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The System of Objects

A tour de force of the materialist semiotics of the early Baudrillard.

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.

Pressing Freudian and Saussurean categories into the service of a basically Marxist perspective, The System of Objects offers a cultural critique of the commodity in consumer society. Baudrillard classifies the everyday objects of the “new technical order” as functional, nonfunctional and metafunctional. He contrasts “modern” and “traditional” functional objects, subjecting home furnishing and interior design to a celebrated semiological analysis. His treatment of nonfunctional or “marginal” objects focuses on antiques and the psychology of collecting, while the metafunctional category extends to the useless, the aberrant and even the “schizofunctional.” Finally, Baudrillard deals at length with the implications of credit and advertising for the commodification of everyday life.

The System of Objects is a tour de force of the materialist semiotics of the early Baudrillard, who emerges in retrospect as something of a lightning rod for all the live ideas of the day: Bataille's political economy of “expenditure” and Mauss's theory of the gift; Reisman's lonely crowd and the “technological society” of Jacques Ellul; the structuralism of Roland Barthes in The System of Fashion; Henri Lefebvre's work on the social construction of space; and last, but not least, Guy Debord's situationist critique of the spectacle.

Reviews

  • “A sharp-shooting Lone Ranger of the post-Marxist left.”
  • “The most notorious intellectual celebrity to emerge from Paris since Roland Barthes and the most influential prophet of the media since Marshall McLuhan.”

Blog

  • The Entertainer: Trump l’oeil

    This post first appeared at j-hoberman.com.



    Donald J. Trump is not the first professional entertainer or pitchman to be elected president of the United States but, however he may refuse to break character or take an adjustment, he is not Ronald Reagan.

    Reagan was 1940s Hollywood incarnate. He was the embodiment of happy endings and uncomplicated emotions, amusing anecdotes and conspicuous consumption, cornball patriotism and paranoid anti-Communism, cheerful bromides and a built-in production code designed to suppress any uncomfortable truth. He was a true believer in the magic of the movies.

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