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80年代,波德里亚理论中的拟像通过四个实现环节进行阐述,超真实通过四个阶段得以实现,然而,真实与虚拟的辩驳在大众传媒中肆意横行却无一准确描述,而拟像作为超真实实现的基本方式,数码艺术与当今的艺术形态、艺术作品进行真实与虚拟的意义内爆的交换时,就产生了超真实超越真实,从而构成超真实的过程。本文试图深入到超真实模型的内在组构,从中获得数码艺术创作的本体、表现手法以及该艺术门类存在的社会意义及精神价值,通过对理论的分析归纳与实际艺术作品的存在表现,拟像语境下的数码艺术与波德里亚理论的融合也就随之产生。我想这对于如何正确准确的寻找创作本体,以正确的方式进行创作及更好的建筑与批判性的看待现实艺术环境下的波德里亚理论体系有着些许意义。
In the 1980s, the simulacra in the Baudrillard’s theory was illustrated through four aspects of its realization, and the hyperreal was realized through four stages. However, the true and the virtual rebuttal were indiscriminately described in the mass media, but the simulacra As the basic way of realization of superrealism, the exchange between digital art and today’s artistic forms and works of art implies the implication of the real and the virtual. This creates an ultra-real process of surpassing reality beyond the reality. This article attempts to go deep into the inner structure of the super-real model, and obtain the noumenon, expression technique and the social significance and spiritual value of the digital art creation. Through the analysis of the theory and the actual performance of the artwork, In the context of the digital art and the integration of Baudrillard theory also will be followed. I think this makes a lot of sense for how to find the proper body of creation correctly and accurately, to create it in the correct way and to better construct and critically view the Baudrillard’s theoretical system in a real artistic environment.