This indicates an absence of reality external to representation which is replaced by the 'hyperreal', described by Baudrillard as a strategy of simulation, by 'substituting the signs of the real for the real' ( 1983, p. As audiences of a Disney movie, for example, one (most likely) knows or can at least guess as to what the conclusion will be, an endorsement of the ideal as reality, if not compensation, for the lack of the ideal in reality. Baudrillard argues that hyperreal spaces, like Disney World, compensate for a lack of reality ( 1983, p. Instead, signs become substitutes for a reality that has become 'hyperreal'.Īs Baudrillard observes in the quote cited at the beginning of this paper, the perceived loss of reality is met with desperate attempts to cling to an 'authentic' world which can be meaningfully and objectively determined. Signs act to compensate (in fact to over-compensate) for this perceived lack of the 'real thing'. Simulation as a strategy is 'not only the loss of reality, but also its very possibility. The aim of simulation is not to do away with reality, but on the contrary to realize it, to make it real' (Butler, 1999, p. The result of this hyperreality is 'totally oppressive' and prescriptive, leaving little space for the enigmatic, as Baudrillard puts it: 'the inaccessible secret' ( 1990, p. In The Vital Illusion, he suggests that: 'for, facing a world that is unintelligible and problematic, our task is clear: we must make that world even more unintelligible, even more enigmatic' ( 2000, p. Baudrillard's suggestion is to embrace the idea that there is no objective reality. Perhaps this is exactly the strategy of Die Antwoord, who manipulate the desire for the real through the creation of Zef.ĭie Antwoord appropriate from multiple reference points, treating culture as a found object with which to create their particular brand of Zef. Short guy in die antwoord enter the ninja full#.

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