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    Simulacrum Aa

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    JUANJOSEFOX
    Fredric Jameson argues that photorealism in art is an example of a simulacrum, where a painting is created by copying a photograph that is itself a copy of reality. Other art forms that deal with simulacra mentioned include trompe l'oeil, pop art, Italian neorealism, and French New Wave cinema. Philosophers such as Plato, Nietzsche, Baudrillard, and Deleuze have discussed the concept of simulacra, with differing views on whether simulacra distort reality or can become truth in their own right.

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    Simulacrum Aa

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    JUANJOSEFOX
    48 views1 page
    Fredric Jameson argues that photorealism in art is an example of a simulacrum, where a painting is created by copying a photograph that is itself a copy of reality. Other art forms that deal with simulacra mentioned include trompe l'oeil, pop art, Italian neorealism, and French New Wave cinema. Philosophers such as Plato, Nietzsche, Baudrillard, and Deleuze have discussed the concept of simulacra, with differing views on whether simulacra distort reality or can become truth in their own right.

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    Fredric Jameson argues that photorealism in art is an example of a simulacrum, where a painting is created by copying a photograph that is itself a copy of reality. Other art forms that deal with simulacra mentioned include trompe l'oeil, pop art, Italian neorealism, and French New Wave cinema. Philosophers such as Plato, Nietzsche, Baudrillard, and Deleuze have discussed the concept of simulacra, with differing views on whether simulacra distort reality or can become truth in their own right.

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    Download as docx, pdf, or txt
    48 views1 page

    Simulacrum Aa

    Uploaded by

    JUANJOSEFOX
    Fredric Jameson argues that photorealism in art is an example of a simulacrum, where a painting is created by copying a photograph that is itself a copy of reality. Other art forms that deal with simulacra mentioned include trompe l'oeil, pop art, Italian neorealism, and French New Wave cinema. Philosophers such as Plato, Nietzsche, Baudrillard, and Deleuze have discussed the concept of simulacra, with differing views on whether simulacra distort reality or can become truth in their own right.

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      Fredric Jameson offers photorealism as an example of artistic simulacrum, where a painting is

    created by copying a photograph that is itself a copy of the real.[3] Other art forms that play with
    simulacra include trompe-l'œil,[4] pop art, Italian neorealism, and French New Wave.[3]

    Contents

     1Philosophy
     2Recreation
     3Caricature
     4Iconography
     5Word usage
     6Simulacrum as artificial beings
     7See also
     8References
     9External links

    Philosophy[edit]
    Simulacra have long been of interest to philosophers. In his Sophist, Plato speaks of two kinds of
    image-making. The first is a faithful reproduction, attempted to copy precisely the original. The
    second is intentionally distorted in order to make the copy appear correct to viewers. He gives the
    example of Greek statuary, which was crafted larger on the top than on the bottom so that viewers
    on the ground would see it correctly. If they could view it in scale, they would realize it was
    malformed. This example from the visual arts serves as a metaphor for the philosophical arts and
    the tendency of some philosophers to distort the truth so that it appears accurate unless viewed from
    the proper angle.[5] Nietzsche addresses the concept of simulacrum (but does not use the term) in
    the Twilight of the Idols, suggesting that most philosophers, by ignoring the reliable input of their
    senses and resorting to the constructs of language and reason, arrive at a distorted copy of reality.[6]
    Postmodernist French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the
    real, but becomes truth in its own right: the hyperreal. According to Baudrillard, what the simulacrum
    copies either had no original or no longer has an original (think a copy of a copy without an original).
    Where Plato saw two types of representation—faithful and intentionally distorted (simulacrum)—
    Baudrillard sees four: (1) basic reflection of reality; (2) perversion of reality; (3) pretence of reality
    (where there is no model); and (4) simulacrum, which "bears no relation to any reality whatsoever".
    [7]
     In Baudrillard's concept, like Nietzsche's, simulacra are perceived as negative, but another modern
    philosopher who addressed the topic, Gilles Deleuze, takes a different view, seeing simulacra as the
    avenue by which an accepted ideal or "privileged position" could be "challenged and overturned".
    [8]
     Deleuze defines simulacra as "those systems in which different relates to different by means
    of difference itself. What is essential is that we find in these systems no prior identity, no internal
    resemblance".[9]
    Alain Badiou, in speaking with reference to Nazism about Evil, writes,[10] "fidelity to a simulacrum,
    unlike fidelity to an event, regulates its break with the situation not by the universality of the void, but
    by the closed particularity of an abstract set ... (the 'Germans' or the 'Aryans')".

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