In the context of art and representation, simulation means the attempt to create an image that mimics reality as accurately as possible. The goal of simulation is to “trick” the eye into believing that the flat surface of a painting or drawing is actually a three-dimensional space.
When an artist is simulating, they are not just trying to tell you what an object is; they are trying to recreate the actual visual experience of looking at that object. If you look at a painting that is a simulation of a room, you feel as though you could step inside it. The artist uses tools like linear perspective, light, shadow, and anatomical accuracy to simulate the physics of the real world.
To help you understand the difference between communication and simulation, think about the difference between a map and a photograph:
- A map is communication. A map is not a simulation of the ground. It is flat, it uses symbols (like a blue line for a river or a small dot for a city), and the scale is simplified. It doesn’t look like the earth from a bird’s-eye view; instead, it communicates the information you need to get from point A to point B.
- A photograph is simulation. A photograph attempts to simulate exactly how light hits a lens at a specific moment. It captures the depth, the textures, and the exact proportions of the scene. It doesn’t use symbols; it provides a visual mimicry of reality.
In the art history we discussed:
- Symbolic flatness (Communication): The artist draws a golden circle to communicate “this is a halo/holy person.” They aren’t trying to simulate a floating ring of light; they are communicating a spiritual status.
- Linear perspective (Simulation): The artist uses a vanishing point to simulate the way a road actually narrows as it recedes into the distance. They are trying to mimic the biological way the human eye perceives space.
So, while communication is about meaning (what does this represent?), simulation is about appearance (how does this look in the real world?).
