simulacrum

thumb|Image of a real apple (left), and plastic food model apple (right). The fake apple is a simulacrum. A simulacrum (: simulacra or simulacrums, from Latin simulacrum, meaning "likeness, semblance") is a representation or imitation of a person or thing. 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. By the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original. 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. Other art forms that play with simulacra include trompe-l'œil, pop art, Italian neorealism, and French New Wave.

==Original philosophy== thumb|Arthur Mole|Mole & Thomas, Human Statue of Liberty (1919)—an anamorphic optical illusion, with 12,000 people in the flame of the torch and 6,000 in the rest of the shape. Plato was referring to an illusion such as this in his discussion of simulacra. Simulacra have long been of interest to philosophers. In his Sophist, Plato speaks of two kinds of image-making. The first is a faithful reproduction, attempted to copy precisely the original. The second is intentionally distorted in order to make the copy appear correct to viewers. 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. If the viewers could see it in scale, they would realize it was malformed. 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. 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.