Abstract
On 6 January 1973, Chilean media artist Juan Downey exhibited Plato Now at the Everson Museum of Art in Syracuse, New York. A hybrid multichannel video installation and performance, this was Downey’s restaging of Plato’s Parable of the Cave—the “Now” registering what the myth might look like from the vantage of his own historical moment. And whereas Plato’s original operated through an inflexible division between the space of the mind and a derivative sensual reality, Plato Now explicitly sought to blur those philosophical lines by assembling a relay of invisible energies, brain waves, video signals, and telepathic communications, such that the space of mind and sensual reality became speculatively entangled. This article clarifies just how Plato Now did this, and situates its philosophical vision as a significant, if relatively unremarked, aesthetic prefiguration of the new materialist tendencies towards relationality, hybrid assemblages, and vibrant conceptions of energy and matter.
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