We'd like to understand how you use our websites in order to improve them. Register your interest. If the goal of Platonism is the triumph of icons over simulacra, the inversion of Platonism would entail an affirmation of the simulacrum as such, which must thus be given its own concept. An inverted Platonism would necessarily be based on a purely immanent and differential conception of Ideas.
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Login via Institution. The present chapter proposes an ontological and aesthetic analysis of the film image highlighting its power as a simulacrum.
To carry out this analysis, the text considers three different positions: the Platonic, the Bergsonian and the Deleuzian. The Platonic discussion is based on the difference between the model, the copy and the simulacrum. According to Plato, simulacra superficially represent their resemblance to the model.
Henri Bergson develops an ontological study of the material world and the moving images that compose it. Bergson makes a classification of the arts taking into account his approach to movement. In relation to Platonism, it can be said that Bergson considers cinema as a simulacrum or an inappropriate representation of reality.
Finally, for Gilles Deleuze, the cinema reproduces the image-movement and produces the time-image, which enhance the image-cinema, since they generate a new affective experience within the scope of the Virtual.
This power leads to reevaluate the importance of simulation within the arts and therefore the Platonic hierarchies. Author: Jorge Tomas Garcia.
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The concept of the simulacrum: Deleuze and the overturning of Platonism
Reason is the black widow in the cage of time. Spiderlike sufficient reason allows nothing to escape its dark power. Even the infinite cannot escape the grasp of this deadly creature, the venomous touch of reason kills everything within its purview, and like its dark precursor dissolves even the smallest elements into the acid bath of its formidable categories: identity, difference, doubling, and reflection. Representation is the disease of time, the cracked wand of a dead wizard whose power is dispersed among the broken vessels of light scattered to the four corners of the universe.
Beyond Representation: Plato, Deleuze and the Simulacra
A simulacrum plural : simulacra from Latin : simulacrum , which means "likeness, similarity" is a representation or imitation of a person or thing. By the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original. Simulacra have long been of interest to philosophers. In his Sophist , Plato speaks of two kinds of image-making.
The Cinematic Image as Platonic Simulacrum