拟像诸秩序下的数字图形媒介与元宇宙的幻想——重访鲍德里亚的理论  

Digital Graphic Media and Fantasy of Metaverse Under theOrder of Simulacra—Revisiting Baudrillard's Theory

作　　者：刘书亮[1] LIU Shu-liang(School of Animation and Digital Arts,Communication University of China,Beijing 100024,China)

机构地区：[1]中国传媒大学动画与数字艺术学院,北京100024

出　　处：《美育学刊》2023年第3期33-40,共8页Journal of Aesthetic Education

基　　金：国家社会科学基金艺术学项目“虚拟数字人的产业应用与文化生态研究”(22CH191)的阶段性成果。

摘　　要：鲍德里亚曾提出的符号仿真秩序在数字图形媒介和CG设计领域得到广泛讨论和援引,但人们对鲍氏理论的这些理解存在很多误读、曲解。为破除这些误读并更好地理解计算机图形技术给社会带来的影响,对鲍德里亚的《象征交换与死亡》《拟像与仿真》等经典文献进行重访与细读并厘清他的理论路径很有必要。事实上,鲍德里亚笔下的仿真秩序跟计算机图形技术带来的细腻的、高精度的视觉化表现能力没有直接关联。仿真秩序成为主导,实际上取决于人类借助程序、数据库与算法所获得的制造形象符号的方式。数字游戏是数字媒体时代仿真秩序的典型产物,而元宇宙概念的出现与鲍德里亚在《恶的透明性》中所补充的拟像第四秩序即分形秩序具有显著的同构性,是现代性的终极征候。The symbolic simulation order,proposed by Baudrillard,has been widely discussed and cited in the fields of digital graphic media and CG design.However,there are also many misunderstandings and misinterpretations of the theory.In order to get rid of these misunderstandings and better understand the impact of computer graphics technology in society,it is necessary to revisit and carefully read classics such as Baudrillard s“Symbolic Exchange and Death”and“Simulacrum and Simulation”,and clarify his theoretical path.In fact,the simulation order described by Baudrillard is not directly related to the delicate and high-precision visual representation ability brought about by computer graphics technology.The dominance of simulation order actually depends on the way humans create visual symbols through programs,databases,and algorithms.Digital games are a typical product of the simulation order in the era of digital media,and the emergence of the concept of the metaverse has significant isomorphism with the fourth order,or the fractal order,which Baudrillard added in“La Transparence du mal”,and is the ultimate symptom of modernity.

关 键 词：鲍德里亚 元宇宙 数字媒体艺术 计算机图形技术 数字游戏 

分 类 号：J0[艺术—艺术理论]