We are caked by meaningless information and surrounded with contents of fragmented collages – perfect copies, simulacrums, missing the original. In this “real-world mixing” of references sound carries out its own meanings as a form. The question is not only what sounds we hear but how we hear them. Essence of sound stands in our ability stay in the middle of the soundspaces and preserve sensory openness while creating soundtracks for our possible worlds. By simulating the real the art is creating it by chasing the realities where description of concepts for sharing preliminary understandings is challenging by other means.
I approach Baudrillard's thoughts on simulation with a visual essay and a supplementary sound art installation. Starting from Marcuse's writings about art in a technology-driven society my compilation canvass how the idea of art as a form of reality is applicable to the technologybased forms of expression of the 2010s. Looking for the effects of simulation technologies on perceptions of relationship between art and reality I utilize the concept of Simulacrum ("eidolon") as it appears with Platon's. From the times of Le Voyage Dans La Lune possibilities of technologies have led philosophers to reflect on relationship between technology and art. In this continuity simulation can be seen as a tool for opening new possible worlds.
{persons: [Jean Baudrillard, Platon]}