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The Transparency of Evil: Essays in Extreme Phenomena, by Jean Baudrillard
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In this, his most important collection of essays since Le systeme des objets, Jean Baudrillard contemplates Western culture “after the orgy”—the orgy, that is, of the revolutions of the 1960s. The sexual revolution has led, he argues, not to sexual liberation but to a reign of transvestism, to a confusion of the categories of man and woman—to the “androgenous and Frankenstein appeal of a Michael Jackson.” The revolution in art has led to a “transaesthetic realm of indifference.” The cybernetic revolution has blurred the distinction between man and machine, while the political revolution has led to a ‘transpolitics’ that merely simulates old political forms. Such are the points of Baudrillard’s compass as he steers his way through the mental landscape of this febrile fin de siecle.
- Sales Rank: #817705 in Books
- Brand: Brand: Verso
- Published on: 1993-05-17
- Released on: 1993-05-17
- Original language: French
- Number of items: 1
- Dimensions: .54" h x 7.80" w x 7.78" l, .98 pounds
- Binding: Paperback
- 174 pages
- Used Book in Good Condition
Review
“Such quality and accuracy of insight indicate both the power of Baudrillard’s initial position and the value of the French tradition of the grand philosophical analyst moving freely through the culture.”—Brian Appleyard, The Spectator
“We may not like Baudrillard’s merciless honesty about the modern age, but we need his voice: the crow on the shoulder.”—Pat Kane, The Scotsman
Language Notes
Text: English (translation)
Original Language: French
About the Author
Jean Baudrillard (1929–2007) began teaching sociology at the Université de Paris-X in 1966. He retired from academia in 1987 to write books and travel until his death in 2007. His many works include Simulations and Simulacra, America, The Perfect Crime, The System of Objects, Passwords, The Transparency of Evil, The Spirit of Terrorism, and Fragments, among others.
Most helpful customer reviews
15 of 16 people found the following review helpful.
Baudrillard's Best Book?
By John David Ebert
As anyone knows who has read Baudrillard, by "evil" he does not mean evil in a moral or ethical sense, but rather that principle which is antithetical to the smooth functioning of our hypermodern systems. Thus, AIDS, cancer, terrorism, computer viruses, etc. are examples of "extreme phenomena" which are a form of evil in the sense that they tend to disrupt the flow of systems. AIDS disrupts the flow of sexual promiscuity; cancer disrupts the flow of genetic programming; terrorism disrupts the flow of politcal economy, and so forth. These disruptions, moreover, may be the result on the part of these systems of a sort of homestatic tendency to preserve the system itself from even worse evils. Drugs, for example, prevent the tyranny of rationality; terrorism the tyranny of political consensus; AIDS, the absolute tyranny of sexual promiscuity, etc.
Our society, according to Baudrillard, operates in terms of virulent phenomena: that is to say, phenomena that proliferate with a metastatic or viral meaninglessness. We are saturated with media images that proliferate metastatically, like cancer cells which grow without regard for the context of the system within which they are embedded. Indeed, simulation is a form of this endless repetition of the Hell of the Same, in which ideas, tradition, and discourse have disintegrated and left behind a residue in the form of hollow ghost-like traces which proliferate around us like viruses, intent only upon destroying the system with oversaturation.
Baudrillard, like Nietzsche before him, thus sees our society as a sick one, for he draws his metaphors largely from biology and medicine. Art, he says, has become Trans-Aesthetic, producing images in which there is literally nothing to see because they make no effect and leave no trace; sexuality has become Trans-sexual in the sense that there is no longer any fixity of gender. Figures like Michael Jackson or Boy George simply discard their genders and proceed as if there is no such thing. Economics, too, he says, has become Trans-Economic, creating virtual realms of speculation that have little to do with the real world, which is why, he says, the crash of 1987 had little actual effect upon the real economy.
This is, in short, one of Baudrillard's two or three best books. It is clearly written and very readable. Nobody had a better grasp of the essentially phantom nature of postmodernity; its shallowness, and ghostly production of promiscuous forms with no relation to context or tradition of any sort. He is a kind of modern equivalent of Nietzsche, diagnosing our contemporary predicament, the way a physician would analyse a patient.
--John David Ebert, author of "The New Media Invasion" and "Dead Celebrities, Living Icons."
0 of 0 people found the following review helpful.
THE FRENCH POSTMODERNIST PHILOSOPHER COMMENTS ON CURRENT EVENTS
By Steven H Propp
Jean Baudrillard (1929-2007) was a French philosopher, cultural theorist, political commentator, and photographer most associated with the “Postmodern” movement.
He begins this 1990 book with the statement, “If I were asked to characterize the present state of affairs, I would describe it as ‘after the orgy.’ The orgy in question was the moment when modernity exploded upon us, the moment of liberation in every sphere. Political liberation, sexual liberation, liberation of the forces of production, liberation of the forces of destruction, women’s liberation, children’s liberation, liberation of unconscious drives, liberation of art… This was total orgy---an orgy of the real, the rational, the sexual, of criticism as of anti-criticism, of development as of the crisis of development. We have pursued every avenue in the production and effective overproduction of objects, signs, messages, ideologies and satisfactions. Now everything has been liberated, the chips are down, and we find ourselves faced collectively with the big question: ‘What do we do now that the orgy is over?’” (Pg. 3)
He states, ”When [Andy] Warhol says: all works are beautiful---I don’t have to choose between them because all contemporary works are equivalent; when he says: art is everywhere, therefore it no longer exists, everyone is a genius, the world as it is, in its very banality, is inhibited by genius---nobody is ready to believe him. Yet his is in fact an accurate description of the shape of the modern aesthetic, an aesthetic of radical agnosticism. We are all agnostics, transvestites of art or of sex. None of us has either aesthetic of sexual convictions any longer---yet we all profess to have them.” (Pg. 22)
He says, “Yet it is precisely now that the rights of man are acquiring a worldwide resonance. They constitute the only ideology that is currently available---which is as much as to say that human rights are the zero point of ideology, the sole outstanding balance of history. Human rights and ecology are the two teats of the consensus. The current world charter is that of the New Political Ecology. Ought we to view this apotheosis of human rights as the irresistible rise of stupidity, as a masterpiece which, though imperiled, is liable to light up the coming fin de siècle in the full glare of the consensus?” (Pg. 87-88)
He observes, “This indifference of memory, this indifference to history, is proportional to our efforts to achieve historical objectivity. One day we shall be asking ourselves whether Heidegger himself ever existed. The paradox of Robert Faurisson’s thesis may seem repugnant---and indeed, it is repugnant in its HISTORICAL claim that the gas chambers never existed---but at the same time it is a perfect reflection of a whole culture: here is the dead end of a fin de siècle so mesmerized by the horror of the century’s origins that forgetting is an impossibility for it, and the only way out is denial. So proof is useless, since there is no longer any historical discourse in which to frame the case for the prosecution, but punishment too is in any case an impossibility.” (Pg. 92)
He suggests, “The utopia of the end of alienation has likewise disappeared. The subject has not succeeded in negating himself as subject, within the framework or a totalization of the world. A determinate negation of the subject no longer exists: all that remains is a lack of determinacy as to the position of the subject and the position of the other. Abandoned by this indeterminacy, the subject is neither the one nor the other---he is merely the Same. Division has been replaced by mere propagation. And whereas the other may always conceal a second other, the Same never conceals anything but itself. This is our clone-ideal today: a subject purged of the other, deprived of its divided character and doomed to self-metastasis, to pure repetition. No longer the hell of other people, but the hell of the Same.” (Pg. 122)
He notes, “If it is true that seduction is founded upon my intuition of something in the other that remains forever secret for him, something that I can never know directly about him but which nevertheless exercises a fascination upon me from behind its veil of secrecy, then today there can be very little leeway left for seduction, for the other retains very little mystery for himself. The fact is that everyone is devilishly self-aware these days, devilishly conscious of the nature of their own desire. Everything is now so clear that the very fact of presenting oneself behind a mask is liable to elicit nothing but mockery. In such a contest, what becomes of the poker game of seduction? Where, for that matter, is the illusion of desire---except, perhaps, in the theoretical illusion of psychoanalysis or the political illusion of revolution?” (Pg. 166)
This book contains Baudrillard’s characteristically acerbic and perceptive comments on a very wide variety of issues; it will be of great interest to anyone who enjoys his other writings.
15 of 17 people found the following review helpful.
easy fellas ....
By A. Jewell
This book is a good introduction to the contemporary Baudrillard, it is the last step as he leaves behind the last vestiges of Marxism and ventures into something original and "fatal". Contrary to the first reviewer, Baudrillard does not assume an "Essentialist" position (namely, providing necessary and sufficient conditions for 'such and such' to be 'such and such'). Instead he operates between wildly poetic description and (implied) moral condemnation.
This means, mostly, that his comments on meaning and media are striking. It also means (unfortunately) that he provides little in the way of concrete or rigorous argumentation. Thankfully, this is not a problem if we consider the book a collection of inter-related aphorisms. In any case, Baudrillard "the poet" instead of Baudrillard "the theorist" allows us to conceptualize the expanding domain of media technologies in a different way. Whether there actually -is- anything to his claims will have to be shown by someone else.
Since this book has had something of an influence on art criticism, I recommend it (albeit, with strong reservations about its basic claims)to anyone interested in cultural theory, the arts or any sort of contemporary "critical theory".
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