The Exploration Of The Coordination Between Surreality And Hyperpainting In The Context Of Simulation

When humans enter the digital times, the technology of digital simulation qualitatively changes the making, communicating and receiving of visual arts, which is followed by the fundamental reversal of the relationship between art and life. Capturing the changes, this dissertation attempts, in the context of simulation, to explore the core theme of contemporary visual arts -----the coordination between the simulacra of surreality and hyperpainting, blended into the evolution of technology. With interpretation of the theories of the representative philosophers, this dissertation traces the highly complicated network of the simulacra of surreality and hyperpainting: the mutual coordinating between the simulacra of visiual surreality and hyperpainting is perpetually processed-----the simulacrum of hyperpainting is concealed behind that of surreality early; while later on, the two subjects reversed----- the simulacrum of surreality is concealed behind that of hyperpainting; at last, with minute differentiation, the simulacra of both determine the vigor of each other.This dissertation is divided into four parts: on the basis of the relevant theories of the differentiations of simulation and simulacrum, it tries to give a panoramic view of the synchronic and diachronic evolution of simulacra of surreality and hyperpainting in visual arts.The first part in the first place gives a full interpretation of Jean Baudrillard's theory of simulation and simulacrum, illustrated with some pictures, analysing the three processions of simulacra and the four scales of pictures; second, traces the source of symbolic political ecnomics to construct the three scales of simulacrum, the law of natural values and marketing values.The second part, with the theory of the three scales of simulacrum, constructs the diachronical pedigree of simulacrum of surreality; next, corresponding to the diachronical pedigree of the simulacrum of surreality, derives the diachronical pedigree of the simulacrum of hyperpainting. The third part deals with the diachronical heterogeneous cycle of the simulacra of both surreality and hyperpainting in the category of visual arts. First of all, this part sets the technological boundaries between the different scales of the simulacra of surreality and hyperpainting, categorizing the artistic and biological types of visual arts in the context of simulation; second, represents the connected network of the diachronical interaction between the simulacra of surreality and hyperpainting with a graph.The fourth part firstly reveals the structural, synchronical and homogeneous cycle between the three scales of digital visual arts; second, explores from the perspective of the interaction between life and art: the continual infiltrating of simulacra of surreality and hyperpainting into life infinitely reverses the relationship between art and life-----the original idea of art simulating life turns oppositely into life simulating art. Thus the boundary between life and art fades, life, art; art, life; third, the relationship between the creator and the recipient of the artwork of simulacra changes enormously: the division between artist and recipient merges-----none is artist, none is not artist; last but not the least, this dissertation puts forward the ultimate or natural art logic -----the duality of the notions as surreality and hyperpainting, art and life, artist and recipient are neither competitive nor isolated, in equality, both of them are in perpetual dynamic coordination.