"Deep down, the US, with its space, its technological refinement, its bluff good conscience, even in those spaces which it opens up for simulation, is the only remaining primitive society"
About this Quote
Baudrillard lands the insult with a smile: America, for all its sleek interfaces and moral self-certainty, is “primitive” precisely because it has perfected the modern replacement for ritual and myth - simulation. The line is engineered to short-circuit the usual hierarchy where “primitive” means technologically behind. Here, “space” and “technological refinement” don’t disprove primitivism; they industrialize it. The frontier, the rocket, the highway, the screen: each becomes a stage for reenacting origin stories in high resolution.
“Bluff good conscience” is the tell. Baudrillard isn’t describing innocence so much as a performed innocence, the cultural habit of narrating power as virtue: intervention as rescue, consumption as freedom, innovation as destiny. That “good conscience” isn’t naïveté; it’s a moral interface that keeps contradictions usable. The country can expand, extract, surveil, entertain itself to death - and still feel clean.
The wicked twist is “even in those spaces which it opens up for simulation.” America doesn’t merely suffer unreality; it builds it as infrastructure. Theme parks, TV news, suburban replicas, political spectacle, corporate “values” - these aren’t distractions from the real but environments where the real gets formatted, then replaced. In that sense, “primitive” names a society organized around signs and ceremonial reassurance, not material limitation.
Context matters: writing in the late Cold War and into the age of mass media, Baudrillard saw the U.S. as the cutting edge of hyperreality - a place where the future arrives first and the past survives as branding. The provocation isn’t anti-American snobbery; it’s a warning about modernity’s endpoint: a civilization so advanced it circles back to magic, only now the spells are corporate and the gods are images.
“Bluff good conscience” is the tell. Baudrillard isn’t describing innocence so much as a performed innocence, the cultural habit of narrating power as virtue: intervention as rescue, consumption as freedom, innovation as destiny. That “good conscience” isn’t naïveté; it’s a moral interface that keeps contradictions usable. The country can expand, extract, surveil, entertain itself to death - and still feel clean.
The wicked twist is “even in those spaces which it opens up for simulation.” America doesn’t merely suffer unreality; it builds it as infrastructure. Theme parks, TV news, suburban replicas, political spectacle, corporate “values” - these aren’t distractions from the real but environments where the real gets formatted, then replaced. In that sense, “primitive” names a society organized around signs and ceremonial reassurance, not material limitation.
Context matters: writing in the late Cold War and into the age of mass media, Baudrillard saw the U.S. as the cutting edge of hyperreality - a place where the future arrives first and the past survives as branding. The provocation isn’t anti-American snobbery; it’s a warning about modernity’s endpoint: a civilization so advanced it circles back to magic, only now the spells are corporate and the gods are images.
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| Topic | Deep |
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