However, the territory of the simulacra is blank.

然而，这片拟像的世界其实是一片空白。

The word simulacra is a word loaded with heavy karma.

拟像这个词承载了沉重的因果关系。

In the parallel world of the simulacra, they were real.

在拟像的平行世界里，它们就是现实。

In some cybernetic way the man was to be a simulacra of Yahweh.

这个人将以某种控制论的方式成为耶和华的拟像。

He does this by transmitting not a staid image but a simulacra.

他不是通过传输固定的图像而是传输某种拟像而做到了这一点。

Simulacra that are intended to look like real people, though, are frequently perceived as creepy.

但是，要是试图让这些虚假的东西看起来像真人一样，人们对此大都会感到诡异。

Based on Baudrillard s theory works, this paper primarily makes a aesthetic research on his important theoretical term-simulacra.

本文立足于鲍德·里亚的理论原著，针对其重要的理论术语——拟像进行美学研究。

As Jean Baudrillard showed in his book "Simulacra and Simulation", hyper realistic fake creations flood our lives, and even rise to the apex of culture.

正如尚·布希亚在其书《拟仿物和拟像》中所说的，超真实的人工制品充斥我们的生活，甚至成为了我们文明当中最重要的部分。

We should not from such simulacra of words infer not only intention but meaning as well. It is meaningless to speak of marks that are not signs as language.

我们不应该从这种话语的影像，推断出意图以及意义，去说不是语言符号的记号是没有意义的。

This artistic fiat that has emptied the cages, foregrounds the invisible hands that have built these miserable spaces, these shabby simulacra of habitats—they are our hands.

他腾空了笼子，将建造这些低劣空间、这些自然栖息地的拙劣仿制品的那双看不见的手摆在突出的位置上——其实那是我们自己的双手。