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| vintage departures, kaysen, 0679443908, australia, advertising, and the complete guide to writing a memoir, chat, directors, sexy, american, pregnancy relationships, columns, savage love, latin ass, rocco, drunk party, glbt, anal, latina ass, drag, | “Xerox and infinity.” (TE 51-59) Properly speaking, we might say, sexual reproduction is not reproduction at all; true reproduction – the production of sex copies supposedly identical in every respect – is possible only via the intervention of technical machines. As Benjamin had understood, mass production – the avatar of Baudrillard’s second order – introduces this possibility, but, for Baudrillard, its technologies are merely a pale anticipation of the horrors of homogeneity made available by contemporary biotechnology. “Benjamin was writing in the industrial era: by then technology was sex a gigantic prosthesis governing sex the generation of identical objects and images which there was no longer any way of distinguishing from one another, but it was as yet impossible to foresee the technological sophistication of our own era, which has made it possible to generate identical beings, without any means of returning to an original.”(TE |
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| 56) Both, Baudrillard insists, understood that the “mere fact” of latin ass reproducibility engenders what he - surely misleadingly - descibes as “an entirely new generation of meaning.” (SED 56) Evidently, meaning - whether new or not - is precisely not the issue; what issues in fact is radically asignifying technologies of “reproduction” which are latin ass their own message. Contrary to Marx’s hermeneutics of suspicion, technology does not conceal or distort a message; it is itself a message. Baudrillard derives from Benjamin’s The Work of Art in the Age of Mechanical latin ass Reproduction the key insight into the sheer fact of reproducibility. Cleverly transposing Benjamin’s arguments from art objects to biological life, Baudrillard discusses the disappearance of the “aura”, which no longer designates the unique qualities of the work of art, as it did for Benjamin, but of the individual organism itself. Whereas, according to Baudrillard, meiotic sex – involving what he quaintly terms “otherness”[210] – inevitably allows the possibility of heterogeneity, mechanical reproduction implies the ever more perfect production of exact copies: “the Hell of the same” (TE 113-124). |
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