Jean Baudrillard

Jean Baudrillard sees in today’s simulation the model ‘of a real but without origin or reality: a hyperreal’. With the hyperreal, the individual is unable to distinguish what is real and what is not. In this article, I argue how the pervasiveness of media, in the form of mobile phones, tablets with their applications and social networking sites, singularly or in unison create and sustain the existence of the hyperreal. They succeed at once through an imagined call for urgency and an implosion of meaning that cannot be contained. This type of media is a priori a form of simulation, and has not only erased the boundaries that exit between the real and the unreal but has also developed as a site accountable for continual deference of the being-in-theworld, forcing on the latter a perpetual existence in the hyperreal.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

Enclosed is the syllabus and course notes from the upper division course I teach in PostModernism and Post-Marxist Critical Theory. It occurs to me that some of these essays--ranging from Horkheimer and Adorno, Baudrillard, Foucault, and the feminist post-modern theorist Donna Haraway may offer some insight and some tools for comprehending the dark times in which we live. While these essays may not be directly aimed at understanding the rise of phenomena like the Alt-Right, toxic masculinity, and particularly violent forms of patriarchy, I think they can show us something about the ideological trends that set us on out current morally troubling path.

This PDF includes Chapters 1 and 2 of the innovative text anthology, designed for use in Media Studies courses, especially large lecture courses like "Media and Society."
-- The book combines movies and texts to introduce students to critical media studies. Accessible and readable, the book is well-liked by students. Topics include the Spectacle, Hyperreality, the Global Village, Social/Mobile Media, Capitalism and Counterculture, Surveillance and Privacy, Ecology and the Anthropocene, Media and Science, Media Futures, the Meme (original version from Dawkins), and many others.
-- Upon adoption, I will provide handouts, syllabus, PPTs.
-- Published by Cognella.  https://titles.cognella.com/media-environments-9781516521104

This paper investigates, on the basis of work by Jean Baudrillard and David Harvey, what we can define as neo-liberal global culture. Harvey's ideas on time-space compression and management of such within production systems are in the paper combined with Baudrillards thoughts on the symbolic culture and consumerism. The paper concludes that the neo-liberal global culture is a of constructing cultural demand and controlling class determined production.

O trabalho pretende responder se os humanos clonados artificialmente na série televisiva Orphan Black são tratados como commodities ao explorar discussões no campo da bioética que envolvem clonagem humana artificial. Para tal, serão descritos debates prévios e presentes sobre a clonagem artificial, assim como a condição em que o humano seria colocado caso a clonagem humana artificial obtenha sucesso. As visões de Jean Baudrillard e Donna Haraway serão comparadas. A metodologia empregada será a análise de episódios de Orphan Black, junto à revisão bibliográfica.

ÖSSZEFOGLALÓ A tanulmány kiindulópontja szerint a radikális társadalomkritika napjainkban tapasztal-ható elbizonytalanodásának okai között központi helyet foglal el a " valóság válságának " problematikája. A radikális társadalomkritika egyik első számú politikaelméleti pillére az ideológia látszat/valóság-modellje volt. A látszat eszerint ideológiakritikai fogalom: erede-tileg azokat a tapasztalatokat, gondolatokat, képeket és érzületeket jelenti, amelyekre az adott kor önmagával kapcsolatos illúziói épülnek. Ez a szemléletmód nagy népszerűségre tett szert a szélesebb társadalomtudományi értelmiség és a politikával foglalkozó elméle-tek körében is. Vonzerejét az adta, hogy radikális reményei a valóság intellektuális feltér-képezéséhez, annak leleplező erejéhez kapcsolódtak, vagyis ahhoz a feltételezéshez, hogy a nagybetűs Valóság tényeinek és folyamatainak előbb-utóbb meg kell törniük a látszat nevében épülő közös társadalmi illúzió, a " látszat valóságának " uralmát. Az elmúlt évti-zedekben az ideológia látszat/valóság-modelljének vonzereje látványosan csökkent a tár-sadalomtudományokban, aminek véleményem szerint három oka van. Először: a posztmo-dern ismeretelméleti szkepszise a valóság megismerhetőségével kapcsolatban. Másodszor: a társadalomelmélet interpretatív fordulata, amely az ideológiaelmélet középpontjába a valóság elfedése és konstrukciója helyett a realitástól " független " diszkurzív, imaginárius és jelentésformációk (meaning formations) elemzését állította. A tanulmányban az ideo-lógiakritikai látszat/valóság-modell elbizonytalanodásának harmadik fő komponensét kí-vánom a középpontba állítani. Eszerint napjainkra a valóság leleplező erejébe vetett álta-lános hit veszett el, vagyis megerősödött az a meggyőződés, hogy a későkapitalizmusban/ posztmodern társadalmakban a valósággal " valami történt ". Írásomban Guy Debord, Jean Baudrillard és Douglas Kellner teoretikus innovációit kívánom bemutatni a valóság prob-lémássá válásának kérdésköre kapcsán. Arra a kérdésre keresem a választ, hogy elgondo-lásaik szerint napjainkban hogyan fogalmazható újra a valóság és a látszat viszonya. Első-sorban elemzéseik politikaelméleti vonatkozásaira koncentrálok: a tanulmány fő tézise szerint ugyanis Debord, Baudrillad és Kellner elsődleges célja, hogy alkalmassá tegyék az ideológia látszat/valóság-modelljét a politika folyamatainak és működésének megértésére saját korukban, illetve lehetővé tegyék a radikális politizálás újraalapozását ennek alapján. Az elmúlt közel két évszázad radikális társadalomkritikái intellektuális és im-pulzív erejüket sok esetben kétségtelenül a leleplezés aktusából, a valóságnak a látszattal szembeni bemutatásából merítették. Ez elsősorban egyfajta realis-ta tudományos irányultságot jelentett: az egyre inkább teret nyerő, a felszíni

როგორც ჰენრი ლეფებვრე ამბობდა, ისევე როგორც კაპიტალი, სივრცეც სოციალური პროცესია და სივრცეში, ისევე როგორც უშუალოდ სივრცის მეშვეობით ყოველთვის ხდება ძალაუფლების განხორციელება. ზუსტად სივრცის ათვისების შემდეგ ძალაუფლება იძენს კონკრეტულობას. სივრცის გამოკვლევით შეგვიძლია დავინახოთ თუ როგორ ხორციელდება ძალაუფლება. მოელვარე თაღის წარმოქმნის შემდეგ, მის მიღმა მოქცეულ სივრცეში გენეტიკური კოდის მუტაციების მთელი კასკადი იფეთქებს. ყველა ცოცხალი ორგანიზმი განიცდის სახეცვლილებას და რაც უფრო უახლოვდება ექსპედიცია შუქურას, ადგილს, სადაც ეს ყოველივე დაიწყო და ათვლის წერტილს წარმოადგენს, გენეტიკური კოდის მეტამორფოზები მით უფრო დაუნდობელი ხდება. თაღს მიღმა არსებული ზონა თავის ძალაუფლებას არა ნგრევის ან შენების მეშვეობით ახორციელებს, არამედ დაშლით, შეერთებით და მუდმივი ექსპერიმენტული გარდაქმნით. ზონაში არსებული ძალაუფლებრივი ლოგიკა პირდაპირ შესაბამისობაშია გარლენდის კონცეპტუალურ მიდგომასთან. ის იღებს ფილმს სხვადასხვა არსებული ფრაგმენტების შეკოწიწებით, გადაადგილებით და მუდმივი გადახალისებით.

ჟან ბოდრიარის წიგნში „ტერორიზმის არსი“ ვხვდებით მის ერთ-ერთ მოხსენებას „რექვიემი ტყუპი-კოშკისთვის“, რომელიც 9/11 ტერაქტისადმი მიძღვნილი დებატების ნაწილია. როგორც ბოდრიარი ამტკიცებს, მანჰეტენი მსოფლიო სავაჭრო ცენტრის მშენებლობამდე წარმოადგენდა მაღალი შენობების ასიმეტრიულ ერთობლიობას, რომლებიც ერთმანეთს შორის კონფრონტაციაში შედიოდნენ კონკურენტულ ვერტიკალურობის პრინციპზე დაყრდნობით. ამ დაპირისპირების პროდუქტი იყო არქიტექტურული პანორამა, რომელიც კაპიტალისტურ სისტემას ისარკავდა თავისი ერთ-ერთი მთავარი ელემენტით - კონკურენციით. „პირამიდალური ჯუნგლები“, როგორც ბოდრიარი მოიხსენიებს იმ ვიზუალურ პანორამას, რასაც მანჰეტენზე აღმოცენებული კონსტრუქციები განასახიერებდნენ, შეიცვალა მას შემდეგ, რაც მსოფლიო სავაჭრო ცენტრი აშენდა. სისტემის გრაფიკული გამოსახულება შეიცვალა და ობელისკური კონკურენცია ჩანაცვლდა „კალოდიდან“ ამოვარდნილი კარტის გრაფიზმით, რომელიც სიმბოლურად განასახიერებდა სისტემას, საიდანაც კონკურენტულობა გაქრა მონოპოლიური ქსელის და კავშირების სასარგებლოდ.

el siguiente ensayo tiene por objeto demostrar que la política de Seguridad Democrática legitimó sus arbitrariedades, impopulares medidas y estados de excepcionalidad, a través de la deconstrucción de la realidad y la conformación de un simulacro, que produjo como resultado el fin de la política y la consecuente realización de la utopia.

This book bridges a gap between discussions about truth, human understanding, and epistemology in philosophical circles, and debates about objectivity, bias, and truth in journalism. It examines four major philosophical theories in easy to understand terms while maintaining a critical insight which is fundamental to the contemporary study of journalism. The book aims to move forward the discussion of truth in the news media by dissecting commonly used concepts such as bias, objectivity, balance, fairness, in a philosophically-grounded way, drawing on in depth interviews with journalists to explore how journalists talk about truth.

For the Routledge Research in Journalism Series.

The history of the twentieth century is filled with examples of mass murder and destruction of entire nations. Survivors of those traumatic events have horrific memories, which cannot be compared to anything that may happen in the course of an ordinary quiet life. However, coping strategies for overcoming the consequences of such traumatic experience were also developed in the twentieth century. It was made possible by conceptualisation of trauma as a cultural and psychological phenomenon at the level of theory and practice in various sciences. Introduction of this concept into the flesh and blood of modern (popular) culture, or rather its inclusion in the fabric of everyday cultural practices, transformed the concept of trauma into a mechanism of culture. Trauma developed into a concept, as we know it, because it functioned as one of the cultural clichés of the era, according to which economics, politics, science, literature, etc., are built. Of course, mass exterminations of people took place even before the twentieth century; however, they were not interpreted as historical traumas as we interpret them now because, firstly, a sense of distance from the event was not developed, which is characteristic of traumatic interpretation, and, secondly, the narratives corresponded to other cultural clichés (typical of those epochs), which served as the basis for political mechanics, economic processes, etc. This article identifies the main features characterising the functioning of trauma as a cultural mechanism. This objective is achieved by appealing to political economy and Baudrillard's and Derrida's critique of the victim order. In this study the term "loss" is used as an umbrella term for various traumatic constructs, such as the victim and the trauma itself. They are characterised as objects of a credit relationship between subjects (both individual and collective), according to which the victim (trauma) construct could be described as a debt obligation that must be fulfilled by paying off a symbolic debt. The study identifies all the acting forces (parties) in the trauma construct, which give form to this construct. The author draws attention to the spatial (topographical) accent of the traumatic narrative, as well as to the necessity of toponymic localisation of the active forces in space.

Esse trabalho é uma análise do filme “Vingadores: a era de Ultron”, partindo do princípio de Hagemeyer de que o filme é uma contra análise da sociedade e, portanto, uma observação deste pode trazer compreensões acerca do contexto social em que foi produzido. A teoria dos simulacros de Baudrillard foi amplamente abordada no estudo, sendo utilizada como forma de compreender a sociedade, levando também em conta as relações com a mídia e a técnica ainda de acordo com o mesmo autor. Ao longo dos capítulos foi feito um levantamento bibliográfico para definir e discutir as ordens dos simulacros e seus respectivos imaginários. Estes conceitos foram aplicados ao filme buscando identificar a presença das ordens e imaginários no objeto escolhido através da escolha de personagens, também conforme a proposta de Hagemeyer sobre o papel dos personagens como representações alegóricas de momentos históricos e grupos sociais e de Thomson sobre a necessidade do ser humano de criar heróis. Assim, foram relacionadas as ordens de simulacro com os personagens, notando as características dos personagens em comparação com a descrição dos simulacros e de seus imaginários. Finalmente, notou-se que o filme escolhido possui elementos bastante úteis e pontuais para a compreensão da sociedade à luz da teoria dos Simulacros e que a escolha de um produto do cinema, por ser um objeto da mídia, também pode encontrar importância para a comunicação e no mercado.

This paper explores the curious issue of crowd noise on "live" records.  What does it mean to call a recording "live"?  When we hear a crowd road through speakers, who is the performer and who is the audience?  Using Baudrillard's notion of hyperreality and Auerbach's juxtaposition of the mythic vs. the legendary, this paper posits a typology of crowd noise.

This paper will use the concept of hyperreality to compare the so-called ideal state described by ancient Chinese philosopher Laozi with the world of The Truman Show. The concept of hyperreality is defined by Jean Baudrillard as the generation by models of a real without origin or reality. A hyperreal world is a simulation, or kind of a copy without its original. It is generally accepted, and confirmed by Baudrillard himself, that the world of The Truman Show is hyperreal. In order to compare Laozi’s ideal state with the world of the film, this paper will give a hyperrealist interpretation of the former, which will be only hypothetical, without intending to substitute any other existing interpretations. Laozi imagines that people live simple lives, with few desires and without traveling to other places. If we accept that the ideal state is a hyperreal world, we can make comparison between the two worlds; find out their similarities, as well as differences.

Read at: https://www.scirp.org/Journal/PaperInformation.aspx?PaperID=92329

In the two years leading up to the release of The Next Day (ISO Records, 2013) there was renewed media interest in David Bowie’s career due to two important milestones: the 40th anniversary of The Rise and Fall of Ziggy Stardust and the Spiders from Mars (RCA Victor, 1972) and the celebration of Bowie’s 65th birthday. In focusing on Bowie as the red-haired, spandex clad icon of the 1970s, recent books and retrospectives (McCleod 2013, Cann 2010, Doggett 2011, Jones 2012, Trynka 2012, Goddard 2013) have largely overlooked what is arguably one of the most important phases of Bowie’s development as an autonomous musician: self-discovery during the formation and performance of Tin Machine and Bowie’s solo output of the 1990s.

This chapter seeks to examine Bowie’s movement from performance of ‘the other’ (Hegel in Taylor 1975) to performance of an image of self during the period of 1989 to 1999, arguing that while the band Tin Machine, which he fronted from 1988-1992, was a commercial and critical failure, it acted as a catalyst to a cathartic cleansing of the performance of characters that had dominated his music so far. This enabled Bowie to regain artistic control over his image and output. Furthermore, this chapter posits this, and Bowie’s decision to eschew artifice for self-reflective authenticity, was in fact another performance: a simulacrum through which Bowie performed a “hyperreal” version of self (Baudrillard 1994). Through a theoretical framework of performance theory and a detailed textual analysis of all Bowie interviews and feature articles in Q Magazine from 1989-1999, as well as a critical examination of Bowie’s 1990s image, this chapter argues that through his final performance Bowie was finally able to emerge as a musician entirely on his own terms. This freed him from the expectations of the personae from the 1970s and the commercial pressures of the 1980s. By performing this hyperreal version of self instead of constructed characters, he was finally able to reveal his authentic self to audience as the 21st century approached.

Este trabalho procurará analisar a representação de clones humanos na série televisiva Orphan Black com base nas obras de Donna Haraway e Jean Baudrillard, ao ponderar aproximações e distanciamentos entre as abordagens propostas pela série e os dois pensadores citados. Para tal, as ideias de clonagem humana artificial e biotecnologia retratadas em Orphan Black serão analisadas, com ênfase nos campos da bioética, transhumanismo e individualidade. A partir desses aprofundamentos, a pesquisa discutirá como Orphan Black traz informações pertinentes a respeito da biotecnologia para seu público. A metodologia empregada será a análise de episódios de Orphan Black baseada em conceitos dos Estudos Culturais Críticos propostos por Kellner (2001). A revisão bibliográfica se também se faz necessária, tendo como base as obras de Jean Baudrillard e Donna Haraway.

This short essay attempts to deepen the yet unexplored and uncriticized literature of David Foster Wallace, particularly focusing on the possibility for a "performative literature" to contrast the emerging emptiness of the speech depicted by Baudrillard by using the term "simulacrum".

The most violent of the forces of globalization, imperialist colonization – whether as military, economic or cultural invasion – has provided the subject for American artist Martha Rosler's critiques and projects over the course of nearly fifty years of artistic practice. This article provides an original account of the significance of Rosler's return, during the American ‘war on terror’ in the 2000s, to her previous anti-war photomontage series, originally produced in the 1960s and 1970s during the American war in Vietnam, entitled Bringing the War Home. Through a critical examination of the concept of the reboot as operative within both the Bush administration's policies and the meta-critique of such policies which Rosler's activist art strategies deploy, this article situates these photomontages within the artist's overall practice, particularly her work appropriating popular cultural forms, formats or artefacts, as well as her work critiquing forms of American military imperialism, especially in Chile.

Il y a très exactement 50 ans, en janvier 1964, Ken Garland publia dans le Guardian un manifeste intitulé First Things First, signé par 22 designers, et dans lequel l’auteur dénonçait, à une époque qui était celle des (M)ad Men, les dérives d’une profession encore naissante au service du mode de vie occidental capitaliste et de l’économie de marché. Écrit en Angleterre, foyer des révolutions industrielles et des luttes sociales du XIXe siècle observées par Marx, lieu de naissance du design, le manifeste condamnait de manière virulente une partie de la profession épuisant « son temps et son énergie à créer une demande pour des choses qui sont au mieux superflues », et militait pour une pratique saine et éthique du design graphique qui porterait sur des questions plus fondamentales, environnementales, sociales et culturelles.
35 ans plus tard, à l’automne 1999, le texte est remanié par Rick Poynor et publié dans la revue Adbusters, signé par 33 designers, dont Zuzana Licko, Jonathan Barnbrook, Irma Boom, Armand Mevis, Ellen Lupton et bien d’autres. Ainsi réactualisé, ce First Things First 2000 Manifesto réaffirmait l’urgence d’une prise de conscience que le premier manifeste avait échoué à faire advenir.
Quelques mois plus tard, Michael Bierut de l’agence Pentagram, se faisant le relais des nombreuses critiques adressées aux signataires de ce nouveau manifeste, signe dans la revue ID un texte offrant sous forme de dix notes de bas de page (au manifeste), un commentaire critique qui pointe les contradictions d’une posture idéologique trop vertueuse pour être soutenable dans une économie globalisée.
Depuis les Don Draper des années 1950 aux Armand Mevis des années 2010, la pratique du design graphique s’est profondément transformée, voire démocratisée du fait du développement des pratiques numériques et des outils qui la rendent possible. On constate cependant que les questions posées par le manifeste de 1964 ont continué à agiter – plus ou moins souterrainement suivant les périodes – le champ du design graphique pendant les cinquante années qui suivirent. Si la charge critique de 1964 reste ainsi d’actualité, c’est qu’en s’attachant à définir les enjeux éthiques et idéologiques du design graphique, elle contribue à en dessiner les contours, c’est-à-dire, à en donner une définition. Cette histoire nous invite alors à nous interroger sur la légitimité de la distinction entre « culturel » et « commercial », sur la « division du travail du sens » comme mode opératoire du design depuis le Bauhaus (si l’on s’accorde avec le Marx de Baudrillard), sur les métamorphoses des procédés publicitaires et sur l’extension du champ du design au domaine de l’existence (prophétisé par Moholy-Nagy) propre à la postmodernité.
Il s’agit, dans ce texte – dans ces quelques « notes de bas de pages » aux Dix notes de bas de page de Michael Bierut – non pas de commenter l’histoire et la genèse de ces questions, mais d’en postuler l’actualité, et de tenter d’y répondre en réaffirmant le caractère fondamentalement social de cette activité particulière – le design graphique – qui consiste, pour reprendre les mots d’Abraham Moles, à « actualiser cette adéquation symbolique entre le donné de l'environnement et le projet de vie »

This essay explores how The Truman Show, Peter Weir’s film about a television "reality" show, deserves more sustained analysis than it has received since its release in 1998. The Truman Show problematizes the binary oppositions of cinema/television, disruption/stability, reality/simulation and outside/inside that structure it by suggesting that such binaries exist in a mutually implicating relationship. This deconstructionist strategy not only questions the film’s critical position, but also enables a reflection on the very status of film analysis itself.

Developments in materialism during the 19th century paved the way for atheism and a deconstruction of religion. However, the work of Ludwig Feuerbach whose theory of religion as a projection of human nature into an objectified form provided a basis for Marx & Engels’s materialism was largely contained from further study by their as well as Stirner’s criticism, which objected to the abstracted form that the concepts of religion and human nature assume in his work. I propose appropriating Baudrillard’s concept of simulation and hyperreality as a way of explaining the abstracted nature of these concepts while remaining committed to an empirical approach that focuses on the representational aspects of religion.

In this study, we shall endeavor to analyze Ernest Cline's Ready Player One (2011) and Ready Player Two (2020) to analyze the trope of virtual reality from primarily a Baudrillard's theory of 'Simulacra and Simulation'. This study aims to show how in a hyper-immersive virtual reality environment, all distinctions between reality and virtuality simply ebb away when a new paradigm shift occurs in the form of the triumph of the virtual over the real. In such a hyper-immersive virtual environment, the virtuality does not merely serve as an alternative mode of existence where one logs in to escapes from reality, rather it becomes the dominant shaping force that begins to mold the reality after its own pattern.

There is an elementary dichotomy that has been created as a result of an elementary date in American history. November 22, 1963 was a sunny day in Dallas before the crisp blue sky transformed into the sardonic backdrop for one of the American century’s most notorious incidents. The deadly shots fired at President Kennedy’s motorcade transformed the afternoon’s cheerful mood into a state of permanent national trauma and cultural disruption that has not only permeated the roots of the postmodern age, but has frequently been described as one of its founding pillars. In fact, the assassination of John F. Kennedy has elicited an “aberration in the heartland of the real” (DeLillo 15) as it challenged our perception of a coherent social and cultural reality, fragmenting in its wake the ideology of an apposite framework of historical cohesion and causality where we can no longer expect “the future to make as much sense as the past” (23).  As a result, a plethora of different versions of reality about the “seven seconds that broke the back of the American century” (181) have materialized. These span across conspiracy theories accusing the CIA, FBI, military-industrial complex, Cuban hit men, or the mafia, to the official historical reality laid down in the Warren Report blaming the Marxist “lone gunman” Lee Harvey Oswald and leaving us with a number of dichotomies that are similarly plain and clear as said November day’s skies, yet at the same time equivalent to an impenetrable web of secrets. However, as the novel Libra suggests, JFK’s assassination not only confronted our culture with the improbable task of selecting between the basic antinomies of contingency versus conspiracy and objective order versus secret manipulation. Conversely, through its narrative structure, characterization, and symbolism Don DeLillo’s Libra (1988) uncovers coincidence and randomness as the hidden intersection between the dubious official reality of the Kennedy assassination, and the vast dimension of supposedly fictional conspiracy surrounding this traumatic event.

This paper explores hyperreal spatial experiences produced through the dialectics of original and copy in terms of object, atmosphere, and public space. It focuses on two collaborative projects by Bjarke Ingels Group (BIG), namely Danish Expo Pavilion and Superkilen Urban Park; yet begins by unpacking the authenticity of Denmark’s national symbol, the Little Mermaid Statue - a continuous target of vandalism.