星期五, 2月 27, 2009

Censorship Today: Violence, or Ecology as a New Opium for the Masses



..............Slavoj Zizek


 


Marco Cicala, a Leftist Italian journalist, told me about his recent weird experience: when, in an article, he once used the word "capitalism," the editor asked him if the use of this term is really necessary - could he not replace it by a synonymous one, like "economy"? What better proof of the total triumph of capitalism than the virtual disappearance of the very term in the last 2 or 3 decades? No one, with the exception of a few allegedly archaic Marxists, refers to capitalism any longer. The term was simply struck from the vocabulary of politicians, trade unionists, writers and journalists - even of social scientists... But what about the upsurge of the anti-globalization movement in the last years? Does it not clearly contradict this diagnostic? No: a close look quickly shows how this movement also succumbs to "the temptation to transform a critique of capitalism itself (centered on economic mechanisms, forms of work organization, and profit extraction) into a critique of 'imperialism'." In this way, when one talks about "globalization and its agents," the enemy is externalized (usually in the form of vulgar anti-Americanism). From this perspective, where the main task today is to fight "the American empire," any ally is good if it is anti-American, and so the unbridled Chinese "Communist" capitalism, violent Islamic anti-modernists, as well as the obscene Lukashenko regime in Belarus may appear as progressive anti-globalist comrades-in-arms... What we have here is thus another version of the ill-famed notion of "alternate modernity": instead of the critique of capitalism as such, of confronting its basic mechanism, we get the critique of the imperialist "excess," with the (silent) notion of mobilizing capitalist mechanisms within another, more "progressive," frame. 


So what is the problem here? It is easy to make fun of Fukuyama's notion of the End of History, but the majority today is "Fukuyamaian": liberal-democratic capitalism is accepted as the finally-found formula of the best possible society, all one can do is to render it more just, tolerant, etc. The only true question today is: do we endorse this "naturalization" of capitalism, or does today's global capitalism contain strong enough antagonisms which will prevent its indefinite reproduction? There are three (or, rather, four) such antagonisms: 


1. Ecology:


In spite of the infinite adaptability of capitalism which, in the case of an acute ecological catastrophe or crisis, can easily turn ecology into a new field of capitalist investment and competition, the very nature of the risk involved fundamentally precludes a market solution - why? Capitalism only works in precise social conditions: it implies the trust into the objectivized/"reified" mechanism of the market's "invisible hand" which, as a kind of Cunning of Reason, guarantees that the competition of individual egotisms works for the common good. However, we are in the midst of a radical change. Till now, historical Substance played its role as the medium and foundation of all subjective interventions: whatever social and political subjects did, it was mediated and ultimately dominated, overdetermined, by the historical Substance. What looms on the horizon today is the unheard-of possibility that a subjective intervention will intervene directly into the historical Substance, catastrophically disturbing its run by way of triggering an ecological catastrophe, a fateful biogenetic mutation, a nuclear or similar military-social catastrophe, etc. No longer can we rely on the safeguarding role of the limited scope of our acts: it no longer holds that, whatever we do, history will go on. For the first time in human history, the act of a single socio-political agent effectively can alter and even interrupt the global historical process, so that, ironically, it is only today that we can say that the historical process should effectively be conceived "not only as Substance, but also as Subject." This is why, when confronted with singular catastrophic prospects (say, a political group which intends to attack its enemy with nuclear or biological weapons), we no longer can rely on the standard logic of the "Cunning of Reason" which, precisely, presupposes the primacy of the historical Substance over acting subjects: we no longer can adopt the stance of "let the enemy who threatens us deploy its potentials and thereby self-destruct himself" - the price for letting the historical Reason do its work is too high since, in the meantime, we may all perish together with the enemy. Recall a frightening detail from the Cuban missile crisis: only later did we learn how close to nuclear war we were during a naval skirmish between an American destroyer and a Soviet B-59 submarine off Cuba on October 27 1962. The destroyer dropped depth charges near the submarine to try to force it to surface, not knowing it had a nuclear-tipped torpedo. Vadim Orlov, a member of the submarine crew, told the conference in Havana that the submarine was authorized to fire it if three officers agreed. The officers began a fierce, shouting debate over whether to sink the ship. Two of them said yes and the other said no. "A guy named Arkhipov saved the world," was a bitter comment of a historian on this accident. 


2. Private Property:


The inappropriateness of private property for the so-called "intellectual property." The key antagonism of the so-called new (digital) industries is thus: how to maintain the form of (private) property, within which only the logic of profit can be maintained (see also the Napster problem, the free circulation of music)? And do the legal complications in biogenetics not point in the same direction? Phenomena are emerging here which bring the notion of property to weird paradoxes: in India, local communities can suddenly discover that medical practices and materials they are using for centuries are now owned by American companies, so they should be bought from them; with the biogenetic companies patentizing genes, we are all discovering that parts of ourselves, our genetic components, are already copyrighted, owned by others... 


The crucial date in the history of cyberspace is February 3 1976, the day when Bill Gates published his (in)famous "Open Letter to Hobbysts," the assertion of private property in the software domain: "As the majority of hobbysts must be aware, most of you steal your software. /.../ Most directly, the thing you do is theft." Bill Gates has built his entire empire and reputation on his extreme views about knowledge being treated as if it were tangible property. This was a decisive signal which triggered the battle for the "enclosure" of the common domain of software. 


3. New Techno-Scientific Developments:


The socio-ethical implications of new techno-scientific developments (especially in bio-genetics) - Fukuyama himself was compelled to admit that the biogenetic interventions into human nature are the most serious threat to his vision of the End of History. 


With the latest biogenetic developments, we are entering a new phase in which it is simply nature itself which melts into air: the main consequence of the scientific breakthroughs in biogenetics is the end of nature. Once we know the rules of its construction, natural organisms are transformed into objects amenable to manipulation. Nature, human and inhuman, is thus "desubstantialized," deprived of its impenetrable density, of what Heidegger called "earth." This compels us to give a new twist to Freud's title Unbehagen in der Kultur - discontent, uneasiness, in culture. With the latest developments, the discontent shifts from culture to nature itself: nature is no longer "natural," the reliable "dense" background of our lives; it now appears as a fragile mechanism which, at any point, can explode in a catastrophic direction. 


4. New Forms of Apartheid:


Last but not least, new forms of apartheid, new Walls and slums. On September 11th, 2001, the Twin Towers were hit; twelve years earlier, on November 9th, 1989, the Berlin Wall fell. November 9th announced the "happy '90s," the Francis Fukuyama dream of the "end of history," the belief that liberal democracy had, in principle, won, that the search is over, that the advent of a global, liberal world community lurks just around the corner, that the obstacles to this ultra-Hollywood happy ending are merely empirical and contingent (local pockets of resistance where the leaders did not yet grasp that their time is over). In contrast to it, 9/11 is the main symbol of the forthcoming era in which new walls are emerging everywhere, between Israel and the West Bank, around the European Union, on the U.S.-Mexico border. 


So what if the new proletarian position is that of the inhabitants of slums in the new megalopolises? The explosive growth of slums in the last decades, especially in the Third World megalopolises from Mexico City and other Latin American capitals through Africa (Lagos, Chad) to India, China, Philippines and Indonesia, is perhaps the crucial geopolitical event of our times. It is effectively surprising how many features of slum dwellers fit the good old Marxist determination of the proletarian revolutionary subject: they are "free" in the double meaning of the word even more than the classic proletariat ("freed" from all substantial ties; dwelling in a free space, outside the police regulations of the state); they are a large collective, forcibly thrown together, "thrown" into a situation where they have to invent some mode of being-together, and simultaneously deprived of any support in traditional ways of life, in inherited religious or ethnic life-forms. 


While today's society is often characterized as the society of total control, slums are the territories within a state boundaries from which the state (partially, at least) withdrew its control, territories which function as white spots, blanks, in the official map of a state territory. Although they are de facto included into a state by the links of black economy, organized crime, religious groups, etc., the state control is nonetheless suspended there, they are domains outside the rule of law. In the map of Berlin from the times of the now defunct GDR, the are of West Berlin was left blank, a weird hole in the detailed structure of the big city; when Christa Wolf, the well-known East German half-dissident writer, took her small daughter to the East Berlin's high TV tower, from which one had a nice view over the prohibited West Berlin, the small girl shouted gladly: "Look, mother, it is not white over there, there are houses with people like here!" - as if discovering a prohibited slum Zone... 


This is why the "de-structured" masses, poor and deprived of everything, situated in a non-proletarized urban environment, constitute one of the principal horizons of the politics to come. If the principal task of the emancipatory politics of the XIXth century was to break the monopoly of the bourgeois liberals by way of politicizing the working class, and if the task of the XXth century was to politically awaken the immense rural population of Asia and Africa, the principal task of the XXIth century is to politicize - organize and discipline - the "de-structured masses" of slum-dwellers. Hugo Chavez's biggest achievement is the politicization (inclusion into the political life, social mobilization) of slum dwellers; in other countries, they mostly persist in apolitical inertia. It was this political mobilization of the slum dwellers which saved him against the US-sponsored coup: to the surprise of everyone, Chavez included, slum dwellers massively descended to the affluent city center, tipping the balance of power to his advantage. 


How do these four antagonisms relate to each other? There is a qualitative difference between the gap that separates the Excluded from the Included and the other three antagonisms, which designate three domains of what Hardt and Negri call "commons," the shared substance of our social being whose privatization is a violent act which should also be resisted with violent means, if necessary: the commons of culture, the immediately socialized forms of "cognitive" capital, primarily language, our means of communication and education (if Bill Gates were to be allowed monopoly, we would have reached the absurd situation in which a private individual would have literally owned the software texture our basic network of communication), but also the shared infrastructure of public transport, electricity, post, etc.; the commons of external nature threatened by pollution and exploitation (from oil to forests and natural habitat itself); the commons of internal nature (the biogenetic inheritance of humanity). What all these struggles share is the awareness of the destructive potentials, up to the self-annihilation of humanity itself, if the capitalist logic of enclosing these commons is allowed a free run. It is this reference to "commons" which justifies the resuscitation of the notion of Communism - or, to quote Alain Badiou: 


The communist hypothesis remains the good one, I do not see any other. If we have to abandon this hypothesis, then it is no longer worth doing anything at all in the field of collective action. Without the horizon of communism, without this Idea, there is nothing in the historical and political becoming of any interest to a philosopher. Let everyone bother about his own affairs, and let us stop talking about it. In this case, the rat-man is right, as is, by the way, the case with some ex-communists who are either avid of their rents or who lost courage. However, to hold on to the Idea, to the existence of this hypothesis, does not mean that we should retain its first form of presentation which was centered on property and State. In fact, what is imposed on us as a task, even as a philosophical obligation, is to help a new mode of existence of the hypothesis to deploy itself. 


So where do we stand today with regard to communism? The first step is to admit that the solution is not to limit the market and private property by direct interventions of the State and state ownership. The domain of State itself is also in its own way "private": private in the precise Kantian sense of the "private use of Reason" in State administrative and ideological apparatuses: 


The public use of one's reason must always be free, and it alone can bring about enlightenment among men. The private use of one's reason, on the other hand, may often be very narrowly restricted without particularly hindering the progress of enlightenment. By public use of one's reason I understand the use which a person makes of it as a scholar before the reading public. Private use I call that which one may make of it in a particular civil post or office which is entrusted to him. 


What one should add here, moving beyond Kant, is that there is a privileged social group which, on account of its lacking a determinate place in the "private" order of social hierarchy, directly stands for universality: it is only the reference to those Excluded, to those who dwell in the blanks of the State space, that enables true universality. There is nothing more "private" than a State community which perceives the Excluded as a threat and worries how to keep the Excluded at a proper distance. In other words, in the series of the four antagonisms, the one between the Included and the Excluded is the crucial one, the point of reference for the others; without it, all others lose their subversive edge: ecology turns into a "problem of sustainable development," intellectual property into a "complex legal challenge," biogenetics into an "ethical" issue. One can sincerely fight for ecology, defend a broader notion of intellectual property, oppose the copyrighting of genes, while not questioning the antagonism between the Included and the Excluded - even more, one can even formulate some of these struggles in the terms of the Included threatened by the polluting Excluded. In this way, we get no true universality, only "private" concerns in the Kantian sense of the term. Corporations like Whole Foods and Starbucks continue to enjoy favor among liberals even though they both engage in anti-union activities; the trick is that they sell products that contain the claim of being politically progressive acts in and of themselves. One buys coffee made with beans bought at above fair-market value, one drives a hybrid vehicle, one buys from companies that provide good benefits for their customers (according to the corporation's own standards), etc. Political action and consumption become fully merged. In short, without the antagonism between the Included and the Excluded, we may well find ourselves in a world in which Bill Gates is the greatest humanitarian fighting against poverty and diseases, and Rupert Murdoch the greatest environmentalist mobilizing hundreds of millions through his media empire. 


When politics is reduced to the "private" domain, it takes the form of the politics of FEAR - fear of losing one's particular identity, of being overwhelmed. Today's predominant mode of politics is post-political bio-politics - an awesome example of theoretical jargon which, however, can easily be unpacked: "post-political" is a politics which claims to leave behind old ideological struggles and, instead, focus on expert management and administration, while "bio-politics" designates the regulation of the security and welfare of human lives as its primal goal. It is clear how these two dimensions overlap: once one renounces big ideological causes, what remains is only the efficient administration of life... almost only that. That is to say, with the depoliticized, socially objective, expert administration and coordination of interests as the zero-level of politics, the only way to introduce passion into this field, to actively mobilize people, is through fear, a basic constituent of today's subjectivity. 


No wonder, then, that the by far predominant version of ecology is the ecology of fear, fear of a catastrophe - human-made or natural - that may deeply perturb, destroy even, the human civilization, fear that pushes us to plan measures that would protect our safety. This ecology of fear has all the chances of developing into the predominant form of ideology of global capitalism, a new opium for the masses replacing the declining religion: it takes over the old religion's fundamental function, that of putting on an unquestionable authority which can impose limits. The lesson this ecology is constantly hammering is our finitude: we are not Cartesian subjects extracted from reality, we are finite beings embedded in a bio-sphere which vastly transgresses our horizon. In our exploitation of natural resources, we are borrowing from the future, so one should treat our Earth with respect, as something ultimately Sacred, something that should not be unveiled totally, that should and will forever remain a Mystery, a power we should trust, not dominate. While we cannot gain full mastery over our bio-sphere, it is unfortunately in our power to derail it, to disturb its balance so that it will run amok, swiping us away in the process. This is why, although ecologists are all the time demanding that we change radically our way of life, underlying this demand is its opposite, a deep distrust of change, of development, of progress: every radical change can have the unintended consequence of triggering a catastrophe. 


It is this distrust which makes ecology the ideal candidate for hegemonic ideology, since it echoes the anti-totalitarian post-political distrust of large collective acts. This distrust unites religious leaders and environmentalists - for both, there is something of a transgression, of entering a prohibited domain, in this idea of creating a new form of life from scratch, from the zero-point. And this brings us back to the notion of ecology as the new opium for the masses; the underlying message is again a deeply conservative one - any change can only be the change for the worst - here is a nice quote from the TIME magazine on this topic: 


Behind much of the resistance to the notion of synthetic life is the intuition that nature (or God) created the best of possible worlds. Charles Darwin believed that the myriad designs of nature's creations are perfectly honed to do whatever they are meant to do - be it animals that see, hear, sing, swim or fly, or plants that feed on the sun's rays, exuding bright floral colours to attract pollinators. 


This reference to Darwin is deeply misleading: the ultimate lesson of Darwinism is the exact opposite, namely that nature tinkers and improvises, with great losses and catastrophes accompanying every limited success - is the fact that 90 percent of the human genome is 'junk DNA' with no clear function not the ultimate proof of it? Consequently, the first lesson to be drawn is the one repeatedly made by Stephen Jay Gould: the utter contingency of our existence. There is no Evolution: catastrophes, broken equilibriums, are part of natural history; at numerous points in the past, life could have turned into an entirely different direction. The main source of our energy (oil) is the result of a past catastrophe of unimaginable dimensions. One should thus learn to accept the utter groundlessness of our existence: there is no firm foundation, a place of retreat, on which one can safely count. "Nature doesn't exist": "nature" qua the domain of balanced reproduction, of organic deployment into which humanity intervenes with its hubris, brutally throwing off the rails its circular motion, is man's fantasy; nature is already in itself "second nature," its balance is always secondary, an attempt to negotiate a "habit" that would restore some order after catastrophic interruptions. 


With regard to this inherent instability of nature, the most consequent was the proposal of a German ecological scientist back in 1970s: since nature is changing constantly and the conditions on Earth will render the survival of humanity impossible in a couple of centuries, the collective goal of humanity should be not to adapt itself to nature, but to intervene into the Earth ecology even more forcefully with the aim to freeze the Earth's change, so that its ecology will remain basically the same, thus enabling humanity's survival. This extreme proposal renders visible the truth of ecology. 


The lesson to be fully endorsed is thus that of another environmental scientist who came to the result that, while one cannot be sure what the ultimate result of humanity's interventions into geo-sphere will be, one thing is sure: if humanity were to stop abruptly its immense industrial activity and let nature on Earth take its balanced course, the result would have been a total breakdown, an imaginable catastrophe. "Nature" on Earth is already to such an extent "adapted" to human interventions, the human "pollutions" are already to such an extent included into the shaky and fragile balance of the "natural" reproduction on Earth, that its cessation would cause a catastrophic imbalance. This is what it means that humanity has nowhere to retreat: not only "there is no big Other" (self-contained symbolic order as the ultimate guarantee of Meaning); there is also no Nature qua balanced order of self-reproduction whose homeostasis is disturbed, thrown off the rails, by the imbalanced human interventions. Indeed, what we need is ecology without nature: the ultimate obstacle to protecting nature is the very notion of nature we rely on. 


Alan Weisman's The World Without Us is a vision of what would have happened if humanity (and ONLY humanity) were suddenly to disappear from the earth - natural diversity blooming again, nature gradually regaining human artefacts. We, humans, are reduced to a pure disembodied gaze observing our own absence. (As Lacan pointed out, this is the fundamental subjective position of fantasy: to be reduced to a, the gaze which observes the world in the condition of the subject's non-existence - like the fantasy of witnessing the act of one's own conception, the parental copulation, or the act of witnessing one's own burial, like Tom Sawyer and Huck Finn. A jealous child likes to indulge in the fantasy of imagining how his parents would react to his own death, putting at stake his own absence.) "The world without us" is thus fantasy at its purest: witnessing the Earth itself retaining its pre-castrated state of innocence, before we humans spoiled it with our hubris. The irony is that the most prominent example comes from the catastrophe of Chernobyl: the exuberant nature taking over the disintegrating debris of the nearby city Pripyat which was abandoned, left the way it was. 


Against this background, one should also render problematic Badiou's distinction between man qua mortal "human animal" and the "inhuman" subject as the agent of a Truth-procedure: man is pursuing happiness and pleasures, worrying about death, etc., it is an animal endowed with higher instruments to reach its goals, while only as a subject faithful to a Truth-Event does it truly raise above animality. The problem with this dualism is that it ignores Freud's basic lesson: there is no "human animal," a human being is from its birth (and even before) torn out of the animal constraints, its instincts are "denaturalized," caught in the circularity of the (death-)drive, functioning "beyond the pleasure principle," marked by the stigma of what Eric Santner called "undeadness" or the excess of life. This is why there is no place for "death drive" in Badiou's edifice, for the "distortion" of human animality which precedes fidelity to an Event. It is not only the "miracle" of a traumatic encounter with an Event which derails a human subject from its animality: its libido is already in itself derailed. One should thus turn around the usual criticism of Badiou: what is problematic is not the quasi-religious miracle of the Event, but the very "natural" order disturbed by the Event. 


So, back to the prospect of ecological catastrophe, why do we not act? It is too short to attribute our disbelief in the catastrophe to the impregnation of our mind by scientific ideology, which leads us to dismiss the sane concerns of our common reason, i.e., the gut sense which tells us that something is fundamentally wrong with the scientific-technological attitude. The problem is much deeper, it resides in the unreliability of our common sense itself which, habituated as it is to our ordinary life-world, finds it difficult really to accept that the flow of everyday reality can be perturbed. Our attitude here is that of the fetishist split: "I know very well (that the global warming is a threat to the entire humanity), but nonetheless... (I cannot really believe it). It is enough to look at my environs to which my mind is wired: the green grass and trees, the whistle of the wind, the rising of the sun... can one really imagine that all this will be disturbed? You talk about the ozone hole - but no matter how much I look into the sky, I don't see it - all I see is the same sky, blue or grey!" 


And therein resides the horror of the Chernobyl accident: when one visits the site, with the exception of the sarcophagus, things look exactly the same as before, life seems to have deserted the site, leaving everything the way it is, and nonetheless we are aware that something is terribly wrong. The change is not at the level of the visible reality itself, it is a more fundamental one, it affects the very texture of reality. No wonder there are some lone farmers around the Chernobyl site who continued to lead their lives as before - they simply ignore all the incomprehensible talk about radiations. Do these farmers not behave like the madman in the old joke circulating among Lacanians to exemplify the key role of the Other's knowledge: a man who believes himself to be a grain of seed is taken to the mental institution where the doctors do their best to finally convince him that he is not a grain but a man; however, when he is cured (convinced that he is not a grain of seed but a man) and allowed to leave the hospital, he immediately comes back very trembling of scare - there is a chicken outside the door and that he is afraid that it would eat him. "Dear fellow," says his doctor, "you know very well that you are not a grain of seed but a man". "Of course I know that," replies the patient, "but does the chicken know it?" The chicken from the joke stands for the big Other which doesn't know. In the last years of Tito's life, he was effectively such a chicken: some archives and memoirs show that, already in the mid-1970s, the leading figures around Tito were aware that Yugoslavia's economic situation was catastrophic; however, since Tito was nearing his death, they made a collective decision to postpone the outbreak of a crisis till his death - the price was the fast accumulation of external debt in the last years of Tito's life. When, in 1980, Tito finally dies, the economic crisis did strike with revenge, leading to a 40 per cent fall of standard of living, to ethnic tensions and, finally, civil and ethnic war that destroyed the country - the moment to confront the crisis adequately was missed. One can thus say that what put the last nail in the coffin of Yugoslavia was the very attempt by its leading circle to protect the ignorance of the Leader, to keep his gaze happy. 


Is this not what, ultimately, culture is? One of the elementary rules of culture is to know when (and how) to pretend NOT to know (or notice), to go on and act as if something which happened did not happen. When a person near me accidentally produces an unpleasant vulgar noise, the proper thing to do is to ignore it, not to comfort him: "I know it was an accident, don't worry, it doesn't really matter!" We should thus understand in the right way the joke about the chicken: a madman's question is a quite pertinent question in many everyday situations. When parents with a young child have affairs, fight and shout at each other, they as a rule (if they retain a minimum of decency) try to prevent the child to notice it, well aware that the child's knowledge would have had a devastating effect on him - so what they try to maintain is precisely a situation of "We know that we cheat and fight and shout, but the child/chicken doesn't know it." (Of course, in many cases, the child knows it very well, but merely feigns not to notice anything wrong, aware that in this way his parents' life is a little bit easier.) Or, at a less vulgar level, recall a parent in a difficult predicament (dying of cancer, in financial difficulties), but trying to keep this secret from his nearest and dearest... 


And this is also our problem with ecology: we know it, but the chicken doesn't know it... The problem is thus that we can rely neither on scientific mind nor on our common sense - they both mutually reinforce each other's blindness. The scientific mind advocates a cold objective appraisal of dangers and risks involved where no such appraisal is effectively possible, while common sense finds it hard to accept that a catastrophe can really occur. The difficult ethical task is thus to "un-learn" the most basic coordinates of our immersion into our life-world: what usually served as the recourse to Wisdom (the basic trust in the background-coordinates of our world) is now THE source of danger. 


One can learn even more from the Rumsfeldian theory of knowledge - the expression, of course, refers to the well-known accident in March 2003, when Donald Rumsfeld engaged in a little bit of amateur philosophizing about the relationship between the known and the unknown: "There are known knowns. These are things we know that we know. There are known unknowns. That is to say, there are things that we know we don't know. But there are also unknown unknowns. There are things we don't know we don't know." What he forgot to add was the crucial fourth term: the "unknown knowns," things we don't know that we know - which is precisely the Freudian unconscious, the "knowledge which doesn't know itself," as Lacan used to say. If Rumsfeld thinks that the main dangers in the confrontation with Iraq are the "unknown unknowns," the threats from Saddam about which we do not even suspect what they may be, what we should reply is that the main dangers are, on the contrary, the "unknown knowns," the disavowed beliefs and suppositions we are not even aware of adhering to ourselves. In the case of ecology, these disavowed beliefs and suppositions are the ones which prevent us from really believing in the possibility of the catastrophe, and they combine with the "unknown unknowns." The situation is like that of the blind spot in our visual field: we do not see the gap, the picture appears continuous. 


If the Freudian name for the "unknown known" is the Unconscious, the Freudian name for the "unknown unknowns" is TRAUMA, the violent intrusion of something radically unexpected, something the subject was absolutely not ready for, something the subject cannot integrate in any way. In her Les nouveaux blessés (The New Wounded), Catherine Malabou proposed a critical reformulation of psychoanalysis along these lines. Her starting point is the delicate echoing between internal and external Real in psychoanalysis: for Freud and Lacan, external shocks, brutal unexpected encounters or intrusions, due their properly traumatic impact to the way they touch a pre-existing traumatic "psychic reality." Malabou rereads along these lines Lacan's reading of the Freudian dream of "Father, can't you see I'm burning?" The contingent external encounter of the real (the candle collapses and inflames the cloth covering the dead child, and the smell of the smoke disturbs the father on a night-watch) triggers the true Real, the unbearable fantasy-apparition of the dead child reproaching his father. In this way, for Freud (and Lacan), every external trauma is "sublated," internalized, owing its impact to the way a pre-existing Real of the "psychic reality" is aroused through it. Even the most violent intrusions of the external real - say, the shocking effect on the victims of bomb-explosions in war - owe their traumatic effect to the resonance they find in perverse masochism, in death-drive, in unconscious guilt-feeling, etc. Today, however, our socio-political reality itself imposes multiple versions of external intrusions, traumas, which are just that, meaningless brutal interruptions that destroy the symbolic texture of subject's identity. First, there is the brutal external physical violence: terror attacks like 98/11, the US "shock and awe" bombing of Iraq, street violence, rapes, etc., but also natural catastrophes, earthquakes, tsunamis, etc.; then, there is the "irrational" (meaningless) destruction of the material base of our inner reality (brain-tumors, Alzheimer's disease, organic cerebral lesions, etc., which can utterly change, destroy even, the victim's personality; finally, there are the destructive effects of socio-symbolic violence (social exclusion, etc.). (Note how this triad echoes the triad of commons: the commons of external nature, of inner nature, of symbolic substance.) Basically, Malabou's reproach is that Freud himself succumbs here to the temptation of meaning: he is not ready to accept the direct destructive efficiency of external shocks - they destroy the psyche of the victim (or, at least, wound it in an unredeemable way) without resonating in any inner traumatic truth. It would be obviously obscene to link, say, the psychic devastation of a "Muslim" in a Nazi camp to his masochism, death-drive, or guilt feeling: a Muslim (or a victim of multiple rape, of brutal torture...) is not devastated by unconscious anxieties, but directly by a "meaningless" external shock which can in no way be hermeneutically appropriated/integrated. 


For Freud, if external violence gets too strong, we simply exit the psychic domain proper: the choice is "either the shock is re-integrated into a pre-existing libidinal frame, or it destroys psyche and nothing is left." What he cannot envisage is that the victim as if were survives its own death: all different forms of traumatic encounters, independently of their specific nature (social, natural, biological, symbol...) lead to the same result - a new subject emerges which survives its own death, the death (erasure) of its symbolic identity. There is no continuity between this new "post-traumatic" subject (suffering Alzheimer's or other cerebral lesions, etc.): after the shock, literally a new subject emerges. Its features are well-known from numerous descriptions: lack of emotional engagement, profound indifference and detachment - it is a subject who is no longer "in-the-world" in the Heideggerian sense of engaged embodied existence. This subject lives death as a form of life - his life is death-drive embodied, a life deprived of erotic engagement; and this holds for henchmen no less than for his victims. If the XXth century was the Freudian century, the century of libido, so that even the worst nightmares were read as (sado-masochist) vicissitudes of the libido, will the XXIst century be the century of such post-traumatic disengaged subjects whose first emblematic figure, that of the Muslim in concentration camps, is not multiplying in the guise of refugees, terror victims, survivors of natural catastrophes, of family violence...? The feature that runs through all these figures is that the cause of the catastrophe remains libidinally meaningless, resisting any interpretation. 


The constellation is properly frustrating: although we (individual or collective agents) know that it all depends on us, we cannot ever predict the consequences of our acts - we are not impotent, but, quite on the contrary, omnipotent, without being able to determine the scope of our powers. The gap between causes and effects is irreducible, and there is no "big Other" to guarantee the harmony between the levels, to guarantee that the overall outcome of our interactions will be satisfactory. The problem is that, although our (sometimes even individual) acts can have catastrophic (ecological, etc.) consequences, the big Other prevents us from believing in it, from assuming this knowledge and responsibility: "Contrary to what the promoters of the principle of precaution think, the cause of our non-action is not the scientific uncertainty. We know it, but we cannot make ourselves believe in what we know." This situation confronts us with the deadlock of the contemporary "society of choice" at its most radical. In the standard situation of the forced choice (a situation in which I am free to choose on condition that I make the right choice, so that the only thing left for me to do is the empty gesture of pretending to accomplish freely what is in any case imposed on me). Here, on the contrary, the choice really is free and is, for this very reason, experienced as even more frustrating: we find ourselves constantly in the position of having to decide about matters that will fundamentally affect our lives, but without a proper foundation in knowledge - as John Gray put it: 


we have been thrown into a time in which everything is provisional. New technologies alter our lives daily. The traditions of the past cannot be retrieved. At the same time we have little idea of what the future will bring. We are forced to live as if we were free. 


It is thus not enough to vary the standard motif of the Marxist critique: "although we allegedly live in a society of choices, the choices effectively left to us are trivial, and their proliferation masks the absence of true choices, choices that would affect the basic features of our lives..." While this is true, the problem is rather that we are forced to choose without having at our disposal the knowledge that would enable a qualified choice. 


The lesson is thus the old Lacanian one: there is no big Other. The first to get it was Job - after Job is hit by calamities, his theological friends come, offering interpretations which render these calamities meaningful, and the greatness of Job is not so much to protest his innocence as to insist on the meaninglessness of his calamities (when God appears afterwards, he gives right to Job against the theological defenders of faith). The function of the three theological friends is to obfuscate the impact of the trauma with a symbolic semblance. 


This need to discover a meaning is crucial when we are confronting potential or actual catastrophes, from AIDS and ecological disasters to holocaust: they have no "deeper meaning." The legacy of Job prohibits us such a gesture of taking a refuge in the standard transcendent figure of God as a secret Master who knows the meaning of what appears to us as meaningless catastrophe, the God who sees the entire picture in which what we perceive as a stain contributes to global harmony. When confronted with an event like the holocaust or the death of millions in Congo in the last years, is it not obscene to claim that these stains have a deeper meaning in that they contribute to the harmony of the Whole? Is there a Whole which can teleologically justify an event like the holocaust? Christ's death on the cross thus means that one should drop without restraint the notion of God as a transcendent caretaker who guarantees the happy outcome of our acts, the guarantee of historical teleology - Christ's death on the cross is the death of this God, it repeats Job's stance, it refuses any "deeper meaning" that obfuscates the brutal real of historical catastrophes. 


And the lesson of ecology is that we should go to the end here and accept the non-existence of the ultimate big Other, nature itself with its pattern of regular rhythms, the ultimate reference of order and stability. 


However, this lack of the big Other does not entail that we are irrevocably caught in the misery of our finitude, deprived of any redemptive moments. In his The Cattle Truck, Jorge Semprun reports how he witnessed the arrival of a truckload of Polish Jews at Buchenwald; they were stacked into the freight train almost 200 to a car, traveling for days without food and water in the coldest winter of the war. On arrival all in the carriage had frozen to death except for 15 children, kept warm by the others in the centre of the bundle of bodies. When the children were emptied from the car the Nazis let their dogs loose on them. Soon only two fleeing children were left: 


The little one began to fall behind, the SS were howling behind them and then the dogs began to howl too, the smell of blood was driving them mad, and then the bigger of the two children slowed his pace to take the hand of the smaller... together they covered a few more yards... till the blows of the clubs felled them and, together they dropped, their faces to the ground, their hands clasped for all eternity. 


One can easily imagine how this scene should be filmed: while the soundtrack renders what goes on in reality (the two children are clubbed to death), the image of their hands clasped freezes, immobilized for eternity - while the sound renders temporary reality, the image renders the eternal Real. It is the pure surface of such fixed images of eternity, not any deeper Meaning, which allows for redemptive moments in the bleak story of the Shoah. One should read this imagined scene together with the final shot of Thelma and Louise: the frozen image of the car with the two women "flying" above the precipice: is this the positive utopia (triumph of the feminine subjectivity over death), or the masking of the miserable wreck the car IS in reality at that time? The weakness of the final shot from Thelma and Louise is that the frozen image is not accompanied by the soundtrack depicting what "really" went on (the car crash, terrible cries of the dying women) - strangely, this lack of reality undermines the very utopian dimension of the frozen image. In contrast to this scene, our imagined filmed scene from Semprun would fully assert the Platonic duality of temporal empirical reality and eternal Idea. 


What this means is that, without shame, in conceiving art, we should return to Plato. Plato's reputation suffers because of his claim that poets should be thrown out of the city - a rather sensible advice, judging from my post-Yugoslav experience, where ethnic cleansing was prepared by poets' dangerous dreams (the Bosnian Serb leader Radovan Karadzic being only one among them). If the West has the industrial-military complex, we in the ex-Yugoslavia had a poetic-military complex: the post-Yugoslav war was triggered by the explosive mixture of the poetic and the military component. So, from a Platonic standpoint, what does a poem about the holocaust do? It provides its "description without place": in renders the Idea of holocaust. 


Recall the old Catholic strategy to guard men against the temptation of the flesh: when you see in front of you a voluptuous feminine body, imagine how it will look in a couple of decades - the dried skin, sagging breasts... (Or, even better, imagine what lurks now already beneath the skin: raw flesh and bones, inner fluids, half-digested food and excrements...) Far from enacting a return to the Real destined to break the imaginary spell of the body, such a procedure equals the escape from the Real, the Real which announces itself in the seductive appearance of the naked body. That is to say, in the opposition between the spectral appearance of the sexualized body and the repulsive body in decay, it is the spectral appearance with is the Real, and the decaying body which is reality - we take recourse to the decaying body in order to avoid the deadly fascination of the Real which threatens to draw us into its vortex of jouissance.


星期四, 2月 26, 2009

唱片騎師



 






Money, get away.
Get a good job with good pay and youre okay.
Money, its a gas.
Grab that cash with both hands and make a stash.
New car, caviar, four star daydream,
Think Ill buy me a football team.

Money, get back.
Im all right jack keep your hands off of my stack.
Money, its a hit.
Dont give me that do goody good bullshit.
Im in the high-fidelity first class traveling set
And I think I need a lear jet.

Money, its a crime.
Share it fairly but dont take a slice of my pie.
Money, so they say
Is the root of all evil today.
But if you ask for a raise its no surprise that theyre
Giving none away.

Huhuh! I was in the right!
Yes, absolutely in the right!
I certainly was in the right!
You was definitely in the right. that geezer was cruising for a
Bruising!
Yeah!
Why does anyone do anything?
I dont know, I was really drunk at the time!
I was just telling him, he couldnt get into number 2. he was asking
Why he wasnt coming up on freely, after I was yelling and
Screaming and telling him why he wasnt coming up on freely.
It came as a heavy blow, but we sorted the matter out





Irish Wave II



 




Another head hangs lowly, Child is slowly taken. And the violence caused such silence, Who are we mistaken? But you see, it's not me, it's not my family. In your head, in your head they are fighting, With their tanks and their bombs, And their bombs and their guns. In your head, in your head, they are crying... In your head, in your head, Zombie, zombie, zombie, Hey, hey, hey. What's in your head, In your head, Zombie, zombie, zombie? Hey, hey, hey, hey, oh, dou, dou, dou, dou, dou... Another mother's breakin', Heart is taking over. When the vi'lence causes silence, We must be mistaken. It's the same old theme since nineteen-sixteen. In your head, in your head they're still fighting, With their tanks and their bombs, And their bombs and their guns. In your head, in your head, they are dying... In your head, in your head, Zombie, zombie, zombie, Hey, hey, hey. What's in your head, In your head, Zombie, zombie, zombie? Hey, hey, hey, hey, oh, oh, oh, Oh, oh, oh, oh, hey, oh, ya, ya-a...




Understand the things I say Don’t turn away from me Cause I spent half my life out there You wouldn’t disagree D’you see me, d’you see Do you like me, do you like me standing there D’you notice, d’you know Do you see me, do you see me Does anyone care Unhappiness, where’s when I was young And we didn’t give a damn ’cause we were raised To see life as a fun and take it if we can My mother, my mother she hold me Did she hold me, when I was out there My father, my father, he liked me Ol he liked me, does anyone care Understand what I’ve become It wasn’t my design And people everywhere think Something better than I am But I miss you, I miss ’cause I liked it, I liked it When I was out there D’you know this, d’you know You did not find me, you did not find Does anyone care Unhappiness was when I was young And we didn’t give a damn ’cause we were raised To see life as fun and take it if we can My mother, my mother she hold me Did she hold me, when I was out there My father, my father, he liked me Ol he liked me, does anyone care




It’s not worth anything more than this at all I live as I choose or I will not live at all So return to where you’ve come from Return to where you dwell Because harassment’s not my forte But you do it very well I’m free to decide, I’m free to decide And I’m not so suicidal after all I’m free to decide, I’m free to decide And I’m not so suicidal after all (at all, at all) You must have nothing more with your mind to do There’s a war in russia and sarejevo, too So to hell with want you’re thinking And to hell with your narrow mind You’re so distracted from the real thing You should leave your life behind (behind) I’m free to decide, I’m free to decide And I’m not so suicidal after all I’m free to decide, I’m free to decide And I’m not so suicidal after all (at all, at all) I’m free to decide, I’m free to decide And I’m not so suicidal after all (at all, at all) At all, at all, at all




Hold onto love that is what I do now that I've found you. And from above everything's stinking, they're not around you. And in the night, I could be helpless, I could be lonely, sleeping without you. And in the day, everything's complex, There's nothing simple, when I'm not around you. But I'll miss you when you're gone, that is what I do. Hey, baby! And it's going to carry on, that is what I do. Hey, baby... Hold onto my hands, I feel I'm sinking, sinking without you. And to my mind, everything's stinking, stinking without you. And in the night, I could be helpless, I could be lonely, sleeping without you. And in the day, everything's complex, There's nothing simple, when I'm not around you. But I'll miss you when you're gone, that is what I do. Hey, baby! And it's going to carry on, that is what I do. hey, baby...




Oh my life is changing everyday Every possible way Though my dreams, it’s never quite as it seems Never quite as it seems I know I felt like this before But now I’m feeling it even more Because it came from you Then I open up and see The person fumbling here is me A different way to be I want more, impossible to ignore Impossible to ignore They’ll come true, impossible not to do Impossible not to do Now I tell you openly You have my heart so don’t hurt me For what I couldn’t find Talk to me amazing mind So understanding and so kind You’re everything to me Oh my life is changing everyday Every possible way Though my dreams, it’s never quite as it seems ’cause you’re a dream to me Dream to me


星期日, 2月 22, 2009

Purple Rain


 





I never meant 2 cause u any sorrow I never meant 2 cause u any pain I only wanted 2 one time see u laughing I only wanted 2 see u laughing in the purple rain Purple rain purple rain Purple rain purple rain Purple rain purple rain I only wanted 2 see u bathing in the purple rain I never wanted 2 be your weekend lover I only wanted 2 be some kind of friend Baby I could never steal u from another Its such a shame our friendship had 2 end Purple rain purple rain Purple rain purple rain Purple rain purple rain I only wanted 2 see u underneath the purple rain Honey I know, I know, I know times are changing Its time we all reach out 4 something new That means u 2 U say u want a leader But u cant seem 2 make up your mind I think u better close it And let me guide u 2 the purple rain Purple rain purple rain Purple rain purple rain If you know what Im singing about up here Cmon raise your hand Purple rain purple rain I only want 2 see u, only want 2 see u In the purple rain

星期六, 2月 14, 2009

星期日, 2月 08, 2009

相信唯有持續過著暗黑生活才有驚人創作力的藝術家們,該覺悟了~


梵谷長得有點像倘若長了毛的庫哈斯(Rem Koolhaas),其實荷蘭人好像也有一種很荷蘭人的樣子。




苦難 SUFFERING


------大衛.林區(Lynch, David)著,盧慈穎 譯,《大衛.林區談創意》(Catching the Big Fish. Meditation, Conciousness, And Creativity),台北:遠流,2008。



藝術工作者若是能了解衝突與壓力,那是一件好事。


那些事情能讓你發想。


但我跟你打包票,要是你有相當的壓力,就沒辦法創作了。


如果你衝突太多的話,就會阻礙創造力。


你能了解衝突,但你不需要活在衝突之中。



在我們能進入的世界和故事裡,有磨難、困惑、黑暗、緊張、也有憤怒。


裡面有謀殺,還有各式各樣的東西。


但拍電影的人不需要親身受苦來呈現受苦受難。


你可以呈現它,呈現人類的境況,呈現衝突與對照,但你不必親身走一遭。


這一切是你調配出來的,但你並非置身其中。就讓你的角色去受苦受難吧。



這是常識:藝術工作者受得苦難越多,就會越沒有創造力,就越不太可能享受他的創作,也越不可能做出真正好的作品。


說到這裡,有人會以梵谷為例,他雖然受苦,--或正是由於受苦,而創作出傳世傑作。


我倒寧可認為,假使梵谷不是被那些折磨著他的事情所牽絆的話,他可以畫出更多、更偉大的畫。我不認為是痛苦才使得他偉大--我認為他的快樂都是畫作帶給他的。



有些藝術工作者相信這些憤怒、沮喪、或這些負面的東西讓他們保有敏銳。


他們以為自己得抓住那種憤怒與恐懼,才能將之放入作品中。


他們不喜歡「要快樂起來」這個想法--那讓他們作嘔。他們以為這會讓他們喪失敏銳或力量。



如果你靜坐的話,就不會喪失敏銳。


你不會喪失創造力,也不會喪失力量。


事實是,你越是進行超覺靜坐,這些東西愈是滋長,你會明白這點的。


你潛入內在時,對生命的各種面向會有更深的瞭解。


如此一來,瞭解增長,眼力增長,視野更開闊,而對人類的境況看得越清晰。



假如你是個藝術工作者,你必須得瞭解憤怒,但不受其所限。


為了要能創造,你必須有能量;你必須心思澄明。


你得要有本事捕捉創意。


你得強壯得足以對抗這個世界那不可思議的艱困與壓迫。


因此,孕育出一個讓力量、清明思緒與能量滋生的所在--讓你得以潛入內在並加以活化--是有其道理的。


這是件怪事,但就我的經驗來說確實如此:至福就像防彈背心,能保護你,如果你擁有足夠的至福,它變所向無敵。


而當那些負面的事情開始解除之際,你便能捕捉到更多的創意,也更能理解他們。


你更容易就靈思泉湧,你擁有更多的能量、更多的透徹思緒。


然後,你就能開始工作,把這些想法轉化到不同的媒材。

星期一, 1月 19, 2009

「小.碎.花.不」的速度學向度:以「光柵身體」取代「用青春冒犯」



「小.碎.花.不」的速度學向度:以「光柵身體」取代「用青春冒犯」


 


文/雷煦光


 


「已然成為論述資本的語詞譬如『新世代』、『年輕人』等等,


目的在用於支撐論述的權力位置而不在理解。」


 


 


揚棄「世代說」的論述霸權


如果上面那個較為屬於話語行動(speech act)層面的宣稱可以被接受的話,那麼接下來我們就準備把「新世代」這個詞給丟掉了。


「新世代」這個語用的方式之所以可以丟掉,是因為它像是一個歷史主義式的荒謬命題。即使我們同意當代就像是所有歷史片斷的集合,每一種歷史經驗都可以在當代中擬造並成為一種當代的差異性存在,但我們無法否認的就是這無數種差異性存在所共處的便是在「當代的速度」之中,亦即,當代人可以選擇各種不同的歷史經驗建構自己的生活方式與生活風格,但在當代速度學中,卻基本上分享著同一種「當代速率」。因此,在同一種速率當中存活的人,何以能夠界分出「新世代」與「舊世代」呢?這在當代的生活情境中,只不過像是由同一種歷史經驗建構出風格的社群在設法界定另一種風格的社群,而且更加明顯的,是通過虛擬一種原本不具有傳承性的血統關係在確立彼此間的權力位階罷了,這就是「世代說」的危險之處。


如同「搖滾已死」是一句廢話。當每一代人都感嘆搖滾已死之時,其實「已死」的不過是那個正在感嘆著的自己,跟搖滾一點關係都沒有。使用「新世代」這個詞對另一種風格的社群進行指稱並加以思考與論述,除了具有歷史主義式的論述霸權效果以外,對理解我們當代,並沒有太大的建設性。


 


用『青春』冒犯-----一個台灣藝術『新世代』的誕生[1]這句話是「小.碎.花.不」策展人顏忠賢在策展論述當中所給定的精神標題。顏忠賢所使用的,正是上述那種歷史主義直線史觀式的詮釋方式,試圖在他所謂的「堪稱『最新版本』的這個展滲透出這些『新世代』的藝術裡的既迷惘但又咆哮……既青澀敏感但又憤世嫉俗……」定義「新世代藝術」、同時再補上「由於這些年輕的「新世代」藝術家們也逐漸步入成年,而且由於創作傾向的特徵也是種前所未有的很怪很亂也很透明很輕盈,所以,這當然也是一個台灣有史以來最富最亮最自在但也因而最(雖然可能是盲目地)勇敢世代的展。[2]這樣的強化性說明。這樣地用力非常令人感動,但在此令人擔心的,卻是它可能地無效!


2003年王嘉驥提出對台灣年輕藝術家「喃喃自語」的批評之後,一種「新世代」的群體就不斷通過各種形式、各種機會的同儕認同與論述力量所匯集,也因此到了「小.碎.花.不」,顏忠賢才會豪氣地說:「……所以,這當然也是一個台灣有史以來最富最亮最自在但也因而最(雖然可能是盲目地)勇敢世代的展。」這樣的豪語有一種將原本受台灣藝術界所擔憂的所謂「年輕藝術家」或「新世代」重新集合到同一陣線的同一化氣魄,但老實說這又歷史地展現了一次想要占據那個中心陽具(phallic worship)的老路數,並不會真如策展人所說的有那麼地「最」新版本。


 


這裡容我稍為潛越一下策展人的思考,身為「小.碎.花.不」的策展人,或許顏忠賢更要關注的,其實是當今身為一個創作者,在一個媒體操控(Media Control)的速度學政治中所面對到的「存在」、到底可能是什麼?可以是什麼?這無關乎「新」、「舊」,也無關乎「先」、「後」,絕對的速度似乎必然地取消了時延(durée)中的發生次序,於是迫使我們必須重新面對空間問題,空間的質性、疆界內外翻轉的弔詭等等,因而在對我們生存問題的思考中,便不得不關乎了「藝術」、「青春」、「搖滾」、「詩」。或許正因為此,顏忠賢也才那麼強調地使用了「青春」這個名詞,甚至賦予它一種「冒犯一切」的力量,但這裡還是要再強調一次,顏忠賢的「青春」是一種伊底帕斯式的「青春」,也就是必須終結一個「父」(舊世代),而建立一個「我」(新世代),但這種歷史主義式的建構,其實會因為走回話語奪權的老路而並不能有效詮釋那個被創造出來的所謂「台灣新世代藝術」的當代情境。讓我們從「青春」開始談起。


米蘭.昆德拉(Kundera, Milan)幾十年前就在他的小說[3]中重新討論了一次「青春」這個主題,而且是非常當代的討論方法,也就是說,一些流轉在歷史中的族類都可以在他的小說中影涉成同一副面孔:雅羅米爾(Jaromil)。當然,這是一種隱喻。如果說雅羅米爾是一個當代人,那他所呈顯出的便是歷史經驗並陳在當代的各種樣貌,他可以是任何一次歷史上的場景,可以是韓波(Rimbaud, Arthur)、可以是萊蒙托夫(Lermontov, Mikhail Yuryevich),也可以是一個米蘭.昆德拉選擇的對詩歌進行批評的關鍵字:「青春」(或是「抒情態度」)。青春之所以成為昆德拉認為的一個詩歌批評的關鍵字以及詩歌之本身[4],或許正是出於「青春」與「創造」之間的曖昧共生,或者一體兩面。


在古希臘神話「永遠的少年」[5]中我們看到,每一次向上飛升與墜亡回歸大地之母的輪迴過程,是「永遠的少年」的宿命,這個輪迴的宿命中,只有兩件事,一件是向上飛升之「生之創造」;另一是向下墜亡之「死之回歸」。「永遠的少年」存活於朝向無限的自我創造,墜亡於完成了向上飛升的目的本身。這,是一個完整的「青春」。青春,是創造之居所。


讓我們進一步嘗試去延展米蘭.昆德拉的「青春」之形式。如果米蘭.昆德拉的「青春」可能表述為一種佛洛依德式的弒父情結之悲劇,亦即,倘若沒有成功將父弒去,就將面臨自我消亡。那麼,這裡所要設想的是「無父」。


「無父」如何可能?站在演化論的立場,「無父」可能是一種譫妄式的錯誤命題,但在此所要關照的面向,反倒是關於建構論的,也就是說,如果當代社會本身通過對現代社會的反思後,不再斬釘截鐵地將歷史視為一種演化的發展,那麼我們所要轉換的觀看角度就要成為是擬造建構的。


保羅.維希留(Virilio, Paul)對當代社會的速度學描述以及布希亞(Baudrillard, Jean)對當代社會擬像性的觀察以及上個世紀中從「媒體即訊息」(The medium is the message)開始的連鎖宣告,當代社會成為了「多股交叉繁衍叢生的訊息流之加速狀態」,在這裡,我們要切入「無父」。


 


    「小.碎.花.不」策展人興許存在著一個思考上的盲點,也就是歷史傳承觀念下的知識論問題。顏忠賢努力地想要在質性、差異性中間,殺出一條「新世代」之所以新的血路,但平心而論,這麼努力地殺出一條弒父的血路,還不是陷落在陽具中心邏輯的運作之中?在當代,每個人隨時都可以以各種理由和各種佐證宣稱自己是一個全新的「什麼」,但何足輕重?這個盲點剛好是一種當代藝術的特殊吊詭情境:既要擺脫藝術史、又想重新主導藝術史。也就是說,在各種典範(canon)已經不再具有舉足輕重的評價標準力量之際,沒有人會再拿藝術史的典範來對任何一個當代藝術作品或展覽進行藝術史批評,因為會顯得很老氣。但另一方面,在這個好似典範空窗的當代自由氣氛底下,每一個針對時代性的某種「宣稱」,都幾乎要以歷史之終結者的姿態強行插入!這就很令人匪夷所思了,因此,這裡就要指出「小.碎.花.不」裡所含蘊的這種濃重的終結者氣息與企圖,與展覽本身所強調的「小」.「碎」.「花」.「不」似乎無法若合符節。如果說策展人只是在一種思考的向度上傾向了大歷史敘事,那這裡以「無父」這樣的概念切入的批評,就是想將「小.碎.花.不」這種當代藝術(年輕?新世代?)的當代性,拉到一個比起策展人對於台灣新世代藝術的質性、空間性方面的關注,更涉及到時間問題的思考面向上,進行討論。也就是說,「新世代」其實最大的包袱,就是那個「新」字。


 


「無父的青春」與「光柵式的身體」


「無父的青春」與米蘭昆德拉的雅羅米爾最大的差別就在於如果雅羅米爾是「無父」的,那麼他最終必定不需要窩囊地死去。因為他不屬於任何一個「父之家族」,他也將不特別堅持自己詩人血統的純正性,他沒有一個「出生」,他將可以毫無顧忌地延展他的青春。「無父的青春」不是演化論的,而是建構的,於是,是沒有消亡而一直朝向未知開敞的。這種建構式的「無父」,出於青春的這種「抒情態度」[6],追尋的不是「父」,而是一種對於自身的無限性想像與創造。


這種無限性的想像與創造是當代社會所提供的土壤,構成當代人生存的一個基本範疇,也就是在一個訊息交叉繁衍叢生的光速生活中,因為「家族」、「血統」這種認祖歸宗的方式已經越來越不可能,於是自身的譜系與歷史反倒成了一件可以無限想像與創造的事。如果我們不接受各種擬像的歷史譜系的誘拐制約,而意圖創造一個自我,那這樣一個具有無限性歷史與系譜的身家性命如何可能呢?這樣的身家性命又該怎麼安身立命呢?這裡牽涉到我們的性與命在訊息光素/速流社會中的安身形式,也就是一種「光柵身體」的可能。


首先為什麼是「光」呢?在「媒體即訊息」以及「PIXEL[7]式空間存在的當代洞見中,似乎「光」可以是一個當代運動狀態的絕佳關鍵字。「媒體即訊息」宣告媒體的選擇就是訊息的流動,當壓縮空間而得到的絕對速率主掌了訊息流動,光就成為媒體,也就成為訊息自身。我們在「光速」的訊息交流中,媒體的空間與深度被壓縮成「光素」大小,不多也不少,因此對當代的創作理解,就必須朝向與光有關的思考向度。


沒有出生證明的「無父的青春」不可能符應一種顛撲不破的真理光譜,而在「光素即媒體」的訊息流動中,「無父的青春」似乎僅能體現為一種「光柵身體」,一種僅僅理解為是一個光柵的身體,但並沒有一個確定的科學光譜提供參考。身體在這裡是一種感覺機體,身處光速的訊息流中,也只能是一種感覺機體。「光柵身體」是青春的一種形式,是一種純粹敏感的創造之居所。倘若訊息流的光素/速刺激構成一種速度政治下的治理技術,那麼一個還能創作的身體,就必然是一個光柵,也就是一個可以解析訊息光素/速流的光柵,在速度政治的法西斯式媒體暴力中,「光柵身體」的創造力便具有一種面對速度本身的批判性。


 


    「小.碎.花.不」的展覽中,其實再再可以看到這種光柵身體的創造型式,創作者們以自身即時的各種感覺(譬如桂綸鎂、現在詩..)、自身印象中所收集重製的各種記憶(譬如可樂王、吳耿禎..)、對自身媒體化的覺察(譬如陳潔怡、葉俊慶..)等等,這裡不打算針對所有藝術家進行分類論述,主要要指出的是一種當代藝術家們「媒體化」的光柵身體狀態,而在這樣的身體基礎上,進行藝術創作。這種當代藝術家的創作狀態跟「練功」或「苦讀」的那種傳統時間狀態很不一樣,那種一層疊一層的「練功」或「苦讀」是為了能夠營造一種地層式的深厚度,而當代藝術家卻專精於高速處理各種訊息,包括被稱為「喃喃自語」的那類從自身所解離出來的各種文化元素,就像展中幾位專擅科技藝術的藝術家所呈現出來的:一種專注在計算、控制、軟體使用等等科技能力,至於被計算、被控制、被軟體使用的「那些東西」,在關注的程度上,就等而次之。這其實很像是一道快速過濾「光素」的光柵,它能夠迅速格式化「光素流」,但至於每一顆「光素」內部到底長得如何,那就好像是萊布尼茲的單子一樣地不解,也不需解。


    當代藝術家的這種光素/速青春的光柵式身體,本身就像一個慾望機器(desire machine)、一個賽伯格(cyborg),不是一個理性主體(cogito)。從機器的角度來認識慾望,具有一種機器的無差別性、純粹生產性的意味,意味著當代人所面對的生命已然不是一種挖「掘」地層式的預設縱深向度,而是一種自體格式化創生建構的機器式機制,藝術家在當代所面對的,如同「小.碎.花.不」參展藝術家陳怡潔的簡介中所提及:「在二十一世紀的今天,光除了具有照明的目的之外,還同時成為傳達訊息的重要介面,各種訊號光早已和生活息息相關,如隨身的手機、筆記型電腦等,當人們的目光轉向這些訊息光時,人們即被吸進了數位訊號的世界;處在這樣的媒體化空間裡,人和人之間就算共處在同一個物理空間,卻無法彼此對視或交流。在作品[趨光體]中,藝術家陳怡潔即在討論現代社會裡的另類趨光行為如何展現在媒體化的空間。訊息平台提供了一個均質的活動介面,當人們登入這個被制定好的選單,並以為可以自由選擇所好的同時,事實上人的感受是被這些訊號光給規格化了。而陳怡潔認為與其悲觀地把這樣的現象視為人們的感知正被抹除,不如將之解讀為一個新的感知模式正在建構中。[8]訊息、媒體、感知的光等等,成為生活運行中時時刻刻之迫切,已然被藝術家所覺察到了。在一個沒空冥想、沒空過著西方馬克思學者所想像的烏托邦人生的當代,其實就像從獸力時代躍進火箭時代所帶給我們的速度差異,我們已然成為速度化了的賽伯格。


 


「光柵身體」的創造力,或,創造力體現「光柵身體」


對於身處訊息光素/速流中的「光柵身體」,構成光柵的條件在於可以解析訊息光束,也就是通過佈滿在光柵上的無數感覺受器,將訊息光的組成元素加以個別捕捉分析出來,並且同時將光束轉化為各式各樣的神經傳導式的派生光譜。光學的光柵作用只能形成固定的科學光譜,但在「光柵身體」的作用當中,一個「無父的青春」所形成的光譜就不是固定的科學光譜,而更是一種對於自身無限性進行想像的詩化光譜。


媒體的選擇便是訊息自身,對於訊息光素的選擇也就是身處光速中之「光柵身體」的創造性自身。而更進一步要問的,就是這個「光柵身體」在極度壓縮空間的光速中,到底還能夠有什麼選擇的空間?


訊息光素以光速流過我們,構成我們的身體,決定我們的思維,將我們納入媒體的速度政治當中,面對這樣一種以絕對速度達成的法西斯政治,如果說藝術創作還具有可能的批判性,那很可能就是指向「『光柵身體』的創造力,或,創造力展現『光柵身體』」這個向度。


「光柵身體」同樣是一個訊息光素以光速流過之處,但之所以體現成為「光柵身體」,就在於「光柵身體」之處,有作品。每一個「光柵身體」將訊息光束解析為不同的光譜,而這個光譜是創造性的詩化光譜,是將光束中的光素加以攔截、改造、扭轉、纏繞、折疊再幻射出去的迥異光譜、一個感覺機體中神經傳導形式的光譜。這些通過「光柵身體」轉換射出的迥異光譜,讓我們看到作品之所在,之所以是作品,就在於其光譜之迥異,剎那間,我們甚至認不出那是什麼樣的訊息。


 


對於顏忠賢在策展論述中,為了解釋「小.碎.花.不」何以為新、何以最屌所說的一些宣言,譬如前引過的「堪稱『最新版本』的這個展滲透出這些『新世代』的藝術裡的既迷惘但又咆哮……既青澀敏感但又憤世嫉俗……而且由於創作傾向的特徵也是種前所未有的很怪很亂也很透明很輕盈,所以,這當然也是一個台灣有史以來最富最亮最自在但也因而最(雖然可能是盲目地)勇敢世代的展。」我們可以看到文中試圖將這些「小.碎.花.不」藝術家們、相對於他們所謂的「舊世代」、定性描述為一種:怪異、紛亂、透明、輕盈;既迷網又咆哮、既青澀敏感又憤世嫉俗……等等,但無論策展人怎麼說,實際上我們在這些修詞描述中,除了一句沉默怒吼且巨大的潛台詞:「我們屌得很特別!」以外,並無法理解得更多。這些所謂很怪又很輕盈什麼之類的藝術家,其實不在於他們是怪或者透明或是有沒有憤世嫉俗,關鍵或許應當在於他們是如何「活」在創作這件事當中的?他們是以什麼樣的神經傳導速度在面對所謂的創作?他們是如何在光素/速流的訊息、網路、或藝術家所說的那種「媒體化空間」中,認識到自己在創作?我想「小.碎.花.不」這個標題確實觸及了這樣一種生活狀態,顏忠賢在文章中說道:「(壹)小:懷抱對大、對偉大、對壯烈、對不朽、對永恆、對紀念性、對SUBLIME、對大時代式的種種….的敵意,忠於被唐突的、瞬變的、現實的種種小時代的太快汰換、太快需要UPGRADE的困頓與突圍。(貳)碎:
捏出自己可能還有點碎有點未成形成器但反而必然是的誠懇,這是一定要的,並對「登大人」的不得不,進行重新定義與操作。只貼心在性在愛在關係在人生觀在生涯規劃裡頭都安裝(一如B級片式也沒關係)新微處理器式反動的升級的小心翼翼。(參)花:非常不相信、非常花心、非常早熟、非常好玩、非常多疑、非常不承諾、非常空前世故。喜歡LIFE STYLE的種種秘方的有意思,喜歡找諸般非常具備要命等級的樂子,喜歡視覺系或非視覺系裡的非常時髦、非常消費、非常風格化。喜歡「遊戲」、喜歡脫身、喜歡不再運動的FUN取代運動的憤怒。喜歡人生一如多媒體多P多攻略本式的超連結,喜歡科技的有用或沒用,喜歡GAME衝關破關式的對人生觀的變幻無常(而且可以隨時反悔隨時復活)的解釋。(肆)不:是一種美德,一種誘惑,一種反叛,不需要「歷史」「學說」的註解或辯護。是一種訴求的強烈,一種症候,一種修辭,一種錯覺,一種焦慮,或一種狀態的抵抗。在往往很碎很破的現在,用心用力想像:如何生活如何玩如何工作如何厭倦如何逃離如何吻別,拒絕老世代的太完整寫就的抒情或叛逆,而調侃而抗拒。是一種高難度的發難及其動作。」宣言中明確描述了一種「小.碎.花.不」的當代生活狀態,並且以更加強烈的拒絕、反抗意味來撐持它所想要的那種「冒犯」力道。但這裡還是回到那個陽具中心邏輯的弒父悖論當中,也就是說,將自己以「小」區隔於「大」之外、以「碎」區隔於「合」之外、以「花」區隔於「執」之外、以「不」區隔於「順」之外,變成「小.碎.花.不」抵抗「大.合.執.順」,然後宣布「我」的獨立,這就好比落入一種女性主義本質論的理論困境當中。策展人試圖「用『青春』冒犯-----一個台灣藝術『新世代』的誕生」這句話語來宣告「青春結盟台灣新世代藝術」的一種「冒犯」式的「新」,其實可以說是無效的。


「青春」必須是一種「無父」的非抵抗、非冒犯的非關陽具,才能永保其青春之姿。青春就像「永遠的少年」,只有「追求」與「死亡」兩件事,是一種「無父」的狀態。「青春」本身不會去抵抗什麼,也不會想要去冒犯什麼,「小.碎.花.不」的作品實際上也並沒有在「抵抗」什麼或「冒犯」什麼,2008台北雙年展可能還多了那麼種「抵抗」和「冒犯」的意味。「光柵身體」必須在作品出現之時才能體現,作品也必須出於一個「光柵身體」,在「光柵身體」之處,訊息光束產生光譜,並且再次散射出去而至另一個「光柵身體」。至此,我們可以想像一個完全無法尋找源頭,也完全沒有源頭、每一個神經傳導都不是歸向那個統一的脊隨中樞,而是散射傳導出去。每一個「光柵身體」都好似一個光源,也同時是另外無數個光源所將傳導投射之處,一個「多股交叉繁衍叢生的訊息流之加速狀態」。作為一種機器式的光柵身體,「小.碎.花.不」的藝術家呈顯出沒有個人深度但有訊息網絡的賽伯(cyber)狀態,每件作品都有著許多其他作品的重影、每次交會都需要觀眾主動去創造一些意義,某些作品能夠引發某些人的關注、成為那些人的訊息;某些人在某些作品上留下操作、成為藝術家的訊息。總而言之,如果要以「青春」作為力量之源,撐持作品、撐持論述,那就必然要小心避免陷入陽具中心邏輯中的政治結構,「青春」不會是一種「冒犯」什麼的工具、「新世代」也不會是取代「舊世代」理所當然的唯一代名詞。


最後要說的是,「小.碎.花.不」除了實體展覽之外,還包括顏忠賢所做的由「網咖打怪」所延伸出去的網路部落格「不落格」,以及「不落格」中由鄭慧華所架設的「哥雅地下電台」,這兩個部分或許可以說是「小.碎.花.不」中最有意思的兩個面向,前者是以一個「網咖打怪」的現場佈置延伸到網路部落格當中,我泥中有你、你泥中有我,每個藝術家負責一個自己的線上作品展,雖然除了「哥雅地下電台」以外,這些部落格看得出來是專為這次展覽臨時設置的可隨用即丟的線上個展,但由「網咖打怪」的設計所觸及的,正是一種賽伯空間摺疊現實空間的當代展示,我們可以在當代館活在網路中、也可以在網路中活在當代館。幾位參展人或團體將自己在「小.碎.花.不」中展示的物件做為一個收集訊息的晶種,他們的作品是整個持續的過程,在這個過程裡,創作者和觀眾將透過這個晶種,高速頻繁地交換各種訊息,創作者和觀眾兩者相互摺疊到了一起,共同規劃出那條顯現出來的摺痕,但稍嫌遺憾的是,這種相互摺疊的可能性被一種三分鐘熱度的快速冷感給沖淡了,從「不落格」和現場展示的遺跡看來,大部分的藝術家其實就跟三分鐘熱度的小學生一樣,一時興起玩個三分鐘就沒興趣了,大部分的藝術家並沒有持續照顧自己的部落格,展場現場也呈現一種「日曆還停留在那一天..」的疲軟頹唐氣氛,一種交互連結摺疊的過程設計,並沒有被執行得很徹底,或許,三分鐘熱度也是一種當代速度的必然產物:「一秒鐘幾十萬上下,大家都忙。」


鄭慧華的「哥雅地下電台」有意思的是她將視覺藝術展覽拉進了網路電台的聲音配置當中,網路電台有種即時性、游擊性、硬地(Indie)風格、低成本的特色,也可以具有特殊的專題性:譬如專門撥放稀有音樂的網路電台等等,在「哥雅地下電台」的簡介中,鄭慧華說道:「這個部落格其實就是一個地下電台,它將以一段一段關於藝術的獨白或對話的錄音,建立網路的、聲音的、媒體的串聯,其呈現就是介於「自言自語」和「對話」之間的一種東西,並有著強烈的時間導向。透過這個部落格電台,可以彌補以往人們使用塊狀思考的間隙,而能去掌握比較流動的、即時細微的成份,其特質像是大腦神經交換訊息的模式,當聲音傳遞出來,人們比較感受得到「概念上」的訊息發送感受。可以和他人即時產生互動,但對方又不必要針對你的訊息做出單一的回應。」聽覺的速度、大腦神經交換訊息的模式、可暫停或重啟的互動溝通模式等等,同樣也是一種滿足賽伯格的生存狀態,在這兩個作品當中,比較切實地看到一種「小.碎.花.不」的自由度與可能性,至於「小.碎.花.不」是否真如顏忠賢策展論述中所說的:用『青春』冒犯-----一個台灣藝術『新世代』的誕生」以及「……所以,這當然也是一個台灣有史以來最富最亮最自在但也因而最(雖然可能是盲目地)勇敢世代的展。」,其實……也就並不那麼重要了。








dromologie.




[1] 請參閱策展論述網頁:http://smallflower0.blogspot.com/search?updated-min=2008-01-01T00%3A00%3A00-08%3A00&updated-max=2009-01-01T00%3A00%3A00-08%3A00&max-results=7




[2] 同註1




[3] 米蘭.昆德拉(Kundera, Milan)著,景凱旋、景黎明 譯,《生活在他方》。台北,時報,1992。




[4] 《生活在他方》,頁5-9




[5] 指古希臘少年之神伊阿科思(Iacchus)。




[6] 米蘭.昆德拉將「抒情態度」視為人類生存的基本範疇之一。




[7] 指「圖素」,或更適合以「光素」來加以理解。




[8]請參閱藝術家簡介網頁,點選「陳怡潔」:http://www.mocataipei.org.tw/super_generation/index.html



星期日, 1月 18, 2009

姬芭歌



 








I met a gin soaked, bar-room queen in Memphis,
She tried to take me upstairs for a ride.
She had to heave me right across her shoulder
'Cause I just can't seem to drink you off my mind.

It's the honky tonk women
Gimme, gimme, gimme the honky tonk blues.

I laid a divorcee in New York City,
I had to put up some kind of a fight.
The lady then she covered me with roses,
She blew my nose and then she blew my mind.

It's the honky tonk women
Gimme, gimme, gimme the honky tonk blues.

(Yeah!) It's the honky tonk women.
Gimme, gimme, gimme the honky tonk blues.

(Yeah!) It's the honky tonk women.
Gimme, gimme, gimme the honky tonk blues.


by Mick Jagger and Keith Richards




Left a good job in the city,
Workin for the man evry night and day,
And I never lost one minute of sleepin,
Worryin bout the way things might have been.

Chorus:
Big wheel keep on turnin,
Proud mary keep on burnin,
Rollin, rollin, rollin on the river.

Cleaned a lot of plates in memphis,
Pumped a lot of pain down in new orleans,
But I never saw the good side of the city,
til I hitched a ride on a river boat queen.

Chorus

Rollin, rollin, rollin on the river.

If you come down to the river,
Bet you gonna find some people who live.
You dont have to worry cause you have no money,
People on the river are happy to give.

Chorus

Rollin, rollin, rollin on the river.
Rollin, rollin, rollin on the river.
Rollin, rollin, rollin on the river.



星期日, 1月 11, 2009

A Man Who wears Armani


Cohen三月要來台灣了……不貼一篇實在對不起他。


 


Rufus Wainwright回憶的場景說起。


Rufus說他有回去Cohen家找他女兒玩,聊著聊著就看見Cohen晃著晃著出現在起居室,Cohen日常地一邊做著他自己的事一邊哈拉兩句就又晃著晃著到別處去了。Rufus說:「我看見他(Cohen)穿著整套的Armani頭髮像後梳理得整齊漂亮,穿著亮皮鞋,心裡直驚叫:挖喔!是Leonard Cohen!」


 


Cohen是個在Hotel Chelsea混過的「花之兒女」的那一代,當然,譬如對Janis Joplin的情感全寫在他的 “Chelsea Hotel #2” 裡。他自己說道:「我試著穿過牛仔褲,但我實在覺得很不稱頭……~~Cohen的爸爸是個搞西服的,所以他從小就把Armani譬如當內褲穿,可想而知,牛仔褲穿在他身上有多彆扭了!他自己也是這樣自承的。


 


Cohen是個藝文跨領域創作者是無庸置疑的,他首先是個詩人、出過詩集;也寫小說,也有中文譯本;也做詞譜曲、也玩樂器、也當歌手。最要緊的是,他是個隨時反躬自省的人,不驕矜於成名的表面虛浮……這樣的人,是像流水一樣的人。


 


有時候當我們不知道某某人有什麼了不起的時候,有個快速的方法就是看看哪些人向他致敬,如果從這個角度來看,對我來說,當Cohen唱歌的時候,U2自甘站在旁邊當他的小樂隊,並且直接了當地對大家說自己受Cohen影響很大;Nick Cave認真投入地好好地唱著他的歌等等……,族繁不及備載,從這個角度來說,Cohen確實影響了一票文藝氣息比較重的流行音樂明星,而至少,這些流行音樂明星,正各自影響著許多許多世界各角落的人。


 


Cohen臉上最醒目的刺點,就是他那兩道不知怎麼造成的深刻法令紋,這個法令紋成了Cohen最迷人的一道Scar。這道Scar其妙地讓Cohen成為之所以是Cohen,每個智慧的人的臉上應該都有一道Scar,可能是可見的,也可能是不可見的,可能是明顯的,也可能是隱晦的……總而言之對我來說,Cohen臉上的法令紋,是他的那道Scar


 


總而言之三月Cohen要來台協同Glass演出,如果不貼點關於他的東西……那絕對是件很沒有倫理道德的事。


 


每回看到老Cohen站在台上用盡力氣唱著他的歌,旁邊的人怕他斷氣拼命幫他合唱,就覺得要熱淚盈眶……阿,就從老了以後,嗓音由high baritone轉變到bass baritone “Dance Me to the End of Love” 聽起吧!




 















































星期六, 1月 10, 2009

Das Lied eines jungen Soldaten auf der Wacht



Lili Marlen這首歌是以Hans Leip (1893-1983)1915WWI」其間所寫的一首詩"Das Mädchen unter der Laterne"


為詞,在1938Norbert Schultze
1911-2002)譜曲,名為"Das Lied eines jungen Soldaten auf der Wacht",一般資料上記載Lili MarleneLeip挪用了兩位女朋友的名字組合而成,並且這首歌也以Lili Marlene名聞遐邇。

Lili Marlene被翻譯成許多語言傳唱,於1939年首度灌錄成唱片,由Lale Anderson演唱。不過這首歌最為人所津津樂道者,當非Marlene Dietrich莫屬,Dietrich的名氣就不用說了,只消知道她在美國那種明星大道地磚上有一塊名牌,應當也就夠了。Lili MarleneDietrich以英語演唱的歌聲帶到了美國,如今,成為一個時代的經典…...




Hans Leip 1915 1.
Vor der Kaserne Vor dem großen Tor Stand eine Laterne Und steht sie noch davor So woll'n wir uns da wieder seh'n Bei der Laterne wollen wir steh'n |: Wie einst Lili Marleen. :| 2. Unsere beide Schatten Sah'n wie einer aus Daß wir so lieb uns hatten Das sah man gleich daraus Und alle Leute soll'n es seh'n Wenn wir bei der Laterne steh'n |: Wie einst Lili Marleen. :| 3. Schon rief der Posten, Sie blasen Zapfenstreich Das kann drei Tage kosten Kam'rad, ich komm sogleich Da sagten wir auf Wiedersehen Wie gerne wollt ich mit dir geh'n |: Mit dir Lili Marleen. :| 4. Deine Schritte kennt sie, Deinen zieren Gang Alle Abend brennt sie, Doch mich vergaß sie lang Und sollte mir ein Leids gescheh'n Wer wird bei der Laterne stehen |: Mit dir Lili Marleen? :| 5. Aus dem stillen Raume, Aus der Erde Grund Hebt mich wie im Traume Dein verliebter Mund Wenn sich die späten Nebel drehn Werd' ich bei der Laterne steh'n |: Wie einst Lili Marleen. :|



Tommie Connor, 1944
Underneath the lantern, By the barrack gate Darling I remember The way you used to wait T'was there that you whispered tenderly, That you loved me, You'd always be, My Lilli of the Lamplight, My own Lilli Marlene Time would come for roll call, Time for us to part, Darling I'd caress you And press you to my heart, And there 'neath that far-off lantern light, I'd hold you tight , We'd kiss good night, My Lilli of the Lamplight, My own Lilli Marlene Orders came for sailing, Somewhere over there All confined to barracks was more than I could bear I knew you were waiting in the street I heard your feet, But could not meet, My Lilly of the Lamplight, my own Lilly Marlene Resting in our billets, Just behind the lines Even tho' we're parted, Your lips are close to mine You wait where that lantern softly gleams, Your sweet face seems To haunt my dreams My Lilly of the Lamplight, My own Lilly Marlene





Italian
Tutte le sere sotto quel fanal presso la caserma ti stavo ad aspettar. Anche stasera aspetterò, e tutto il mondo scorderò |: con te Lili Marleen :| O trombettier stasera non suonar, una volta ancora la voglio salutar. Addio piccina, dolce amor, ti porterò per sempre in cor |: con me Lili Marleen :| Prendi una rosa da tener sul cuor legala col filo dei tuoi capelli d'or. Forse domani piangerai, ma dopo tu sorriderai. |: A chi Lili Marleen? :| Quando nel fango debbo camminar sotto il mio bottino mi sento vacillar. Che cosa mai sarà di me? Ma poi sorrido e penso a te |: a te Lili Marleen :| Se chiudo gli occhi il viso tuo m'appar come quella sera nel cerchio del fanal. Tutte le notti sogno allor di ritornar, di riposar, |: con te Lili Marleen :|



tr. Henry Lemarchand, 1940
Devant la caserne Quand le jour s'enfuit, La vieille lanterne Soudain s'allume et luit. C'est dans ce coin là que le soir On s'attendait remplis d'espoir |: Tous deux, Lily Marlène. :| Et dans la nuit sombre Nos corps enlacés Ne faisaient qu'une ombre Lorsque je t'embrassais. Nous échangions ingénûment Joue contre joue bien des serments |: Tous deux, Lily Marlène. :| Le temps passe vite Lorsque l'on est deux! Hélas on se quitte Voici le couvre-feu... Te souviens-tu de nos regrets Lorsqu'il fallait nous séparer? |: Dis-moi, Lily Marlène? :| La vieille lanterne S'allume toujours Devant la caserne Lorsque finit le jour Mais tout me paraît étrange Aurais-je donc beaucoup changé? |: Dis-moi, Lily Marlène. :| Cette tendre histoire De nos chers vingt ans Chante en ma mémoire Malgré les jours, les ans. Il me semble entendre ton pas Et je te serre entre mes bras |: Lily...Lily Marlène :|

星期一, 1月 05, 2009

純聽歌



 


純聽歌,沒有任何建設性。


 



 



星期六, 1月 03, 2009

Doors of Perception



因為接到某神遊物外人士來電,所以引發了如下的聯想:


 


老子說無、有之一體同出,「玄之又玄,眾妙之門」。莊子說「北冥有鯤」。W. Blake"If the doors of perception were cleansed, every thing would appear to man as it is: infinite". 這些人似乎都在傳達一個神遊物外的造化體驗。


 


赫胥黎(A. Huxley)算是這個系統中的一位實證主義者,而卡斯塔聶達(C. Castaneda)就像是個戰地記者。卡斯塔聶達說自己是某種巫術系統的最後一位傳人,赫胥黎在烏托邦文學傳統中試圖擴張語言所能及的最邊疆界。他們之所以像是個實證主義者,就在於他們的工作與企圖,是一種對Doors之隱喻的知識化過程。


 


消費與流行是一種具有將文化扁平擴延的資本主義力量。如今,買唱片或download音樂易如反掌,使得某人談論某個被收編進流行體系中的樂團的之一之二,其實感覺上變得可有可無。這或許應該是一種因為感性材料供應充足有餘使得感知不斷擴延放大,一不小心,整個感知系統就被稀釋成無感了,也就是這種輕如鴻毛的泛泛感覺的由來:So What


 


其實我是要說我自己,因為我想要講the Doors,但其實現在講the Doors實在不是一件什麼酷的事,誰不知道the Doors?沒吃過豬肉也看過豬走路,沒趕上the Doors大概也忘記在哪裡聽過他們的歌,無可否認,the Doors成為消費圖騰這件事的本身,是一點也不酷。


 


不過,就像格瓦拉的頭像被賣到爛,但這不代表吾人不可以從一些很詭譎、很私密的角度去跟Che產生聯繫……the Doors也是一樣。有種很奇妙的事情是,就像Doors這種隱喻所透露的可能性之一:我們永遠也無法確定被「門」所隔離開的,是什麼樣出人意料的世界。


 


Stone拍的the Doors很具有參考價值,同時,雖然Morrison大約是the Doors最有賣點的性感巨星,但若說Morrison是道體之「有」,那相對於這個「有」的那個「無」,就是Ray Manzarekthe Doors要是沒有了Manzarek,就不是the Doors了。


 


我想,the Doors除了一般的編年體談法之外,應該也是可以這樣被東拉西扯地談,或許也是另一扇眾妙之門的可能..