尚．布希亞的超真實觀點：其觀點與當代藝術創作的再現問題—真實性的建構

Abstract

Jean Baudrillard employs "hyperreal" as a term to distinguish the real from the artificial. Conceptually, the "hyperreal" serves as a contrast to the "original." Hyperreality arises as a result of the intervention of digital technology, which facilitates natural mutation, and in turn gives rise to the simulacrum. Baudrillard, after making a comparison between the physics of light utilized by a traditional camera and the images captured by a digital camera, theorizes that the disappearance of the real world arises out of this duality. At the same time, he nevertheless maintains that the construction of authenticity must depend on a reference to the original object, namely the history of the object per se. Baudrillard's trepidation concerning the creative process underlying contemporary art comes not in terms of artistic forms or previously established aesthetic values, but in terms of a disillusionment with notions of authenticity and falsehood that result from the birth of simulation. Yet his insistence upon judgments of authenticity does not mean that all contemporary artistic creations exhibit an "anti-aesthetic." Rather, among strategies for the creation of contemporary art, the creation of meaningful content comes not only from "simulated images." It can also come from "symptoms/simulations," i.e. the simulation of objects or the latent relationships of the facts underlying their existence.