I keep forgetting the name of that grandiose opera set designer of Vienna work I run into all the time. It’s Ludovico Ottavio Burnacini. See Mathäus Küsel, The hellmouth, set design from Il Pomo D’Oro
Zvi Mowshowitz explicates some interesting models of how truth-telling works, but because he is, er, loquacious, it helps to have shorter versions of his posts to refer to. Which I might write here.
Original: Zvi Moshowitz on simulacra and subjectivity:
Contrast that with the newer definition that’s based on what it means to say “There’s a lion across the river”[…]
- Level 1
- There’s a lion across the river.
- Level 2
- I do’t want to go (or have other people go) across the river.
- Level 3
- I’m with the popular kids who are too cool to go across the river.
- Level 4
- A firm stance against trans-river expansionism focus grouped well with undecided voters in my constituency.
Or alternatively, and isomorphic to the Lion definition, from my previous simulacra post:
“There’s a pandemic headed our way from China” means…
- Level 1
- “There’s a pandemic headed our way from China.”
- Level 2
- “I want you to act as if you think there might be a pandemic on our way from China” while hoping to still be interpreted by the listener as meaning “There’s a pandemic headed our way from China.”
- Level 3
- “I wish to associate with the group that claims there is a pandemic headed our way from China.”
- Level 4
- “It is advantageous for me to say there is a pandemic headed our way from China.”
We can think of this as a kind of shading from pure discussion of the world-as-it-is to conflict-theoretic manoeuvring, perhaps.
Related:
- the high price of cheap talk
- Constructing myths.
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