班雅明的「靈光消逝論」主張，傳統藝術品的靈光終將因攝影技術的大量機械複製而消逝。有鑒於攝影術發展迄今將近兩百年，班雅明的預言仍未真正實現，故本文擬剖析其箇中原因，並提出一種可能的詮釋來改善該理論，俾使其仍保有現實性。首先，為了說明這個改善理論之任務的合理性，筆者將透過討論有關「更好的理解」這個詮釋學議題來提出一理論後設架構。接著，則基於班雅明特有的歷史唯物論觀點來說明為何機械複製的藝術品仍可帶有崇拜價值而保有某種程度的靈光，以致於靈光消逝論在機械複製時代裡未能真正實現。最後，藉由闡述數位技術如何取代攝影技術來令靈光之四項本質性特徵不復現於數位複製藝術品中，將可證成靈光消逝論之基本論點仍具有解釋效力。

Benjamin’s “theory of aura’s decline” argues that the aura of traditional artwork would eventually disappear due to massive mechanical reproduction by photography technology. In view of the fact that the photography technology has developed till now for nearly two hundred years and Benjamin’s prediction has not yet actually been realized, this article intends to analyze its reasons and propose a possible interpretation to improve this theory in order to make it still up to date. Firstly, to show that the task of making this theory better is reasonable, I will put forward a theoretical meta-structure for it by way of discussing a hermeneutical issue about “better understanding.” Next, I will explain, based on Benjamin’s viewpoint of historical materialism, why a mechanically reproduced artwork can still have cult value and maintain some degrees of aura, so that the theory of aura’s decline cannot be really achieved in the age of mechanical reproduction. Finally, by elaborating how digital technology can replace photography technology and make four essential characteristics of aura disappear in a digitally reproduced artwork, it could be justified that the basic arguments of the theory of aura’s decline still possesses its explanatory power.