Postmodern Journeys 02

Walk On  02

By Joseph Natoli

Translated  by Springhero

       Unfortunately, we spend most of our lives at rest; call it grounded, call it centered; call it home base, call it the still point, the contemplative heart of your being from where, like the Buddha, you sit in the lotus position, eyes half closed, and integrate the fury, solitary at the very center of the garden to which all paths ultimately lead..

       不幸地,我們一生大都在靜止中度過,美其名為安定基礎、為中心歸屬感、為有家園可歸、為寧靜致遠、為冥思心斂,猶如佛陀靜坐蓮花座上,眼睛半閉,攝合心猿意馬,在花園中央孤獨下來,條條歧途都回歸這裡。 

      A sweet image, a sweet story, that, like all stories, has its own “ otherness.” There is the emaciated Buddha as well as the fat Buddha; the dark soul journeying as well as the sedentary soul in peace, the Buddha whose last words are “ Walk on!” The Hindu dancing Shiva is never at rest, enacting in his dance somehow the endless fluidity of time, space, self, objects, others, laws and dreams, desire and science, mind and world.

         像所有的故事一樣,再完美的形象,再甜美的故事,都有其「彼方」。佛陀有臉潤飽滿的時刻,也有憔悴落魄的時刻。佛陀的靈魂不是自始就安詳寧謐,而是曾經顛沛流離,灰暗絕望,他最後的話語是「繼續前進」。印度教的「希媧」舞神永無止盡地跳下去,象徵著時間、空間、自我、物體、別人、法則、夢想、慾望和技藝、心靈和世界,都是永恆地變動不居的。 

        We are thrown into a world that is always already in motion and whose always alreadyness we immediately inherit. The image of ourselves, then, as quietly sitting someplace, or centered for dominating viewing in Foucault’s pan-option, taking in a world that is somehow “ out there”—that image and the story it spins encourages what I call a “ modernist” way of journeying. How do you journey toward another story—let’s call it the postmodernist—of how the world and ourselves exist and we “ correspond” with each other , another story of how we travel, if you will, from self to world?

      我們出生時所投入的世界,已經總是在運轉當中,我們也只有立刻加入其已經運轉中。我所謂的「現代主義旅行觀」,是指自我的形象氣定神閒端坐一處,或是像「傅柯的宏觀論」所說的,所見所聞的形象跟故事,莫不是驗證自我中心地睥睨世界。換個「後現代旅行觀」如何?也就是旅行到世界和我們存在的彼方,尋找另一個故事,再來互相驗證,或者從自我旅行到世界,也是另一個故事。        

        It seems to me that you cannot do so unless you first perceive that you have been thrown into, say, a modernist story of things and not into the world itself. We are now living at the crossroads of both kinds of awareness, although only the postmodern awareness allows us that awareness.

        我覺得,你不可能這樣做,除非你首先體悟到,你自已不是被投入世界的本身,而是被投入現代主義的敘述觀故事裡。我們現在生活在兩種「認知」的十字路口,雖然只有後現代的「認知」,能夠讓我們有那種「認知」。     

      In the last decade of the second millennium, we have our so-called cultural wars, the semiotics of such proliferating each day. Perhaps it is all about traveling, about the journey, not only—as Rod Serling used to say at the beginning of every segment of Twilight Zone—of time and space, but of mind. Again, the Buddha: “ You cannot travel on the path before you have that Path itself.”

       在第二千禧年的最後十年,我們有所謂的「文化戰爭」,語意學每天快速地繁殖不已。或許都是關於跋涉、關旅行、如「羅德、瑟林」在「陰陽魔界」每章開始所說的:不但是時間和空間,心靈也在旅行。佛陀也說過:你一但在途中,你自己也成為道的本體。          

        Some are secure and content, for whatever reason, and want to journey little from that contentment and security, except perhaps to augment it. Others are unsatisfied with their present lot and continue to journey toward a goal that promises what is yet not theirs. Still others have no journey in mind but are on the road because one place is good as another. There is for them no place to rest. Perhaps, like Rimbaud, they are not going to any place but merely fleeing from ‘ apparitions assembled in the brain.”

       

        不管是何理由,有些人安定而滿足,絲毫不想離開,除了有助於增強那種滿足跟安定。還有些人則對他們目前的命運不滿意,繼續旅行到曾經許諾卻尚未達到的目標。還有些人心裏根本不想旅行,因為此地跟彼方其實無異,卻已經身不由己在途中。對他們而言,真是生無所息。或許如「藍波」,他們不是旅行到任何地方,只是逃避「魅影凝聚在腦海」。

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