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Baudrillard, Otherness, Seduction and Simulation


Dr. Adolfo Vásquez Rocca


By Dr. Adolfo Vásquez Rocca
Pontificia Universidad Católica de Valparaíso - Universidad Complutense de Madrid .

Keywords:
Otherness - Entertainment - Simulacto - Seduction - Show


Baudrillard; ALTERITY, SEDUCTION AND DRILL (1)

The reverse of utopia .

V e live in a cold universe, the seductive warmth, the passion of an enchanted world is replaced by the ecstasy of the images, information pornography, obscene by the coldness of a disenchanted world. Not by the drama of alienation, but by the hypertrophy of the communication that, paradoxically, destroys the whole look or, as Baudrillard says (2) , with every image (3) and, indeed, yet recognition.

The challenge of difference, which is the subject specularly provided from one another that we are seduced or to seduce, to which we look and for which we are seen, makes the voyeuristic solo take the place of old seductive passionate. We are, in this sense, be for others and not only by the theatricality of social life itself, but because the eyes of others makes us in it and through it we recognize ourselves. The constitution of our identity takes place from otherness, from the perspective of another objective me, that makes me a show. Before him I'm on stage, experiencing the torturous demands of the theatricality of social life. The characteristic of frivolity is the lack of substance, weight, centrality in all reality, and thus reduce all reality to mere appearance.

The success of the manufactured identity is that each design it according to what's expected triumph rising stock (4) -. Fashion, then, is but a utilitarian design of your own personality, no depth, a kind of naivete advertising in which each one becomes an entrepreneur of his own appearance.

Society of the Spectacle.

Fashion has also contributed to the construction of the hegemonic capitalist paradise. No doubt, capitalism and feed back fashion (5) . Both are the engine of desire that is expressed and satisfied eating, both put into action very specific emotions and passions, as the lure of luxury, excess and seduction. Neither knows the rest, are progressing as a cyclical non-rational, that is not progress. In the words of J. Baudrillard: "There is continued progress in these areas: fashion is arbitrary, transient, cyclical and adds nothing to the intrinsic qualities of the individual" (6) . Similarly, it is for him to use a social process is not rational. The will is exercised-is almost bound to be exercised "only in the form of desire, closing other dimensions which lead to rest, such as the development, acceptance and contemplation. Both fashion and capitalism produce a human being excited by design aspect of personality in society show.

The consumer society is the programming of the everyday, manipulates and identifies individual and social life in all its interstices, everything turns into artifice and illusion in the service of capitalist imagination and interest of the ruling classes. The rule of seduction and obsolescence, the system fetishist appearance and widespread alienation (7) .

The game appearances.

Baudrillard's thesis is that the worst alienation is not to be stripped on the other, but to be stripped of the other, is having to produce another in his absence and, therefore, send it to yourself. If the We are currently facing in our image, not because of alienation, but its purpose, ie, the virtual disappearance of the other, a much worse fate.

See and be seen, that seems to be the watchword in the game translucent frivolity. The so-called mirror when, precisely, is the result of the widening of the eyes, and the simultaneous awareness of seeing and being seen, being subject to the gaze of otro8, and trying to anticipate other's gaze in the mirror, adjusted to the meeting. The look, the visual sensitivity directed, is built from the corporeal self, and she, in turn, comes the art, the image that tries to translate this sensory experience and appeal to the receiver sensitivity.

Our loneliness demands a symbolic mirror in which to rediscover the other from within. We look in the mirror image unit to which only carry our fragmentation.

With astonishment we took the last pictures possible, a pathetic way of certifying experience or turn it in collections. It seems that the picture wants to play this game fast-paced, free real of the reality principle, release the other the principle of identity and throw to the strangeness. Beyond the similarity and significance enforced more Beyond the "Kodak moment", reversibility is this oscillation between identity and alienation that opens the space of aesthetic illusion, the derealization of the world, its provisional bracketed.

As The Invention of Morel (9) where a unit plays life (absorbing souls) in the form of reply, as a mere projection. The Stones as a souvenir of themselves projected on the backdrop of the revolving stage. The enviable decreptitud Mick Jagger with a thin shabby and ominous, as his own narcotic relic.

The faces of the other, distant faces despite their proximity, absent despite their presence, the look without them we look back. Otherness is nothing but a ghost, fascinated by the spectacle of his absence. Maybe the Stones are dead and nobody knows. Maybe it's a replacement band for the umpteenth time that shake the world when he begins his new tour through the cities of the Great Babylon.

Disney World and the reality principle .

live in a universe strangely similar to the original, things appear replicated by their own staging, "says Baudrillard10. As Disney World is a perfect model of all orders of simulacra. In principle it is a game of illusions and phantasms: the Pirates, Frontier, the Future World, and so on. It is often believed that this 'imaginary world' is the cause of the success of Disney, but what draws the crowds is, without doubt, and especially the social microcosm, the religious enjoyment in miniature of the real America, the perfect staging of their own pleasures and disappointments.

The only phantasmagoria in this imaginary world comes from the tenderness and warmth emanating from the masses and the excessive number of devices capable of maintaining the massive effect. The contrast with the absolute solitude of the park-real-camp, is total. Or rather: inside, a whole range of gadgets magnetize the crowd channeling Flow-directed, outside, solitude, directed toward a single device, the "real" car. By a strange coincidence (although it certainly has to do with the spell itself of such a universe), this world is frozen children have been conceived and carried out by a man also frozen today: Walt Disney, who awaits his resurrection wrapped by 180 degrees Celsius. Anyway this is where we draw the target profile of America, even in the morphology of individuals and the crowd. All values are there exalted by the miniature and the cartoon. Embalmed and pacified.

Hence the possibility of an ideological analysis Disney: core of the "American way of life, panegyric of American values, etc., idealized transposition, in short, of a contradictory reality. But this hides a third-order simulation: Disney there to hide what the country "real" all America "real", a Disneyland (in the manner as prisons are there to hide the "scourge" that is all social its banal omnipresence, reducing to the minimum prison). Disneyland is presented as imaginary in order to believe the rest is real, while everything around, Los Angeles, America as a whole, is no longer real, but belonging to the order of the hyperreal and simulation. This is not a false interpretation of reality (as ideology), but to conceal that reality is not reality and, therefore, to save the reality principle.

Effects of extinction.

Images of the big city, the last fragments of recognizable human behavior. Subjects indifferent to the presence of the camera move to the beat of his own thoughts.

Movie: the Tokyo subway station, super-highways, supersonic airplanes, televisions, liquid crystal, nano-computers, and many other accessories that we implanted an acceleration in the manner of so many technological prostheses. It is the era of cyber-conditioned reflex, the vertigo of the cibermúsica, of the bankrupts of the unconscious in a shower of digital images, vertigo Jerky signals that turn on and off, the television gesture, vertigo Jerky light signals and off, the gesture of anxious neurotic and annoying zapping or cut the light at the corners that infect the system and fed artificial breaks our dependence on special effects.

fragmentation of images and constructs an abstract aesthetic labyrinth, in which each bit operates independently but, in turn, is chained to the temporal continuum of a single narrative moment. We can hold the world in our heads.

acceleration and altered states of mind. Psychotropics. The electronic representation of the mind mapping of hypertext. The information superhighway, where everything happens without even having to leave or travel. It is the era of widespread arrival of telepresence, the cibermuerte and murder of reality. The world as a large vacuum chamber and decompression. As the slowdown in the exuberance of the world. -----

Bionote / Data Author

Dr. Adolfo Vásquez Rocca
Doctor of Philosophy from the Pontificia Universidad Católica de Valparaíso, Universidad Complutense de Madrid Postgraduate, Department of Philosophy IV, Theory of Knowledge and Contemporary Thought. Areas of Specialization: Anthropology and Aesthetics. Professor of Graduate Institute of Philosophy of PUCV, the Masters in School Psychology Ethnopsychology-PUCV, Professor of Anthropology and aesthetics at the Department of Arts and Humanities UNAB. Associate Professor Theoria European Project Group Postgraduate Research. Director of Philosophical Magazine Comments http://www.observacionesfilosoficas.net/ . Executive Secretary Philosopher, Journal of the Institute of Philosophy at PUCV http://www.philosophica.ucv.cl/editorial.htm , Psikeba Associate Editor-Journal of Psychoanalysis and Cultural Studies, Buenos Aires - http://www.psikeba.com.ar/ Director of the International Advisory Council Konvergencias, Journal of Philosophy and Cultures in Dialogue, and Member of Editorial Board of Cultural Scan - Magazine of contemporary art and new trends- http://www.escaner.cl/ .
adolfovrocca@gmail.com

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