For Baudrillard, Walter Benjamin’s Work of Art in the Age of Mechanical Reproduction has merely identified one symptom of a much wider phenomenon, the death of reality itself–or rather its vertiginous implosion into hyperreality.

Reality in the age of mechanical, electronic and digital reproduction has somehow been absorbed by its own hi-tech self representations.  In a Baudrillardian postmodern world, what counts as “real” is never more than a simulacral by-product of endless copies, fakes, replicas, and media illusions.

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