Geoscience Reference
In-Depth Information
...
independent mental [phenomenon]
that can be studied in isolation from
its use, functions, history and specific contexts of employment
...
' (Harré
et al.
, 1999: 1).
Representation
mimesis?
=
Second, some may equate representation with what's called
mimesis
and
'correspondence'. This is the idea that any given representation aims to
resemble or even be a 'carbon copy' of some aspect of a reality taken to
exist beyond any given representation. This idea remains central, as an ideal
at least, to the practice of the various pure and applied sciences. Relatedly,
it remains equally important to the education system at all levels (because
most educational institutions declare themselves to be enemies of 'propa-
ganda', 'lies' and 'falsehoods', hence the recent debate in some countries
over whether 'creationism' should be taught in schools). But it's important
elsewhere too, notably in the news and current affairs sections of the media.
Some might also say that political and legal forms of representation involve
mimesis, not so much as 'correspondence' but as 'faithful' re-description and
advocacy. Such 'realist' forms of representation, and the epistemic commu-
nities committed to producing them, are hardwired to the reproduction of
familiar epistemic norms such as 'truth', 'objectivity' and 'fact' (versus 'opin-
ion', 'bias' and 'fiction'). These norms are central to the identity of many
epistemic communities and the principal source of whatever influence they
would be foolish to underestimate the social importance of representations
that claim to hold up a mirror to the world, it would be equally foolish to
equate them with representation as such. Why so?
On the one side, there are many kinds of representation that, while not
claiming to be 'realistic', are most certainly intended as considered com-
mentaries on 'reality' as it appears to those doing the representing. Consider
the major exhibition staged in London's Barbican Centre in 2009: 'Rad-
ical nature: art and architecture for a changing planet, 1969-2009'. The
various, striking pieces of artwork assembled, such as Henrik Hakansson's
Fallen forest
, a 4-metre-square section of tropical woodland flipped on its side
and suspended above the gallery floor, are not strictly speaking attempts
at mimesis. However, as the catalogue foreword written by British envi-
ronmentalist Jonathan Porritt makes clear, they are direct statements about
something taken to be real and actual: environmental degradation. They are
not intended to be
like
the world but are assuredly commentaries
on
it. As
such, they invite exhibition visitors to reflect seriously on our impact on
the planet. They are, as it were,
critical
representations whose status as 'art'
is not intended to detract from the 'truths' their authors seek to relate. The
same 'serious' intent can be found in other ostensibly non- or quasi-realistic
forms of representation, from poetry to satirical comedy to science fiction
to political cartoons to graphic novels.
