Table of Contents
In his 1981 work Simulacra and Simulation, theorist Jean Baudrillard introduces the concepts of simulacra and simulation. For Baudrillard, simulacra and simulation are pervasive in modern society, and they have had a number of profound effects.
What is the difference between simulacra and simulation? Simulation is a term that is used to describe a process in which things that appear to be real are not, in fact, real. Simulacra, on the other hand, is an object that is not real, but appears to be real. For example, the plastic figurine that is popular with children today is a simulacrum of a real person.
The idea of simulation is a little more complex. A simulation is an object that appears to be real but is not. In other words, it is a real object, but it is not real. For example, when you watch a movie, you are watching a simulation. In the film, the characters and the world around them seem to be real but are actually fake.
Baudrillard posits that society has moved beyond the point of reality into a world of simulation. That is to say, what we experience is not reality, but rather a copy of reality. In Baudrillard’s view, this copy is not an exact replica of reality, but rather a distorted version of it.
An order of a simulacra would be a representation of a person’s face. A stage of simulacra would be a representation of a person’s name. In Baudrillard’s view, orders and stages of simulacra are two different types of simulacra. The difference between the two is based on how the simulacra are being used. If the simulacra are being used to represent the original, then the order and stage of simulacra would be the same. However, if the simulacra are being used to represent something else, then the order and stage of simulacra would be different. Baudrillard states that the stages of simulacra are ‘simulated’ and the orders of simulacra are ‘representations’.
“Simulacra and Simulation” breaks the sign-order into 4 stages:
4 Stages of the Sign-Order
1) The first stage is a faithful image/copy, where we believe, and it may even be correct, that a sign is a “reflection of a profound reality” (pg 6), this is a good appearance, in what Baudrillard called “the sacramental order”. For example, a photo of a king on a piece of paper, we have faith that it is the king in question.
2) The second stage is perversion of reality, this is where we come to believe the sign to be an unfaithful copy, which “masks and denatures” reality as an “evil appearance—it is of the order of maleficence”. Here, signs and images do not faithfully reveal reality to us, but can hint at the existence of an obscure reality which the sign itself is incapable of encapsulating. For example, a fake painting, which is made to look like a real painting. The fake painting is capable of communicating something to the viewer, but the viewer is not capable of deciphering what this means.
3) The third stage masks the absence of a profound reality, where the simulacrum pretends to be a faithful copy, but it is a copy with no original. Signs and images claim to represent something real, but no representation is taking place and arbitrary images are merely suggested as things which they have no relationship to. Baudrillard calls this the “order of sorcery”, a regime of semantic algebra where all human meaning is conjured artificially to appear as a reference to the (increasingly) hermetic truth. For example, an advertisement which uses a celebrity to sell a product. The celebrity is not actually endorsing the product, but their image is used in order to make the product seem more appealing.
4) The fourth stage is pure simulation, in which the simulacrum has no relationship to any reality – there is no longer any distinction between the original and the copy. For example, in the movie The Matrix, the characters are actually living in a simulated world, and the world around them is fake.
Orders of Simulacra
According to Baudrillard the world, as we know it now, is constructed on the representation of representations. These simulations exist to fool us into thinking that an identifiable reality exists. Baudrillard’s orders of simulacra exist as follows:
1) The first order of simulacra focuses on counterfeits and false images. In this instance the sign no longer refers to that which it is obligated to refer to, but rather to produced signifieds. In this level, signs cease to have obligatory meanings. Instead the sign becomes more important than the physical. That is to say that the focus is placed on the sign rather than on what it is intended to represent. For example, a picture of a Madonna might be placed in a church. The picture would take on religious meaning even though it is not the real Madonna. In this way, the simulacrum has taken on a life of its own and is no longer bound by its original meaning.
2) The second order of simulacra is when the simulacrum is so far removed from its original that it can no longer be said to be a copy. In this order signs become repetitive and begin to make individuals the same. Signs refer to the differentiation between the represented signifieds, not to reality. For example, a picture of a person might be placed in a gallery and the viewer might see multiple representations of the same person. This is a type of simulacra that is derived from the first order. In this way, the individual is no longer a unique individual but rather a collection of similar individual representations.
3) The third order of simulacra is that which is referred to as the simulacrum of the real. This simulacrum is a form of representation that is not based on the reproduction of the original but rather on the appropriation of the original signified. For example, a person might be represented by a computer graphic image of themselves. This simulacrum is based on the idea that the individual has an essence and is simply represented in the image. This type of simulacrum is an instance of a non-semantic simulacrum.
Baudrillard believed that society had reached a point where the simulacra (i.e. the copies) were more real than the actual reality. In other words, we are more likely to believe what we see in the movies than we are to believe what is actually happening in the world around us. This is because movies often present a more attractive or appealing version of reality than actuality. As such, Baudrillard’s theory can be used to explain why people are often drawn to movies over actual life experiences. In the modern world, as of 2023, Baudrillard’s theory has been extremely influential in the development of internet communication.
Virtual worlds such as Second Life are being created with the purpose of replicating the real world in order to bring people together. The ‘real’ world of Second Life can be seen as a simulacratic representation of the ‘real’ world of the physical world. The metaverse (as it is known) is the result of an attempt to simulate reality in a way that is both virtual and infinite. This metaverse can be used to facilitate communication between people.
Fight Club as a Simulation of Reality
In the 1999 movie “Fight Club,” Tyler Durden (played by Brad Pitt) creates an underground boxing club for men who are looking for an escape from their mundane lives. The club becomes increasingly popular and soon evolves into something much bigger than just a place to fight; it becomes a way of life for its members.
As the movie progresses, it becomes clear that Tyler is using the club as a way to create his own simulated world where he is in control. The club members are willing participants in this simulation, as they find meaning and purpose in their lives within the club that they could not find in the real world. In essence, Tyler has created a microcosm of society within the club where he is the center of attention and everyone revolves around him.
As “Fight Club” progresses, it becomes increasingly clear that Tyler’s simulated world is actually more real to him than actual reality. This is most evident in the scene where he burns down his own house in order to collect the insurance money. By doing this, Tyler destroys any ties he has to actuality and allows himself to fully immerse himself in his simulated world.
“Fight Club” provides an excellent example of Baudrillard’s theory of simulation and simulacra. In the movie, Tyler Durden creates a simulated world that is more real to him than actual reality. The members of the club become willing participants in this simulation, as they find meaning and purpose within its confines that they cannot find in the outside world. As such, “Fight Club” serves as a warning against getting too caught up in simulations and losing touch with actual reality.
Baudrillard concludes his work by discussing some of the implications of simulacra and simulation. He argues that simulations can have a numbing effect on people because they are so divorced from reality. Additionally, he states that simulations can be used to control people; for example, TV can be used to pacify people and keep them from challenging the status quo. Ultimately, Baudrillard believes that simulacra and simulation are detrimental to society because they promote apathy and social conformity.
He argues that as simulations become more realistic, people become less engaged in the real world and begin to adopt a passive attitude towards it. This apathy can have negative consequences for society as a whole, as it can lead to a lack of social unrest.
Additionally, Baudrillard argues that as simulations become more realistic, they begin to take on a life of their own, becoming independent of the people who create and use them. This can have negative consequences for the way in which we view the world, as the world may no longer be seen as a reflection of our own desires and beliefs.
In Simulacra and Simulation, Baudrillard offers a scathing critique of modern society. He argues that we are increasingly living in a world of simulations—imitations with no corresponding originals—which has led to a sense of apathy and conformism among people. While many will no doubt disagree with Baudrillard’s pessimism, his work remains an important contribution to the fields of sociology and cultural theory.