藝術本身就是一種擬像。從臨摹與再現可感知的實際物體、未知的事物、到展現自身的情感與想像。不像肖維岩洞的洞窟壁畫，米開朗基羅的聖殤、孟克的吶喊和皮卡丘的玩偶，皆是這個時空中佔有物質的存在，卻是不存在於現實的事物的擬像。不消說，機械複製的產物是擬像最好的例子。印刷品、相片、量產商品等，是前一個複製品的複製品，像兩面相對的鏡子裡產生的無限虛像。
Art itself is a kind of simulacra, reproducing perceivable objects, imagining the unknowns, expressing their own emotions. Unlike the cave paintings of Chauvet Cave, Michelangelo’s Pietà, The Scream of Munch, and the dolls of Pikachu exist as a matter in this time and space, but are copies of things that never existed. Needless to say, productions of mechanical reproduction are the best example of simulacra. Printings, photographs, mass-manufacturing products, etc. are the copies of the former copy, like two mirrors facing each other, creating the infinite virtual image in it.
另一方面，設計則模仿現實存有的事物，以其為依據進行發展。設計中的擬像是有形的物體和象徵意義的結合。然而，創造的過程可能不被視為擬像，因為感知和構思的過程是原創的，不可能一模一樣。因此，虛構事物和抽象情感的造物是擬像，但想像和感情不是。也就是說，設計和藝術正在創造原創事物的擬像。
On the other hand, design mimics substantial things and then develops on the basis of it. The simulacra in design are the combination of material objects and symbolic meanings. The process of creation, however, might not be considered as simulacra, for the process of perceiving and conceiving is original and impossible to be identical. Therefore, the creations of imaginary things and abstract feelings are simulacra but the imaginations and feelings are not. That is, design and art are creating simulacra of originalities.
廣告是「真實」商品的擬像，虛擬該商品也許根本不存有的價值與意義。一個有著虛假符旨的符徵。就像「文青」與「粗框眼鏡」，消費者戴上這個符號，好似可以藉此得到這個符徵代表的意義。然而，這只證明了語言符號的任意武斷性。意義與實體的連結只是流動的、無邏輯聯繫、無須理據的命名遊戲。
Advertising is the simulacra of “real” goods, mimicking the value and meaning of the product which might not exist at all. It’s a signifier with the false signified. Like “Thick rimmed glasses” as a signifier for “Hipster”, consumers wear this symbol, as if to obtain the meaning of this sign. However, this only proves the arbitrary of linguistic signs. The connection between meaning and entity is just a fluid naming game without logical connection and reasonable ground.
真實與現實，對於現代的人類而言變得不再重要。你相信是真實的，才是真實。現實，不再是你實存的時間空間，而是體驗。虛擬世界模仿的不是現實的世界，而是仿造擬真不存在的世界。人類渴望的不是現實，而是超越現實。所以虛擬實境、擴增實境或是任何打破二維空間的科技，不會是在現實中體驗現實的工具，而是讓不可能發生在現實的發生，作為「體驗」。
Genuineness and reality are no longer important to modern people. What you believe to be true is true. Reality is no longer the real time and space one exists, but one experiences. The virtual world imitates not the real world, but a world that does not exist. What humans long for is not reality, but transcends reality. Therefore, virtual reality, augmented reality or any technology that breaks the two-dimensional space will not be a tool to experience reality, but to make the impossible subsist as an “experience.”
如今的科技，還不足以讓擬像「逼真」到取代真實的體驗。但總有一天，科技能夠讓所有的感官相信，大腦接收到的刺激就是真實，像桶中之腦一樣活在夢境中。這可能就是為什麼布希亞認為後現代性是虛無主義的原因，因為這些想法告訴我們現實已死，面紗背後沒有任何東西，而我們都生活在楚門的世界。
Today’s technology is not able to make the simulacra “realistic” enough to replace the real experience. But one day, technology can cheat all our senses to believe that the stimulus received by the brain is real, like living in a dream, a brain in a vat. That is probably why Baudrillard considered postmodernity as nihilism since these ideas tell us reality is dead, there is nothing behind the veil, and we all live in The Truman Show.
想想，還有什麼比超現實變成現實，更令人興奮？又還有什麼比現實不再是現實，更讓人恐懼？
Think about it. Is there anything more exciting than that surreal becoming real? Meanwhile, what is more terrifying than that reality is no longer the reality?
#Taiwan Design #Tainan Design #Taipei Design #product design #industrial design #house appliance #daily necessities #innovation #invention #creative #patent #manufacturing #company #studio #consultancy #development #photology #device #instrumentation #optics #VR #AR #simulacra and simulation # Jean Baudrillard
參考資料：
#工業設計 #產品設計 #台灣設計 #台南設計 #台北設計 #發明專利 #日用品設計 #家電設計 #創新創意 #公司 #顧問 #開發 #量產規劃 #製程安排 #機構外觀設計 #檢測儀器 #光學 #虛擬實境 #擴增實境 #擬像和模擬 #後現代 #布希亞
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