傳統繪畫的模擬再現，是符號與參考物之間模仿性與類比性的問題；而現代的影像複製技術一開始是一個科學性機械操作的類比技術，而不是藝術的摹仿。不過事實的發展證明，影像逐步成為摹仿的技術展示，最後形成一個認識論的操控系統，進一步取代真實。二十世紀之後的藝術唱頌不存在之物，「未曾看過之物」成為藝術家透過視覺重建「真理認識」的途徑，而其心理狀態是模擬著上帝的「看著是好的」。「看」這個現代式的用法，成為認證的肯定，而不再是認識的幻象。它所可能的意義在於真正屬於後現代的個人價值，其中不涉及理倫學的煎熬，它使確認的快感得以「展示」。 在臺灣，從本源斷裂的影像或些擬的真實中學習，也是近來本地百家爭鳴藝術現象的萬大共同交集。新世代的身體經歷，逐漸被圖文與視訊傳播的視覺體驗所稀釋，傳播物取代實體成為完整的訊息，這中間就創造出一種想像填充，而成為一種新型的文化系統，並可以建構出各種不同解讀的個人式知識系統。影響學習世代的藝術特徵，帶有某種矯飾主義的意味，這是一種世代視域(horizon)上的現實，必須探索其中的積極意義。

Art learning nowadays in no longer done with a natural system, but with a direct confrontation of visuals. It concerns reality no more. Significance does not lie in the economic relationship with reality but within the visual itself. An enclosed sign system is therefore formed. Art after the 20th century celebrates those not-yet-beings. The “jamais-vu” leads the way for artists to remap “idea agathou” via visions with the psych of simulating what Genesis has noted. “God saw that it was good.” Now the artist’s “seeing” turns into a verified affirmation but not an ontological illusion. The potential significance lies in individual values genuinely contributed to the postmodern, within which ethnic suffering is not involved; instead, an affirmed pleasure is to be “displayed” and “exhibited.” Recently, learning from visions broken with origins or from virtual reality is the most converging phenomenon for artists in Taiwan. The physical practices of the new generation are gradually diluted by visual experiences from images and visional communication. When the content of the communication, instead of the real substance, comes into being an accomplished message, an imaginary filling is created. Consequently, a new cultural system is further formed and individual epistemological systems with various interpretative possibilities are allowed to be constructed. While the vision-learning generation is artistically featured with certain Mannerism, the active significance hidden in the reality of this generational horizon needs to be explored.