The form and shape of the images become integral to the recollection of that specific moment in our minds.Īnna has developed strong feelings against the technology and her father after walking in on him using the simulacrum to relive his sexual fantasy. Afterwards, the photo or video is examined over and over again, until it takes on the meaning of the memory itself. We tend to pause in the middle of an action and pose for the camera in order to freeze the moment into something that can be revisited in the future. Since the rise of photography, from film to digital, the culture around taking pictures has evolved into an odd set of norms. The simulacrum, in addition to projecting a realistic 3D representation of the physical body, takes “a snapshot of the subject’s mental patterns-a representation of personality.” This neural scan is used to re-animate the image, creating a portrait that can interact with the viewer just as if it were the subject themself.Īs recognized in the short story, this technology is a realization of our obsession over capturing reality, a concept that we as humans have been fascinated by for centuries.
The interview-style narrative gives insight into the relationship between Paul Larimore, inventor of a reality-capturing technology called the simulacrum, and his estranged daughter Anna. photograph is not only an image (as a painting is an image), an interpretation of the real it is also a trace, something directly stenciled off the real, like a footprint or a death mask. Ken Liu’s short story “Simulacrum,” originally published in 2011, starts off with the following quote: Personalized Memories: an interactive non-linear storytelling experience based on the short story “Simulacrum” by Ken Liu
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