Baudrillard calls the new communities that are linked reproduction,
as the simulation- the current state of postindustrial society that is
based on the structural action of value. Dominated by symbols,
images, and representations, the contemporary world points to the
fact is a serious fade: absence of a fundamental matter and carries
no relation to any reality. Domination of the simulated images in
postmodern society is so much that we just do not recognize the
authentic from fake, but no principle is involved for real anymore.
Pop Art shows transformation in art of the early twentieth century,
from the Baudrillard’s perspective. While prior art issues was
invested with moral values on the one hand (classic art) as a
independent bing, on the other, by Pop art we enter in a new realm
of artistic themes that we could correlate it with the Baudrillard’s
view of postmodern era in terms of consumption and related
properties. Works of Pop Art and Andy Warhol particularly, are
important in this regard, because reduce art into a flat image with
indications that signifies the end of depth, perspective, evocation
just like as the logic of the contemporary society in Baudrillard’s
thought.
فریلند سینیتا ، اما آیا این هنر است؟، ترجمۀ کامران سپهران، مرکز، 1383.
کرم پور، مهسا، در یادداشت مترجم بر مقاله: زیبایی شناختی کردن زندگی روزمره از مایک فدرستون، ارغنون شماره 19، فرهنگ و زندگی روزمره 1، 1384.
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______, The System of Objects, London: Verso, 1996.
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______, Aesthetic Illusion and Virtual Reality,” in Jean Baudrillard, Art and Artefact, ed. Nicholas Zurbrugg, London; Thousand Oaks; New Delhi: Sage Publications, 1997.
______, “Transpolitics, Transexuality, Transaesthetics,” in Jean Baudrillard:
______, The Disappearance of Art and Politics, ed. William Stearns and William Chaloupka, New York: St. Martin’s Press, 1992.
______, The Conspiracy of Art, New York and Los Angeles: Semiotext(e), 2005.
Toffoletti, kim, Baudrillard Reframed, London, Wiley Online Library, 2011.
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