24 Matching Annotations
  1. Dec 2019
    1. p. 120

      Il injuria amèrement les critiques ; puis, plus bienveillant, il les compara aux gens « qui ne disposent pas de métaux précieux ni de presses à vapeur, de laminoirs et d’acide sulfurique pour le monnayage de trésors, mais qui peuvent indiquer aux autres le lieu où se trouve un trésor.»

      Un renversement du discours de Socrate au livre X de La République, l'inutilité de la poésie se transformant, dans le discours de Daneri cité par le narrateur, en inutilité de la critique (la theoría devenue simulacre)?

      Crois-tu que si quelqu'un était capable de produire les deux choses, à la fois l'objet à imiter et le simulacre, il consacrerait ses efforts à la production artistique des simulacres et en ferait une priorité dans sa propre vie, comme s'il s'agissait de l'objet supérieur de son existence? (République, X, 599 a-b)

  2. Sep 2019
    1. L'épopée (02), la poésie tragique, la comédie, la poésie dithyrambique, l'aulétique, la citharistique, en majeure partie se trouvent être toutes, au résumé, des imitations.

      mimesis

  3. Apr 2019
  4. Aug 2018
    1. Car le fait numérique aura à tout le moins fait émerger un nouveau rapport à l’image : sceptiques même à l’égard de la posture du sceptique — celle que favorisent notamment les discours complotistes qui pullulent à l’ère de la postvérité — les artistes et les écrivains explorent les potentialités d’un fait photographique qui ne peut avoir, par nature, de statut ontologique pur. Travaillant l’objectivité comme un effet rhétorique, ils déploient des mécanismes de détournement dont la valeur heuristique est essentielle : mythomanie n’est pas mensonge. Certes, la notion de vérité est en crise (bien plus que l’image), mais toute exigence heuristique n’a pas disparu, bien au contraire : si « réel » il y a, c’est bien celui que l’on a construit par nos récits et nos images. C’est ainsi que l’on se détourne d’un régime de la représentation pour s’orienter vers un régime métaréflexif dans lequel il s’agit de faire sens avec nos différents référents culturels — qu’ils soient photographiques, littéraires ou picturaux.
  5. Nov 2013
    1. it is we who impress ourselves in this way. In conjunction with this, it of course follows that the artistic process of metaphor formation with which every sensation begins in us already presupposes these forms and thus occurs within them. The only way in which the possibility of subsequently constructing a new conceptual edifice from metaphors themselves can be explained is by the firm persistence of these original forms That is to say, this conceptual edifice is an imitation of temporal, spatial, and numerical relationships in the domain of metaphor.

      Because a belief exists within us it is already present in a sensation when we feel it.

      Hmmmm...the beliefs we build is a copy of the metaphorical realm of the world, space and numbers.

    2. It is only by means of forgetfulness that man can ever reach the point of fancying himself to possess a "truth" of the grade just indicated. If he will not be satisfied with truth in the form of tautology, that is to say, if he will not be content with empty husks, then he will always exchange truths for illusions. What is a word? It is the copy in sound of a nerve stimulus.

      Truth is an illusion, an imitation of a previously known idea.

    3. It continually manifests an ardent desire to refashion the world which presents itself to waking man, so that it will be as colorful, irregular, lacking in results and coherence, charming, and eternally new as the world of dreams
    4. considers the entire universe in connection with man: the entire universe as the infinitely fractured echo of one original sound-man; the entire universe as the infinitely multiplied copy of one original picture-man

      Man sees himself in everything

    5. Just as it is certain that one leaf is never totally the same as another, so it is certain that the concept "leaf" is formed by arbitrarily discarding these individual differences and by forgetting the distinguishing aspects

      Modifying Platonic ideas of truth. Truth is the farthest from reality because it conflates individuality and real circumstances and specificity

    6. empty husks, then he will always exchange truths for illusion

      Shadows, dreams

    7. "forms

      Shadows and objects

  6. Oct 2013
    1. But if a man desire to speak not only with wisdom, but with eloquence also (and assuredly he will prove of greater service if he can do both), I would rather send him to read, and listen to, and exercise himself in imitating, eloquent men, than advise him to spend time with the teachers of rhetoric
    1. SOME TIME is also to be devoted to the actor, but only so far as the future orator requires the art of delivery, for I do not wish the boy whom I educate for this pursuit either to be broken to the shrillness of a woman's voice or to repeat the tremulous tones of an old man's. 2. Neither let him imitate the vices of the drunkard nor adapt himself to the baseness of the slave; nor let him learn to display the feelings of love, or avarice, or fear: acquirements which are not at all necessary to the orator and which corrupt the mind, especially while it is yet tender and uninformed in early youth, for frequent imitation settles into habit.

      Is a parent supposed to limit a child's exposure to the world?

    2. It is not even every gesture or motion that is to be adopted from the actor, for though the orator ought to regulate both to a certain degree, yet he will be far from appearing in a theatrical character and will exhibit nothing extravagant either in his looks, or the movements of his hands, or his walk.

      Moderation, imitation balanced together

    3. SOME TIME is also to be devoted to the actor, but only so far as the future orator requires the art of delivery,
    1. I do not disapprove, however, the practice, which is well known, of giving children, for the sake of stimulating them to learn, ivory figures of letters to play with, or whatever else can be invented, in which that infantine age may take delight, and which may be pleasing to handle, look at, or name.

      Learning through play

    2. This advancement, extended through each year, is a profit on the whole, and whatever is gained in infancy is an acquisition to youth. The same rule should be prescribed as to the following years, so that what every boy has to learn, he may not be too late in beginning to learn. Let us not then lose even the earliest period of life, and so much the less, as the elements of learning depend on the memory alone, which not only exists in children, but is at that time of life even most tenacious.

      This is still debated today. Many preschools have differing pedagogies and beliefs on what a child is capable of learning at what age.

    1. But let imitation (for I must frequently repeat the same precept) not be confined merely to words.

      We must act the part, assume the role

    2. Moreover, everything that resembles something else must necessarily be inferior to that of which it is a copy, as the shadow to the substance, the portrait to the natural face, and the player's acting to the real feeling

      It sounds like Plato's cave metaphor

    3. imitation is not sufficient of itself,

      Requires ingenuity and imagination. We must do something more with what we imitate

    4. Our minds must be directed to the imitation of all their excellences, for it cannot be doubted that a great portion of art consists in imitation, since, though to invent was first in order of time and holds the first place in merit, it is of advantage to copy what has been invented with success.

      Imitation is a continual theme throughout this work

    1. it is evident that commencement of the art arose from speaking, followed by imitation, and, last of all, diligent exercise in writing

      Writing is the last and highest in the progression

    1. Such is the practice of actors who do not pronounce exactly as we speak in common conversation, for such pronunciation would be devoid of art; nor do they depart far from nature, as by such a fault imitation would be destroyed; but they exalt the simplicity of familiar discourse with a certain scenic grace.
    1. The next symptom is imitation, for that is an indication of a teachable disposition, but with this provision: that it express merely what it is taught, and not a person's manner or walk, for instance, or whatever may be remarkable for deformity.

      imitation, mimesis