Baudrillard's Research On Art Production From The Perspective Of "Simulacra"

The French thinker Baudrillard is considered a thinker with deep criticism and insight into p ostmodern society,and his attention to the complex era has prompted the diversity of his ideas.he draw lessons from and absorbing the Marshall McLuhan media "implosion",Benjamin "mechanical copy" thinking,in the wave of "landscape society" theory,and by Saussure and Roland Barthes inspired by the related theory of sociology,the resulting "verisimilitude","real","implode" and a series of have a good insight of contemporary society and the impact of core idea concept.On the media,his "simulacra" theory becomes the logical basis of artistic production on the symbolic level,and the "implosion" concept borrowed by him has a huge influence on the level of artistic symbols.It also makes it possible to observe the production,dissemination,consumption,exchange and other phenomena and problems of art from the media perspective of "simulacrity".There are two main characteristics of art production and communication in the age of simulacra,that is,"desire production" and "unreal communication".Under the control of symbol and media technology,art actually loses its spiritual charm and becomes a kind of production driven by various consumption desires,which is embodied in the commercialization and mass reproduction of art.In addition to the technological shaping of hyper-reality by media,the public and real art will be separated from the mirror of exhibition,the mirror of media and the mirror of symbols,and the audience will be exposed to the planar media view,so they will lose the true feeling of art.As the public is in the simulacra world constructed by electronic media or digital images,symbols or landscapes replace and blend into real life,the communication of art also becomes a kind of "unreal" communication.At the same time,the "symbolic consumption" in the age of simulacra leads to the unreality of art production,that is,the illusion of art production,and the "simulation" of art also makes the subject aesthetic become illusory.The implosion of art makes the flood of visual images,or the flood of visual images itself is an "implosion" of art.Therefore,symbol and symbol of symbols of the imitation of the simulated world let already with simulacra,the art of fiction features faded into a kind of symbolic simulation,the symbolic simulation from the artistic expression of emotion and thought,become a kind of image,thuscause the visual alienation,produced a scarred art "wasteland".Baudrillard's early discovery of the non-functional value of objects,namely "symbolic value",argued that artistic consumption is a kind of non-functional consumption in nature,which is reflected in the removal of use value and the manifestation of symbolic value.This kind of exchange comes from the ostentation exchange in the primitive society,which continues to this day,mainly reflected by the auction of artworks.Through the accumulation of the symbol "surplus" value,the art auction can far exceed its original artistic value.Art exchange,however,is not a simple linear exchange,tend to choose in a particular field,its value and symbolic symbolic feature makes it constituted a another field "symbol",under the exchange field,people discipline by symbolization,"name"(symbol)and the relationship between "objects"(real world)to blend with each other in this conspiracy.Simultaneously,the development of media technology makes the hyper-real world constructed by symbols become the main space for the generation of art.The art of "simulacra" has a crisis of transmutation under the hyper-real symbolic world,and the triple dilemma.The first dilemma is promoted by mass media.In the pseudo-real world,communication benefits from technology and can circulate indefinitely,thus resulting in communication imperialism,that is,"everything revolves around communication".The impact of this doctrine on art is reflected in the fact that when faced with the amazing power of mass consumption,it can only move towards popularization and self-deconstruction in the infinite communication cycle.The second dilemma is that driven by the public desire,art has been "imploded" in the narrow space and forced to blend and coexist with other things.The cultural industry makes the autonomy of art fade,and the mixture of public desire makes the art space be continuously intervened and gradually lose the spiritual power.Third,the creators and operators of the subject "conspire" to involve the symbolic strategy into the art production,making the art become worthless and commonplace.Therefore,art in the process of development is faced with three aspects of transmutation dilemma: communication imperialism,mass desire and subject strategy.Baudrillard's core ideas such as "simulative reality" and "hyper-reality" have certain value and significance to analyze and interpret the current art production,but also have certain limitations.Its significance mainly involves both theoretical and practical significance.The theoretical significance provides a new critical angle of view for the study of artistic production,and then broadens the theoretical vision of the Theory of artistic production,compared with the traditional theory of artistic production.The visual field of "quasi-reality" is based on the post-modern cultural context,with more emphasis on the role of media in the production of art,and the introduction of "symbolic students" of art.The concept of "production" is more critical and enlightened.The realistic significance is an inspiration to the art development in the mediaage and a warning to the "virtual" way of existence in the pseudo-real age.And its limitation lies in that Baudrillard,as a pessimistic and relativistic of technology,has a certain degree of attention and vigilance to the social change brought about by the development of media technology,but at the same time,he is not aware of the power of technological innovation at the same time.Therefore,the tendency of "final conclusion" appears.Therefore,when we realize the inspiration of western thinkers like baudrillard on the construction of our art production,we should also set up the dialectical concept of "developing and discarding".At the same time,to makes some reflections on Baudrillard's theory on media technology itself and art production practice in China.