There must be.
If by ‘fakes’ we are to define imitations of reality with the conscious intention of dissimulating it, then from orgasms to art pieces it clearly follows that no matter its nature, any forgery attains a certain degree of authenticity the moment another regards it as such, the moment another considers it to be genuine.
Because, ultimately, everything comes down to how just by interpreting a gesture or looking at a masterpiece, we can easily give a value of truth to it, much as we do when watching a film or reading, though definitely less aware of the role we play in it.
Indeed, our perception is able to add a sheen of veracity to the thing perceived at times so blinding a van Meegeren can be taken for a Vermeer and shouts of feigned rapture for moans stirred with sexual delight.
Which leads to us living in the fiction of our perception more often than not.
Little wonder, then, that the literary convention called ‘suspension of disbelief’ sometimes rests at the core of life. It’s quite an important element for our relationship with the world not to end up inducing a constant state of anxiety or mistrust.
So of course we’d rather create for ourselves that something which is genuine in any fake.
Can’t you think of a time when your desire for illusion overshadowed reality?
Patricia Beykrat – the Roving Aesthete