Abstract
This chapter discusses the idea that the ImCon may function as a simulacrum of symbolic-religious imaginary—a myth or desacralized religion based on a transcendental, totalizing ideology. Following the logics of total consumerism-capitalism, its colonization and fabrication of signification, imagination, fantasy, and dream imply the fabrication of an ideological hyperreality, which is discussed through Walter Benjamin’s concept of dream-world of consumption. The concepts of fetish, phantasmagoria, and collective dream are then introduced to discuss the ImCon’s mythico-ideological character and some of its effects. The chapter concludes by exploring the possibility that, by simulating a symbolic imaginary, the ImCon colonizes the unconscious psyche and, through archaic identity (participation mystique) and mimesis, institutes its subject as a consumer-commodity, or commodified self.
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Notes
- 1.
Calderón de la Barca (1635/2009).
- 2.
Here I use simulacrum more in the original Latin sense (simulare): “to make like”, simulate, an artificial construction that superficially resembles something original, presupposing (contra Baudrillard and postmodernists in general) that it does substitute for something truer and factual, i.e., for reality—in this case, psychic reality, the unconscious and its autonomous production of symbols—and the old symbolic imaginaries.
- 3.
Which made the repetition of some arguments unavoidable, for which I apologize.
- 4.
Although Baudrillard’s concept of “symbolic” differs considerably from the Jungian one employed in this work, in the quotes used here both theories agree.
- 5.
To provide a very simple illustration: a mass-produced strawberry yogurt. Through the image of a giant blood-red strawberry, it promises to deliver (and might actually do) a super, explosive, bubbly taste of strawberries, yet there is not a single trace of actual strawberries in it, only a concoction of chemical substances that simulates the taste of strawberries, enhancing it, making it hyper, more tasty, more “strawberry-like” than any real strawberry. This becomes a simulacrum when it is taken as the “real” taste of strawberries, and the actual strawberry (whatever its real taste or image was) is erased. Substitute “strawberry” for “social relations” and “subject” and you have the goal of total consumerism and its imaginary.
- 6.
It must be emphasized that this industry is by no means limited to advertisement, mass media, and so on; as a social imaginary, its logic extends to every social domain, and to any remaining interstices between them. Perhaps an example can clarify this point. In the movie Inside Job (Ferguson, 2010), about the global economic and financial system and its corruption, Andrew Sheng (then the chief advisor of the China Banking Regulatory Commission) asks: “Why should a financial engineer be paid four to a hundred times more than a real engineer? A real engineer builds bridges; a financial engineer builds dreams.” My points are: finance (and economy, political economy, etc.) also becomes based on building dreams (i.e., the financial engineer is another imagineer); and this phenomenon is not restricted to the financial system; it defines global society.
- 7.
Appadurai (1996), although holding a quite different stance in relation to what I call “fabrication of subjects”, seems to concur: “The imagination is now central to all forms of agency, is itself a social fact, and is the key component of the new global order” (p. 36; e.a.).
- 8.
- 9.
The reader should bear in mind that the arguments below are all based on what was presented in Chap. 2 regarding collective consciousness , représentations collectives, and participation mystique.
- 10.
In fact, there are archetypal motifs behind the advent of the ImCon and mass consumerism. For example, unlimited accumulation and production, the objective of fashioning a world and a new human being, and so on correspond to a Luciferian hubris, an identification with the divinity that turns into a demonic principle of destruction (consumption as destruction, ruin, waste—consumere). The dream of becoming this demiurge, “posthuman” semi-divine being, for whom everything is possible, corresponds to the Übermensch dream, which is central for capitalism as a religion, according to Walter Benjamin (1921/1996) (and, crucially, was central for Nazism): the Übermensch is simply its Deus absconditus. However, I cannot go further into this discussion here; it will be appearing again at the end of the empirical part of this work.
- 11.
Baudrillard (1981/1994) affirmed something similar: “the only great and veritable idea-force of this competing society, the commodity and the mark” (p. 88).
- 12.
As McLuhan (1959, p. 340) put it, speaking of the “myth-making” function of Hollywood and Madison Avenue: such function strives to comprise “in a single image the total social action or process that is imagined as desirable” (e.a.). That corresponds exactly to the functioning of an archetypal image, translated into a mythological motif.
- 13.
However, Marx can only see the religious world as an analogy to capitalist ideology.
- 14.
Renditions into other languages preserve this meaning: “si volatilizza tutto”; “todo se esfuma”; “s’en va en fumée”; “se volatiliza” (see www.marxists.org/xlang/marx.htm for translations). I mention this point having Bauman’s liquid metaphor (for postmodernity and consumerism) in mind; I think we are rather living under an ethereal, volatile social order—the ethereality of consumerism. Nonetheless, it is meaningful that the English translation “solid melts into air” comes from a text that has everything to do with this thesis: it alludes to Shakespeare’s Tempest (Act IV, scene 1), which speaks of the volatilization of the human world, towers, temples, the whole globe, all dissolve, and ends with “We are such stuff as dreams are made on; and our little life is rounded with a sleep”, a dissolution of life into dream, now the nebulous, volatilized dream of consumption, the ImCon, and its narcotic illusions.
- 15.
See Arendt (1963, pp. 179ff).
- 16.
Bauman (2001, p. 239) concurs: “We call ‘culture’ the kind of human activity which in the last account consists in making the volatile solid, linking the finite to the infinite, and otherwise building bridges connecting mortal life to values immune to the eroding impact of time”. Those bridges, as argued, are symbols.
- 17.
This is Sect. 2.4, Chap. 2 of Capital; I use this translation for it conveys the meaning I sought (“in their eyes”, emphasizing perception and appearance; however, “fantastic” does not capture “phantasmagorische” well).
- 18.
“The original phantasmagoria was a form of popular spectacle that emphasized the principle of deception or concealment, particularly associated with the presentation of the figure of the ghost” (Hetherington, 2005, p. 192). “Such phantasmagorical performances were enacted in late 18th and early 19th century Europe, relying upon a sophisticated deployment of the older magic lantern device, which projected the images from painted slides (although later using advances in photographic technology to project the performance of real, hidden actors) onto a secretly deployed [concealed!] gauze screen or literal smoke screen. The spectral effect was enhanced through technological and theatrical means” (Charles, 2009, p. 133).
- 19.
“Il occupe tous les objets qui sont privés de vie” (Ovid, 1806, Book XI, p. 641).
- 20.
Letter to Gretel Adorno, March 1939. I tried to affirm essentially the same when I wrote that the ImCon becomes a global collective consciousness.
- 21.
In fact, Benjamin’s monumental (and unfinished) Arcades Project can be seen as an archaeology of the phantasmagoria that was modernity.
- 22.
I am referring to another famous phrase of Marx’s (1847): “Barbarism reappears, but created in the lap of civilisation itself and belonging to it; hence leprous barbarism, barbarism as leprosy of civilisation”.
- 23.
Months after writing this, I found a very similar idea in Ward (2009, p. 98): “In a world where content disappears and brand names (…) float free and ethereally on electronic waves of advertising, we enter a parody of Plato’s world of pure forms”. My point is that it is not merely a parody: it is a simulacrum. And Berry (2010) discusses at length the myth of the cave as a metaphor for mass media (i.e., my idea of using the cave metaphor was not as original as I thought at first…).
- 24.
Here I quote from the English translation found in http://www.marxists.org/reference/archive/debord/society.htm
- 25.
Rolnik (2006) puts it in an interesting way: “the western idea of a promised paradise corresponds to a repudiation of life in its immanent nature of a continuous creative impulse. In its earthly version, the capital replaced God in its function of guarantor of the promise, and the virtue that makes us worthy of it came to be consumption: that is the fundamental myth of advanced capitalism”.
- 26.
A definition of complex: an image (representation) of a specific psychic situation, which functions as a nucleus of meaning, imbued with strong emotional (feeling) content. In a consumption dream, the emotional feeling is given by the fetish, the sign-value designed to elicit emotion and desire; the nucleus of meaning is the signification and difference given by the code; the psychic situation can be any one (e.g., motherhood, happiness, good parenting, etc.), but it will by definition follow the imperative and logic of consumption.
- 27.
Baudrillard (1970/1998) put it this way: “consumption is governed by a form of magical thinking (…) a primitive mentality (…) based on a belief in the omnipotence of signs” (p. 31).
- 28.
As I was writing this work, violent riots were being waged in London by “excluded consumers” (Bauman, 2011)—excluded from highly conspicuous consumption, in fact, deprived from full, enchanted immersion in the global ImCon. In my opinion, such episodes rendered explicit the mob mentality that underlies even rich, developed, democratic consumption societies, and which can appear in full when certain social barriers collapse (as, e.g., in the event of a deep economic crisis).
- 29.
However, I have not used such authors’ works extensively in this book as regards to the theme of colonization of the unconscious, and for two reasons: one is that I am not sufficiently familiar with Deleuze’s and Guattari’s works; and the other is my impression that these authors (including Jameson), in dealing with the concept of the unconscious, remain too attached to the Freudian legacy, even when they criticize it—and thus run counter, in important aspects, to the Jungian conception I have proposed here.
- 30.
Such idea is also the theme of Terry Gilliam’s magnificent The Imaginarium of Doctor Parnassus (2009), in which the imaginary (imaginarium) is sold to the devil (Nick), and ends up being commercialized as replicas; Parnassus’s fables, tales, and imagination are replaced by Nick’s addictions and feeble desires.
- 31.
McConnell (2002, p. 2) describes Sandman-Morpheus poetically: “He is not a god; he is older than all gods, and is their cause. He is the human capacity to imagine meaning, to tell stories: an anthropomorphic projection of our thirst for mythology”.
- 32.
What lurks in the unconscious—symptoms, destructive fantasies, and so on—may start to appear more clearly and haunt the consumer. This group of diffuse sensations, when it appears, is labeled as a consumer-commodity malfunction (e.g., depression) by the ImCon, and rapidly treated with the ministration of more commodities, which usually include psychiatric medications: more identification, more participation mystique and its anesthetic identities, this time guaranteed by a chemical colonization of both psyche and body.
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Xavier, M. (2018). The ImCon as Simulacrum of Symbolic Imaginary: Dream-Worlds of Consumption and the Subject as Commodity. In: Subjectivity, the Unconscious and Consumerism. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-96824-7_5
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