Featherstone, Mike. “Postmodernism and the Aestheticization of Everyday Life.”
Modernity and Identity. Eds. Scott Lash and Jonathan Friedman. Oxford: Blackwell, 1992. 265-90.
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For Adorno the increasing dominance of exchange value not on
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In his earlier writings on the consumer society Baudrillard developed a theory of the commodity-sign, in which he pointed to the way in which the commodity has become a sign in the Saussurean sense, with its menaing arbitrarily determined by its position in a self-referential set of signifiers. In his more recent writings Baudrillard (1983a, b) has pushed this logic even further to draw attention to the overload of information provided by the media, which now confront us with an endless flow of fascinating images and simulations, so that ‘TV is the world.’ In Simulations Baudrillard (1983b): 148) states that in this hyperreality the real and the imaginary are confused and aesthetic fascination is everywhere, so that ‘a kind of non-intentional parody hovers over everything, of technical simulating, of indefinable fame to which is attached an aesthetic pleasure.’ For Baudrillard (1983b: 151) art ceases to be a separate enclaved reality; it enters into production and reproduction so that everything, ‘even if it be the everyday and banal reality, falls by this token under the sign of art, and becomes aesthetic.’ The end of the real and the end of art moves us into a hyperreality in which the secret discovered by surrealism becomes more widespread and generalized. ‘We live everywhere already in an “aesthetic” hallucination of reality’ (Baudrillard 1983b: 148). [J. Baudrillard. Simulations. New York: Semiotext(e), 1983.]
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Baudrillard (151): “And so art is everywhere, since artifice is at the very heart of reality. And so art is dead, not on
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