Professional Documents
Culture Documents
A critique of Baudrillard’s
hyperreality:towards a
sociology of postmodernism
Introduction
47-
’
demonstrating those very features of nihilism, fragmentation and doubt,
which it highlights as central to recent social transformations. The
examination of the concept of hyperreality is intended to show that such
’postmodern sociologies’ are limited and that they can be encompassed
(and dialectically superseded) by a sociology of postmodernism.
However, the sociology of postmodernism which is capable of
encompassing and criticizing this postmodern sociology is itself a kind
of sociology which has often been taken for postmodernism. An
adequate sociology of postmodernism must operate within the linguis-
tic, hermeneutic and historicist paradigm which has often been taken as
emblematic of postmodernism (Bauman, 1987: 5; Best and Kellner,
1991: 4). Since the roots of this hermeneutic turn lie in a long and
eminent past which includes Hegel, Schleiemacher, Dilthey, Rickert and
Weber among others, it would be strange to regard this approach to soci-
ology as postmodern, in the sense that it is new and rejects all forms of
earlier theorizing. By drawing on this linguistic and historical tradition,
the discussion of hyperreality is intended to show that postmodern soci-
ology, with its concentration of fragmentation and nihilism, is delusion-
ally founded in and focused upon epistemological issues which have no
relevance outside the academy. The examination of the concept of hyper-
reality is intended then as the focus for much wider claims about the
state of postmodern theorizing and theorizing about postmodernism.
Definition of hyperreality
The key texts in which Baudrillard first starts using the concept of the
hyperreal systematically and in which he defines (after a fashion) what
he means by the term are to be found in Fatal Strategies and Simulacra
and Simulation.
Today abstraction is no longer that of the map, the double, the mirror or
the concept. Simulation is no longer that of a territory, a referential being,
or a substance. It is the generation by models of a real without origm or
instead, that it captured this life as it was. The television can never be
anything other than a representation but the danger of the television
(and wherein lies its hyperreality) is that it is a representation which
claims it is reality. Clearly the television crew’s presence in the house
must have influenced family behaviour; moreover, the footage of the
family was not of that family as it was but necessarily a selective and
interpretative representation of that family. By claiming that it captures
the real, the television effectively obliterates the real. It asks the viewers
to accept the screen image as the truth, as the direct and unmediated
reality and therefore demands that the actual reality (the Louds family
as they live) is not relevant - that this family does not exist outside the
television image.
Baudrillard’s discussion of the film The China Syndrome makes a
similar point. This film is based on the imaginary scenario of a leak at a
nuclear power plant. It becomes hyperreal for Baudrillard because the
film preceded a real leak which occurred at Harrisburg.
But The Cbina Syndrome is also not the original prototype of Harrisburg,
one is not the simulacrum of which the other would be the real: there are
only simulacra, and Harrisburg is a sort of second-order simulacrum.
(Baudrillard, 1994a: 55)
The epistemology of the simulacra here is the same as we have seen in
the example of the Louds family. The potential nuclear disaster at
Harrisburg is not experienced as a reality but rather individuals experi-
ence that crisis as a film on a television screen. Social reality - and what
could be more real than a nuclear cataclysm - is reduced to television
images, which abolish a prior reality by presenting themselves as the
reality. Through the television the viewers think they really meet the
Louds family or their potential nemesis in a nuclear meltdown.
That television constitutes the end of interpretation (and therefore
of subjectivity and freedom) for Baudrillard is confirmed in a passage
from Simulacra and Simulation.
Now, one must conceive of TV along the lines of DNA as an effect in which
the opposing poles of determination vanish. (Baudrillard, 1994a: 31)
Baudrillard explains why the television can be described as analogous
with DNA in the next paragraph.
In the process of molecular control, which ’goes’ from the DNA nucleus to
the ’substance’ that it ’informs’, there is no longer the traversal of an effect,
of an energy, of a determination, of a message. (Baudrillard, 1994a: 31)
DNA operates without mediation, it is not interpreted but merely
inscribes itself on molecules which replicate the DNA exactly; each mole-
cule is a perfect clone of the DNA.
...
nothing separates one pole from another anymore, the beginning from
the end; there is a kind of contraction of one over the other, a fantastic tele-
scoping, a collapse of the two traditional poles into each other: implosion
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any longer has access to the real world as a reference point by which the
representations of hyperreality might be grounded and thereby proved
to be inadequate or untrue. Baudrillard’s epistemological notion of
hyperreality as a culture based upon foundationless representations inte-
grally includes a bleak political vision.4
witness riots, wars and massacres as they occur from the comfort of our
living-rooms. However, from these admittedly curious features,
Baudrillard leaps suddenly and unjustifiably to the claim that there is no
longer any reality. The television screen creates a ’false’ reality and it is
in that reality that we now live.
However, the television does not create a false reality either in its
representation of the world or in its reception by viewers. Television
coverage is determined by the cultural norms of the society to which it
broadcasts and by those involved in the production of television. Thus
any footage is an interpretation of the world and as such it is necessarily
limited. It is certainly true that programme makers try to render this
interpretation of the world as compelling as possible to attract viewers
and to sustain their claims but those images are always and necessarily
embedded in social discourse, which is itself related to the historic
development of the society. The images are not then free-floating, mere
simulacra but, on the contrary, concrete moves in a language game. They
refer not so much to the reality of the situations they portray but rather
to the society to which they communicate these images.
Similarly the viewers of television programmes do not regard these
images as empty, referenceless and fragmentary. On the contrary, just as
the creation of these images was embedded in the interpretative practice
of making sense of the world so do the viewers try to interpret these
images in such a way that they will be able to make sense of their world.
Whether the programme be a soap opera or news footage, the viewers
interpret the images according to their cultural understandings (see, for
instance, Fiske and Hartley, 1984; Hall, 1980; Featherstone, 1988:
220-1, 1991: 5, 11), although those understandings are under constant
revision in order to make sense of new information. Thus rather than
becoming the primary and prior cultural factor in contemporary society,
the television is embedded in and dependent upon pre-existing and
historically produced understandings and discourses.5 Furthermore, the
footage does not exist above and beyond the lives of viewers but, as the
briefest autobiographical consideration will reveal, the television is
employed as a resource, where new interpretations derived from its
footage are used in the renegotiation of social relations and under-
standings. Viewers discuss what they watch and make use of what they
see to make sense of their own lives.
The argument for the fundamentally interpretative nature of the tele-
vision and, therefore, its fundamental unoriginality as a cultural form
undercuts Baudrillard’s notion of hyperreality at an empirical level. In
short, the television just does not represent the ontological transform-
ation of culture which he envisages. The production and consumption
of the television operates in the same interpretative manner as the
production and consumption of literature, theatre and, indeed, oral
could deceive Descartes about everything except the fact that Descartes
thought he existed.
The specifics of Descartes’ method of doubt and the Cogito are not
critical to the discussion of Baudrillard’s hyperreality but what is crucial
is the epistemological experience which Descartes highlighted as para-
digmatic of human cognition. Descartes arrived at the Cogito, via the
method of doubt, from a very particular starting-point. He began with
the solipsistic contemplation of the evidence of his senses, and the
evidence of his eyes in particular.6 Descartes describes himself as sitting
in a room contemplating and gradually questioning the knowledge - in
fact, the vision - which he had of objects external to his own self. Since
these objects - including his own body - were external to his sensation
of them and yet could be known only by sensation, Descartes had no
external standard of verification. Every verification of these objects came
to him via his senses and was, therefore, only another representation and
not the thing itself. Descartes’ subject was trapped within its own sensa-
tions and could be sure of nothing external to those sensations.
This irrevocable subject-object dualism is critical insofar as the
analysis of hyperreality is concerned because it is this premiss that
human cognition is founded on one particular type of sensory experi-
ence which is shared by both Baudrillard and Descartes. The ocular
sensation of external material objects is the starting-point for both
theories. Significantly, this ocular starting-point facilitates the descent
into the epistemological void because the concentration of the ocular
immediately suggests that the central problem of human knowledge is
one of representation. The eye projects an image of external reality
which is viewed by the inner eye, but this projection is only a represen-
tation of which we can have no external verification (because everything
we see is a representation viewed by the inner eye). This is particularly
problematic in the light of the fact that the eye is so easily deceived.
Baudrillard and Descartes share the same representationalist paradigm
but whereas Descartes sees the mists of nihilism descending the moment
one considers how we might verify the representations we see,
Baudrillard historicizes this moment of doubt to the mid-1970s, argu-
ing that the classic epistemological problem of representation and scep-
ticism emerges for society as the television attains a position of cultural
dominance.
Hyperreality occurs, then, at the moment when the relationship
between the object and the representation is called into doubt. The tele-
vision screen, from which individuals derived their notion of reality, has
no verifiable or direct connection with the outside world. Baudrillard’s
television screen replicates Descartes’ concerns about the inner eye but
instead of this inner eye being located in the brain of the subject, it is,
for Baudrillard, located in the living-room. Since we cannot corroborate
the representations the television screen presents of the world, the know-
ledge which we gain from the screen is open to doubt.
Although Baudrillard is (typically) reticent about clarifying the
Cartesian epistemological origins of hyperreality, he, nevertheless,
reveals in Fatal Strategies that he himself thinks of hyperreality as a
moment of extreme Cartesian doubt, thereby confirming the interpre-
tation I have made above. Three consecutive sections of that work are
titled ’The Evil Genie of the Social’ (1990b: 72), ’The Evil Genie of the
Object’ (1990b: 81) and ’The Evil Genie of Passion’ (1990b: 99). The
use of the term ’evil genie’ is significant because it is an alternative (but
epistemological irruption; the freed referent still needs its object but it
just likes to pretend that it is free. Hyperreality is just a form of modern
representation but one which dare not speak its name.
However, it is not just that hyperreality is self-deluded, but it is also
dependent upon a Cartesian epistemological paradigm which is deeply
and seriously flawed. Heidegger’s Being and Time has been a crucial
philosophical resource for highlighting the
of Cartesian-inadequacies
ism. One of the fundamental aims of that work highlight the was to
Conclusion
only are these intellectuals disillusioned but they are also self-deluded
for they nostalgically lament the loss of modern (Cartesian) certainties,
which were always untenable, even as they revel in the void which was
always the other side of rationalism. Hyperreality, therefore, signifies
and uncritically embodies postmodernism but it does not analyse the
particular cultural forms which recent developments have taken. Despite
Baudrillard’s demands for the end of dialectics (1994a: 161, 162), his
own theory (and epistemological postmodernism more generally) fails
for the very reason that it is not dialectical enough.
Notes
9 Although I use Lash’s term ’cultural paradigm’, I mean the term in the
broader anthropological sense in which Douglas, for instance, uses it (1969)
to refer to the cultural categories and classifications that inform social
practices, relations and individual identities in a society. Furthermore,
although Lash does employ the definition of postmodernism forwarded here
(as the transgression of the cultural categories of modernity (e.g. Lash,
1991: 22, 23, 82-4, 90, 98, 99) at in his text and does
certain moments
provide some interesting insights, for the
part his definition of post-
most
modernism as ’de-differentiation’ (1991: 5,11) is too abstract to be of much
analytical use or even that convincing. Furthermore, his argument that post-
modernism problematizes reality (1991: 13, 14, 15) comes uncomfortably
close to the notion of hyperreality that I criticize here. Moreover, whereas
Lash contrasts modernism (as the intellectually elitist movement from the
end of the 19th century until about the 1930s) with postmodernism, I,
following Bell, Jameson and Martin, would argue that postmodernism
would be better understood in opposition to modernity (as defined in the
text). Lash would have avoided this narrow opposition of postmodernism
to modernism if he had adopted a broader anthropological definition of the
term culture.
10 For interesting accounts of the cultural categories and boundaries of
modernity which were forged in the Enlightenment and by the 19th-century
bourgeoisie, see Mosse (1985) and Theweleit (1987).
11 Martin (1985) documents transformations in various cultural practices,
such as rock music, the arts and youth culture, which since the 1960s have
been increasingly concerned with boundary violation (see also Kellner,
1989: 242).
12 Callinicos (1991), Bauman (1987: 2, 1988: 223) and Harvey (1991: 38)
have argued that the nihilism of postmodern sociology is related to the
political disenfranchisement and disillusionment of intellectuals since the
1960s.
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