According to Baudrillard, what the simulacrum copies either had no original or no longer has an original, since a simulacrum signifies something it is not, and therefore leaves the original unable to be located. įrench semiotician and social theorist Jean Baudrillard argues in Simulacra and Simulation that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. 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.
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. If they could view it in scale, they would realize it was malformed.
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. The second is intentionally distorted in order to make the copy appear correct to viewers. The first is a faithful reproduction, attempted to copy precisely the original. In his Sophist, Plato speaks of two kinds of image-making. Simulacra have long been of interest to philosophers. Plato was referring to an optical illusion such as this in his discussion of simulacra. Mole & Thomas, Human Statue of Liberty (1919)-12,000 people in the flame of the torch, 6,000 in the rest of the shape.
0 kommentar(er)
