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1、Disney World: Cities of Simulation as Postmodern Utopias What is the essence of Disney World? Much of it revolves around Disney effort to create the illusion for visitors that they have entered a perfect world, which more closely conforms to their desires. It creates this perfect world in various wa
2、ys. For example, it encourages visitors to see the park through the eyes of a child and defines itself as a place that “brings dream to life.” But most essentially it creates a fictionalized version of a perfect world by inviting visitors to escape their containment in physical reality so that they
3、are no longer limited by time, distance, size, and physical laws. In various attractions, visitors seem to float through the human body and through DNA; they traval to the past and future, and leave the earth. On the thrill rides, they defy gravity, moving at speeds and in ways that seem to violate
4、what common sense tells them should be possible. Disney World also invites visitors to escape the fallen state of society and the self. It creates idealized visions of American capitalism and political history, and draws visitors into a world of perpetual celebration, full of parades and fireworks,
5、with constumed performers and endless invitations to fun. The effect is not unlike participating in a 365-day-a-year holiday, in which negative emotions are banished from life. When you put all this together, it becomes obvious that Disner World offers visitors the fictionalized realization of human
6、itys deepest dream: transcendence. In Disney World, we trascend the mundane. In place of the world we normally find ourselves in, in which most opportunities are closed to us and most human motives are concealed, we go on a journey through symbolic worlds that are objective and material, but seeming
7、ly as weightless, carefree and fantastic as the imagination. In all this, Disney undoes the dry “scientism” of the world view of contemporary societies. It was the German sociologist Max Weber who said that in the modern age we are witnessing the disenchantment of the world with the rise of science
8、and the declining influence of religion.The creations of simulation culture, such as Disney, seem to be re-enchanting it for us with the new promise that art and technology can re-create our surroundings in the form of an updated version of contemporary romance stories, with mythologies of space fli
9、ght, aliens, time travel and lost worlds. But Disney Worls doesnt only offer objectified fantasies. Through the power of simultation, it also shows us the way technology will give us power over, and freedom from, the world. Disney takes the various possibilities of technology that one day we will go
10、 into outer space or travel freely across the globe or evolve a perfect society. The contradictions inherent in Disney World are deepened by the fact that it is only able to show us its vision of Utopia by turning us into passive cosumers who are taken for rides. In Disney World, we can thus see a d
11、anger that is at the essense of our relationship to tecnology. In the way it does everything for us and encourages us to both think of ourselves as children and lose ourselves in images and fantasy, Disney reveals the way technology can promote narcissistic personality traits in those who use it. Di
12、sney World is a cautionary tale that shows us, not only the wonders of the future, but the danger that prgress might cause humanity to regress, allowing it to lose itself in an environment of automation, simulation and reassuring intellectuual illusions. In Disney, we see the ultimate attempt to rel
13、y on technology, in which even experiences are manufactured for us by machines. 迪士尼世界：后现代的乌托邦城市 迪斯尼世界的本质是什么？这个答案多半体现在迪斯尼为游客创造幻觉的努力上，这一幻觉使游客觉得自己进入了一个更符合他们渴望的完美世界。迪斯尼世界用各种各样的方式创造了这个完美世界。例如，它鼓励游客以一个孩子的眼光去看待这个乐园，并把自己定义为一个“给生活带来梦想”的地方。然而最根本的却是，它只是创造了一个完美世界的虚构版本。在这个世界，迪斯尼引导游客逃脱来自现实生活中的束缚；在这个世界，游客不再受时间，距离，
14、体积和现实法则的约束。在五花八门的游乐区中，游客似乎脱离了人体以及人体的遗传基因；他们穿梭于过去与未来中，离开了地球。在惊险的游乐项目中，他们不遵循万有引力定律，以一种不符常理的速度和方式移动着。 迪斯尼世界还怂恿游客逃避社会和自我的堕落状态。它创造了美国资本主义制度和政治历史的理想化幻象；它把游客拖入到永久庆典的世界中-一个满是游行队伍、焰火，盛装的表演者以及无尽的享乐诱惑的世界。游客仿佛加入了一个永无止境的假期中，生活中的负面情绪也都被抛之脑后。 显然，当你把所有这些都联系在一起，就可了解到，迪斯尼世界只是帮助游客以一种虚构的方式实现人类最大的梦想：超越。在迪斯尼世界，我们超越了平凡。它取
15、代了我们自己所在的世界-在现实世界，多数机遇与我们擦肩而过，多数人隐藏自己的动机；而在迪斯尼，我们游历在象征世界：这个世界客观、具体，却似乎没有压力、无忧无虑，异常精彩，正如幻想一般。 就是这样，迪斯尼摆脱了当代社会枯燥的“科学主义”世界观。德国社会学家马克思韦伯曾经说过，在当今社会，随着科学地位的上升和宗教影响的减弱，我们正在见证世界的觉醒。仿真文化的产物，例如迪斯尼世界，似乎正在随着一种新的承诺而重获魅力：利用太空飞行，外星人，时光穿梭和失落世界的各种神话，艺术和科技可以将我们的世界创造成最新版的当代爱情故事。 但迪斯尼世界并不只提供客观化幻象。借助仿真的力量，它也向我们展示了，科技是如何
16、赋予我们不受世界控制的力量和自由的。迪斯尼展现了技术的种种可能性-有一天我们能够进入外太空，能够在地球各地自由穿梭，能够进化成为一个完美社会。 迪斯尼只有通过让我们乘坐各种游戏装置，把我们变成被动的消费者，才能向我们展示乌托邦的幻想画面。而这一事实加深了迪斯尼世界的种种内在矛盾。因此，在迪斯尼世界，我们可以察觉到一种存在于人与科技关系的本质中的危险。通过为我们做各种事，诱导我们把自己当做孩子并迷失在图像和幻想中，迪斯尼揭示了科技是如何在在那些使用它的人身上促进出种种自恋的个性特征的。 迪斯尼世界是一个警示人的故事，它所展现的，不只是未来的奇迹，更有危机-发展可能引起人类的倒退，使自己迷失在自动化，仿真以及鼓舞人心的智能幻象中。在迪斯尼世界，我们看到人类的最大目的就是依靠科技，在这里，甚至连我们的经历
