尚．布希亞對「超真實」一詞的書寫，來自對於原本固有真實的質變。「超真實」是為了和 「原真實」作比較的觀念名稱。「超真實」是因為數位科技的介入，造成自然的異變，進而 形成一種「在仿體」現象。布希亞借由分析傳統照相的物理性光學，以及和數位相機的對 照，建構出真實世界將因二元性而消失的理論；只不過，當布希亞述說真實性的建構必須 取決於是否有某一對象可供參照時，也就是對象的歷史本身，布希亞對藝術創作當代性 所懷抱的不明確感，並不是藝術作品呈現的形式問題，或是可能已大不同於原先所建立的 美學價值，反而是仿真的存在對原先的真偽價值所造成的幻滅。但是，由於堅持於真實性 的判定，布希亞所認為的真實性建構，並不等於所有當代的創作都是「反美學」的。再者， 在當代藝術創作的手段裡面，並不是只有「假擬像」才能建立有意義的內容，還有模擬某 事物特徵或其潛藏關係事實的「擬徵／真」。
在仿體、原真實／超真實、反美學、擬徵／真、假擬像
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.
simulacrum, reality/hyperreality, anti-aesthetic, symptom/simulation, simulated images
