Soft Matter: The Valorization of Mud 06

Soft Matter: The Valorization of Mud 05

軟泥:泥巴的穩定

From Earth and Reveries of Will

泥土與意志的幻想

By Gaston Bachelard 巴舍拉

Translated by Springhero 雄伯

 

We have only to reread , in Maurice Genevoix’s Raboliot, the many pages devoted to sticky snares, to experience a detailed, minute offensiveness that illustrates the degree to which human existence is reactive, a response to circumstances. Our earliest impressions of snares, decoys, and traps resonate with the experience of beings subject to existence.

我們只需要重讀Maurice Genevoix Raboliot,裏面有好幾頁專注於談黏性陷阱,就可以體會到一種詳細、微細的攻擊,舉例說明人類的存在對於環境的反應,反動到什麼程度。我們對於陷阱、誘餌、及羅網的最初印象都迴響著生命隸屬於存在的經驗。

 

This example also serves to distinguish the masculine unconsciousness from the feminine. For when we take offensive action against viscous matter, we abandon the deepest and most basic regions of the unconscious, the realm that is essentially feminine, and, with the weakest of weapons, we response to the first conscious stirrings of masculine aggression.

這個例子也充當區別陽剛的無意識跟陰柔的無意識。因為當我們採取攻擊的行動對抗黏性物質,我們放棄了無意識最深層、最基本的地區,這個領域基本上是陰柔的。用這個最軟弱的武器,我們回應陽剛的攻擊性第一個意識到的激動。

 

We enter the realm of cunning will, stubbornly determined to turn the forces of the world to its own advantages. The human being thus becomes a center of hostility. Its prodigious offensivity leaves no force in the universe unactivated. If power reveals itself in substance, the first question is: against whom or against what it can be utilized? The viscosity experienced by human beings seeks an enemy. We overlook this dynamic if we think of ourselves as victims.

我們進入狡猾意志的領域,頑固地決心要將世界的力量轉為己用。人類因此成為一個敵意的中心。它巨大的攻擊性啟動了宇宙所有的力量。假如力量在物質中顯示自己,那第一個問題是可使用來攻擊誰或攻擊什麼?人類所經驗到的黏性尋找敵人。假如我們只認為自己是受害者,那我們就忽略了這個動力。

 

But this is not the typical experience, and it may be preferable to offer a simple image of the viscous universe by recalling our first childhood experiences with jam. Picture for instance bowls overflowing with pitted cherries. The fingers stick to them a bit already, an agreeable sign that the fruit is ripe.

但是這個並不是典型的經驗。我們不妨回憶一下我們童年吃果醬的經驗,提供一個簡單的黏性宇宙的形象。試著想像一下去核的櫻桃流溢碗盆,手指已經稍微黏住他們,欣喜地顯示水果已經成熟。

 

Then the juices brighten in the great copper kettle. The ladle drips red, the air fills with the buzzing of bees…As idle onlooker might find everything about this disagreeably sticky, perceiving the disorderly kitchen as dirty, though every object contributes to the aesthetic of making syrup. To avoid boasting of my own jam-making skill I will simply transcribe a passage from Josephine Johnson to put us in the proper frame of mind.

然後果汁使得大銅壺輝煌起來,長柄杓都滴到紅,空氣洋溢著蜜蜂的嗡嗡聲。旁觀者可能會發現每一樣東西都黏得令人化不開,感覺到廚房又亂又髒,雖然每一樣東西都促成製造果醬的美感。為了避免是在誇張我自己製造果醬的技巧,我將僅僅引述一段Josephine Johnson的文章,我們就可以親臨體會。

 

A young woman stands before a raging oven in the middle of summer, watching cherries slowly dissolve “ in a rich, syrup redness. She stormed around among the kettles, testing and slopping,–shouted Whoa! And Haw! to the cherries pouring over, dripped wax with one hand and stirred with the other, and sniffed at the strong smell of burned juice blackening where the stuff boiled over. I don’t know what it was—only health perhaps, too much to be contained inside and radiating out like her overstoked ovens.”

一位年輕女仕在仲夏站在熱驣驣的火鍋前,觀察櫻桃慢慢溶化成為豐富的紅色果汁。她在各個水壺間走來走去,品嚐試探,哇塞哇塞地叫嚷,面對滿溢的櫻桃汁,一隻手滴滿汁,另一隻手攪拌著,鼻子嗅著強烈的味道,當滾燙的果醬漸漸變黑及沸騰起來。我不知道那是什麼,只知那是健康,健康洋溢,無法被包裝在裏面,不得不像添火過熱的火鍋般輝煌起來。

 

One has the sense here of a cook fully at the center of her work, conscious of her strength in action. Viscous, sticky, gummy matter has been rendered powerless against her.

我們可以理解到一位廚師站在工作的正中央,意識到自己行動的力量。黏性、粘著、膠黏的物質在她面前變得任由擺怖。

 

In this way the human being is revealed as the being opposed to things, not siding with things but standing up to them. From unhappiness at feeling stuck, feelings of anger rise in dialectical response, and with them a sense of liberation.

以這個方式,人類被顯示為與物質對抗的存在,不是偏袒物質,而是對抗物質。從感覺被黏住的不快樂,憤怒之氣昂揚興起回應,隨之而來的是解放之感。

 

A passage from Jacob Bochme describes this secondary order of human will, this will-in-response which generates oppositional beings: “ The will, if wrapped in the gloom of anguish, reasserts itself as a second will to fly from anguish, to engender light; and this second will is the affective base from which thoughts of breaking free of anguish arise.”

Jocob Bochme的這個段落描述人類意志的次等順序,就是反應意志產生了相對的存在:意志假如被包裹在痛苦的陰鬱中,會以次等順序重新主張自己,而逃離痛苦,產生光輝。這個次等順序就是情意的基礎,掙脫痛苦的思想從這裡飛揚起來。

 

In a quick turnabout, the existence of stickiness is supplanted by the oppositional being of the hand. Characterized anthropomorphically, pitch represents the will to “ become unstuck.” In the psychoanalysis of labor, the will makes a weapon of the naturally offensive quality of a substance. Compressed in the shoemaker’s gauntlet, the stickiness of pitch serves him well. Pitch-coated rope groans against the pull of the gears. It becomes a powerful astringent, a subtle protection against moisture, a force to counteract warping.

迅速回轉,黏性的存在被手的相對存在所取代。用擬人化來說,瀝青代表「不甘受困」的意志。在勞動的精神分析學,意志以物質的自然攻擊特質為武器。被壓縮在鞋匠的保護手套裡,瀝青的黏性服務得最好。塗上瀝青的繩索對抗機械的拉扯哀鳴。它變成一種嚴峻的力量,一種微妙的保護,避免潮溼,一種反抗被扭曲的力量。

 

Once more the worker has domesticated matter. So taught Jacob Boehme, shoe-maker and “ vanquisher of pitch,” for whom the lesson was so clear it became the source of his loftiest metaphors. A person’s whole being comes to life when the hand takes control of matter. When the hand “ breaks through the gloom, the penetrating eye will look upon itself in delight, far from the shadows, in the sharp light of the will.”

再一次,工作者馴服物質。Jocob Boehme 如此教導。對於鞋匠及「瀝青的征服者」,這個教導是如此清楚,足以做為他最崇高的比喻。當手掌控物質時,人的整個存在展現生命。當手衝破陰鬱,炯炯有神的眼睛顧盼自喜,遠離陰影,自得於意志的強烈光輝。

 

It is impossible to understand a passage like this if one does not begin with the material image of a shadowy substance, a substance that manifests the density of shadow. From there one must proceed from the imagination of matter to the imagination of power and thus overcome sticky density. Darkness, thickness, and stickiness are thee substantial stages through which the imagination must pass. Once stickiness has been conquered, darkness and density are automatically overpowered.

要了解這一段是不可能的,假如我們不先從陰影物質的物質形象開始。那種物質展示了陰影的密度。從那裏,我們必須從物質想像進展到權力想像,然後克服黏性密度。黑暗、厚度、黏性是三個實質上的階段,想像必須經歷的。再一次,黏性被征服,黑暗跟密度自動地被壓制。

 

P90–P91

Soft Matter: The Valorization of Mud 06

軟泥:泥巴的穩定

Earth and Reveries of Will 泥土與意志的幻想

by Gaston Bachelard 巴舍拉

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

    

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