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plumslices

Ghost Girl Monchhichi

artistsbooksandmultiples

Jenny Holzer Survival Cups, 1983

kiki-de-la-petite-flaque-deacti

Silvana Mangano in “Teorema” di Pier Paolo Pasolini, 1968.

no-mas-visuales

Ritual de apertura Samuel Guerrero Grafito 2020

meanwhilebackinthedungeon

– Alberto Martini

mariatontini1

dinsintegration

numbtotherhythm

in my notifications

thisurlwasnttakenbutnowitis

neechees

strangerfandomfiascos

airportrunwaymodel

c4ps3p

avatar-alek

This will always be peak humor to me

kuutamosonaatti

Noidan kirot / Curse of a Witch (1927) | dir. Teuvo Puro

aquiraxuno

fluoride-mention

In the field of language and signs, Baudrillard sees poetry, graffiti and seduction as types of alternative practice which create different ways of relating.

Poetic language is the form of symbolic exchange within language. This is because it is not reducible to the expression of the code. It renders language open to being broken down into its particular components – like in Freirean education. It is therefore opposed to language as value, and to identity. According to Baudrillard, in the dominant language, elements are accumulated as dead weight because they are never symbolically destroyed.

Poetic language creates a kind of vertigo, leaving the place of the signified empty. It is the force which destroys the code. Baudrillard thus sees poetic language as non-representational. It implies reversibility. It escapes the fate of language to silence and separate, allowing ambiguity. This view is advanced against the idea of poetry as simply a loosening of fixed meanings (the position taken by most poststructuralists). In Baudrillard’s discussions of poetry, a special place is reserved for Baudelaire. Baudelaire’s art is praised as enchanted, ironic, ecstatic, repeating and exceeding the logic of the system. Irony is seen as an expression of the indifference of the object.

https://ceasefiremagazine.co.uk/in-theory-baudrillard-11/