德勒茲22

Deleaze 21 德勒茲:千高台

Translated by Springhero 雄伯

32hsiung@pchome.com.tw

 

Of the Refrain

論疊句

 

A child in the dark, gripped with fear, comforts himself by singing under his breath. He walks and halts to his song. Lost, he takes shelter, or orients himself with his little song as best he can. The song is like a rough sketch of a calming and stabilizing, calm and stable, center in the heart of chaos. Perhaps the child skips as he sings, hastens or slows his pace. But the song itself is already a skip: it jumps from chaos to the beginnings of order in chaos and is in danger of breaking apart at any moment. There is always sonority in Ariadne’s thread. Or the song of Orpheus.

 

一個小孩在黑暗中,恐懼交加,小聲地哼唱。他配著曲調邊走邊停。迷路了,找個躲避地方,盡可能再用曲調找到定位。這曲調就像是一張粗略的構圖,在渾沌的核心有著令人寧靜和穩定的中央。可能這個小孩邊唱邊跳,加快或緩慢步伐。但是曲調本身已經是一種跳躍:它從渾沌跳躍倒秩序的開端,有隨時崩塌的危險。阿瑞尼攜帶線索進入迷宮時的曲調是嘹喨的。奧非斯進入冥域時也是一樣。

 

Now we are at home. But home does not preexist: it was necessary to draw a circle around that uncertain and fragile center, to organize a limited space. Many, very diverse, components have a part in this, landmarks and marks of all kinds. This was already true of the previous case. But now the components are used for organizing a space, not for the momentary determination of a center. The forces of chaos are kept outside as much as possible, and the interior space protects the germinal forces of a task to fulfill or a deed to do. This involves an activity of selection, elimination and extraction, in order to prevent the interior forces of the earth from being submerged, to enable them to resist, or even to take something from chaos across the filter or sieve of the space that has been drawn.

 

現在我們在家。但是家並沒有預先存在。繞著不穩定而脆弱的中央,有需要畫一道圓圈,組織一個有限的空間。參與的有各種多樣的成分,路標及各種標誌。就剛才的例子而言總也是真實的。但是現在成分被用來組織空間,而不是作為中央的暫時決定點。混沌的力量盡可能維持在外面,內部的空間保護初始的力量,可以執行工作或從事某種行為。這牽涉到選擇、減少及抽離的行動,為了阻止地球的內部力量不要被淹沒,為了使它們能抗拒,甚至從渾沌中越過劃定的空間的過濾及篩選,得到某件東西。

 

Sonorous or vocal components are very important: a wall of sound, or at least a wall with some sonic bricks in it. A child hums to summon the strength for the schoolwork she has to hand in. A housewife sings to herself, or listens to the radio, as she marshals the anti-chaos forces of her work. Radios and television sets are like sound walls around every household and mark territories ( the neighbor complains when it gets too loud). For sublime deeds like the foundation of a city or the fabrication of a golem, one draws a circle, or better yet walks in a circle as in children’s dance, combining rhythmic vowels and consonants that correspond to the interior forces of creation as to the differentiated parts of an organism. A mistake in speed, rhythm, or harmony would be catastrophic because it would bring back the forces of chaos, destroying both creator and creation.

 

嘹喨或聲音的成分是非常重要的:一道聲音的牆壁,或至少一道有隔音磚的牆在裡面。小孩哼唱來招換力量做她必須繳交的作業。家庭主婦獨自哼唱,或聽收音機,當她統整從事工作的反渾沌力量。收音機跟電視就像是環繞每個家庭的隔音牆,畫出疆域(太大聲時,鄰居會抱怨。)對於一些崇高的行為,如為城市奠基,塑造有生命的泥人,我們會劃出圓圈,更好的是走入圓圈,如同在小孩的舞蹈中,連結節奏的母音及子音,對應創造的內在力量,關於有機體的不同成分。速度、韻律及和諧方面的錯誤將會是災難,因為它將會混沌的力量,毀滅創造者及創造物。

 

Finally, one opens the circle a crack, opens it all the way, lets someone in, calls someone, or else goes out oneself, launches forth. One opens the circle not on the side where the old forces of chaos press against it but in another region, one created by the circle itself. As though the circle tended another region, one created by the circle itself. As though the circle tended on its own to open onto a future, as a function of the working forces it shelters. This time, it is in order to join with the forces of the future, cosmic forces. One launches forth, hazards an improvisation.
But to improvise is to join with the World, or meld with it. One ventures from home on the thread of a tune. A long sonorous, gestural, motor lines that mark the customary path of a child and graft themselves onto  or begin to bud “ line of drift” with different loops, knots, speeds, movements, gestures and sonorities.

 

最後,我們替圓圈打開一個罅隙,一路打開,讓某件東些進來,招喚某人,要不然自己出去,向前邁進。我們打開圓圈,不是在古老的混沌力量壓擠的這一邊,而是在另一個領域,由圓圈本身所創造的領域。好似這個圓圈本身傾向於開放向未來,作為它所捍衛的工作力量的功用。這一次為了要跟未來的力量,宇宙的力量聯合。我們向前邁進,邊前進邊編曲調。但是編曲調就是已經跟世界連接,禍跟它焊接。我們依據曲調的線索,冒險離家。沿著歌聲,手勢的動力線,標明小孩的習慣路線,銜接上去,或者跟不同的圈套、環節、速度、動作、動作、手勢及歌聲,產生「漂浮線」。

 

There are not three successive movements in an evolution. They are three aspects of a single thing, the Refrain. They are found in tales ( both horror stories and fairy tales), and in lieder as well. The refrain has all three aspects, it makes them simultaneous or mixes them; sometimes, sometimes, sometimes. Sometimes chaos is an immense black hole in which one endeavors to fix a fragile point as a center. Sometimes one organizes around that point a calm and stable “ pace” ( rather than a form): the black hole has become a home. Sometimes one grafts onto that pace a breakaway from the black hole. Paul Klee presented these three aspects, and their interlinkage, in a most profound way. He calls the black hole a “ gray point” for pictorial reasons. The gray point starts out as non-localizable, non-dimensional chaos, the force of chaos, a tangled bundle of aberrant lines. Then the point “ jumps over itself: and radiates a dimensional space with horizontal layers, vertical cross sections, unwritten customary lines, a whole terrestrial interior force ( this force also appears, at a more relaxed pace, in the atmosphere and in water). The gray point ( black hole) has thus jumped from one state to another, and no longer represents chaos but the abode or home. Finally, the point launches out of itself, compelled by wandering centrifugal forces that fan out to the sphere of the cosmos: one “ tries convulsively to fly from the earth, but at the following level one actually rises above it…powered by centrifugal forces that triumph over gravity.”

 

在進化過程並沒有三個連續動作。它們是單一東西,疊句的三方面。在故事中(恐怖小說及童話故事)都可找得到。在德國抒情歌曲中也有。疊句有這三方面,它有時使他們同時發生或有時混合。有時渾沌是一個巨大黑洞,我們企圖固定一個脆弱點當著中央。有時我們環繞那一點組織一個寧靜而穩定的「歩調」(而不是形式):黑洞已經成為家。有時我們銜接那個歩調,來脫離黑洞。保羅、克寧以最深刻的方式,呈現這三方面及它們的互相連接。他有三個生動的理由,稱呼黑洞為「灰色點」。這灰色點開始是無法找出位置,沒有向量的渾沌,渾沌的力量是一團脫離常軌的糾纏線。然後這一點「跳躍過本身」,煥發出一個具有水平向量層,垂直交會區隔的空間,未名的習慣線,整個地球的內部力量(這個力量也以更輕鬆的步調出現在大氣及水中)。灰色點(黑洞)因此從一個狀態跳躍到另一個狀態,不再代表渾沌,而是代表家的住所。最後,這一點被跟宇宙球相扇的離心力所驅使,從本身發射出來。我們「驟發地設法飛離地球,但是在最後層次,被設法克服地心引力的離心力所驅使,我們實際上提升於地球之上。」

 

 

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