By Russell Miller
New and up to date version of the vintage exposé of the lifetime of the founding father of Scientology
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Extra resources for Bare-Faced Messiah: The True Story of L. Ron Hubbard
47 ... and Diffm-ence Exactly. Meaning (ae origin, epeech, U6eor referent) doe6 not precede writing or 6ign exchange. It arleee by virtue of it. In fact, the meaning of meaning i61nflnlteimplication, the IrltJeflnlte referral of 6ignifier to 6ignifier. Thle proce66 I call difference. 48 16 there no eecapefrom the tyranny of the 6ign7 Baudrillard's Culture Nowhere do signscarveout and organize realitymore effectivelythan in culture. I have alwaye had a kind of radical eueplclon toward6 culture. Baud riliard writes of both high culture: "avantgarde" art, design and aesthetics, and mass culture:TV, film, etc.
Are there etructural elmllarttlee between the commodity form -which allows good6 to circulate in the way Marx had claimed - and the sign form which allows meanings to circulate? 34 Commodity and Sign Baudrillard thought the two structures were linked in consumption. '1 Baudrillard's insight stemmed from his destruction of the ideology of needs. And if needs are suspect, then so is the product's use value in its equal claim to be a meaningful term. But what is use value? The Innocence of Use Value Marx uses thefamous example ofDaniel Defoe's Robinson Crusoe to show that themystical character ofcommodities does not originate in their use value.
Art auctions are"sign-wars". So what is an art lover? A social groupie who exists in relation to the obsessions of all otherart lovers with signsof privilege, just as the painting is related to all otherpaintings of status in reference to its pedigree - who signed it andwho possessed it. Theart lover promotes culture as universal value, because hecannever own it. 62 Banking on Galleries So galleries and museums are like banks - they both circulate signs. Banks guarantee the universality of money.