Meaninglessness in the Desert of the Real. Arguing for a Form of Meaning and Unpretentious Objects.
| Document type: | Conference Papers |
|---|---|
| Peer reviewed: | Yes |
| Author(s): | Rebecka Molin |
| Title: | Meaninglessness in the Desert of the Real. Arguing for a Form of Meaning and Unpretentious Objects. |
| Translated title: | Meningslöshet i verklighetens öken. |
| Conference name: | The Succession of Simulacra: The Legacy of Jean Baudrillard (1929-2007) |
| Year: | 2008 |
| City: | Santa Barbara, CA, USA |
| Organization: | Blekinge Institute of Technology |
| Department: | School of Technoculture, Humanities and Planning (Sektionen för teknokultur, humaniora och samhällsbyggnad) School of Technoculture, Humanities and Planning S-371 79 Karlskrona +46 455 38 50 00 http://www.tks.bth.se/ |
| Authors e-mail: | rebecka.molin@bth.se |
| Language: | English |
| Abstract: | Meaninglessness is an arbitrary word. Jean Baudrillard states that an acceptance of the worlds meaninglessness could constitute a significant shift in the outcome of the ongoing desertization of the real, and consequently, the hyperreal expansion and expenditure. If we engage in this perception we could play with forms, appearances and our impulses, without worrying about their ultimate destination (Baudrillard 2001:128). Is it possible to address such an undertaking of a meaninglessness end by means of playing with forms without engaging in simulacra, i.e. to engage in an activity to induce a change in, or reversion of hyperreality (Grace, 2000:172f)? In light of meaninglessness and of forms in general, it seems as though we cannot stop (re)making images. How then go about creating a meaninglessness in a context of digital visual production? If media are technical objects that imposes new modes of relation and perception, is it possible then to exert other modes of relations, without enacting the hyperreal (Genosko 1999:93)? Instead of being affirmatively positive of iconoclashing, like Latour (2002), neither distinguishing between mediums nor frequency (of forms), the question of who asserts what Baudrillard calls breakdown and consequently a break-in, is pivotal (Genosko 1999:90). Arguing for meaninglessness nonetheless, could certainly strike one as constituting a meaningful activity, that thus, somewhat paradoxically it might seem, could lead to acts of possible strategic meaninglessness. In a way then, by advocating meaninglessness through and by forms, meaninglessness (become) matter. |
| Subject: | Technoscience Studies\General |
| Keywords: | Meaninglessness, Meaning, Images, Form, Unpretentious Objects, Jean Baudrillard. |
