plato and the selfie

8/10/2019 Plato and the Selfie

http://slidepdf.com/reader/full/plato-and-the-selfie 1/11

Andrew Ticzon History of ideas: Paper 1

11-0422 January 7, 2014

“!at wou"d P"ato#s aest!etic and artistic e$a"uation of t!e %e"fie &e'(

As one "o)s on to twitter, it wi"" not &e surprisin) if one co*es across pictures of peop"e#s

faces or a )roup of faces co$erin) t!e entire di*ension of t!e p!oto)rap! wit! t!e tweet &e"ow it

“+uote wit! a se"fie(, “ee"in se"fie(, or “w!en you )et t!at perfect se"fie an)"e( T!e use of t!e

se"fie !as &een !as &een e.tre*e"y per$asi$e in socia" networ/s to t!at point t!at in 201 w!en

crind"e 3esearc! "isted t!e top 1 trends of t!e year, it ca*e to no surprise t!at t!e second

!i)!est trendin) word was 5se"fie#1 6ue to t!e e.cessi$e acti$ity and use of t!e !as!ta) or word

of 5se"fie#, it !as found its p"ace in t!e .ford 6ictionary, toppin) 5twer/s# as t!e ord of t!e

8ear in 2012 9t is defined as “A p!oto)rap! t!at one !as ta/en of onese"f, typica""y one ta/en

wit! a s*artp!one or we&ca* and s!ared $ia socia" *edia( T!is e.cessi$e socia" *edia practice

and &uzzword as )rown since its ori)ination in 2002 in an Austra"ian on"ine foru* T!e ter* was

a s!ort!and of 5se"f-portrait# and was popu"arized on "ic/r wit! p!otos !a$in) "a&e"ed wit!

“se"fie( in 2004, !owe$er it did not &eco*e as per$asi$e on socia" networ/in) sites as it is now

unti" 2012

9n p!i"osop!y of art and aest!etics, se"fies are considered under an art product under t!e

$isua" arts as it is su& cate)ory of p!oto)rap!y, a conte*porary art 4 T!is is &ecause a se"fie,

&ein) a p!oto)rap!ic i*a)e ;ie representations of t!e states of t!in)s < or a p!oto)rap! contains

1 ar/ crind"e Social Analysis: Top 13 Trends of 2013 ;=e""a >ista, Austra"ia: crind"e 3esearc!, 6ece*&er 2, 201<, 1

2 A)ence rance-Presse %e"fie tops twer/ as .ford#s word of t!e year 9n+uirer, Tueday, ?o$e*&er 1@, 201,!ttp:)"o&a"nationin+uirernet@17@se"fie-tops-twer/-as-o.fords-word-of-t!e-year

3 Judy Pearsa"" %BC9B ;Austra"ia: .ford Dni$ersity Press, 201<, 1

4 6awn i"so* “P!oto)rap!y,( in A Routledge Companion to Aesthetics, rd ed Bd =erys Eaut et a" ;?ew 8or/: 3out"ed)e, 201<, F

5 >i"e* "usser Towards a Philosophy of Photography Trans &y Ant!ony at!ews ;Condon: 3ea/tion =oo/s Ctd, 2000<, 4F



t!e t!ree essentia" e"e*ents needed for it to &e a co*p"ete art wor/: for*, su&Gect *atter, and

content 9n t!is case, t!e su&Gect in t!e p!oto)rap!ic i*a)e is “w!at t!e i*a)e is a&outI its

*eanin) or concept( or one cou"d refer to it as t!e t!e*e of t!e i*a)e T!e content !as to do

wit! actua" content of t!e i*a)e identifia&"e and $isi&"e o&Gects 9n t!e case of a se"fie: t!e

person#s face, contortions, e.pressions, &ac/)round if any, and ot!er faces t!at are not t!e foca"

point of t!e i*a)e ;if any< and ot!er tan)i&"e o&Gects T!e for* refers to t!e o$era"" arran)e*ent

and unification of spatia" re"ations and properties of t!e i*a)e and t!e way it is presented 7

T!e assu*ption ;as conte*porary de&ates on art and &eauty wou"d say ot!erwise< is t!at t!e

se"fie "i/e a"" ot!er art wor/s ;as t!ere is a *et!od of doin) it we""

F

< !a$e an o&Gecti$e and

su&Gecti$e di*ension of &eauty T!e o&Gecti$e t!ose properties t!at *a/e t!e wor/ ad*ira&"e

&ecause of its intrinsic e.ce""ence, t!e "atter !as to do wit! a *atter of taste@ T!e first o&Gect of

focus in t!e se"fie is t!e person t!at occupies t!e i*a)e *ost ;w!ic! is *ore often t!an not t!e

a)ent ta/in) t!e picture<, t!e person#s face or &ody cou"d !a$e a"" t!e ri)!t proportions, for*,

*o$e*ent, dept!, and t!e "i/e, and w!en presented it reac!es a standard of &eauty T!e

su&Gecti$e &eauty of a se"fie is not so *uc! dependent on t!e e"e*ents and properties of t!e fine

arts &ut on t!e a*ount of “"i/es( or “no "i/es(, “retweets(, or "ac/ of “retweets( it recei$es on

socia" networ/in) sites suc! as Twitter or ace&oo/ T!is was stated indirect"y &y a study on t!e

se"fie p!eno*enon roc/er and o"f ;2001< &e"ie$e t!at $a"ue of a person ;and t!is inc"udes

6 An)e"a =e"t irst The lements of Photography: !nderstanding and Creating Sophisticated "mages, 2nd Bd ;.ford: B"se$ier 9nc, 2012<,

7 9&id, 4-

8 3ac!ae" P!i"ipps, “How to aster t!e Art of Ta/in) t!e Perfect %e"fie,( The #uffington Post , Apri" 2, 2014, accessed 6ece*&er 2F, 2014,

!ttp:www!uffin)tonpostcou/rac!ae"-p!i""ipsse"fie-tipsK&K1@7004!t*"

9 orti*er Ad"er Si$ %reat "deas ;?ew 8or/: ac*i""an Pu&"is!in) o*pany, 1@F1<, 10@-110 Ad"er, Si$ %reat "deas, 11



&eauty< is dependent on t!e success or fai"ure to t!e co*p"iance wit! t!at standard of t!ose in

t!at do*ain10 T!is standard is t!e )enera" su&Gecti$e standard of participants in t!e socia"

networ/in) sites t!at are a&"e to $iew t!at se"fie and w!at t!ey dee* as &eautifu" or *ore

attracti$e

Howe$er, t!at is on"y one of t!e *any aest!etic e$a"uations one can do of t!e se"fie T!ere

are nu*erous p!i"osop!ica" e$a"uations one can do t!e se"fie dependin) on t!e p!i"osop!ica"

paradi)* one uses An e.a*p"e wou"d &e an approac! to t!e se"fie t!rou)! He)e"ian p!i"osop!y

of art and aest!etics ne wou"d t!erefore e$a"uate t!e se"fie#s ro"e in re"ation to t!e de$e"op*ent

of t!e !u*an *ind t!rou)!out !istory

11

Anot!er *ore co**on e.a*p"e wou"d &e post-*odern

e$a"uation fro* t!e $iew point of 3o"and =art!es and Jac+ues 6errida, two p!i"osop!ers of

w!ic! wou"d pro&a&"y c"ai* usin) t!e writin)s of ?ietzsc!e so*et!in) a"on) t!e "ines of “t!e

se"fie is not a se"fie( 12 it! P"ato, &efore *a/in) an aest!etic and artistic e$a"uation of t!e

se"fie, one wou"d !a$e to first understand !is notion of &eauty

P"ato#s notion of &eauty are spread out t!rou)!out !is dia"o)ues 9n !is Cratylus !e discusses

t!e &eauty of t!e inte""ect 9n Phaedo !e de"i&erates on !is t!eory of &eauty t!at, t!at w!ic!

*a/es a t!in) &eautifu" is &eauty 9n !is Protragoras !e t!eorizes of &eauty as t!e opposite of

t!at u)"iness 1 9n !is Phile&us !e e.p"icates a Pyt!a)orean for* of &eauty "i/e t!at of a strai)!t

"ine, s+uare, or circ"e w!ic! “are a"ways &eautifu" in t!e*se"$es, and yie"d t!eir own specia"

10 A*y ?)uyen B.p"orin) t!e %e"fie P!eno*enon: T!e 9dea of %e"f-3epresentation and 9ts 9*p"ication A*on) 8oun) o*en ;aster#s

t!esis, %*it! o""e)e, 2014<,

11 ic!ae" 9nwood, “He)e",( in in A Routledge Companion to Aesthetics, rd ed Bd =erys Eaut et a" ;?ew 8or/, 3out"ed)e, 201<, F

126a$id ?owitz, “Post*odernis*,( in A Routledge Companion to Aesthetics, rd ed Bd =erys Eaut et a" ;?ew 8or/, 3out"ed)e, 201<, 172

13 ar/ Ca*arre, “razy Co$e: usin)s on t!e P!i"osop!ica" 3o"e of =eauty in P"ato#s Brotic 6ia"o)ues( ;cEi"" Dni$ersity: Acade*iaedu,

nd<, 4- 3etrei$ed fro*: !ttps:wwwacade*iaedu@@@040P!i"osop!ica"K3o"eKofK=eautyKinKP"ato



p"easuresI( ;1c1-2@< 14 A"&eitt!ese are a"" e.cerpts of !is notion of &eauty, t!ey are used in

different conte.ts T!e c"osest notion to !is centra" idea of aest!etics is its usa)e in !is dia"o)ue

wit! Phaedrus in w!ic! &eauty is seen as t!at w!ic! *a/es t!in)s &eautifu" T!is is furt!er

de&ated upon in !is dia"o)ue #ippias 'a(or ;Hippias<) 9n t!e #ippias P"ato t!rou)! %ocrates

discusses wit! !i* LHippiasM on t!e su&Gect *atter of /inds of t!in)s are &eautifu" and w!at

&eautifu" is1 9n P"ato#s aest!etic t!eory t!ere is a distinction &etween to *alon or auto to *alon

and *alos) T!e for*er is trans"ated as “&eautifu"(, “&eauty(, or “t!e &eauty itse"f(, w!i"e t!e

"atter is &eautifu" t!in)s and !as its funda*enta" appre!ension is &ased on $isua" attracti$eness

urt!er*ore, *alos or &eautifu" t!in)s !as a wider usa)e, it can a"so refer to t!in)s w!ic! are

“no&"e(, “ad*ira&"e(, or “fine(1 Hippias ai*s to answer %ocrates# +uestion of w!at a&so"ute

&eauty is &y answerin) w!at is fine or &eautifu" at first He first cites a &eautifu" *aiden 17,

%ocrates rep"ies and cites a"so a &eautifu" *are, "yre, and pot Hippias rep"ies in statin) t!at

utensi"s are &eautifu" &ut not in co*parison to a *aiden or *are, &ut after c!an)es !is position

and c"ai*s t!e &eautifu" is t!at w!ic! is endowed wit! )o"d, &ut t!en t!is is de&un/ed wit!

P!eidas# At!ena !a$in) i$ory eyes Cater on Hippias proposes it is t!e "ife "i$ed we"" 1F T!ey

"ater discus t!at &eauty depends on appropriateness, 1@ usefu"ness20, on t!e &enefit a person wi""

14 !ristop!er Janaway + "mages of $cellence: Plato,s Criti-ue of the Arts ;.ford: "arendon Press, 1@@<, @

15 P"ato, “Hippias aGor( in The .ialogues of Plato, rd ed trans =enGa*in Jowett ;T!e Euten&ur) ProGect<, 2FdN @2

16 Janaway + "mages of $cellence+ @

17 P"ato, #ippias 'a(or , 2FFaN @

18 9&id, 2FFc-2@1&N @4 -@

19 9&id, 2@e 2@4cN @F-@@

20 9&id, 2@d 2@eN 400



recei$e fro* t!e o&Gect21, t!e Goy or p"easure one recei$es fro* seein) or !earin) t!e o&Gect 22

B$entua""y t!ey co*e to t!e Gud)*ent t!at descri&in) and understandin) &eauty itse"f is an

arduous tas/, &ut t!ey do understand t!at a &eautifu" o&Gect is t!at w!ic! is )i$es p"easure

&ecause it is fine2 ;&ut t!ey sti"" !a$e t!e pro&"e* of w!at *a/es t!is o&Gect fine o&Gect

p"easura&"e24 T!e concept of to *alon is "ater ta/en up in !is dia"o)ue wit! 6ioti*a in t!e

Symposium)2/ Howe$er, t!e discussion in re"ation to p"easure is "ater continued in t!is Phile&us in

differentiatin) &etween pure and *i.ed p"easure Pure p"easure wou"d &e t!e perception of

s!apes and sounds w!ic! are “a&so"ute"y &eautifu" in t!e*se"$es 2 i.ed p"easures are t!ose

t!at are co*&ined wit! a certain “pain(

27

9t is not a "itera" pain &ut t!e fee"in) of a "ac/ of

so*et!in) and t!is "ac/ needs to &e satisfied or it &rin)s a&out a certain e*otion %o*e of t!ese

*i.tures can contain t!e e*otions of “an)er, desire, fear, "o$e e*u"ation, en$y, and si*i"ar

e*otions(2F T!is sa*e /ind of p"easure can &e said of a picture2@

21 9&id, 2@eN 401

22 9&id, 2@FaN 402

23 9&id, 04c-04e, 40F

24 Janaway, 9*a)es of B.ce""ence,

25 P"ato, “%y*osiu*,( The .ialogues of Plato, rd ed trans =enGa*in Jowett ;T!e Euten&ur) ProGect<, 1F

26 P"ato, “P!i"e&us,( The .ialogues of Plato, rd ed trans =enGa*in Jowett ;T!e Euten&ur) ProGect<, 11F

27 P"ato, Phile&us, 11F0

28 9&id, 11F2

29 Janaway, 9*a)es of B.ce""ence, 70



T!e se"fie is of course a picture, &ut w!at /ind of desire wou"d co*e out or &e satisfied fro*

ta/in) a se"fie' Accordin) to ar/ Ceary t!is desire w!ic! resu"ts and is satisfied &y se"fies is

t!e desire for peop"e to &e /ept in *ind:

“/eep t!e*se"$es in ot!er peop"e#s *inds 9n addition, "i/e a"" p!oto)rap!s t!at are posted on"ine,

se"fies are used to con$ey a particu"ar i*pression of onese"f T!rou)! t!e c"ot!es one wears, one#s

e.pression, sta)in) of t!e p!ysica" settin), and t!e sty"e of t!e p!oto, peop"e can con$ey a particu"ar pu&"ic i*a)e of t!e*se"$es, presu*a&"y one t!at t!ey t!in/ wi"" )arner socia" rewards(

;Ceary, 2004, The Curse of the Self: SelfAwareness+ gotism+ and the uality of #uman ife <0

T!is does not !owe$er i*p"y a narcissistic intention 9t wou"d on"y i*p"y $ery

funda*enta""y t!at peop"e !a$e a desire to &e co**unicated wit!, in t!is case to &e “/nown(

t!rou)! i*a)es1 9n t!is case, t!e se"fie is an o&Gect t!at one can deri$e a *i.ed p"easure fro*

=y t!e fact t!at t!ere is so*e p"easure or it is percei$ed as p"easant &y one, a few, or *ore, it is

in a sense a"so fine as P"ato did state t!at t!at w!ic! is p"easura&"e is a"so fine w!en in re"ation to

$isua" attracti$eness 9n t!is consideration, P"ato wou"d consider t!e se"fie as *alos and not auto

to *alon)

Howe$er, despite t!e se"fie &ein) e$a"uated as &eautifu" o&Gect, its artistic $a"ue *ust a"so

&e ta/en into consideration as t!e se"fie is an art product of t!at art of ta/in) a se"fie T!is *eans

t!at it *ust a"so &e e$a"uated fro* a p"atonic t!eory of art and Gust aest!etics 9n a P"atonic

artistic and aest!etic e$a"uation of t!e se"fie, considerin) t!at it is a representation of a person#s

face or peop"e#s faces t!rou)! a p!oto)rap!ic i*a)e t!at is up"oaded on"ine it can &e considered

an i*itation ;not a dup"ication< of so*eone P"ato wou"d c!aracterize t!is /ind of product under

t!e $isua" arts as mimetic or &ein) a mimesis, si*i"ar to a paintin) of a &ed t!at puts on t!e

30 Alis Tifentale, “The Sele: Making sense of the “Mast!"ation of Self#$%age& an' the “(i!tal Mini#Me,& )*e+

o!k: The -it. /nie!sit. of *e+ o!k, 2014, 6

31 A true /nowin) of a person can on"y &e done interpersona""y t!rou)! co**unication ;s!arin) t!e o&Gects of /now"ed)e< and co**union

;s!arin) of t!e se"f<, not t!rou)! a picture T!e se"fie on"y a""ows one to /now of t!e person, &ut not /now t!e person per se



appearance of a &ed &ui"t &y t!e crafts*an w!ic! is an i*perfect for* of t!e one for* w!ic! is

an idea" &ed 2 %o*e critics wou"d ca"" mimesis as a copy of a copy, &ecause artist is t!ree ti*es

re*o$ed fro* rea"ity or t!e trut! To e.p"ain t!is furt!er P"ato puts for t!e e.a*p"e of an o&Gect

in water An o&Gect outside of t!e water is seen as strai)!t, &ut w!en in water it is *a"for*ed and

seen as )oin) inward and outward on itse"f, &ut t!is is Gust an i""usion T!e water "i/e t!e

i*itation distorts rea"ity4 T!is /ind i*itation of rea"ity is "i/ened to t!e s!adows one wou"d see

in t!e a""e)ory of t!e ca$e 9n doin) so, *i*etic art is reduced to si*p"y t!e “production of

si*u"acra( T!e painter t!en, "i/e t!e a)ent ta/in) t!e se"fie is on"y a *a/er of appearances

T!e se"fie t!en "i/e t!e paintin) of t!e &ed contains t!e o&Gect not as it is, &ut as it appears to

&e7 P"ato +ua"ified t!e appearance of an o&Gect t!rou)! a paintin) or in t!e *atter of

discussion, t!e se"fie &y ana"o)izin) it to a *irror:

“An easy way enou)!N or rat!er, t!ere are *any ways in w!ic! t!e feat *i)!t &e +uic/"y and

easi"y acco*p"is!ed, none +uic/er t!an t!at of turnin) a *irror round and roundyou wou"d soon

enou)! *a/e t!e sun and t!e !ea$ens, and t!e eart! and yourse"f, and ot!er ani*a"s and p"ants,

and a"" t!e, ot!er t!in)s of w!ic! we were Gust now spea/in), in t!e *irror 8es, !e saidN &ut t!eywou"d &e appearances on"y(F

32 P"ato, “T!e 3epu&"ic( in The .ialogues of Plato, rd ed trans =enGa*in Jowett ;T!e Euten&ur) ProGect<, O, 141

33 P"ato, T!e 3epu&"ic, O, 14

34 9&id, 14

35 ?at!an arson, A ritica" 3e$iew of 9ris urdoc!#s 5T!e ire and t!e %un: !y P"ato =anis!ed t!e Artists# ;Dnited %tates: =ay"or

Dni$ersity, nd<, 1

36 %antia)o Juan-?a$arro, “T!e Power of i*esis and t!e i*esis of Power: P"ato#s oncept of 9*itation and !is Jud)*ent on t!e >a"ue of

Poetry and t!e Arts,( Reiste de #umanidades 1 ;2007<, 102 ;pp @7-10F<

37 Janaway + "mages of $cellence+ 114

38 P"ato, The Repu&lic, O, 141



Ei$en t!e fact t!at se"fie is *ere"y an appearance of t!e a)ent and t!e a)ent as on"y a *a/er

of appearance T!e a)ent in creatin) on"y an appearance and not t!e actua" t!in) is not true

&ecause it is not t!e rea" se"f T!e a)ent of t!e se"fie "i/e t!e painter does not *a/e a &ed or

anot!er se"f t!at actua""y e.ists &ut on"y *a/es t!e so*et!in) t!at is a “se*&"ance of

e.istence(@ P"ato t!en conc"udes t!at t!e painter is not a creator or *a/er,40 "i/ewise t!e person

ta/in) t!e se"fie is not considered a *a/er of so*et!in) ;w!ic! in a sense is true as it is p!oto-

ta/in) de$ice t!at )enerates t!e picture of t!e person, t!e a)ent on"y part"y participates in *a/in)

it a se"fie w!en t!e a)ent up"oads it on"ine, nonet!e"ess t!e content, for*, and su&Gect *atter, are

sti"" produced &y t!e ca*era de$ice< T!e two are t!en desi)nated as si*p"y mimetes or i*itators

&ecause t!ey produce a mimesis)41

9n su**ation, P"ato wou"d percei$e t!e se"fie as so*et!in) &eautifu" or fine &ecause one

can recei$e so*e p"easure &y $iewin) it &ecause *alos in p"atonic aest!etic t!eory !as its centra"

*eanin) on $isua" attracti$eness and se"fie !as a possi&i"ity of &ein) $isua""y attracti$e 9n

addition, t!e p"easure ;or desire satisfied or e.cited< t!at one )ains fro* t!e se"fie c"assifies t!e

se"fie under t!e rea"* of o&Gects t!at )i$e *i.ed p"easure Howe$er, seein) t!at t!e se"fie is an

art product cate)orized under t!e $isua" art p!oto)rap!y, and &ein) an art product of

p!oto)rap!y it is an i*a)e, and "i/e t!e paintin), depicts on"y an appearance of rea"ity w!ic! is a

fa"se!ood rat!er t!an trut! 9t is a mimesis of t!e "owest "e$e", t!ree ti*es re*o$ed fro* t!e true

for* of t!e o&Gect, an i*itation of a dup"ication ;crafts*ans!ip< 9n a conte*porary sense t!is is

true as p!otos can &e decei$in) as so*e peop"e *ay "oo/ &etter or worse t!an t!ey rea""y appear

39 9&id, 141-142

40 9&id, 142

41 9&id



on t!e p!oto)rap! as so*e indi$idua"s *ay &e p!oto)enic, w!i"e ot!ers are not 9n conc"usion

t!en, P"ato wou"d Gud)e a se"fie as so*et!in) fine or ad*ira&"e &ut its fineness wou"d &e wit!in

t!e "e$e" of t!e "owest for* of i*itation, not a&o$e t!e "e$e" of crafts*ans!ip, and certain"y not

e+ua" to t!e "e$e" of t!e 9dea" or*s

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