The Baudrillard Index - Bishop's University

what if all advertising were an apologia not for a product but for advertising
itself? TE:50
Western rationality has always been based, as regards discourse, upon the
criteria of truth and falsehood, now this neo-language (advertising) is
beyond truth and falsehood, it thrives on codes and models, it does not
thrive on reference or veracity, instead it thrives on actual seduction, desire,
ephemerality and, in the end, the code, U:71-72
women: the comedy of porn in the obscene advertising images of the female
body, this perpetual striptease, SC:182
young African woman made to look almost like supermodel, this is
enough to cast doubt on any image, deterrent advertising which turns us
all to denial, C4:19
worthlessness helps to make programs around them seem of a higher level,
A:102
aeroplane, SO:59, 61
TWA Crash, C4:39
aesthetic(s) / aestheticized, (see also Duchamp) SO:43, 114; CS:109; TE:9;
BL:24, 55, 56, 134, 149, 157, 158, 165, 167; AA:18; F:85 ff.; C4:32
Aesthetic Illusion and Disillusion, CA:111-129
aestheticization is not part of the real, on the contrary, it signifies that things
are becoming value, assume value, SA:21
art market’s positive role in destabilizing aesthetics, SC:27
banality, CA:25
distinction, criteria of, disappear, P:74
end of aesthetic illusion, SC:177
end of, in the superficial virtuality of the screen, AA:12
essence of the aesthetic object is found in taking away, not in adding on, F:66
feeling, metaphorical escape in all, SO:80
for 90 percent of the people, aesthetics don’t exist, the need for an aesthetic
criterion is lacking, U:152
I am objecting to aesthetics, this surplus value, the cultural exploitation
through which the proper value disappears, CA:71
I am opposed to aestheticization because it inevitably involves a loss, the loss
of the object, of this secret that works of art and creative effort might reveal
and which is something more than aesthetics, SA:19
I don’t appeal to an inverted object-based aesthetics, I’m not saying the object
has taken control, turning things around here means making the object, on
which the subjects presence and representation are imposed, the site of the
absence and disappearance of the subject; so, it means making the object
emerge as an indissoluble self evidence. The subject forfeits the monopoly
of interpretation. Or, rather, no interpretation is possible any longer, for the
object to be grasped, the subject has to lose his grasp on himself. But this
provides the subject with his last adventure, his last chance, but in the