ABSTRACT In the montage of archival and original material that makes up John Akomfrah's three-channel video work Vertigo Sea (2015), the frequent use of footage shot by BBCs Natural History Unit (producers of series like Planet Earth) stands out as an unusual choice. This article explores aesthetic-political implications of how this material is subtly repurposed, with focus on one of the interconnected issues dealt with in the work: nature and the Capitaloscene. What does Vertigo Sea do to and through these BBC nature images? Which artistic strategies are involved and for which ends? Is the kind of ecological pathos already framing the original material itself critically transformed and if so in which senses? Does Vertigo Sea merely go for a reproduction of the natural beauty often attributed to original material, and as simply juxtaposed with terrible images, or does the repurposing also entail an alteration of the very notion of natural beauty? This article critically explores all these questions mainly through the frameworks of Situationist détournement, Deleuze's ideas about art and clichés, and Adorno's notions of authentic art, re-enchantment, and natural beauty—frameworks that are conversely critically discussed through Vertigo Sea. It aims to reveal Vertigo Sea as on the one hand an experiment in finding vital artistic strategies for re-enchanting (in non-idealizing ways) planetary nature in the Capitalocene, and as on the on the other hand a thematization of the difficulties in doing so. While appearing among a contemporary art scene increasingly concerned with local and/or global relations having to do with ecology in this new era, Vertigo Sea presents us with a highly original case primarily through its unusual choice of main source material and its complex treatment of this material.

中文翻译：

---

始新世，陈词滥调和批判性重新结界。Akomfrah的眩晕海通过BBC大自然的作用

摘要在构成约翰·阿康弗拉（John Akomfrah）三通道视频作品《眩晕海》（2015）的档案和原始资料的剪辑中，BBC自然历史部门（《行星地球》等系列的制作人）经常使用的镜头是一个不寻常的选择。本文探讨了如何巧妙地重新利用这种材料的美学-政治含义，重点关注工作中涉及的一个相互关联的问题：自然与资本主义。眩晕海对这些BBC自然图像有何作用？涉及哪些艺术策略，目的何在？是否已经对原始材料本身进行了严厉的改造，从而产生了生态上的悲哀？Vertigo Sea是否只是为了复制通常归因于原始材料的自然之美，并只是与可怕的图像并列，还是重新使用目的还需要改变自然美的概念？本文主要通过“情境主义旅行家”，德勒兹的艺术观念和陈词滥调的框架以及阿多诺的真实艺术，重新陶醉和自然美的观念对这些问题进行了批判性的探索，而这些框架相反地通过“眩晕海”进行了讨论。它的目的是向我们揭示眩晕海，一方面是为了寻找重要的艺术策略以重新迷惑（以非理想化的方式）使首都始新世的行星本质成为实验，另一方面则是对困难进行主题化的实验。所以。虽然出现在当代艺术界中，但在这个新时代，人们越来越关注与生态有关的地方和/或全球关系，