Beyond Re Baudrillard by Leslie Grant The following discussion of the fashion photograph focuses on how it operates in order to do the work of ideology, and therefore presents the false promise of both incorporation and individualization, and in turn coherent subjective status, to the consumer. A selection of Baudrillard’s theories, including that of simulation, sign-value and hyperreality, are applied here to examine the structures and disavowed processes that control the photographic production of meaning for the viewer, there is no intention of proving the theories or using them in a prescriptive sense - Baudrillard’s theories are used here as tools. The texts cited are, "The Ideological Genesis of Needs", "Models and Series," and "The Procession of Simulacra", as well as secondary sources utilized to come to a more informed position on the theo- ries presented. In these texts, Baudrillard presents a vision of post- modern society in which "images and signs proliferate to the point where previous distinctions between illusion and reality, sig- nifier and signified, subject and object, collapse, and there is no longer any social or real world of which to speak, only a semioti- cally self-referring “hyperreality"."’ This is the society of the sim- ulacrum, where representation is no longer possible because of the death of the real and the photographic image presents an illu- sion that masks this lack of reality as such. The fashion photograph, because of the structure of sign value and the semiological domination made possible by the death of signification, can be seen to present the subject with the possibility of the construction of a unique identity through the consumption of the fashion commodity. This possibility, much like what is pictured in the image, is an illusion; the subject can only be neutralized and integrated into the system in the act of con- sumption. Baudrillard theorizes that the photograph presents the illusion of reality in order to conceal the lack of any reality as - such. This is further complicated by the impossibility of isolating the process of simulation, and the converse of this, "namely, it is now impossible to isolate the process of the real, or to prove the real." The photograph reinforces ideology in order to counter the devastating effects of simulation. These understandings of the photographic production of meaning doom the subject, desiring the construction of an individual identity, "to self-negation and despair"? The use of the photograph in the media, specifically the @ The photograph reinforces ideology in order to counter the devastating effects of simulation. fashion photograph, relies heavily on the photograph’s ability to appear to represent so-called reality, and therefore its ability to reinforce ideology. Baudrillard claims, " All media and news ser- vice only exist to maintain the illusion of actuality"*, and again, “we must think of the media as if they were [ ] a sort of genetic code which controls the mutation of the real into the hyperre- al". Media is also that which controls the desires of the consumer, presenting consumption as a freedom of choice. This illusion of freedom is rejected by Baudrillard: he puts forth the question, "How am | free not to choose?"* Deborah Cook reiterates this point, writing that the media, "treats us like subjects with desires, a will, free choice, in order to negate us as subjects." She points out, "the one-directional structure of the media merely reflects the structures of domina- tion which shape the relations between producers and consumers, ".* This “one-directional com- munication flow which characterizes most media "does not serve communication but prevents it"", insuring the enforcement and influence of ideology. There is no possibility of dialogue or an alternate viewpoint because the media constructs the ‘reality’ of the subject, and this ‘reality’ is integrated into his/her social and psychic life, eliminating the subject's ability to have an alternate view that isn't tainted by the corrosive effect of the media. Baudrillard rejects "the liberating potential of the media on the grounds that it forbids symbolic exchange by virtue of its structure".’ He writes, "while it is true that one can escape the reality principle of the content, one can never escape the reality principle of the code. Even while rebelling against the content, one more and more closely obeys the logic of the code.""” Another aspect of the manipulation of the subject and the elimination of any form of resistance is the media's effect of neutralization of difference. Baudrillard explains, "The slightest details of our behavior are ruled by neutralized, indifferent, equivalent signs, by zero-sum signs"." In post- modern society, "everything becomes undecidable. This is the characteristic effect of the domina- tion of the code, which is based everywhere on the principle of neutralization and indifference." Media disseminates information with strict adherence to the code, and therefore participates in the homogenization determined by the structure of the code. The fashion industry in postmodern society, as part of the media, operates on the subject se Beyond Reg by Leslie Grant Baudrillard The following discussion of the fashion photograph focuses on how it operates in order to do the work of ideology, and therefore presents the false promise of both incorporation and individualization, and in turn coherent subjective status, to the consumer. A selection of Baudrillard’s theories, including that of simulation, sign-value and hyperreality, are applied here to ‘examine the structures and disavowed processes that control the photographic production of meaning for the viewer; there is no intention of proving the theories or using them in a prescriptive sense - Baudrillard’s theories are used here as tools. The texts cited are, "The Ideological Genesis of Needs", "Models and Series," and "The Procession of Simulacra", as well as secondary sources utilized to come to a more informed position on the theo- ries presented. In these texts, Baudrillard presents a vision of post- modem society in which "images and signs proliferate to the point where previous distinctions between illusion and reality, sig- nifier and signified, subject and object, collapse, and there is no longer any social or real world of which to speak, only a semioti- cally self-referring "hyperreality"."' This is the society of the sim- ulacrum, where representation is no longer possible because of the death of the real and the photographic image presents an illu- sion that masks this lack of reality as such. The fashion photograph, because of the structure of sign value and the semiological domination made possible by the death of signification, can be seen to present the subject with the possibility of the construction of a unique identity through the fashion photograph, relies heavily on the photograph's ability to appear to represent so-called consumption of the fashion commodity. This possibility, much like reality, and therefore its ability to reinforce ideology. Baudrillard claims, "All media and news ser- what is pictured in the image, isan illusion; the subject can only vice only exist to maintain the illusion of actuality", and again, “we must think of the media as be neutralized and integrated into the system in the act of con- if they were [] a sort of genetic code which controls the mutation of the real into the hyperre- sumption. Baudrillard theorizes that the photograph presents the al".® Media is also that which controls the desires of the consumer, presenting consumption as a illusion of reality in order to conceal the lack of any reality as freedom of choice. This illusion of freedom is rejected by Baudrillard: he puts forth the question, such. This is further complicated by the impossibility of isolating “How am | free not to choose?"* Deborah Cook reiterates this point, writing that the media, the process of simulation, and the converse of this, “namely, it is “treats us like subjects with desires, a will, free choice, in order to negate us as subjects."” She now impossible to isolate the process of the real, or to prove the points out, "the one-directional structure of the media merely reflects the structures of domina- feal."? The photograph reinforces ideology in order to counter __tion which shape the relations between producers and consumers,”.* This “one-directional com- the devastating effects of simulation. These understandings ‘of the munication flow which characterizes most media “does not serve communication but prevents photographic production of meaning doom the subject, desiring it*, insuring the enforcement and influence of ideology. There is no possibility of dialogue or an the construction of an individual identity, "to self-negation and alternate viewpoint because the media constructs the ‘reality’ of the subject, and this ‘reality’ is despair".* integrated into his/her social and psychic life, eliminating the subject's ability to have an alternate The use of the photograph in the media, specifically the view that isn't tainted by the corrosive effect of the media. = Baudrillard rejects "the liberating potential of the media on the grounds that it forbids @ The photograph reinforces symbolic exchange by virtue of its structure".’ He writes, "while it is true that one can escape . . the reality principle of the content, one can never escape the reality principle of the code. Even ideology in order to counter the white rebeling against the content, one more and more closely obeys the logic of the code."* a . . Another aspect of the manipulation of the subject and the elimination of any form of resistance devastating effects of simulation. {the meds’ eect ot neuwalzaton of diference. Baudilard explains, "The sightestdetals of our behavior are ruled by neutralized, indifferent, equivalent signs, by zero-sum signs"."' In post- modern society, “everything becomes undecidable. This is the characteristic effect of the domina- tion of the code, which is based everywhere on the principle of neutralization and indifference." Media disseminates information with strict adherence to the code, and therefore participates in the homogenization determined by the structure of the code. The fashion industry in postmodern society, as part of the media, operates on the subject 9 ‘O)