Editing Hyperreality (section)

== In culture ==
There is a strong link between media and the impact that the presence of hyperreality has on its viewers. This has shown to blur the lines between artificial realities and reality, influencing the day to day experiences of those exposed to it.<ref>{{Cite journal |last1=Payne * |first1=James E. |last2=Waters |first2=George A. |date=March 2005 |title=REIT markets: periodically collapsing negative bubbles? |url=http://dx.doi.org/10.1080/17446540500047403 |journal=Applied Financial Economics Letters |volume=1 |issue=2 |pages=65–69 |doi=10.1080/17446540500047403 |s2cid=153682988 |issn=1744-6546|url-access=subscription }}</ref> As hyperreality captures the inability to distinguish reality from a simulation of reality, common media outlets such as news, social media platforms, radio and television contribute to this misconception of true reality.<ref name="Bursztyn">{{Cite journal |last1=Bursztyn |first1=Leonardo |last2=Rao |first2=Aakaash |last3=B. Y. |first3=George |date=2018-09-08 |title=Social Media and Xenophobia: Evidence from Russia |url=http://dx.doi.org/10.1257/rct.3066-1.0 |access-date=2022-03-01 |website=AEA Randomized Controlled Trials|doi=10.1257/rct.3066-1.0 |s2cid=240204013 }}</ref> Descriptions of the impact of hyperreality can be found in popular media. They present themselves as becoming blended with reality, which influences the experience of life and truth for its viewers.

Baudrillard, like [[Roland Barthes]] before him, explained that these impacts have a direct effect on younger generations who idolize the heroes, characters or [[influencers]] found on these platforms. As media is a social institution that shapes and develops its members within society, the exposure to hyperreality found within these platforms presents an everlasting effect.<ref>{{Cite journal |last=Marchenkov |first=Vladimir |date=2002 |title=Art and Religion in the Age of Denounced Master-Narratives |url=http://dx.doi.org/10.5840/pcw2002918 |journal=Philosophy in the Contemporary World |volume=9 |issue=1 |pages=71–82 |doi=10.5840/pcw2002918 |issn=1077-1999|url-access=subscription }}</ref> Baudrillard concludes that exposure to hyperreality over time will lead, from the conservative perspective of the institutions themselves, to confusion and chaos, in turn leading to the destruction of identity, originality and character while ironically still being the mainstay of the institutions.

=== Social media and public image ===
The hyperreality environment on the internet has shifted dramatically over the course of the [[COVID-19 pandemic]], so much so that it has an influence on the [[Italian Bourse|Italian Stock Exchange]] in 2021.<ref>{{Cite journal |last1=Lazzini |first1=Arianna |last2=Lazzini |first2=Simone |last3=Balluchi |first3=Federica |last4=Mazza |first4=Marco |date=2021-08-10 |title=Emotions, moods and hyperreality: social media and the stock market during the first phase of COVID-19 pandemic |journal=Accounting, Auditing & Accountability Journal |volume=35 |issue=1 |pages=199–215 |doi=10.1108/aaaj-08-2020-4786 |s2cid=238654072 |issn=0951-3574|doi-access=free |hdl=11380/1279945 |hdl-access=free }}</ref>

[[File:Hollywood Sign (Zuschnitt).jpg|thumb|The Hollywood sign]]
The [[Hollywood sign]] in Los Angeles, California, itself produces similar notions, but is more a ''symbol'' of a facet of hyperreality—the creation of a city with its main target being media production.<ref>{{Cite journal |last=Campbell |first=Elaine |date=April 2010 |title=The future(s) of risk: Barthes and Baudrillard go to Hollywood |url=http://dx.doi.org/10.1177/1741659010363039 |journal=Crime, Media, Culture|volume=6 |issue=1 |pages=7–26 |doi=10.1177/1741659010363039 |s2cid=145639692 |issn=1741-6590|url-access=subscription }}</ref>

=== Disneyland ===
Both [[Umberto Eco]] and [[Jean Baudrillard]] refer to [[Disneyland]] as an example of hyperreality. Eco believes that Disneyland with its settings such as [[Main Street, U.S.A.#Disneyland|Main Street]] and full sized houses has been created to look "absolutely realistic", taking visitors' imagination to a "fantastic past".{{sfn|Eco|1986|p=43}} This false reality creates an illusion and makes it more desirable for people to buy this reality. Disneyland works in a system that enables visitors to feel that technology and the created atmosphere "can give us more reality than nature can".{{sfn|Eco|1986|p=44}} The "fake nature" of Disneyland satisfies our imagination and daydream fantasies in real life. The idea is that nothing in this world is real. Nothing is original, but all are endless copies of reality. Since we do not imagine the reality of simulations, both imagined and real are equally hyperreal, for example, the numerous simulated rides, including the [[Submarine Voyage|submarine ride]] and the [[Disney riverboats|Mississippi boat tour]].<ref name="Laughey, D. 2010"/> When entering Disneyland, consumers form into lines to gain access to each attraction. Then they are ordered by people with special uniforms to follow the rules, such as where to stand or where to sit. If the consumers follow each rule correctly, they can enjoy "the real thing" and see things that are not available to them outside of Disneyland's doors.{{sfn|Eco|1986|p=48}}

=== Examples ===
* A high end [[sex doll]] used as a simulacrum of an unattainable partner.<ref>{{cite web |url=http://www.allacademic.com/meta/p258053_index.html |title=Idollators and the Real Girl(s): Males Performing Traditional Femininity for Heterosexuality's Sake |publisher=Allacademic.com |last1=Burr-Miller |first1=Allison |last2=Aoki |first2=Eric |work=Paper presented at the annual meeting of the NCA 94th Annual Convention, TBA, San Diego, CA |access-date=2009-05-23}}</ref>
* Weak [[virtual reality]].<ref>{{cite journal |first=Andreas Martin |last=Lisewski |date=2006 |title=The concept of strong and weak virtual reality |journal=[[Minds and Machines]] |volume=16 |number=2 |pages=201–219|doi=10.1007/s11023-006-9037-z |arxiv=cs/0312001 |s2cid=513665 }}</ref>
* Works within the spectrum of the [[Vaporwave]] [[Music genre|musical genre]] often encompass themes of hyperreality through [[parody]] of the [[information revolution]].<ref>{{cite web |url=http://www.dummymag.com/features/adam-harper-vaporwave |title=Comment: Vaporwave and the pop-art of the virtual plaza |publisher=Dummy |date=December 7, 2012 |access-date=July 9, 2014 |last=Harper |first=Adam |archive-date=April 1, 2015 |archive-url=https://web.archive.org/web/20150401173930/http://www.dummymag.com/features/adam-harper-vaporwave |url-status=dead}}</ref>
* [[Heidiland]], is a region in eastern Switzerland named after the "[[Heidi]]" novels by [[Johanna Spyri]], encompassing alpine landscapes, villages, and recreational areas inspired by the story's setting. The labels throughout the village attraction treat Heidi as a historical figure with few hints of make-believe. <ref name="heidi">{{cite news |last1=Kim |first1=Dave |title=I Gave My Son the Books I Loved. He Chose 'Heidi' Instead. |url=https://www.nytimes.com/2024/11/11/books/review/heidi-johanna-spyri-swiss-childrens-novel.html |access-date=11 November 2024 |work=The New York Times |date=2024-11-11}}</ref><ref name="Solomon">{{Cite book | last = Solomon | first = Michael R. | title = Conquering consumerspace: marketing strategies for a branded world | publisher = Amacom | year = 2006 | location = Broadway | page = 30 | url = https://books.google.com/books?id=wBej3cFqSSAC&pg=PA30 | isbn = 978-0-8144-0741-7}}</ref>
* The restaurant Chain, which features nostalgic callbacks to real fast food chains (in particular [[Pizza Hut]]) though is a pastiche of fast food restaurants from a previous era. <ref name="Chain">{{cite news |last1=Rao |first1=Tejal |title=A Hollywood Remake of Your Fast Food Memories |url=https://www.nytimes.com/2024/04/12/dining/hollywood-fast-food.html |access-date=2024-04-12 |work=The New York Times |date=2024-04-12}}</ref>