Cool Memories 08

Cool Memories 08

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

   The passing impulse is now but a mere symptom of the will, all that remains of it in an enervated world.

   瞬間的衝動現在僅僅是意志的病徵,在衰弱的世界是意志的剩餘物。

We are no longer in the era of the will, but of the passing impulse

We are no longer in the era of anomie, but of anomaly

We are no longer in the era of the event, but of the eventuality

We are no longer in the era of virtue, but of virtuality

We are no longer in the ear of power, but of potentiality

etc.etc.

我們不再是意志的時代,而瞬間衝動的時代

我們不再是失落的時代,而是異常的時代

我們不再是事件的時代,而是終結的時代

我們不再是品德的時代,而是虛擬的時代

我們不再是權力的時代,而是潛力的時代

等等

   The absolution of speed—that of the sleek, ultramodern express train, speeding across the sinister, sooty plains of the North. And there, in your heart, a suspected decision –vital, but impossible to make. Indeed all decisions are suspended, all impulses are accumulating in the firmament. Various different lives awaiting some resolution, the lives of contradictory women. All this is insoluble, but the feline movement of the train still gives it some kind of charm. Railway points are made in our image. Their hearts condense the tenderness of the ironic tracks of the railway.

   速度的免除,豪華、超現代快速火車的免除,快速越過北美古怪、煤煙的平原。在那裡,你內心有可疑的決定,重要但是無法貫徹。的確,所有的決定都被擱延,所有的衝動都累積在空中。各個不同的生命等待解決,矛盾女人的生命。這些都是無法解決,但是火車像貓般狡滑的動作依舊給予某種魅力。在我們形象中形成火車的瞬間。女人的心濃縮成火車反諷的鐵軌傾向。

   In an ultravisible, ultrareal, transparent and operational world, one can rely only on silent efficiency.

   在超分割、超真實、透明而運作的世界,我們只能依靠沉默的效用。

   There is nothing more beautiful than a woman separated from you by a mirror, the mirror of her own hysterical speculation on the world, the mirror of the caresses she spurns and which you overwhelm her with mentally, the mirror of the murder she is planning without realizing it. One must wait patiently for an eternity in front of this mirror which envelops her, haloed as she is by the silvery light of danger. And one day the mirror gives way; it slides like a dress to your feet, leaving before you merely the ashes of hysteria, the vestiges of a woman who has mentally yielded.

   女人被鏡子分開她和你時最為美麗。這鏡子是她對於世界歇斯底里的沉思。這鏡子是當你精神上給她強烈的愛撫,卻被她所摒棄。這鏡子是她計劃卻沒有實行的謀殺。我們必須在籠罩她的鏡子前,耐心地等待永恆,因為危險的銀色光輝正給予她光環。有一天,鏡子隱退像衣服般滑到你腳下,僅剩下歇斯底里的灰燼在你面前,這才是女人精神上屈服的痕跡。

   There are eyes which make all the miseries to come worthwhile. There are futures which make all previous lives worthwhile, when the woman who has stayed all night also sends you across town.

    眼光的凝視使所有的悲慘都值得。未來的希望使所有過去的生命都值得,當停留整晚的女人指使你跑遍全鎮。

    To Freud: the man who turned pleasure into a principle.

    To Lacan: the man who turned the mirror into a phase.

    致佛洛伊德:將快樂轉變成為原則的人。

    致拉崗:將鏡子轉變成為面向的人。

   The writers of the Apocalypse were methodical people who preferred to send each other endless letters rather than question the Anti-Christ himself.

   啟示錄的作家都是井然有序的人。他們寧可互相不斷地寄信,也不願去質疑反基督本人。

   Palermo.

   The way they drive there conforms to the cruel ceremonial of provocative, animal dancing. It is a challenge verging upon the lethal limit of suicide, but one in which eliding the act preserves the rules of the game. Animals confront each other in this way, to establish supremacy without actually inflicting harm. The violent rhetoric of hard driving, and indeed all the town’s scenography are products of this continual dicing with death.

    白列摩鎮

    他們開車的方式跟挑釁的動物舞蹈相一致。這是個跡近自殺的致命極限的挑戰,但是動作被省略,只保留遊戲規則。以此方式,動物互相冒犯,較勁誰優秀,但是沒有真正造成傷害。飆車的暴力修飾學。的確,整個小鎮的景觀就是這種不斷跟死亡豪賭的產物。

   

    Watching for six centuries over this archaic ceremonial, which sends modern technology spinning in an endless whirl( at three o’clock in the morning the cars are still tearing around at crazy speeds through this monumental geometric space), there stand, like science-fiction ancestors, the giant, antediluvian fig trees, rhizome-like trees from the mangrove swamps, which are by turns reptilian, visceral, tentacularly mineral, whose sap goes round and round within their networks of stalactite-like branches which reach down to the earth and take root there. Trees without end, neither animal nor vegetable, worthy of some barbarian cult, and of the baroque rootedness of this city in a culture of death.

   對於這個古代的儀式觀看六世紀。它以無窮盡的急駛,將現代科技表現得眼花撩亂(零晨三點,汽車依舊到處狂飆,越過這個巨大的幾何空間)。這裏有巨大的洪荒時代的無花果樹,像科幻影片裏的怪物,像根莖的樹豎立於紅樹林的沼澤。這些沼澤像爬蟲有內臟,觸摸起來又像礦物。它的液汁彌漫在鐘乳石般的樹枝的網絡,而樹枝往下延伸到泥土,生根在那裏。永無止盡的樹,既非動物,也非植物,值得野蠻人膜拜,就像這個城市的奇異風尚根源於死的文化。 P18—p19Cold Memories by Jean BaudrillardTranslated by Springherohttps://springhero.wordpress.com32hsiung@pchome.com.tw   

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s


%d bloggers like this: