The Domain of Images

Gilles Deleuze in Plato and the Simulacrum describes how Plato divides, what he calls the “domain of images” into two, on the one hand there are iconic copies, which are the true likenesses of the original, and there are phantasmic simulacra, which have a relationship of semblance to the original. The icons are endowed with resemblance, this is not a correspondence between two external things, but between a thing and an idea. “A copy truly resembles something only to the extent that it resembles the Idea of the thing.” The copy to be recognised as such will be seen as being endowed with the quality of the original. In short, it is the superior identity of the Idea that grounds the good claim of the copies, grounding it on an internal or derived resemblance. The copy can be understood as what is seen in the inner reflection of dianoia.

The claim of the simulacrum  is “made from below without passing through the Idea.” Thus it is an image of the original, but without resemblance, it is without the quality of the original. It is there as an aesthetic image, i.e. it is perceived and as such gives an effect of the original. It is constructed not on resemblance but on “disparity” and “difference.” The simulacral image avoids “the equivalent, the limit, the Same, or the Like.” Making the simulacrum like what it is an image of represses it, confines it “within a cave in the bottom of the ocean.”

Plato’s Failure

Heidegger concludes his account of the Theaetetus by outlining what he calls Plato’s failure in interpreting the phenomenon of the pseudes doxa in terms of speaking rather than seeing. This is because dianoia, inner reflection, is understood as a speaking to ourselves about what is before us, and as such founded on logos (speech).

The mis-taking of pseudes doxa is therefore a failure of the intended predicate, i.e. what is said about the object before us. This leads Plato to grasp the essence of pseudos, un-truth, as the un-correctness of the proposition. Accordingly truth must also have its seat in the logos, rather than unhiddenness it becomes understood as the correctness of the proposition. This leads to our present understanding of truth as the “correspondence, grounded in correctness, between the proposition and the thing.” (2)

This goes hand in hand with the conception of doxa as proposition, which means its original dual character as look and view recedes. Rather than being there in the uncertain duality of seeming, the truth and un-truth of what is seen now “simply stand alongside each other, indeed they have opposing directions, they even exclude one another.” (227)

Previous post: Doxa and Pseudos

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Doxa and Pseudos

The similes of the wax mass and the aviary connect our stances towards beings of dianoia (inner perception) and aisthesis (bodily perception) to mnemoneuein (making-present in memory). The effect of this is to broaden the domain of beings beyond those which we have in immediate presence to include those which are bodily absent but which we retain. Furthermore the retained can also be both absent and present, i.e. it can be made present or we have the awareness of the possibility of making it present. It is this “essential twofold possibility, pertaining to every accessible being” (i.e. whether present or absent) that leads to the clarification of the essence of doxa.

Doxa
As we have seen Doxa is ambiguous, it means both the look that something or someone offers and what the viewer makes of it in terms of opinion. What shows itself gives off an appearance, awakens an impression in the viewer, which is intrinsically unreliable. Doxa therefore can be either true or false. Thus the word doxa obtains its meaning from two opposed directions, from the object and from the stance we take towards it. Both are present in one word, they are not juxtaposed but have one meaning, one which “involves attending to the other.”

Both similes taken together demonstrate that a being can be perceived both in immediate bodily presence and through the activity of mnemoneuein, making-present that which is absent. Making-present lets something not present be represented in advance, prior to it again coming into bodily presence. This is reflected in Plato’s definition of doxa as “a combination of what is encountered in immediate having-present with what is made-present in advance.” (221)

Heidegger tests this definition by applying it to an instance of doxic seeing, in this case a true view, i.e. one that is not mistaken: “Theodorus takes somebody approaching from a distance, who is in fact Theaetetus, to be Theaetetus.” (220) Heidegger analyses:

[the distant figure] “presents a view, a look, indeed the look of Theaetetus: accordingly, on the basis of this look, we take him for Theaetetus. Another possibility: we know Theaetetus, we know in advance that at this time of day he usually comes along this road, we can already visualise him doing this, we can hold ourselves to him as this being who is not yet bodily present. And now a man appears in the distance, presenting a view to us, without our being able to see with sufficient clarity that it is Theaetetus: but we opine it must be him: we now take the approaching person to be Theaetetus, not because of the look (having-present) but because of prior making-present.” (221)

Thus we have two objects towards which doxic seeing is directed, both of which are at the same time known and unknown. There is the unidentified “somebody approaching” who is concretely present but not known, we do not yet know who it is. We also have Theaetetus who we make present in advance of his concrete presence, so we know him in memory but do not know him in bodily presence.

These are not two separate ways of seeing but one. Heidegger reflects Plato’s definition when he says that the seeing of doxa, “is a comportment that is unitarily directed both to what is bodily present and to what making-present re-presents in advance.” (222) This leads him to characterise doxa as “two-pronged or forked,” one prong aimed at what is present before us, the other towards that which we anticipate – both seen together. This clarifies the nature of the true doxa as a fork, which means it must also be important for understanding the pseudes doxa and therefore of pseudos.

Pseudos
The understanding of pseudos is now approached through an example of a false view: “someone takes the distant Theaetetus for Socrates.” The distant person seems, looks like both Theaetetus and Socrates. For this to happen we must know both Theaetetus and Socrates and they must be bodily absent but yet made-present. This means the seeing of the false view can only happen in mnemonic making-present, i.e. what is brought to mind in memory. The action of looking, that Heidegger ascribes to the false view, is one of looking past what is seen, which is; towards what is seen, which is not. “What is passed by is precisely there, is as such present.”

The seeing of the pseudes doxa mis-takes the seeing of something as something, one thing determines the look of the other by hiding it. Yet it is not completely hidden it shows itself to our doxa as seeming. One thing can seem like… and like … Heidegger defines seeming as a mode of unhiddenness (i.e truth) which is essentially hiddenness (i.e. untruth). This brings us back to the beginning of Heidegger’s account of his engagement with Plato, truth as aletheia is what is not hidden, therefore untruth is what is hidden.

Derek Hampson

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The Motivation of Platonism

Platonism is characterised as the theory of Ideas. This is the understanding that the essence of a thing resides in its Idea, its essential nature, which exists beyond the physical. Things that we see are, in varying degrees, images or copies of their otherworldly original.

Rather than subverting this Platonic “world of essence and appearance,” Deleuze is concerned to  track down its motivation. This, he finds, is to be found in its “will to select, to sort out,” by distinguishing between the “thing” itself and its images. In this sense the theory of Ideas is a process of division, through which the claim of images to truthfulness are ranked in order, from the true copy to the false image, the simulacrum

The Platonic Idea enables a judgement of the degree to which an image possesses the quality of the original. Distinguishing between the rightful claimant to truthfulness, the model or copy, and that which has only the semblance of truthfulness, the simulacrum. The truthful image will resemble the idea, while the simulacrum will have a semblance “ever corrupted by dissemblance.”

Thus the motive of Platonism is to ensure the triumph of the true copies and and to repress the simulacra, “keeping them chained in the depths” (48).

Next post: The Domain of Images

Art as Gift Introduction

Art as Gift was an Art and Theory Reading Group project that ran from January to May 2017, the aim of which was to examine the idea that we experience works of art in terms of presence – as something given, i.e. as gifts. Two principle theorisations of the gift informed discussions:

  1. The gift as part of a process of exchange, as set out by the anthropologist Marcel Mauss in: The Gift (1950).
  2. The impossibility of the gift, as set out by Jacques Derrida in his book: Given Time: 1. Counterfeit Money (1991).

Project Organisation
Derrida’s text was the main focus of the group’s discussions, meetings were organised around discussing each of the four chapters of “Given Time” in turn. To support these I wrote a series of detailed blogposts on each chapter. The project culminated in a public presentation, informed by the thinking developed within the group.

Timetable
Reading Group 1 – January 26
Introductory presentation by Derek Hampson, then discussion
Text: ‘The Time of the King’ in Given Time (1).

Reading Group 2 – February 23
This meeting will focus on reading and discussing chapter 2 of Given Time: The Madness of Economic Reason: A Gift without Present (34-70). Suggested themes for discussion will be posted on this website.

Reading Group 3 – March 30
This meeting will focus on reading and discussing chapter 3 of Given Time: “Counterfeit Money’ 1: Poetics of Tobacco” (71-107). Suggested themes for discussion will be posted on this website.

Reading Group 4 – April 27
Final meeting, dedicated to reading chapter 4 of Given Time: “Counterfeit Money” II:Gift and Countergift, Excuse and Forgiveness (108-172). Suggested themes for discussion will be posted on this website.

Art as Gift Symposium – May 13
11:00am at the Lace Market Gallery, Stoney Street, Nottingham. The artist and critic Peter Suchin (Art Monthly) will address the question: “What is Given in Marcel Duchamp’s Given?”

Click on image below to download “Given Time” as a pdf

 

 

The Simile of the Aviary

The retaining of beings for making present, as first encountered in the simile of the wax mass, is further elaborated through the simile of the aviary, as translated by Martin Heidegger in The Essence of Truth (215).

[Socrates] ‘Well, having and possessing seem different things. If a man buys a cloak and in this sense brings it under his power, but does not wear it, we should certainly say, not that he has it on, but that he possesses it’
[Theaetetus] ‘And rightly’
‘Now see whether it is possible in the same way for someone who possesses knowledge not to have it, in like manner, for instance, to a man who catches wild birds – pigeons or the like – and sets up an aviary at home in which to keep them. Might we assert that in a certain way he always has the birds, because he possesses them?’
‘Yes’
‘And yet in another way he does not have any of the birds, but has acquired power over them, since he has brought them under his control within his own enclosure. He can take them and hold them whenever he likes, by catching whichsoever bird he pleases, and letting it go again; and he can do this as often as he likes.’
‘That is true’
‘And again, just as a while ago we contrived some sort of waxen figment in the soul, so now let us make in each soul an aviary stocked with all sorts of birds, some in flocks apart from the rest, others in small groups, and some solitary, flying hither and thither among all the others’
‘Consider it done. What next?’
‘We must assume that when we were children this receptacle was empty, and we must understand that the birds represent the varieties of knowledge. And whatsoever kind of knowledge a person acquires and shuts up within the enclosure, we must say that he has learned or discovered the thing of which this is the knowledge, and that precisely this is knowing’
‘So be it’

Heidegger’s Interpretation
When we are born this container in our soul is empty, gradually it becomes filled with birds, i.e. we become familiar with beings and store them in the aviary. We have the birds stored there as possessions, they are left to their own devices. Thus we retain them but they are absent, but we can make them present by the action of grasping, taking up an active relationship towards them. Thus in the sphere of making present, memory, the same thing can be absent and present, we can have it as possession (ktesis) without expressly bringing it to mind. We can also select it by grasping it, taking an active relationship of being towards it (hexis).

Whoever possesses such an aviary possesses the doves in this cage, in this container, but does so in different ways. First, by sitting in a house, in a room, and having the doves under a roof. In this way, he can possess them and add to his possession. But he can also grasp a dove inside the container. There is the fundamental possibility of taking something out of this domain and having it in a stronger sense, taking on a relationship of Being with it. (Being and Truth, 198)

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The Simile of the Wax Mass

Assume then, by way of simile, that our souls contain something like a wax mass, sometimes larger, sometimes smaller, sometimes purer, sometimes more impure, sometimes harder, sometimes softer, and sometimes of just the right quality. [Everything that we immediately perceive, and also everything that we take in and comprehend, is imprinted upon it] … This wax mass, we say, is a gift of the mother of the Muses. (210)

Heidegger’s Interpretation
The soul contains a wax mass, into which all experiences are imprinted, its capacity to receive these impressions varies with the individual: “sometimes larger, sometimes smaller…” We can draw upon the impressions retained in this wax mass, in order to hold before ourselves that which is no longer present, or we are no longer with. We have a “connection of being” to what is absent, in the same way that an artist can “visualise and freely form their work in its entire fullness, prior to and without the help of any outline.” i.e. without a body being present. This capacity is the gift of the mother of the Muses, Mnemosyne, the goddess of memory, which belongs to the essence of the soul as a “primordial dowry.” (210)

Heidegger says this gift of Mnemosyne is not recollection but the faculty of mindfulness, the innate capacity of the soul to make-present that which is not physically there. In making-present that which is absent, we do not orient ourselves towards an inwardly stored image, but outwards towards the thing itself in its full appearance, which we betake ourselves to “without removing ourselves from our factual location.” (212) Since we do not have the thing itself before us from which to draw its eidos, its look, we orient ourselves to its eidolon, its look-alike [also simulacrum] retained in the wax mass inside the soul.

Thus our stance, through the soul, towards those beings retained for making-present, is that of mnemoneuein, the retaining of what is retainable, which Heidegger describes as a “faculty of the soul.” Yet what is retained is not unchanging, our relationship to it can change, we can forget, or the thing itself may change, so that our knowledge of it becomes distorted.

The making-present of the wax mass is essentially a passive having of what is retained. The simile of the aviary demonstrates a more active making-present of that which is retained.

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