Simulacrum  

From The Art and Popular Culture Encyclopedia

Jump to: navigation, search
 This page Simulacrum is part of the fact and fiction series. Illustration: Ancient Rome (1757) by Giovanni Paolo Panini, a painting depicting imaginary paintings of actual Roman antiquities.
Enlarge
This page Simulacrum is part of the fact and fiction series.
Illustration: Ancient Rome (1757) by Giovanni Paolo Panini, a painting depicting imaginary paintings of actual Roman antiquities.
]]

"These then are the two kinds of image-making (eidolopoiike)--the art of making likenesses (eikastike), and phantastic (phantastike, simulacrum) or the art of making appearances?"

Related e

Google
Wikipedia
Wiktionary
Wiki Commons
Wikisource
YouTube
Shop


Featured:
Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.
Enlarge
Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.

Simulacrum (plural: -crums, -cra), from the Latin simulare, "to make like, to put on an appearance of", is first recorded in the English language in the late 16th century, used to describe a representation of another thing, such as a statue or a painting, especially of a god; by the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original. Philosopher Frederic 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.

Other art forms that play with simulacra include trompe l'oeil and pop art.

Contents

Simulacra in philosophy

The simulacrum has 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 distorted intentionally in order to make the copy appear correct to viewers. He gives an example of Greek statuary, which was crafted larger on top than on bottom so that viewers from the ground would see it correctly. If they could view it in scale, they would realize it was malformed. This example from visual arts serves as a metaphor for philosophical arts and the tendency of some philosophers to distort truth in such a way that it appeared accurate unless viewed from the proper angle. 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. Modern French social theorist Jean Baudrillard in Simulacra and Simulation argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the second-order simulacra or the hyperreal. Where Plato saw two steps of reproduction — 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.” Baudrillard uses the concept of god as an example of simulacrum. 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 accepted ideals or “privileged position” could be “challenged and overturned.” 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."

Literature, film, and television

Some stories focus on simulacra as objects, such as Oscar Wilde’s The Picture of Dorian Gray. The term also appears in Vladimir Nabokov's Lolita and in Stanislaw Lem's Solaris.

Another noteworthy example of the usage of the term simulacrum in literature comes from 20th-century Argentine writer Jorge Luis Borges, in his short story "The Circular Ruins". The "dreamed man" in the story is an example of a simulacrum, as he is a representation of a mortal human being that can create other human beings- that can create the real out of a representation.

Artificial beings

Simulacra often appear in speculative fiction. Examples of simulacra in the sense of artificial or supernaturally or scientifically created artificial life forms include:

  • Gargoyles - Statues that are sculpted to resemble monsters.
  • Hatsune Miku - A virtual idol VOCALOID known well among the otaku culture.
  • Holograms - Computerized images of anything.
  • Homunculus - Small miniature humanoids that are created through alchemy.
  • Neutrinos from Solaris - A race of creatures that are made from the memories of humans.
  • Pintosmalto - A statue of a man that was brought to life by a Goddess of Love.
  • Simulacrum - An illusion spell from Dungeons and Dragons which creates a partially real duplicate of someone, though it only has half the power and abilities of the original.
  • Thumbelina - A small girl that is created by a witch.

Also, the illusions of absent loved ones created by an alien life form in Stanislaw Lem's Solaris can be considered simulacra.

Philip K. Dick

The philosophically oriented American science-fiction writer Philip K. Dick returned obsessively to the theme of simulacra in the form of artificial environments, events, artifacts, organisms, and even worlds. Examples include the artificial humans and animals in his Do Androids Dream of Electric Sheep? (aka Blade Runner), We Can Build You, the protagonist of "The Electric Ant", and, more realistically, the fake antiques in his The Man in the High Castle (which also deals with a counterfeit world of sorts). The pertinently entitled The Simulacra is about a fraudulent government led by a presidential simulacrum (specifically, an android).

Simulated environments

Apart from the popular notion of virtual reality worlds found in much cyberpunk (such as The Matrix), physically created simulacra appear in countless works. Michael Crichton visited this theme several times, in Westworld and the Jurassic Park series. Other examples include the elaborately staged worlds of The Truman Show, Synecdoche, New York, and Equilibrium. (In The Truman Show, Truman has, in effect, a simulated life as well, which an invisible team of media professionals have created entirely without his knowledge. This arguably makes Truman, an otherwise ordinary human, a partially artificial being.)

Simulacra and recreation

Recreational simulacra include reenactments of historical events or replicas of landmarks, such as Colonial Williamsburg and the Eiffel Tower, and constructions of fictional or cultural ideas, such as Fantasyland at The Walt Disney Company's Magic Kingdom. The various Disney parks have by some philosophers been regarded as the ultimate recreational simulacra, with Baudrillard noting that Walt Disney World Resort is a copy of a copy, “a simulacrum to the second power.” In 1975, Italian author Umberto Eco expressed his belief that at Disney’s parks, “we not only enjoy a perfect imitation, we also enjoy the conviction that imitation has reached its apex and afterwards reality will always be inferior to it." This is for some an ongoing concern. Examining the impact of Disney’s simulacrum of national parks, Disney's Wilderness Lodge, environmentalist Jennifer Cypher and anthropologist Eric Higgs expressed worry that “the boundary between artificiality and reality will become so thin that the artificial will become the centre of moral value.” Eco also refers to commentary on watching sports as sports to the power of three, or sports cubed. First, there are the players who participate in the sport, the real; then the onlookers merely witnessing it; then, the commentary itself on the act of witnessing the sport. Visual artist Paul McCarthy has created entire installations based upon Pirates of the Caribbean, and theme park simulacra, with videos playing inside the installation itself.

Caricature as simulacra

An interesting example of simulacra is caricature. Where an artist draws a line drawing that closely approximates the facial features of a real person, the sketch cannot be easily identified by a random observer; the sketch could just as easily be a resemblance of any person, rather than the particular subject. However, a caricaturist will exaggerate prominent facial features far beyond their actuality, and a viewer will pick up on these features and be able to identify the subject, even though the caricature bears far less actual resemblance to the subject.

Simulacra in iconography

Beer (1999: p. 11) employs the term 'simulacrum' to denote the formation of a sign or iconographic image whether iconic or aniconic in the landscape or greater field of Thanka Art and Tantric Buddhist iconography. For example, an iconographic representation of a cloud formation sheltering a deity in a thanka or covering the auspice of a sacred mountain in the natural environment may be discerned as a simulacrum of an 'auspicious canopy' (Sanskrit: Chhatra) of the Ashtamangala. Perceptions of religious imagery in natural phenomena approaches a cultural universal and may be proffered as evidence of the natural creative spiritual engagement of the experienced environment endemic to the human psychology.

Word usage

The Latinised plural simulacra is interchangeable with the anglicised version simulacrums.

See also

Further reading




Unless indicated otherwise, the text in this article is either based on Wikipedia article "Simulacrum" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on original research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

Personal tools