  From now on, capital and political economy disappear from Baudrillard’s story, or return in radically new forms. Henceforth, signs and codes proliferate and produce other signs and new sign machines in ever-expanding and spiraling cycles. Technology thus replaces capital in this story and semiurgy (interpreted by Baudrillard as proliferation of images, information, and signs) replaces production. His postmodern turn is thus connected to a form of technological determinism and a rejection of political economy as a useful explanatory principle — a move that many of his critics reject (see Kellner 1989, Norris 1992, and the studies in Kellner 1994).