Earth and Reveries of Will 08
泥土與意志的幻想
By Gaston Bachelard 巴舍拉
Translated by Springhero 雄伯
The tactile sensation of digging into matter with one’s fingers, discovering its substance beneath form and color gives one the illusion of touching the very essence of matter. Once the material imagination has opened the inner depths of substance to us, untold riches are ours. A material image dynamically experienced, passionately adopted, patiently explored, is an opening in every sense of the world, in its real sense and its figurative sense. It assures the psychological reality of the figurative, the imaginary.
用手指挖掘物質的觸感，在形式及顏色底下發現物質讓人有接觸到物質本質的幻覺。一但物質想像已經打開物質的內在深度，無數的財富是我們的。我們激烈經驗到，熱心採用及耐心探索的物質意象，從世界的意義，真實及象徵的意義來說，都是一種開展。它確定會有象徵在心理上的真實，就是幻奇。
The material image transcends immediate existence and deepens superficial existence. This deepening reveals a double perspective; opening into the interior of the active subject and into the inner substance of the inert object encountered by perception. However, in working with matter, this double perspective is reversed. The inner depths of subject and object interchange; a salutary rhythm of introversion and extroversion comes to life in the worker’s spirit.
物質意象超越立即的存在，並且深化膚淺的存在。這種深化顯示兩種觀點，進入活動主體的內部，及感官所遭遇的惰性客體的內在質性。可是，從事物質時，這雙重觀點或倒轉過來。主體跟客體的內在深度會交換，內向跟外向的良性韻律在工作者的精神裏活躍起來。
But if one truly invests an object with form, if one imposes a form on it in spite of its resistance, then introversion and extroversion become more than mere psychological orientations, or indexes of two opposing types of change. The worker necessarily experiences the sequence of such efforts and their immediate results. While in the face of human adversity even the smallest defeat sets back the introvert, in objective material adversity the worker is stimulated by resistance to the very degree that pride in mastery marks an introversion.
但是假如我們真的替客體賦予形式，假如我們不顧它的抗拒，強迫賦予形式，那麼內向跟外向就變成不僅僅是心理上對應，或是兩種相對的改變的指標。工作者需要經驗這種努力的順序及他們立即的結果。雖然面對人類的逆境，即使是最微小的挫敗都會退回內向，但是在客觀的物質逆境，工作者被抗拒所刺激，以致對於掌控的尊嚴表現了它的內向。
In work, a strong introversion is a guarantee of energetic extroversion. Furthermore, the well-chosen material, in restoring to the rhythm of introversion and extroversion its true mobility., produces a means of rhythmanalysis, in the sense that Pinheriro dos Santos uses this term
在工作時，強烈的內向是一種精力外向的保證。而且，仔細選擇的物質，替內向跟外向的韻律恢宏它的機動性，產生一種韻律分析的工具，詩人山多斯所用的這個用詞。
In work –with its righteous dreams, dreams which do not flee from work—this mobility is neither gratuitous nor useless. It finds its place between the dialectical extremes of too hard and too soft, at the point most suitable to the felicitous forces of the laborer. It is in connection with these forces, in the general psychic drive of these forces applied with mastery, that human beings experience the dynamic power of their own imagination. Thus we experience the imagination both moored and penetrant; only an idle persona would speak of the imagination as vagabond.
在工作時，由於夢想光明正大，夢想並沒有逃離工作，這個機動性並非偶發，也非無用。它在太堅硬及太柔軟的辯證法極端，以及在最適合於勞動者的幸福力量，找到它的位置。就在跟這些力量連接，在這些力量控制地使用時產生的的心理欲念中，人類經驗到自己想像的動力。因此，我們經驗到停泊及貫穿狀態的想像。只有懶惰的人才會說想像是四處飄散。
Of course the only depths imagination truly penetrates are imaginary, but the desire to penetrate reveals itself in images. In images of material penetration desire assumes a specific dynamic, one of the prudence and determination. Classical psychoanalysis would do well to study closely those images of penetration which accompany action upon various material substances and to study them in their own right without rushing to interpretation, as is too often the case.
當然，唯一想像真正貫穿的的深度是幻奇，但是想要貫穿的欲望會以意像顯現出來。在貫穿物質時，欲望顯出一種明確的動力，謹慎跟決心的動力。古典的精神分析最好仔細研究伴隨各種物質貫穿行動的這些意象，並適情地研究他們，而不要像平常一樣匆促去詮釋。
Perhaps then the imagination would no longer be accused of wielding the power of substitution alone. It would be seen as a drive for images, an instinct for images which accompanies quite normally instincts of rougher, duller nature, for example, instincts as slow to develop as sexual desire. The constant opportunity offered by the imagination that renews and multiplies itself through diverse material images will not fail to become apparent if one studies the most active images of material penetration. One would thus see the psychological utility of bringing together the will to penetrate with images that encourage actual penetration.
可能他們因此不再控訴想像只是權且充當代理。想像將會被視為是意象的欲念，一種意象的本能，非常正常地，隨之而來會是更魯鈍的本能，慢慢醞釀成性的慾望。想像不斷提供的機會，透過各種物質意象更新繁盛本身，終會顯現出來，假如我們研究貫穿物質的活躍意象。我們因此會從團結貫穿的意志跟鼓勵實際貫穿，看到心理學的實用性。
This rapproachement reveals the intersection of reciprocal exchange where images become “ impulsive” and impulses themselves augment their gratification through images. The act and its image—there is a heightened state of being, dynamic existence which suppresses static existence so completely that passivity is reduced to nothingness. There is no question that imagery uplifts us, improves us; it gives us the potential to become more than what we are.
兩者團結顯示：意象成為「衝動」，而衝動透過意象本身加強他們的滿足，彼此互惠交會。行動及其意象，使生命及動力的存在強化，並全然壓抑靜態的存在，以致被動淪為空無。無可置疑地，意象提昇我們，改善我們，給我們潛力超越我們本來的自己。
Thus I consider the imagination the center from which the dual orientations of all ambivalence—extroversion and introversion—extend. And if one examines images in their detail, one will recognize that the moral and aesthetic qualities attributed to images divide along these same lines of ambivalence. Images carry out quite subtly the massive battle of wills which rages at the core of one being, using one essential ruse—the technique of revealing and concealing by turns. For example, in a cherished visual image one may perceive the scoptophilia which certain psychoanalysis, such as Lacan, have shown to unite the dual tendencies of seeing and being seen!
因此我認為想像是內向跟外向延伸時，各種矛盾心理雙重位置的中心。假如我們檢查一下意象的細節，我們會承認，用意象表現的道德跟美學的特質，由於彼此矛盾而分道揚鑣。意象微妙地從事巨大的的意志的戰鬥，激烈進行在我們存在的核心，使用一個基本的策略，顯示跟隱藏交替的策略。例如，在一個大家所喜愛的視覺影像，可能被認為是窺視狂，某些精神分析師，如拉崗，就認為是連接看與被看的雙重傾向。
How many images full of ostentation are only masks of this sort! Naturally, however, material images are more deeply motivated; they represent an explicit, dynamic engagement with the world. Where the essence of material reality is concerned, human aggressiveity—whether straightforward, wily, direct, or oblique—assumes the opposing aspects of strength and skill, discovering in the experience of strength its extrovert certitudes, and in the awareness of skill its introvert convictions. The work and the worker are thus mutually determined—doubtless a banal truth, but one which is multiplied by nuances so numerous and varied that it would require long research to define it precisely.
有多少虛飾誇張的意象只是這種假面具！可是，物質意象當然動機較為深刻。他們代表明確而動力地參與這個世界。就物質的本質而言，人的攻擊性，無論是坦然，狡獪，直接，或拐彎抹角，都有力量跟技巧兩個相反面，在力量的經驗中發現外向的確定性，在技巧的熟稔中，找到內向的信心。工作跟工作者因此是相輔相成，無疑是老生常談，但還是有其微妙變化的細膩，值得我們再費心研究，才能明確下定義。
In the next chapter I lay out a preliminary explanation of this mutual self-determination, beginning with a brief discussion of incisive will—the will to cut and to carve—followed by a swift digression into actual work with real materials in order to call attention to the dynamic character of tools, too often considered only in their formal aspect. It is my intention to provide an initial illustration of the double perspective mentioned above, first by means of a kind of psychoanalytic survey, and then through reflection on the dynamic conditions of one’s earliest successes in the working of matter.
在下一章節，我首先簡短地討論敏銳意志，也就是切割及雕刻的意志，來初步詮釋這個相輔相成。然後再快速離題談論真實物質，為了提醒大家注意工具的動力特性，這是在其正常用法中所忽略的。我要對於以上所提的雙重觀點，提供初步的全詮釋，首先用精神分析的調查方法，然後反映到在從事物質工作時，我們早期獲得成功的動力狀況。
P24—p26
Earth and Reveries of Will 08
By Gaston Bachelard 巴舍拉
Translated by Springhero 雄伯
https://springhero.wordpress.com
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