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. Other art forms that play with simulacra include trompe-l'œil, pop art, Italian neorealism, and French New Wave. Literary critic Fredric Jameson offers photorealism as an example of artistic simulacrum, in which a painting is created by copying a photograph that is itself a copy of the real thing.
By the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original. The word was first recorded in the English language in the late 16th century, used to describe a representation, such as a statue or a painting, especially of a god. For the album by John Zorn, see Simulacrum (album).Ī simulacrum ( plural: simulacra or simulacrums, from Latin simulacrum, which means "likeness, semblance") is a representation or imitation of a person or thing.
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