra as early as 1949, when " Sierra Sam " was created by Samuel W. Alderson at his Alderson Research Labs ( ARL ) and Sierra Engineering Co. to test aircraft ejection seats, aviation helmets and pilot restraint harnesses.

Next, with an army of 1, 000 plant simulacra, the true Plantman captured the U. S. President by taking over an American military base.

The second inaugurates an age of simulacra and simulation, in which there is no longer any God to recognize his own, nor any last judgment to separate truth from false, the real from its artificial resurrection, since everything is already dead and risen in advance.

Like the water clocks ( clepsydra ) of Plato's time, they were not regarded as playthings but might have had a particular significance in Greek philosophy, which made use of models and simulacra of this type.

Although human morphology is not necessarily the ideal form for working robots, the fascination in developing robots that can mimic it can be found historically in the assimilation of two concepts: simulacra ( devices that exhibit likeness ) and automata ( devices that have independence ).

Second is a rejection of the modernist " Utopian gesture ", evident in Van Gogh, of the transformation through art of misery into beauty whereas in the postmodernism movement the object world has undergone a " fundamental mutation " so that it has " now become a set of texts or simulacra " ( Jameson 1993: 38 ).

The Tommy Hilfiger brand is used as an example, " simulacra of simulacra of simulacra.

In Gaiman's story, Brother Power is revealed to be an imperfect elemental, similar to the Swamp Thing, and he is connected to all human simulacra such as dolls, dummies, statues, etc.

It does this via the materialization of physical human simulacra ; Kelvin confronts memories of his dead lover and guilt about her suicide.

He once again creates simulacra on a holodeck, this time of the Voyager crew, but based on facts available to him about their true personalities ( for the most part ; because he named his cat Neelix, he makes the holodeck Neelix purr ).

Thus, when it was feared to proclaim the truth openly, simulacra were employed in fables so that — if only in this way — the truth might be agreeable alike to the ruled and to the rulers.

Simulacra and Simulation identifies three types of simulacra and identifies each with a historical period:

His heart was found intact in the funeral pyre and some of his remaining bones bore self manifesting symbols or simulacra of Buddhas.

The production of human simulacra to substitute for human sexual partners took several technological leaps forward in the late twentieth century.

Within the ( post -) structuralist line ( though mostly not taking that label ) are thinkers such as Gilles Deleuze, Michel Foucault, Claude Lefort, and Jean Baudrillard.

Baudrillard proposes the notion that, in such a state, where subjects are detached from the outcomes of events ( political, literary, artistic, personal, or otherwise ), events no longer hold any particular sway on the subject nor have any identifiable context ; they therefore have the effect of producing widespread indifference, detachment, and passivity in industrialized populations.

Supporting interpretations and explanations of contemporary conspicuous consumption are proffered in Consumer Culture ( 1996 ), by C. Lury, Consumer Culture and Modernity ( 1997 ), by D. Slater, Symbolic Exchange and Death ( 1998 ), by Jean Baudrillard, and Spent: Sex, Evolution, and the Secrets of Consumerism ( 2009 ), by Geoffrey Miller.

The most prominent proponents of this position are Lyotard and Baudrillard.

The book includes long extracts from the works of Jacques Lacan, Julia Kristeva, Paul Virilio, Gilles Deleuze, Félix Guattari, Luce Irigaray, Bruno Latour, and Jean Baudrillard who are considered by some to be leading academics of Continental philosophy, critical theory, psychoanalysis or social sciences.

His work has been compared to that of Marshall McLuhan, Jean Baudrillard, Gilles Deleuze and Félix Guattari, Jean-François Lyotard, Jacques Ellul, and others, although many of these connections are problematic.

Some of the division ’ s authors are: Karl Barth, Joseph Ratzinger ( aka Pope Benedict XVI ), Rowan Williams, George Bernard Shaw, Jonathan Sacks, Slavoj Žižek, Theodor W. Adorno, Martin Heidegger, Alain Badiou, Bertolt Brecht, Arthur Miller, Michael J. Frayn, Paulo Freire, M. A. K. Halliday ( aka Michael Halliday ), Noël Coward, John Henry Newman ( aka Cardinal Newman ), Willy Russell, Winston Churchill, Jean Anouilh, Edward Bond, Dario Fo, Tennessee Williams, Wole Soyinka, Jean Baudrillard, Roland Barthes and Paul Virilio.

This idea, which has been compared to Baudrillard ’ s simulacrum, Mazzoni calls the “ idol ” – a concept constructed by human artifice to which poetic imitations are compared in order to determine their believability.

Post-modernists like Jean Baudrillard have even argued that culture ( and therefore our lives ) now has no basis in reality whatsoever.

He notes that Applewhite's condemnations of contemporary culture bear similarities to those of Jean Baudrillard at times, particularly their shared nihilist views.

The development of electronic media blurs the line between map and territory by allowing for the simulation of ideas as encoded in electronic signals, as Baudrillard argues in Simulacra and Simulation ( 1994, p. 1 ):

Baudrillard argues that the style of warfare used in the Gulf War was so far removed from previous standards of warfare that it existed more as images on RADAR and TV screens than as actual hand-to-hand combat, that most of the decisions in the war were based on perceived intelligence coming from maps, images, and news, than from actual seen-with-the-eye intelligence.

Whilst Pierre Bourdieu gained significant critical acclaim for his continued work on cultural capital, certain French sociologists, particularly Jean Baudrillard and Michel Maffesoli, were criticised for perceived obfuscation and relativism.