@article { author = {Farahbakhshpour, Hossin and Shayganfar, Nader}, title = {S tudy of Simulation Sign Sys tem in Art in Baudrillard’s point of view and its Adjus tment with Pos tmodern Photography with the emphasis on Sherrie Levine’s Works}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {3}, number = {4}, pages = {83-89}, year = {2021}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2021.241888}, abstract = {Jean Baudrillard believes that pos tmodern culture is the only domination of simulacra and hyperreal field creation. In Baudrillard’s interpretation, images do not represent reality anymore, but also they themselves become reality and create the simulated reality. Today, images appear more real than real. He is one of the thinkers who ques tions this dual s tatus between reality and simulation in his ideas and tries to explain a new s tatus: a s tatus in which two components- image and signs’ play- control the social life of human being. Baudrillard discusses the mo s t radical theory in pos tmodernism. He transfers the pos t s tructualism ideas from language theory to medias world. From his point of view in pos tmodern soceity, codes and signs and cybernetic media,dominate over the whole aspects of life. Baudrillard is not looking for reveiling the truth or meaning of images. In his thoughts predominance images and signs are over comprehensive that the real has vanished in serious way. The era life above the images have expired for always and nowadays the only recognizable thing is medias simulacra. In his words it is necessery to hesitate the origin of images, because they are not refer to real things. In pos tmodern situation it is very difficult to dis tinguish between originality and copy, because there is no gap between reality and cybernetics. In Baudrillard point of view, the reality as a categoty that seperated from its signs, in the world saturated of information and media dominance, has been eliminated. He called this situation as Heperrealism. In simulation sys tem of Baudrillard, the language is free from its references. Buadrillard explains that visual signs are simulations that has no relations with the real world. Illusion plays with the reality and produce the reality cause that the images depraves his illusive power. In his words the aes thetics theory could not explain the situation of art contemporary and therefore creates the concept of simulation to explain the contemporary situation. Baudrillad believes that we are confronted with empty future and no new occurence is waiting for us. Pos tmodern photographers were affected by Baudrillard’s ideas about saturation of today’s societies by images. Sherrie Levine is one of them who emphasizes the reproducible nature of photography and believes that everything has been already seen. Today, the concepts of simulation and acute reality have become to the foundation of mos t researches about Baudrillard and the visual thing, especially in cultural production and artis tic critique. This research is trying to analyze the causes of Baudrillard’s ideas about discredit of contemporary art and its adjus tment with pos tmodern photography. As well, it is trying to answer this ques tion in a descriptive and analytical method that how these artis ts utilize the nature of image as simulacrum. The achievements of adjus tment of the present example and Baudrillard’s ideas show that Levine wanted to reproduce the simulacra in a sarcas tic manner by presenting the hyperreal images.}, keywords = {Pos tmodernism,Simulation,Hyperreal,Sherrie Levine,Jean Baudrillard}, title_fa = {بررسی نظام نشانه ای وانمودگی از نظر بودریار و تطبیق آن بر گستره عکاسی پسامدرن  با تاکید بر آثار شری لواین(نوع مقاله:پژوهشی)}, abstract_fa = {ژان بودریار فرهنگ پسامدرن را چیزی نمی داند جز سیطره وانموده ها و آفرینش فضای فراواقعی. به تعبیر بودریار تصاویر دیگر واقعیت را نمایندگی نمی کنند، بلکه خود تبدیل به واقعیت می شوند و واقعیت وانموده پدید می آورند؛ امروزه تصاویر واقعی تر از واقعی جلوه می کنند. وی یکی از متفکرانی است که در اندیشه های خود به خوبی این وضعیت دوگانه میان واقعیت و وانموده را مورد پرسش قرار می دهد و سعی در تبیین وضعیت تازه ای دارد؛ وضعیتی که در آن دو مولفه ایماژ (تصویر) و بازی نشانه ها حیات اجتماعی بشر را تحت کنترل دارند. به موازات اندیشه های بودریار، عکاسان پسامدرن سعی دارند وضعیت مذکور را به واسطه آثار خود نمایش دهند. از جمله این هنرمندان شری لواین است که بر سرشت بازتولید پذیری رسانه عکاسی تاکید می کند و بر آن است که همه چیز قبلا دیده شده است. از آنجایی که مفاهیم وانمایی و فراواقعیت به شالوده بیشتر پژوهش ها درخصوص بودریار و امر بصری تبدیل شده است، پژوهش حاضر تلاش دارد که ضمن بررسی چرایی نظر بودریار در مورد بی اعتباری هنر معاصر، آن را با شاخه عکاسی پسامدرن تطبیق دهد و به روش توصیفی و تحلیلی به این پرسش پاسخ دهد که این هنرمندان چگونه از هویت تصویر به مثابه وانموده بهره گرفته اند. دستاوردهای حاصل از تطبیق نمونه حاضر و اندیشه های بودریار نشان داد که لواین با ارائه تصاویر فراواقعی، در پی بازتولید کنایه آمیز وانموده ها برآمده است.}, keywords_fa = {ژان بودریار,پسامدرنیسم,وانمودگی,فراواقعیت,شری لواین,عکاسی}, url = {https://rahpooye.soore.ac.ir/article_241888.html}, eprint = {https://rahpooye.soore.ac.ir/article_241888_46fff54acaf9bc1aa0d92a793f4ec772.pdf} }