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By Antti Ahlava

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41 ers than to production and consumption itself. Baudrillard seeks to challenge the code. However, he argues that the contemporary abstraction and commodification in society have developed so far that there is no longer any possibility for a real, meaningful and healthy contradiction in the social realm itself. 65 That is why even ideologies and theories become reproduced. Baudrillard argues that the new system of consumer society is in constant movement, not only as materialised in fashion, but most notably in people’s changing needs and values.

Furthermore, I would like to emphasise especially Baudrillard’s roots in the Frankfurt School of Critical Theory in analysing cultural forms and commodities. Baudrillard’s interest in analysing architecture and moving images has emerged to a great extent from this background. I will examine the many forms of this link in Part 2. Baudrillard and architecture Baudrillard’s interest in architecture was evident already in the late 1960s. He gave lectures on “Social Problems of Design”, “The Critique of the Concept of Environment”, etc.

As often repeated ever since, Baudrillard suggested already in 1976 that reality has become “hyperreal”. It has become “always already reproduced” and functions entirely in the realm of “simulation”, which is a stage in the “concession of simulacra”. In simulation, everything that “redoubles in itself”, even ordinary, everyday reality, “falls under the sign of art” and becomes aesthetic. Furthermore, these aesthetics make use value completely disappear. Theory no longer has any use value either.

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