True False, Fake Real
Ice Cream that hits the game of Simulacra. Research: Semiotics, Ice Cream Special Tag: Mutual
Ice-Cornet look a like Ice-Lolly
Once, I got this nice idea: Let's make a lolly-ice that looks like an ice-cornet. And I really liked that idea and thought about to sell it to Langnese (german ice-lolly producer) for millions of euros. But I didn't had the time yet.
Design study, 3D Modeling by Timur Si-Quin
True False, Fake Real: The imitation of a cornet-ice (False), that is still an eatable ice (True). The nice surface of this ice-lolly (Real), that is a pastiche (Fake). You got it all. In some way it reminds me on Baudrillards thesis of simulacra. The image of the ice-cornet is a reflection of a basic reality, but also masks the absence of a basic reality. So, call it a 'first' and 'third' order simulacrum. The first 'real' simulacrum, ever?! No idea.
Lately seen on peoples.com:
Ecclesiastes alread said: "The simulacrum is never that which conceals the truth — it is the truth which conceals that there is none. The simulacrum is true."
Jean Baudrilard. Simulacra and Simulations:
"[...]So it is with simulation, insofar as it is opposed to representation. Representation starts from the principle that the sign and the real are equivalent (even if this equivalence is Utopian, it is a fundamental ax~om). Conversely, simulation starts from the Utopia of this principle of equivalence, from the radical negation of the sign as value, from the sign as reversion and death sentence of every reference. Whereas representation tries to absorb simulation by interpreting it as false representation, simulation envelops the whole edifice of representation as itself a simulacrum.
These would be the successive phases of the image:
1. It is the reflection of a basic reality.
2. It masks and perverts a basic reality.
3. It masks the absence of a basic reality.
4. It bears no relation to any reality whatever: it is its own pure simulacrum.
In the first case, the image is a good appearance: the representation is of the order of sacrament. In the second, it is an evil appearance: of the order of malefice. In the third, it plays at being an appearance: it is of the order of sorcery. In the fourth, it is no longer in the order of appearance at all, but of simulation.
The transition from signs which dissimulate something to signs which dissimulate that there is nothing, marks the decisive turning pomt. The first implies a theology of truth and secrecy (to which the notmn of ideology still belongs). The second inaugurates an age of simulacra and simulation, in which there is no longer any God to recognize his own, nor any last judgement to separate truth from false, the real from its artificial resurrection, since everything is already dead and risen in advance.
When the real is no longer what it used to be, nostalgia assumes its full meaning. There is a proliferation of myths of origin and signs of reality; of second-hand truth, objectivity and authenticity. There is an escalation of the true, of the lived experience; a resurrection of the figurative where the object and substance have disappeared. And there is a panic-stricken production of the real and the referential, above and parallel to the panic of material production. This is how simulation appears in the phase that concerns us: a strategy of the real, neo-real and hyperreal, whose universal double is a strategy of deterrence."
-- Baudrillard, Jean. "Simulacra and Simulations." Jean Baudrillard, Selected Writings, ed Mark Poster. Stanford University Press, 1998, pp.166-184.
Ad Campaign 2008:
First animation/sketch:
