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Plato's Cave - Animation

PostPosted: Thu Jul 21, 2011 6:23 am
by ashley72
Others might find this video interesting.... I did. :D

The Allegory (Animation) is related to Plato's Theory of Forms, according to which the "Forms" (or "Ideas"), and not the material world of change known to us through sensation, possess the highest and most fundamental kind of reality. Only knowledge of the Forms constitutes real knowledge. In addition, the Allegory of the Cave is an attempt to explain the philosopher's place in society: to attempt to enlighten the "prisoners.

Re: Plato's Cave - Animation

PostPosted: Thu Oct 20, 2011 9:35 am
by ashley72
I posted this Plato's Cave video a while ago and recently came across this explanation in "A course In Consciousness". This written explanation might help those who don't at first register the profound message.

Idealism was first expounded by Plato in his cave allegory in The Republic (c. 360 BC) (see, e.g., Julia Annas, An Introduction to Plato’s Republic,1981, p. 252).

The cave is a metaphor for the mind. Prisoners are in an underground cave with a fire behind them, bound so they can see only the shadows on the wall in front of them, cast by puppets manipulated behind them. They think that this is all there is to see; if released from their bonds and forced to turn around to the fire and the puppets, they become bewildered and are happier left in their original state. They are even angry with anyone who tries to tell them how pitiful their position is. Only a few can bear to realize that the shadows are only shadows cast by the puppets; and they begin the journey of liberation that leads past the fire and right out of the cave into the real world. At first they are dazzled there, and can bear to see real objects only in reflection and indirectly, but then they can look at them directly in the light of the sun, and can even look at the sun itself.

This allegory is related to idealism in the following way. The cave is the mind. The shadows of the puppets that the prisoners are watching represent their taking over, in unreflective fashion, the second-hand opinions and beliefs that are given to them by parents, society, and religion. The puppets themselves represent the mechanical, unreasoning minds of the prisoners. The light of the fire within the cave provides only partial, distorted illumination from the imprisoned intellects. Liberation begins when the few who turn around get up and go out of the cave. Outside of the cave, the real objects (the Forms) are those in the transcendental realm. In order to see them, the light of the sun, which represents pure reason, is necessary. A similar allegory using today’s symbols would replace the cave with a movie theater, the shadows with the pictures on the screen, the puppets with the film, and the fire with the projector light. The sun is outside, and we must leave the theater to see its light (we must leave the mind).

We can adapt Plato’s cave allegory to represent monistic idealism in the following way. The fire is replaced by the light of the sun (pure Awareness) coming in through the entrance to the cave, and the puppets are replaced by archetypal objects within the transcendent realm. The phenomenal world of matter and thoughts is merely the shadow of the archetypes in the light of consciousness. Here, we clearly see a complementarity of phenomenon and Noumenon. To look only at the shadows is to be unaware of Awareness. To be directly aware of Awareness is to realize that the phenomenal world is merely a shadow. The shadow world is what we perceive. Awareness can only be apperceived, i.e., realized by a knowing that is beyond perception. Apperception liberates one from the shackles of the cave, and exposes one to unlimited freedom. Apperception is the verification that consciousness is all there is.