Hyperreality

Hyperreality is…

Hyperreality (HR) “was coined by Nobuyoshi Terashima to refer to “the technological capability to intermix virtual reality (VR) with physical reality (PR) and artificial intelligence (AI) with human intelligence (HI)… it does not as yet exist in the sense of being clearly demonstrable and publicly available” (Terashima, 2001, p. 4).”

source:
Primary source: , N. (2001). The definition of hyperreality. In J. Tiffin & N. Terashima (Eds.), HyperReality: Paradigm for the third millennium(pp. 4-24). London and New York: Routledge.
Secondary source: Rajasingham, Lalita (et al.). (2009). The Application of Virtual Reality and A HyperReality Technologies to Universities In Pagani , Margherita (Ed.). Encyclopedia of Multimedia Technology and Networking; Second Edition. London and Hershey (USA): IGI Global; Information Science Reference. p. 61.

Hyperreality “is where virtual reality and physical reality seamlessly intersect to allow interaction between their components, and where human and artificial intelligences can communicate. The technological capability for this is at an experimental stage.”

source:
Secondary source: Rajasingham, Lalita (et al.). (2009). The Application of Virtual Reality and A HyperReality Technologies to Universities In Pagani , Margherita (Ed.). Encyclopedia of Multimedia Technology and Networking; Second Edition. London and Hershey (USA): IGI Global; Information Science Reference. p. 61.

Hyperreality currently and under the influence of Baudrillard, semiotics, Marshall McLuhan, et al. has shifted in its meaning from the above to the state of human consciousness (especially under the influence of electronic technologies) where a distinction between reality and fantasy is no longer clear cut. Here “reality” is “reality by proxy.”

Hyperreality: “Baudrillard goes so far as to suggest that television and life dissolve into one another as free-floating signs and images come to constitute what we know and do in what he calls ‘hyperreality’. This is an essentially negative development, giving rise to culture which is superficial and meaningless…”

source:
TRIVreality. See Baudrillard, McLuhan et al.

Hyperreality: Baudrillard “has argued that within postmodernity members of society live in a mass-media-produced blizzard of signs. People are unable to separate reality from the apparent infinity of signs on television and other media that form a ‘hyperreality’. News reports of ‘reality’ include simulations, while fans write to characters in soap operas as if they were ‘real’. Signs and the real have thus become indistinguishable (Storey 2001).”

source:
primary source: Baudrillard, J. (1983). Simulations. New York: Semiotext.
Secondary source: Storey, J. (2001). Cultural Theory and Popular Culture: An Introduction. Harlow: Prentice Hall. Tertiary source:

Hyperreality: (or hyperreality) according to Baudrillard, “suggest that the postmodern world is one in which ‘reality’ has been replaced by a series of empty signs.” In a ‘hyper reality’ signs only refer to other signs.

source:
Mooney, Annabelle and B. Evans (Eds.). (2007). Globalization; The Key Concepts. London and New York: Routledge. p. 199

Hyperreality “is most closely associated with the French cultural theorist Jean Baudrillard (1995). It articulates the status of collective ”reality” under informational capitalism. The basic idea is that the image, sign, or representation of reality, has reached a critical threshold where it supercedes the ”real” or represented. This means the end of authenticity; it also means that authenticity is endlessly sought. Thus media representations have a greater reality or are of more consequence than the events they portray, while manufactured or artificial objects take the place of natural ones. [According to] Baudrillard …all objects [are reduced] to their exchange value (initially their monetary value). As this exchange has become increasingly informational, the relation between object and value becomes reversed; rather than the object being the source of exchange value, it is now determined by this value… Our world is literally remade in the sign’s image. Spaces such as Disneyland and shopping malls are often cited as examples of the hyperreal environments that this process produces. At its most extreme the hyperreal suggests… total simulation. But hyperreality is not simply a triumph of simulation, as if there were only an infinite regress of images, but rather a condition in which representations and simulations determine real events. This results in a situation in which events occur precisely so that they can be represented, and in an age of simulation the production and control of images is of paramount importance. Baudrillard (1995) famously argued that the first (1991) Gulf War would not (before), was not (during), and did not (afterwards) take place. He didn’t argue that it didn’t really happen but was referring to the war that television viewers were being shown. He argued that the war viewers believed was happening, was not the war that was really happening. While the war was real in an immediately visceral and embodied way for the people involved directly in it, it was also ”real” to those who watched it on the news (especially real-time news coverage). The ”reality” of the war was no longer unified; there was no singular ”truth” or ”reality” (or ”origin”). The fact that these realities can coexist quite happily is why postmodernists use the term hyperreality. Hyperreality is in part, then, a crisis of signification.”

source:
Mooney, Annabelle and B. Evans (Eds.). (2007). Globalization; The Key Concepts. London and New York: Routledge. p. 199

Hyperreality suggest that “the postmodern world is one in which ”reality” has been replaced by a series of empty signs.”

source:
Mooney, Annabelle and B. Evans (Eds.). (2007). Globalization; The Key Concepts. London and New York: Routledge. p.199.

Hyperreality and Simulation are “related concepts; in his essay ”Simulacra and Simulation,” Baudrillard describes simulation as ”the generation by models of a real without origin or reality: a hyperreal” (1988: 166). Thus hyperreality is a mode of reality overtaken by simulacra produced by a process of simulation.”

source:
Primary source: Baudrillard, J. (1988) Selected Writings, ed. M. Poster, Stanford, CA: Stanford University Press. p.166
Secondary source: Mooney, Annabelle and B. Evans (Eds.). (2007). Globalization; The Key Concepts. London and New York: Routledge. p 214

Hyperreality: “The code certainly refers to computerisation, and to digitalisation, but it is also fundamental in physics, biology and other natural sciences where it enables a perfect reproduction of the object or situation; for this reason the code enables a by-passing of the real and opens up what Baudrillard has famously designated as ‘hyperreality’.”

source:
Lechte , John.(2008). Fifty Key Cotemporary Thinkers; From Structuralism To Post-Humanism; Second Edition. London and New York: Routledge. p305

Hyperreality: “Baudrillard thus shows how the system is potentially a closed system which risks imploding. Hyperreality effaces the difference between the real and the imaginary.”

source:
Lechte , John.(2008). Fifty Key Cotemporary Thinkers; From Structuralism To Post-Humanism; Second Edition. London and New York: Routledge. p305

Hyperreality: Baudrillard argues that there are three levels of simulation, where the first level is an obvious copy of reality and the second level is a copy so good that it blurs the boundaries between reality and representation. The third level is one which produces a reality of its own without being based upon any particular bit of the real world. The best example is probably “virtual reality “, which is a world generated by computer languages or code. Virtual reality is thus a world generated by mathematical models which are abstract entities. It is this third level of simulation, where the model comes before the constructed world, that Baudrillard calls the hyperreal.

source:
Lane, Richard J.( ). Jean Baudrillard; ROUTLEDGE CRITICAL THINKERS; essential guides for literary studies. London and New York: Routledge. p.30

Hyperreality: “a third-order simulation produces a ‘hvperreal’, or ‘…the generation by models of a real without origin or reality…’ ( Baudrillard. 1983B: 2). In a reversal of order, in third-order simulation, the model precedes the real (e.g. the map precedes the territory) but this doesn’t mean that there is a blurring between reality and representation; rather, there is a detachment from both of these, whereby the reversal becomes irrelevant.

source:
Baudrillar, J. (1983b). [1981]. Simulations. Trans. Paul Foss, Paul Patton and Philip Beitchman. NewYork: Semiotext(e). p.2

Hyperreality: “Baudrillard suggests that hyperreality is produced algorithmically (or via mathematical formulae), like the virtual reality of computer code; that is to say, detached from notions of mimesis and representation and implicated, for example, in the world of mathematical formulae. The important and disturbing point to all this is that the hyperreal doesn’t exist in the realm of good and evil, because it is measured as such in terms of its performativity how well does it work or operate?”

source:
Lane, Richard J.( ). Jean Baudrillard; ROUTLEDGE CRITICAL THINKERS; essential guides for literary studies. London and New York: Routledge. p.86

Hyperreality: “With first- and second-order simulation, the real still exists, and we measure the success of simulation against the real. Baudrillard’s worry with third-order simulation is that the model now generates what he calls “hyperreality” – that is, a world without a real origin. So, with third-order simulation we no longer even have the real as part of the equation. Eventually, Baudrillard thinks that hyperreality will be the dominant way of experiencing and understanding the world.”

source:
Lane, Richard J.( ). Jean Baudrillard; ROUTLEDGE CRITICAL THINKERS; essential guides for literary studies. London and New York: Routledge. pp.86-87

Hyperreality: where the hyperreal produces a society of surfaces, performativity and a fragmentation or fracturing of rationality. Such a world has been called by many critics “the postmodern”.

source:
Lane, Richard J.( ). Jean Baudrillard; ROUTLEDGE CRITICAL THINKERS; essential guides for literary studies. London and New York: Routledge. p.91

Hyperreality: Baudrillard’s central idea is that, “in the postmodern world, the real has been almost totally displaced by the simulated, or what he calls the ‘hyperreal’ (1994, p. 1). The real, he believes, has been irretrievably lost, replaced by the electronic and other forms of simulation. Even if people wanted to, they could not distinguish anymore between the simulation and the real. America is in the vanguard of the hyperreal, and the future promises only more and more simulation, he claims.”

source:
Primary source: Baudrillard, Jean. (1994). Simulacra and Simulation, trans. Sheila Faria Glaser. Ann Arbor: University of Michigan Press. p.1
Secondary source: Darity, William A. Jr. (ed.) (2008 ). International Encyclopedia of the Social Sciences, 2nd edition; VOLUME 5; MASCULINITY–NYERERE, JULIUS. Detroit, New York, et al.: MacMillan Reference USA. p.32

Hyperreality: Basically, in simulation we are “not dealing with the representation of reality, but with the presentation of the hyperreal, so that the real, the fiction and the fake are essentially taken as equal expressions of reality. The hyperreal is an effect of simulation that optionally reinforces representational features of the fiction, while their references to the ‘real’ are dissolved. Media reality confirms a (fictional – or fake) reality on its own. This is also true in games.”

source:
Primary source: Baudrillard, Jean. (1994). Simulacra and Simulation, trans. Sheila Faria Glaser. Ann Arbor: University of Michigan Press. p.1
Secondary source: Darity, William A. Jr. (ed.) (2008 ). International Encyclopedia of the Social Sciences, 2nd edition; VOLUME 5; MASCULINITY–NYERERE, JULIUS. Detroit, New York, et al.: MacMillan Reference USA. p.32

Hyperreality has been “discussed as being a condition where what we experience as our (social) reality is culturally constructed, not ‘out there’ and independent of human agency. ‘[H]yperreality is the becoming real of what was or is a simulation or . . . hype . . .’ (Fırat and Venkatesh, 1993: 229; for more explorations see Baudrillard, 1983a; Eco, 1986). For simple examples of the condition of hyperreality, consider the urban reality of life in New York City, or the political reality of the power of the US presidency. In both cases it is clear that the reality we encounter today is constituted by (past) human agency. Hyperreality questions the strict distinction that the moderns made between reality and fantasy. We often say, for example, that the streets at Universal Studios or at Disneyland are fantasylands, whereas the streets of New York or Los Angeles are real. Yet, postmodernism interrogates: how much more real are the lush lawns, water parks, golf courses, and orange trees of Phoenix, a city crafted out of the arid Sonoran Desert, than the fantasy neighborhoods of Disneyland? And of course the neon-lit canyons of Times Square in New York are not too different from the hyperreal ‘New York, New York’ casino on the Las Vegas Strip. In Dubai, a city in the parched Arabian Desert, a colossal man-made island development, shaped like a palm tree and large enough to be seen from a spacecraft, is being built out into the gulf. More than doubling Dubai’s beachfront, this (hyper)real oasis will eventually include 49 themed hotels, such as Balinese, Sicilian, and Mexican (Bennet, 2004). Postmodernist sensibility invites the (re)cognition that all social reality is constructed, and that the distinction between the real and the fantastic is more in the orientation one has towards one’s surroundings than in the nature of those surroundings.”

source: ?

Hyperreality: and its •”key attributes, processes, phenomena (from a marketing theory/practice perspective) —Simulation—: Assuming a feigned appearance, an imitation – often to induce consumer delight; as in themed spaces in Disneyland or Las Vegas, or the chimerical rise of Dubai. —Construction—: The process of combining ideas and symbols to achieve congruous meaning; as in constructing a ‘youthful’ brand personality for Pepsi.— Signification—: Communicating by signs, to convey meanings in symbolic ways; as in Nike’s pervasive and sometimes subtle use of the ‘swoosh’ to convey endurance and performance. —Phantasmagoria—: A fantastic sequence of haphazardly associative and dreamlike imagery; as for example in many music videos. –Simulacra—: A semblance, a mock appearance that seems to mimic reality; as for example in shopping malls made to look like European streets and piazzas.”

source:
Firat, A. Fuat and Nikhilesh Dholakia. (2006).Theoretical and philosophical implications of postmodern debates: some challenges to modern marketing; Marketing Theory 2006; 6; 123. p.129 Retrieved from http://mtq.sagepub.com/cgi/content/abstract/6/2/123 on March 26, 2007

Hyperreality: Baudrillard argues that “a series of modern distinctions, including the real and the unreal, the public and the private, Art and reality, have broken down (or been sucked into a ‘black hole’ as he calls it) leading to a culture of simulacrum and hyperreality.”

source:
Barker, Chris. (2004). The SAGE Dictionary of Cultural Studies. London, Thousand Oaks and New Delhi: Sage Publications. p.13

Hyperreality is a concept deployed within some versions of postmodern thought signifying ‘more real than real’. It refers to the manner by which simulations or artificial productions of ‘real life’ execute their own worlds to constitute reality. As such, hyperreality is a ‘reality effect’ by which the real is produced according to a model and appears to be more real than the real. Consequently, the distinction between the real and a representation collapses or implodes.

source:
Barker, Chris. (2004). The SAGE Dictionary of Cultural Studies. London, Thousand Oaks and New Delhi: Sage Publications. p.90

Hyperreality is “the real retouched in a ‘hallucinatory resemblance’ with itself whereby the real implodes on itself. Implosion…describes a process leading to the collapse of boundaries between the real and simulations. This includes that between the media and the social so that ‘TV is the world’. Television simulates real-life situations, not so much to represent the world as to execute its own. News re-enactments of ‘real life’ events blur the boundaries between the ‘real’ and the simulation, and between ‘entertainment’ and ‘current affairs’.”

source:
Barker, Chris. (2004). The SAGE Dictionary of Cultural Studies. London, Thousand Oaks and New Delhi: Sage Publications. p.91

Hyperreality: “Within hyperreality, fact and fiction, past and present, intermingle… Just as sincerity can be simulated, so authenticity can be manufactured… hyperrealities can be more sincere in their inauthenticity than the real thing… Hyperrealities create an insatiable desire for the real—most basically, for real bread, butter and beer—and nearly always, the real is assumed to reside in the past. Hence its plundering by marketers, prompting the design and manufacture of ‘retro-products’ which combine nostalgic styling with the latest technology (Brown 1995:118).”

source:
Primary source: Brown, S. (1995). Postmodern Marketing. London and New York: Routledge. p.118
Secondary source: Marsden, Richard. (1999). Routledge Studies in Social and Political Thought; 20 The Nature of Capital; Marx after Foucault. London and New York: Routledge. p.5

Hyperreality: “Like the drawings of Escher, hyperrealities are visual non sequiturs which present us with an intellectual challenge.”

source:
Marsden, Richard. (1999). Routledge Studies in Social and Political Thought; 20 The Nature of Capital; Marx after Foucault. London and New York: Routledge. p.7