本文以黑特·史德耶尔的“坏图像”概念为切入点, 继而讨论网络图像艺术的独特属性及其对传统艺术范式的颠覆。与数码图像不同, 网络图像的本质特征在于其流变性: 在传播过程中, 分辨率压缩、格式转换及用户二次创作等行为将不断重塑其形态, 使其成为由用户、算法、平台共同参与的集体产物。网络图像的分层架构与其传播过程中的偶然性共同导致并揭示了网络环境对人类主体性的侵蚀。本文籍由尼克·兰德 (Nick Land) 与乔治·巴塔耶 (Georges Bataille) 的理论分析研究了网络图像本体的虚无主义本质, 认为网络图像的生命力源于传播中的断裂与变形, 并借此消解了传统艺术中作者的中心地位。网络图像艺术不仅是媒介技术发展的产物, 更标志着社会文化生产从个体创作向集体化、匿名化、去中心化模式乃至去人类参与的自动化模式的根本转变, 冲击了既有的艺术体制规律与审美逻辑范式。

This article uses Hito Steyerl’s concept of “poor images” as a starting point to explore the unique properties of network image art and its subversion of traditional artistic paradigms. Unlike digital images, network images are characterized by their fluidity: during dissemination, actions such as resolution compression, format conversion, and user’s secondary creation continuously reshape their forms, making them a collective product involving users, algorithms, and platforms. The layered structure of network images, along with the randomness of their dissemination, reveals the erosion of human subjectivity in the networked environment. Drawing on the theories of Nick Land and Georges Bataille, this article examines the nihilistic essence of network images, arguing that their vitality arises from the fractures and transformations that occur during dissemination, thereby undermining the centrality of the author in traditional art. Network image art is not only a product of media technology development but also signifies a fundamental shift in social and cultural production from individual creation to collective, anonymous, and decentralized models, even to automated modes that exclude human participation, which impacts the existing artistic system rules and aesthetic logic paradigms.