基於尚‧布希亞論整合或虛擬現實的晚期觀點，本文旨在理解他如何挑戰了電視文化和擬仿藝術，並進而闡釋他為何要藉由攝影影像恢復一種消失的藝術。文中指出，自1980年代前期以降，布希亞的問題旨趣乃是在回應擬仿的碎形化，或者說超現實的虛擬化走向。因為虛擬現實開始逆向沿著去擬仿工作建立在去表意化的純粹物體，也即物神貨幣的崇拜上，所以布希亞策略性轉向來到非人類它者已消失又留蹤的影像表面上召喚純粹符號的誘惑。首先，我們將辨別擬仿和碎形秩序的機制，並且分析去擬仿的客觀反諷效果，以及虛擬現實的貨幣拜物教形式。其次，我們將考察實境電視和擬仿藝術的平庸和無用性格，進而指認當代文化和藝術已共同達到零度影像串流的魅惑狀態。其三，我們將詮釋非美學攝影所示範之消失的藝術，以便追蹤消失的烏托邦影像。[1]
註解
去擬仿、虛擬現實、實境電視、物神客體、烏托邦影像
On the basis of Jean Baudrillard's late ideas concerning integral reality and virtual reality, this essay aims to understand the ways in which he challenges television culture and simulationist art, and further explain the grounds on which he recovers an art of disappearance by means of the photographic image. The article proposes that since the early 1980s Baudrillard became interested in providing a response to the fractalization brought on by simulation and the virtualization brought on by hyperreality. Because virtual reality reverses the work of de-simulation and is constructed via the de-ideation of pure objects, also giving rise to commodity fetishization, Baudrillard makes a strategic turn to surface images, the traces left behind by the disappearance of the inhuman other, and invokes the seduction of pure signs. Firstly, we will make distinctions between the mechanisms of simulation and the fractal order, analyzing the objectively ironic effects of de-simulation as well as the forms of commodity fetishism which occur in virtual reality. Secondly, we will examine the banal and futile character of reality television and simulationist art, thereby recognizing that contemporary culture and contemporary art have together reached a charmed state of zero-separation image flows. Thirdly, we will offer an interpretation of non-aesthetic photographs in order to demonstrate the disappearance of art and in a larger sense the disappearance of the Utopian image.
de-simulation, virtual reality, reality television, commodity fetishization, Utopian image
