Simulation in Art: An Introduction

I spend the majority of my time dealing with stories. Thinking about them, analyzing them, re-imagining them. The art world bombards me with narratives on a daily basis. And, really, I’m okay with that. I’d elect to sit in front of a painting, immersing myself in its world of color and form (or lack thereof), or soak up the content of a short story before I’d sign up to conduct research on pollen.

What’s attractive about stories is that they’re not real. They belong to someone else. They’re temporary.

They’re all of these things, but, then, they’re none of these things.

The choice to become involved with a story complicates its existence, making it impossible to detect the separation between simulation and reality. At the end, you’re nowhere closer to figuring out what’s real than you were on the first page, at the first glance.

But Salvador Dali didn’t paint dreams just to have his decision’s interaction with reality ignored.

Published at See Gauge Blog on February 13, 2013.

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Comments
One Response to “Simulation in Art: An Introduction”
  1. My thought is officially fed here today.
    *chews idea of story*
    Yummy

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