Volume 2, Number 1
If you put something out you are in the hands of others – that’s perfectly normal. It’s also normal that there is a certain type of aggression against someone who writes. So you send it out, and something has to come back. It could be agreement, but it could also be an attack, like you see in some conferences. A sort of challenge. It’s not a malicious attack, it’s a bit symbolic. …This relation has to be there – play, challenge, reversion. I believe it’s an essential relation, and it’s exactly what is missing in the current climate.1
all remain incredibly naive: we always look for a good usage of the
image, that is to say a moral, meaningful, pedagogic or
informational usage, without seeing that in a sense the image
revolts against this usage, that it is the conductor neither of
meaning nor good intentions, but on the contrary of an implosion, a
denegation of meaning…2
2. Escalator, entry facade
3. Entry facade.
1 See Jean Baudrillard in Chapter Six (“Interview with Jean Baudrillard”) of Paul Hegarty's Jean Baudrillard: Live Theory. New York: Continuum International Publishing, 2004:135.
2 Jean Baudrillard. The Evil Demon of Images: The 1984 Maria Kuttna Lecture on Film. Sydney, Australia: Power Institute of Fine Arts, 1987:23. Translated by Paul Patton and Paul Foss.
3 See Jean Baudrillard in: “Interview with Jean Baudrillard” in Paul Hegarty. Jean Baudrillard Live Theory. New York: Continuum International Publishing, 2004:135.
4 Paul Hegarty in Ibid.:1. Among the book’s eight chapters are included: “System and Exchange: From Marxism to the Symbolic”, “Simulation and the Decay of the Real”, “Geopolitics of the Real”, “Before and After Baudrillard”.
5 Douglas Kellner. “Baudrillard, Globalization and Terrorism: Some Comments on Recent Adventures of the Image and Spectacle on the Occasion of Baudrillard’s 75th Birthday”. International Journal of Baudrillard Studies. Volume 2, Number 1 (January 2005). www.ubishops.ca/baudrillardstudies/vol2_1/kellner.htm
6 See Jean Baudrillard. The Perfect Crime. Paris: Editions Galilee, 1995. English translation by Chris Turner, New York: Verso, 1996; Impossible Exchange. Paris: Editions Galilee, 1999. English translation by Chris Turner. London: Sage, 2001; and The Vital Illusion. Edited by Julia Witwer. New York: Columbia University Press, 2000. (Wellek Lectures in Critical Theory, May 1999, University of California, Irvine).
7 Jean Baudrillard in Nicholas Zurbrugg. “The Ecstacy of Photography: Interview with Jean Baudrillard” in Art and Artefact. London: Sage, 1997.
8 For Baudrillard’s thought on the matter see: “The Matrix Decoded: Les Nouvel Observateur Interview With Jean Baudrillard”. International Journal of Baudrillard Studies. Volume 1, Number 2 (July 2004). http://www.ubishops.ca/baudrillardstudies/vol1_2/genosko.htm
9 Jean Baudrillard. Interview with Gane and Arnaud in Baudrillard Live, 1993:23
10 See endnote 8.
11 See Sylvere Lotringer. “Doing Theory” in Lotringer and Sande Cohen’s French Theory In America. New York: Routledge, 2001:152. Lotringer writes that Deleuze and Guattari “despised Baudrillard’s ideas for ‘demobilizing’ people, turning them away from political action”.
12 See Mike Gane. Jean Baudrillard in Radical Uncertainty. London: Pluto, 2000.
13 Kurtz’s expression of fear brings two passages to my mind: First, Baudrillard’s remark: “I shall never forgive anyone who passes a condescending or contemptuous judgment on America (Cool Memories I, c1987, 1990:209), and secondly Kristeva’s statement to Americans: “I love your country… its immensity, this landscape that seems to open toward an unknown promise, the naïve and sometimes brutal freshness of its inhabitants… the speed and the simplicity of your streets and of your academia”. Julia Kristeva. “Europhilia, Europhobia” in Sylvere Lotringer and Sande Cohen. French Theory in America. New York: Routledge, 2001:33.
14 For another take on Beaubourg see Jean Baudrillard. Simulacra and Simulation (c1981). Ann Arbor: University of Michigan Press, 1994:61-70.
We could of course add that the Tour Montparnasse is an even worse monster, were it not for the secret purpose of this building. To understand the secret of Tour Montparnasse one must stand amidst the grave markers of the Cimetière de Montparnasse looking Northwest. There, rising out of the stones and crosses, we find the monolithic Tour an extension of the cemetery – a grave marker for modernity itself. This in the city which is said to be the “capital of modernity” (David Harvey, Routledge, 2003). A city that treated modernist architecture (exiling it to the far end of the city) with an even greater indifference than modernist architecture could itself offer.
15 I took these photographs of the Centre Pompidou in April 2003. Until reading Taj’s book review I did not fully understand why.
16 See Jean Baudrillard, Interview with Sylvere Lotringer in Forget Foucault: Forget Baudrillard. New York: Semiotext(e), 1987:124. Translated by Nicole Dufresne.
©International Journal of Baudrillard Studies (2005)