When Fatal Strategies was first published in French in 1983, it represented a turning point for Jean Baudrillard: an utterly original, and for many readers, utterly bizarre book that offered a theory as proliferative, ecstatic, and hallucinatory as the postmodern world it endeavored to describe. Arguing against the predetermined outcomes of dialectical thought with his renowned, wry, ambivalent passion, with this volume Jean Baudrillard mounted an attack against the "false problems" posed by Western philosophy. If his Marxist days were firmly behind him, Baudrillard here indicated that metaphysics had also gone the way of sociology and politics: the contemporary world demanded nothing less than Pataphysics, Alfred Jarry's absurdist philosphy that described the laws of the universe supplementary to this one. In effect, with Fatal Strategies, Baudrillard became Baudrillard. In his extrapolationist manner, Baudrillard sought to replace Western philosophy's circular arguments with a ritualistic Theater of Cruelty. Using this line of thought developed in Fatal Strategies, Baudrillard went on, throughout the 1980s, to find new and shatteringly accurate ways of discussing American corporatocracy, arms build-up, and hostage taking. Fatal Strategies asserts a profound critique of American politics, and it is an important step towards his examination of evil.Jean Baudrillard (1929-2007) was a philosopher, sociologist, cultural critic, and theorist of postmodernity who challenged all existing theories of contemporary society with humor and precision. An outsider in the French intellectual establishment, he was internationally renowned as a twenty-first century visionary, reporter, and provocateur. His Simulations (1983) instantly became a cult classic and made him a controversial voice in the world of politics and art.

The first full-length translation in English of an essential work of postmodernism.The publication of Simulacra et Simulation in 1981 marked Jean Baudrillard's first important step toward theorizing the postmodern. Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure. Baudrillard uses the concepts of the simulacra - the copy without an original - and simulation. These terms are crucial to an understanding of the postmodern, to the extent that they address the concept of mass reproduction and reproduceability that characterizes our electronic media culture. Baudrillard's book represents a unique and original effort to rethink cultural theory from the perspective of a new concept of cultural materialism, one that radically redefines postmodern formulations of the body.

The year 2000, the end of the millennium: is this anything other than a mirage, the illusion of an end, like so many other imaginary endpoints which have littered the path of history? In this remarkable book Jean Baurdrillard-France's leading theorist of postmodernity-argues that the notion of the end is part of the fantasy of a linear history. Today we are not approaching the end of history but moving into reverse, into a process of systematic obliteration. We are wiping out the entire twentieth century, effacing all signs of the cold War one by one, perhaps even the signs of the First and Second World Wars and of the political and ideological revolutions of our time. In short, we are engaged in a gigantic process of historical revisionism, and we seem in a hurry to finish it before the end of the century, secretly hoping perhaps to be able to begin again from scratch. Baudrillard explores the "fatal strategies of time" which shape our ways of thinking about history and its imaginary end. Ranging from the revolutions in Eastern Europe to the Gulf War, from the transformation of nature to the hyper-reality of the media, this postmodern mediation on modernity and its aftermath will be widely read.

This is an expanded edition of the first comprehensive overview of the work of Jean Baudrillard, one of the most fascinating thinkers on the French intellectual scene. To the original selection of his writings from 1968 to 1985, this new edition adds examples of Baudrillard's work since that time.
"Reviews of the First Edition"
"This is a good book, and the author of its selected writings, Jean Baudrillard, deserves only a share of the compliment. It is difficult to introduce a difficult author, and Mark Poster has done a brilliant job. He has selected wisely from Baudrillard's writings. . . . More important, Poster has written what may be, pound for pound, the best introduction to a social theorist I have read. . . . Poster has somehow said everything the uninitiated needs to know before deciding to read Baudrillard."--"Contemporary Sociology"
"Following the lead of thinkers such as Foucault, Derrida, and Deleuze, Baudrillard engages in a task of pointing "away" from any traditional sociological themes. His writings demand that one turn away from convenient or customary interpretations of society and, in the process, one is forced to use his or her imagination in new ways."--"Choice"
"Poster's Introduction presents what is probably as clear and intelligent an exposition of Baudrillard's ideas as you'll find anywhere."--"Philosophy and Literature"

This is an expanded edition of the first comprehensive overview of the work of Jean Baudrillard, one of the most fascinating thinkers on the French intellectual scene. To the original selection of his writings from 1968 to 1985, this new edition adds examples of Baudrillard's work since that time.
"Reviews of the First Edition"
"This is a good book, and the author of its selected writings, Jean Baudrillard, deserves only a share of the compliment. It is difficult to introduce a difficult author, and Mark Poster has done a brilliant job. He has selected wisely from Baudrillard's writings. . . . More important, Poster has written what may be, pound for pound, the best introduction to a social theorist I have read. . . . Poster has somehow said everything the uninitiated needs to know before deciding to read Baudrillard."--"Contemporary Sociology"
"Following the lead of thinkers such as Foucault, Derrida, and Deleuze, Baudrillard engages in a task of pointing "away" from any traditional sociological themes. His writings demand that one turn away from convenient or customary interpretations of society and, in the process, one is forced to use his or her imagination in new ways."--"Choice"
"Poster's Introduction presents what is probably as clear and intelligent an exposition of Baudrillard's ideas as you'll find anywhere."--"Philosophy and Literature"

Baudrillard's remarkably prescient meditation on terrorism throws light on post-9/11 delusional fears and political simulations. Published one year after Forget Foucault, In the Shadow of the Silent Majorities (1978) may be the most important sociopolitical manifesto of the twentieth century: it calls for nothing less than the end of both sociology and politics. Disenfranchised revolutionaries (the Red Brigades, the Baader-Meinhof Gang) hoped to reach the masses directly through spectacular actions, but their message merely played into the hands of the media and the state. In a media society meaning has no meaning anymore; communication merely communicates itself. Jean Baudrillard uses this last outburst of ideological terrorism in Europe to showcase the end of the "Social." Once invoked by Marx as the motor of history, the masses no longer have sociological reality. In the electronic media society, all the masses can do-and all they will do-is enjoy the spectacle. In the Shadow of the Silent Majorities takes to its ultimate conclusion the "end of ideologies" experienced in Europe after the Soviet invasion of Hungary and the death of revolutionary illusions after May 1968. Ideological terrorism doesn't represent anything anymore, writes Baudrillard, not even itself. It is just the last hysterical reaction to discredited political illusions.

In America, France's leading philosopher of postmodernism took to the freeways to produce a collection of traveler's tales from the land of hyperreality. From the sierras of New Mexico to the streets of New York and LA by night-a sort of luminous, geometric, incandescent immensity-Baudrillard mixes apercus and observations with a wicked sense of fun to provide a unique insight into the country that dominates the world. In this new edition, leading cultural critic and novelist Geoff Dyer offers a thoughtful and perceptive take on the continuing resonance of Baudrillard's book in Obama's America."

The System of Objects is a tour de force-a theoretical letter-in-a-bottle tossed into the ocean in 1968, which brilliantly communicates to us all the live ideas of the day-offering a cultural critique of the commodity in consumer society.

What if the problems of modern society don't come from production, but rather consumption and the system of cultural signs? In this classic work from the defining intellectual of the postmodern, Jean Baudrillard, For a Critique of the Political Economy of the Sign takes Marx's critique of political economy and its analysis of the commodity form as the starting point for an analysis of signs and their meaning in modern society. Influenced by Lefebvre's critique of everyday life, Barthes's semiology, and Situationism, Baudrillard analyses how objects are encoded within the system of signs and meanings that constitute contemporary media and consumer societies. Combining semiological studies and sociology of the consumer society, For a Critique of the Political Economy of the Sign contains Baudrillard's most extensive engagement with Marxism and shows him at a critical juncture for the development of his thought.

What is a singular object? An idea, a building, a color, a sentiment, a human being. Each in turn comes under scrutiny in this exhilarating dialogue between two of the most interesting thinkers working in philosophy and architecture today. From such singular objects, Jean Baudrillard and Jean Nouvel move on to fundamental problems of politics, identity, and aesthetics as their exchange becomes an imaginative exploration of the possibilities of modern architecture and the future of modern life.  Among the topics the two speakers take up are the city of tomorrow and the ideal of transparency, the gentrification of New York City and Frank Gehry’s surprising Guggenheim Museum in Bilbao. As Nouvel prompts Baudrillard to reflect on some of his signature concepts (the virtual, transparency, fatal strategies, oblivion, and seduction, among others), the confrontation between such philosophical concerns and the specificity of architecture gives rise to novel and striking formulations—and a new way of establishing and understanding the connections between the practitioner and the philosopher, the object and the idea.  This wide-ranging conversation builds a bridge between the fields of architecture and philosophy. At the same time it offers readers an intimate view of the meeting of objects and ideas in which the imagined, constructed, and inhabited environment is endlessly changing, forever evolving.  Jean Baudrillard is one of the most influential thinkers of his generation and author of The Vital Illusion (2001).  Jean Nouvel has designed buildings throughout the world, including the new Guthrie Theater in Minneapolis, and is a recipient of France’s Grand Prix d’Architecture.  Robert Bononno, a translator and teacher, lives in New York City.

In his analysis of the deep social trends rooted in production, consumption, and the symbolic, Jean Baudrillard touches the very heart of the concerns of the generation currently rebelling against the framework of the consumer society. With the ever-greater mediatization of society, Baudrillard argues that we are witnessing the virtualization of our world, a disappearance of reality itself, and perhaps the impossibility of any exchange at all. This disenchanted perspective has become the rallying point for all those who reject the traditional sociological and philosophical paradigms of our age.
"Passwords" offers us twelve accessible and enjoyable entry points into Baudrillard's thought by way of the concepts he uses throughout his work: the object, seduction, value, impossible exchange, the obscene, the virtual, symbolic exchange, the transparency of evil, the perfect crime, destiny, duality, and thought.

Jean Baudrillard is one of the most celebrated and most controversial of contemporary social theorists. This major work occupies a central place in the rethinking of the humanities and social sciences around the idea of postmodernism. It leads the reader on an exhilarating tour encompassing the end of Marxism, the enchantment of fashion, symbolism about sex and the body, and the relations between economic exchange and death. Most significantly, the book represents Baudrillard's fullest elaboration of the concept of the three orders of the simulacra, defining the historical passage from production to reproduction to simulation. A classic in its field, Symbolic Exchange and Death is a key source for the redefinition of contemporary social thought. Baudrillard's critical gaze appraises social theories as diverse as cybernetics, ethnography, psychoanalysis, feminism, Marxism, communications theory and semiotics. This English translation begins with a new introductory essay.

Working his way through the various spheres and systems of everyday life-the political, the juridical, the economical, the aesthetic, the biological, among others-he finds that they are all characterized by the same non-equivalence, and hence the same eccentricity. Literally, they have no meaning outside themselves and cannot be exchanged for anything. Politics is laden with signs and meanings, but seen from the outside it has no meaning. Schemes for genetic experimentation and investigation are becoming infinitely ramified, and the more ramified they become the more the crucial question is left unanswered: who rules over life? Who rules over death? Baudrillard's conclusion is that the true formula of contemporary nihilism lies here: the nihilism of value itself. This is our fate, and from this stem both the happiest and the most baleful consequences. This book might be said to be the exploration, first, of the 'fateful' consequences, and subsequently-by a poetic transference of situation-of the fortunate, happy consequences of impossible exchange.

Jean Baudrillard (1929-2007) was a controversial social and cultural theorist known for his trenchant analyses of media and technological communication. Belonging to the generation of French thinkers that included Gilles Deleuze, Jean-FranAois Lyotard, Michel Foucault, and Jacques Lacan, Baudrillard has at times been vilified by his detractors, but the influence of his work on critical thought and pop culture is impossible to deny (many might recognize his name from "The Matrix" movies, which claimed to be based on the French theorist's ideas).

Steve Redhead takes a fresh look at Baudrillard in relation to the intellectual and political climates in which he wrote. Baudrillard sought to produce a theory of modernity, but the modern world of the 1950s was radically different from the reality of the early twenty-first century. Beginning with Baudrillard's initial publications in the 1960s and concluding with his writings on 9/11 and Abu Ghraib, Redhead guides the reader through Baudrillard's difficult texts and unorthodox views on current issues. He also proposes an original theory of Baudrillard's relation to postmodernism, presenting the theorist's work as "non-postmodernist," after Bruno Latour's concept of "non-modernity." Each section of the Reader includes an extract from one of Baudrillard's writings, prefaced by a short bibliographical introduction that places the piece in context and puts the debate surrounding the theorist into sharp perspective. The conflict over Baudrillard's legacy stems largely from the fact that a comprehensive selection of his writings has yet to be translated and collected into one volume. "The Jean Baudrillard Reader" provides an expansive andmuch-needed portrait of the critic's resonant work.

Jean Baudrillard's classic text was one of the first to focus on the process and meaning of consumption in contemporary culture. Originally published in 1970, the book makes a vital contribution to current debates on consumption. The book includes Baudrillard's most organized discussion of mass media culture, the meaning of leisure, and anomie in affluent society. A chapter on the body demonstrates Baudrillard's extraordinary prescience for flagging vital subjects in contemporary culture long before others. This English translation begins with a new introductory essay.

The renowned postmodernist philosopher s tour-de-force contemplation of sex, technology, politics and disease in Western culture after the revolutionary orgy of the 1960s.

Baudrillard's work of the last two decades has downplayed the position of the critical subject and gone over to the standpoint of the object. Nowhere is this objective (non-)critique which results so clearly played out as in the Cool Memories series. Here again, in this fourth collection of fragments and sketches, Baudrillard's stance is less that of the interventionist intellectual analysing the world as critical subject than of the barely participant observer - an object among objects, an "internal exile", watching the world "world itself" with such fierce insistence, yet registering with acuity our general deficit of reality and meaning.

Baudrillard's essential crib-book, lexicon, and companion piece to any and all of his books and a prescient portrait of our contemporary condition. "The need to speak, even if one has nothing to say, becomes more pressing when one has nothing to say, just as the will to live becomes more urgent when life has lost its meaning." -from The Ecstasy of Communication First published in France in 1987, The Ecstasy of Communication was Baudrillard's summarization of his work for a postdoctoral degree at the Sorbonne: a dense, poetically crystalline essay that boiled down two decades of radical, provocative theory into an aphoristically eloquent swan song to twentieth-century alienation. Baudrillard's quixotic effort to be recognized by the French intellectual establishment may have been doomed to failure, but this text immediately became a pinnacle to his work, a mid-career assessment that looked both forward and back. By carefully distilling the most radical elements of his previous books, Baudrillard constructed the skeleton key to all of the work that was to come in the second half of his career, and set the scene for what he termed the "obscene": a world in which alienation has been succeeded by ceaseless communication and information. The Ecstasy of Communication is a decisive, compact description of what it means to be "wired" in our braver-than-brave new world, where sexuality has been superseded by pornography, knowledge by information, hysteria by schizophrenia, subject by object, and violence by terror. The Ecstasy of Communication is an anti-manifesto that confronted and dispensed with such influences as Marshall McLuhan, Guy Debord, and Georges Bataille. It is an essential crib-book, lexicon, and companion piece to any and all of Baudrillard's books. Twenty-five years after its original publication, it remains not only a prescient portrait of our contemporary condition, but also a dark mirror into which we have not yet dared to look.

Cutting-edge theorist Jean Baudrillard on the complicitous dance of art, politics, economics, and media; includes "War Porn," on Abu Ghraib as a new genre of reality TV. The images from Abu Ghraib are as murderous for America as those of the World Trade Center in flames. The whole West is contained in the burst of sadistic laughter of the American soldiers, as it is behind the construction of the Israeli wall. This is where the truth of these images lies. Truth, but not veracity. As virtual as the war itself, their specific violence adds to the specific violence of the war. In The Conspiracy of Art, Baudrillard questions the privilege attached to art by its practitioners. Art has lost all desire for illusion: feeding back endlessly into itself, it has turned its own vanishment into an art unto itself. Far from lamenting the "end of art," Baudrillard celebrates art's new function within the process of insider-trading. Spiraling from aesthetic nullity to commercial frenzy, art has become transaesthetic, like society as a whole. Conceived and edited by life-long Baudrillard collaborator Sylvere Lotringer, The Conspiracy of Art presents Baudrillard's writings on art in a complicitous dance with politics, economics, and media. Culminating with "War Porn," a scathing analysis of the spectacular images from Abu Ghraib prison as a new genre of reality TV, the book folds back on itself to question the very nature of radical thought.

In his new book, perhaps the most cogent expression of his mature thought, Jean Baudrillard turns detective in order to investigate a crime which he hopes may yet be solved: the "murder" of reality. To solve the crime would be to unravel the social and technological processes by which reality has quite simply vanished under the deadly glare of media "real time." But Baudrillard is not merely intending to lament the disappearance of the real, an occurrence he recently described as "the most important event of modern history," nor even to meditate upon the paradoxes of reality and illusion, truth and its masks. The Perfect Crime is also the work of a great moraliste: a penetrating examination of vital aspects of the social, political and cultural life of the "advanced democracies" in the (very) late twentieth century. Where critics like McLuhan once exposed the alienating consequences of "the medium," Baudrillard lays bare the depredatory effects of an oppressive transparency on our social lives, of a relentless positivity on our critical faculties, and of a withering 'high definition' on our very sense of reality.

Jean Baudrillard's last book was about America. His new one is about cats, Foucault, Alfa Romeas, leukemia, Catholicism, the Berlin Wall, mattresses, Laurent Fabius, Jean-Paul II, roses, Antarctica, Lech Walesa, mud wrestling, Zinoviev, porn films, snow, feminism, Rio, Jacques Lacan, Stevie Wonder, Palermo, DNA and terrorism.
""Cool Memories" is the other side of "America," the disillusioned side, presented in the form of a diary, though not in the classical sense. I'm trying to grasp a world in all its silences and its brutality. Can you grasp a world when you're no longer tied to it by some kind of ideological enthusiasm, or by traditional passions? Can things "tell" themselves through stories and fragments? These are some of the questions posed in a book which may seem melancholic. But then I think almost every diary is melancholic. Melancholy is in the very state of things."

'Watching the president's Christmas message produces this necropolar, white-mass sensation. Seeing the video broadcast of the Christmas service in the cathedral itself, with these pathetic screens and the young worshippers slumped around them here and there, you tell yourself that God and religion deserved better. Deserved to die, yes, but not this. However, watching the presidential figure and his sonorous inanity, you tell yourself that here at least you got what you deserved. Chirac is useless - that goes without saying - but so are we all ... Uselessness of this kind has no origin: it exists immediately, reciprocally; like a shared secret, you savour it implicitly - with its warm bitterness - particularly in these cold snaps, as the very essence of the social bond. Sanctioned by that other interactive uselessness - the uselessness of the screen.' World-renowned for his lively and often iconoclastic reading of contemporary culture and thought, Jean Baudrillard here turns his hand to topical political debates and issues. In this stimulating collection of journalistic essays Baudrillard addresses subjects ranging from those already established as his trademark (virtual reality, Disney, television) to more unusual topics such as the Western intervention in Bosnia, children's rights, Holocaust revisionism, AIDS, the Rushdie fatwa, Formula One racing, mad cow disease, genetic cloning, and the uselessness of Chirac. These are coruscating and intriguing articles, not least because they show that Baudrillard is - pace his critics - still susceptible and alert to influences from social movements and the world beyond the hyperreal.

This third book in the Cool Memories series is culled from Baudrillard's notebooks in the period when he was composing The Illusion of the End and The Perfect Crime. In it, he resumes his investigation of the meta-metaphysics of objects. Like its predecessors, the book is a work of brief meditations, of poetic musings: in a word, of fragments.