本文嘗試探討布希亞獨特的「時態造作」，以及他如何藉著時態造作而「誇張強度」的形上學劇場，指出布希亞的思想角度與理論概念幾乎都牽涉了時間識框的造作或線性時間的顛覆。本文進一步解析布希亞將「消失」當作一種跟死亡不同的「不再是」模態，據以理解布希亞關於藝術在歷史上的當前狀態引起爭議的一些評論。本文最後以布希亞關於攝影的評論，再度註解他對「消失」模態的例說。
布希亞、時態造作、消失、藝術、攝影
This article proposes to explore Jean Baudrillard's unique play of verb tenses and the way he uses this play of tenses to create a highly exaggerated metaphysical play. In this way, the paper will indicate how Baudrillard's views and concepts nearly always involve play with the temporal frame of reference or the subversion of linear time. This essay will further analyze how Baudrillard contrasts the mode of "disappearance" from that of the "ceasing to be" of death, and on this basis to better understand his controversial critiques of the current status of art and its relation to history. Lastly, the paper turns to Baudrillard's critiques of photography, expounding once again on this case as a mode of "disappearance."
Jean Baudrillard, play of tenses, disappearance, art, photography
