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在今天,照相机似乎早巳成了“艺术”和“设计”发生的工具。然而,在照相机刚刚开始被人们使用的时候,对于十九世纪欧洲“新古典主义”时期的画家来说,是一个致命的打击。因为从表面上看,似乎他们的价值被一部小小的机器轻易地取代了。甚至像《蒙娜丽莎》这样用了四年才被制作出来的“神秘微笑”,也能在“嘭”的一道白烟之后,瞬间呈现出来。这就使“准确再现”变得廉价和不神秘。从那时开始,艺术就不得不走向了另一条路：一条与原有的以视网膜准确呈像为标准的原则相反的路。它把“外观世界”留给了照相机,自己却走向了内心世界的“里面”,而那里正是照相机无法到达的地方。当艺术家掉转回头时才发现原来“里面”有一块新大陆。那里有如此巨大的空间没有被挖掘,那空间大得足以和这个外部世界相抗衡。
Cameras seem to have become tools for “art” and “design” as they are today. However, when the camera was just beginning to be used by people, it was a deadly blow to the painter of the “neoclassical” period of Europe in the nineteenth century. Because on the surface, it seems that their value has been easily replaced by a tiny machine. Even a “mystical smile”, which took four years as the Mona Lisa was produced, can be instantly shown after a white smoke of “嘭.” This makes “accurate reproduction” cheap and unscientific. From then on, art had to go the other way: the opposite of the original principle of an accurate portrait of the retina. It left the “world of appearance” to the camera, but went to the “inside” of the inner world, where the camera could not reach. When the artist turned back, he found out that there was a new continent inside. There is such a huge space that has not been excavated, that space is large enough to compete with this external world.