Archive for the ‘Jean Baudrillard’ Category

Cool Memories 27

December 27, 2007

Cool Memories 27

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

 

Ethical hummingbird

Surrealist mercenary

the automaton of one’s own pleasure

     a subject without other

             Without Other

             Without otherness

             Without unconscious

Metamorphosis: only other, then Subject/ Other: metaphysics

Then only the subject without other: Metastasis

     A past, recycled, narcissistic, refreshed subject

     Without transcendence

     Paralyzed self-fascinated metastatized metastabilized

                                                Ecstatic

No Otherness     no alternative

Autarkic nebulosity of subsystems: politics ethnic groups

                     Psychic language

No one talks here anymore

No one exists—me included

                       Ab-solute centripetal involuted writing

Then return of the absolute

Other of seduction ……of

Surprise and of Rapture

                    Pure event      pure object

                    Putting an end to this

Introverted and ultimately melancholy fascinated

Autorepetition of a subjectivity without desire.

 

倫理的蜂鳥

超現實的貪財者

自己歡樂的機器人

   一個沒有它者的主體

       沒有大它者

       沒有其它者

      沒有無意識

蛻變:只有它者,然後主體對它者:形上學

然後只有沒有它者的主體:轉移

    一個過往,回收,自戀,更新的主體

    沒有超越

    被麻醉,被自我著迷,被移轉,被穩定

                                      狂喜

沒有大它者       沒有替代品

次系統的自給自足的星雲:政治少數種族

                  心理語言

沒有人再在此談話

沒有人存在,包括我

            絕對的內向性的喃喃自語

然後絕對得回轉

驚喜及狂喜的

誘拐的它者

            純粹事件    純粹客體

            結束一切

內向及全然憂鬱的著迷

沒有欲望的主觀的自動重復

 

P60-61

Cool Memories 涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

   

Cool Memories 26

December 17, 2007

Cool Memories 26

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

 

  She can jettison her existence, her plans and her passions at a single stroke. She is only committed to reality through a secret electoral pact, by which she will stand down if she is losing. She never assumes responsibility for her existence, which allows her to wipe out at a stroke and to slide, like a good hysteric, towards another life. A strange life, spun out entirely towards a goal of transaction. Let a man ask her to give it up, to sacrifice the whole of it, and it all cases to exist.

  她能夠一股作氣拋棄她的存在,她的計劃,及她的激情。她只奉獻於真實,她遵守選舉協定,假如選輸,她就下台。她從未負有自己存在的責任,因此她能一了百了,像歇斯底里症患者,向另一種人生傾斜過去。一種奇異的人生,完全朝向運作的目標而運轉。假如有人要求她放棄生命,犧牲全部,她的生命就不再存在。

 

  The Epeda Multispire mattress. Everyone can have their own night, their own sleep thanks to the 3,6000 spiral springs which guarantee everyone complete autonomy. The ideal mattress. You can make love to someone on it without them even noticing. As the automaton of his own pleasure, each person’s experience of their sexuality is like their experience of a night on a Multispire mattress. It isn’t even loneliness, since there is someone else there. It’s more something of the order of the independent lunar module. Tristan and Isode each dreaming to themselves, on either side of their sexual console.

   馬提牌床墊由於有3.600組迴旋彈簧,保證每個人都可在此過夜,安然入睡,完全自主。床墊設計理想。你可以跟某個人做愛,別人甚至不會注意到。由於性愛自主,每個人經驗到他們的性,就像他們在馬提牌床墊上過夜一樣。甚至不會孤單,因為總是有人在裡。它更像獨立的登月小艇機艙。崔斯坦跟伊索德同床異夢,性愛時各有所思。

 

   The seduction is the seduction of the uterine Mother and that all attraction merely masks the attraction of the primal abyss are platonic ideas. The cavity of the womb has taken over from the Cave in the Realm of Ideas. Once again, the real woman, her anatomy, serves as a sacred referent for a platonic ideology. The vertigo of seduction is here vulgarly phantasized into the hollow of a woman’s womb. This is to move from the most subtle game to the most profound—and hence the most stupid—phantasm.

     柏拉圖的理念認為,誘拐就是母親子宮的誘拐,所有的吸引力僅僅遮掩原始的深淵。子宮的裂隙已經接管理念領域的洞穴。再一次,真實的女人,她的解剖,充當柏拉圖理念的神聖象徵。誘拐的暈眩在此模糊地被幻想成為女人子宮的空洞。幻想的遊戲從最微妙到最深刻,其實也是最愚昧。

 

    Everyday experience falls likes snow, immaterial, crystalline and microscopic, it enshrouds all the features of the landscape. It absorbs sounds, the resonance of thoughts and events; the wind sweeps across it sometimes with unexpected violence and it gives off an inner light, a malign fluorescence which bathes all forms in a crepuscular indistinctness. Watching time snow down, ideas snow down, watching the silence of some aurora borealis light up, giving in to the vertigo of enshrouding and whiteness.

   日常經驗像下雪,輕飄,晶狀,微小,籠罩整個風景的特色。它吸收聲音,思想跟事件的迴響。有時風出乎意外地強烈橫掃過,發出內在光輝,惡意的螢光,

沐浴所有的形體於矇矓微光中。觀看時間之雪飄落,理念之雪飄落,觀看北極光亮起時的寂靜,屈服於籠罩跟白茫茫的暈眩。

 

   Little catastrophe scenario.

   小災難戲目

 

   I.  Losing one’s identity papers—your whole being refuses to believe in this, just as it refuses to believe in the death of a loved one. You search for hours before reconciling yourself to the idea, and even then you keep alive a hope of seeing them reappear miraculously, like a woman who has left you. The fact is that they have become your shadow in the sunny world of capital. You are an orphan—and indeed the people who hang around in lost property offices look like shadows themselves. There is a logic in this: the loss of your papers is never innocence, it is a sign of ruination. It is an alarm signal. Many will have been saved in this way from much  more serious trouble.

   一:遺失身分文件。你整個存在拒絕相信,如同拒絕相信一位所愛者的死亡。你尋找好幾個小時,才終於接受這個想法。然後你又懷著希望會奇蹟一般地看到它們會再出現,有如棄你而去的女人。事實是,他們成為你豔陽高照的世界的陰影。你像孤兒,的確,逗留在失物招領處的人本身看起來就像陰影。它的邏輯是:文件遺失從不單純,有人是蓄意毀損。這是個預警,因為許多人用這種方式來逃避更嚴重的麻煩。

  

   II. Lost passport dream. It turns out to have been true: when I wake up, I can’t find it ( what would happen if I dreamt I was dead?). The day before, in the search for my identity ( papers), I’m told that a passport isn’t a true certification of existence, but merely an international transit document. I lost it a quarter of an hour late, and I lost it in the police station, where it remained, like the purloined letter, in full view of everyone.

   二:夢見遺失護照,結果是真的遺失。當我醒來,我找不到它。(萬一我夢見自己死亡,那該怎麼辦?)前天,在尋找我的身分文件時,我被告知護照並非是存在的真正證件,而僅是國際通行文件。我二十五分鐘後遺失它,而且是在警察局遺失。它一直在那裡,像一封被盜竊的信,大家都看得見。

 

   III. The stolen/non-stolen car. I learn that my own car has been stolen for four years. So they can’t give me a vehicle registration document. So I’m driving round in my own stolen car and I have no identity papers. Who am I? The disconnected computer cannot recognize the existence of a real object in the absence of a Search Termination procedure. But all the documents have disappeared. The unfathomability of machines, the expectancy of men. On the other hand, for the last four years, all traffic offences have been cancelled by the computer because my ca was stolen. Moral of the story: it’s the art of disappearing that brings total impunity.

   三:汽車被偷或不見。我知道我的汽車被偷有四年了。所以他們無法給我行車執照。所以我開自己被偷的汽車到處跑。我是誰?斷線的電腦,由於終端搜尋過程的失效,無法認出一個真正客體的存在。但是所有的文件都消失不見。機器的深奧難測,人的可預期。在另一方面,過去四年來,所有的交通違規都被電腦取消,因為我的汽車被偷。這故事的寓意是:消失的藝術使你完全免除罰鍰。

 

    IV. In the end, everything turns up again. Happy end. I even find myself –reverse catastrophe—with a double identity: two vehicle registration documents, two driving licenses two identity cards, etc.

    四:最後,全部都重現。快樂的結局。我甚至發現自己(否極泰來)有雙重身份:兩份行車執照,兩份駕照,兩份身分證,等等。

 

P58—p59

Cool Memories 26

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

 

Cool Memories 25

December 16, 2007

Cool Memories 25

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

    The nuclear is like revolution. Nothing is gained from hoping for the one or fearing the other, since both have already happened. Everything is already liberated, changed, subverted. What more do you want? There’s no use hoping: the things are there, born or stillborn, already in the past—it’s exasperating, but what can you do about it? No future. No cause for panic either: everything’s already nuclearized, enucleated, vaporized. The explosion has already happened, the bomb is only a metaphor. What more do you want: everything is already wiped off the map. It’s no good dreaming: the confrontation has already happened quietly, everywhere. Yet  isn’t it enough for things to have happened: we also want to see within things, before it broke out as spectacle. The people wanted the spectacle of the revolution. Things themselves also want to experience the rapture of a spectacular metaphor. This is the revenge of the objectivity in which we have confined them.

    核武就像革命。希望前者或害怕後者是不切實際,因為兩者俱已發生。每一樣都已經解放,改變,顛覆。除外你還想要什麼?希望是無用的,因為事情就在那裡,出生或胎死腹中,已經是過去,令人驚心動魄,但除外你還能做什麼?沒有未來,也沒有驚恐的道理。每件事都已核武化,已釋出,已蒸發。爆炸已經發生,炸彈只是隱喻。除外,你還想要什麼? 每件事情都已經被從地圖上抹除掉。夢想是無用的,因為衝突已經悄悄地發生在每個地方。可是讓事情已經發生難道還不夠嗎?我們還想看到事情內幕,在爆發成景象之前。人們想要看到革命的景象。事情本身也想要經驗到景象隱喻的爆發。我們限制事情的客觀性,這就它的報復。

    What will become of the nuclear? Will we insist on having the grand spectacle of the atomic confrontation for the beauty of it? If that happens, it will not be for the reasons currently advanced—the fatal dynamic of he use-value of the weapons or the species becoming resigned to its own destruction—but from the irresistibility of the spectacle of destruction and the necessity, for us, of deriving some enjoyment from it.

    核武發生什麼事?我們會堅持要有核武衝突的壯觀景象,以欣賞其美麗嗎?萬一發生,理由將不是目前所提出的,武器使用價值的致命動力,或是人類順服於自己的毀滅,而是毀滅景象的不可抗拒,以及我們有需要享受其毀滅。

  The only response to the missiles: decoys and simulation. An aircraft carrier, a nuclear power station, a simulated metropolis with the same mass, the same potential energy and the same temperature profiles—ultimately every target could surround itself with an infinite number of decoys serving as a protective halo. This was Numa’s idea, when, as king of Rome, he had twelve identical shields made in order to prevent the original sacred one sent by the gods from being stolen.

    對於飛彈的反應:誘餌及擬象。航空母艦,一個核能動力站,一個擁有相同質量的虛擬大都會,相同潛力的能源,相同的溫度曲線圖。最後每的目標都能夠環繞自己無數的誘餌,充當保護光環。這是牛瑪的點子,身為羅馬皇帝,他備置有十二道盾牌,為了預防眾神送他的那道神聖盾牌不要被偷。

   The fact is that the universe was like this in the beginning: undecided as to the authenticity of things. Out of the twelve shields were born the twelve kingdoms and no one knows which is the real one, nor—subtle perfidy of Numa—if there ever was a real one.

   事實是宇宙一開始就像這樣:關於事情的真實性莫衷一是。從十二道盾牌,誕生十二道王國。無人知道哪一道盾牌才是真實,也無人知道是否有真實的一道盾牌(跟牛瑪的微妙說法大相逕庭)。

   If war did break out, it still isn’t clear why the missile would choose to hit the decoy rather than the target? Only a man, a conscious being who has passed through the mirror phase, would almost unfailingly choose the decoy ( the power of seduction!) But won’t a machine, which is an artifact, let itself be lured by the real target? We should therefore be using the most sophisticated military technology we possess to build missiles which are subjects and capable of being lured away by decoys.

   假如戰爭一但爆發,我們依舊無法知道,飛彈為什麼會選擇攻擊誘餌而不是目標?只有經歷過鏡像階段的人,明理的人,才一定會選擇誘餌(誘拐的力量!)但是機器,也就是飛機,難道不會被真正的目標所引誘?我們因此應該使用所擁有的最精密的軍事科技,建造飛彈充當能夠被誘餌引誘離開的東西。

   It feels so good to disappear among the masses! Even better than getting high on transcendence ( God), is to wallow in the nausea of immanence. The Masses. A dream opportunity for the individual to disappear and yet still be able to lament his alienation and his lost subjectivity. Isn’t this just what the masses were invented for? Because we did invent them, just as we invented the cold, blue light of television, so that, gazing deep into the screen, we could await the dazzling sign of a definitive event.

  消失在群眾當中感覺多好!混跡於群眾中自怨自哀,甚至比陶醉於神的超越還要好。群體是一個夢想中的機會,讓個人可以消失,可是又能哀悼自己的疏離,喪失主體性。這難道不就是群眾被發明出來的目的嗎?因為是我們發明的,如同我們發明電視的冰冷的藍光。這樣,當我們注視著螢幕,我們能夠等待明確事件令人目眩的跡象。

   To be erotic, the objects of your interest have to be in a state of sexual ease, more dreaming than desiring, lying back nonchalantly, asleep, or miles away, wrapped in some narcissistic concern. They have to have forgotten about you and yet offer themselves to you in some strange way, with a sort of indifferent animality, gentle folly and involuntary nakedness. Only the body without desire is truly deserving of pleasure.

   為了性感,你感到興趣的客體必須處於性的安逸的狀態,夢幻般地依偎小睡,而不是慾火中燒,或是隔得遠遠的,沉緬於自戀的情懷。她們必須渾然忘掉你的存在,可是又奇妙地現身,若拒若離地溫柔痴情,裸露而不自覺。只有沒有慾念的身體才真正的值得讓人尋歡作樂。

   To make you wish to seduce her, a woman should not show herself too inclined toward rape or toward giving herself to you. She must give out not signs of defeat, but of passing weakness, which are so many ways of saying: I am allowing you to seduce me.

   為了使你想要誘拐她,女人不應該表現得太容易受到強暴,或投懷送抱。她必須發出的訊息不是挫敗,而是一時的虛弱。以諸般風情暗示:我允許你誘拐我。

   The man is dependent on the woman in all this: without this tiny, ultraviolet sign of weakness, he cannot even be tempted to seduce. Perhaps blue eyelashes are this allusive sign, virginal behavior this fragile allusion. The initiative seduction always consists in awakening slumbering appearances. And you can guess that a woman will be–or wants to be—seduced by the fact that, as in a lover’s snare, she gives herself the appearance of sleep.

   這些男人得完全依靠女人:假如沒有這個小小的紫外線的虛弱訊息,他甚至無法被引誘去誘拐。可能,藍色眼睫就是挑逗,靜若處女就是似有若無的撩撥。創始的誘拐總是在於喚醒昏睡的表象。你可以猜測到,女人將會,或想要被這個事實所誘拐:她呈現自己依偎小睡的表象,當著情人的陷阱。

P54—p55

Cool Memories 25

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

  

Cool Memories 25

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

   

    

  

Cool Memories 24

December 13, 2007

Cool Memories 24

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

   That face. Even in ten years’ time, I shall still not know the color of its eyes. But I see it in the street, in my dreams and just beneath the surface of a great number of other faces which suddenly start to resemble it.

   臉孔。即使在十年的時間內,我將依舊無法知道它眼睛的顏色。但是我看到它,在街上,在我的夢中,在許多其他臉孔的表面底下。這些臉孔突然都開始酷似它。

   The panic of coming upon a transvesitite in the Bois de Boulogne. It is not the specter of homosexuality, but the distortion of signs that spreads terror. Not the fact of mistaking one sex for another, which is close to vaudeville, but the game of signifying woman out of nothing, the signs of woman without woman.

   在伯帖波隆偶遇一位男扮女裝者。這不是同性戀的魅影,而是符號象徵的扭曲散播恐懼。不是類似雜耍演員的性別誤認的事實,而是空無女性符號化的遊戲,沒有女性的女性符號。

   Only the feminine can surrealize its effects in this way without bringing upon itself that ridicule which immediately threatens masculine values when they attempt the same. Besides, the masculine version of the transvestite has become passé; it was merely in appendage of homosexuality.

   只有女性能以這種方式使效果超現實化,而不會引起嘲笑。當男性東施效顰時,陽剛的價值就受到威脅。除外,女扮男裝現在已經不流行,只剩下一些同性戀者。

   It is obvious that a woman will always know better how to caress another woman than any man will. This is true, no doubt, of the other sex too. Each sex would thus be like a particular species and the caress a kind of basic language peculiar to the specie.

   顯而易見地,女人總是比男人更知道如愛撫女人。無可置疑地,就另一個性別而言,道理也是一樣。因此,每一種性別都會像特別的品種,有其品種特有的愛撫的基本語言。

   There is no point in building. There is no more real estate, no more life annuities. There are no more concessions in perpetuity in any cultural cemeteries. Isn’t it better that way? When a meteorite breaks up in space, it is the dazzling trace of its end which stands out. With a celestial body in orbit, it is the ellipse that is the most precious. No ancestors, no heritage, no heirs, no capital. For centuries we have had to accumulate. It is equally obvious that we have to squander everything in a single generation.

   建築沒有必要。房地產不再榮景,保險年金沒有了。文化的公墓都不再有終身養老金的優惠。那難道不是比較好嗎?當隕石在空中爆炸,引人注目的是其末尾的殘跡。沒有祖先,沒有遺產,沒有繼承人,沒有資金。幾世紀來我們必須累積。同樣顯而易見,我們必須在一代裡大量揮霍。

    The future belongs to those who have accumulated everything, then unburdened themselves of it in a single lifetime. You have to move quickly. Ten years to soak up a culture, twenty years to expel it, spew it out ( this part always takes longer). Nothing is interesting unless it passes through the entire cycle of the symbolic murder of culture.

   未來屬於那些拼命累積,卻又在自己活著時揮霍掉的人。你必須動作要快。花十年吸收一個文化,花二十年驅逐它,嘔吐掉(這部份總是時間較長)。每一樣東西都無趣,除非它經過文化的符號象徵的興衰的整個循環。

   The ultimate bomb, the one no one talks about, would be the one which, not content simply to disperse things in space, would disperse them in time. The temporal, palinodic, anachronistic bomb. When it explodes everything is thrown back into the past and, the more powerful the bomb, the further back it is thrown. Or better still, when it explodes some fragments are thrown into the past, others into the future.

   最後的炸彈,沒有人談到的炸彈,將不滿足於僅僅在空間擴散,而將在時間擴散。這個炸彈炸掉時間,取消時間,使時間錯亂。當炸彈爆炸,每件事都拋回過去。炸彈力量越強,拋回得更遠。或更好的是,當它爆炸時,有些 碎片拋回過去,還有些拋到未來。

   But just take a look around: this explosion has already occurred. There is no bomb which hasn’t already exploded before being technologically invented: the real is always ahead of technology and war. In a world without memory like ours, everything is already projected live into the past; it is as if things had been precipitated into a dimension where they have no meaning other than when they are fixed by a definitive revolution of time.

   但是不妨四周瞧瞧:這個爆炸已經發生。在被科技發明之前,沒有一種炸彈不是已經爆炸過。真實總是領先科技跟戰爭。我們的世界像是健忘的世界,每一樣東西還沒死亡就已經丟棄到過去,好像事情已經被拋棄到沒有意義的向度,除了在時間的明確的劇變中有個定點。

   That, in fact, is the real bomb, the one which immobilizes things in a spectral recurrence. All you hope for is that some fragments—aeroliths or meteorites—many have passed into the dimension of the future where we will run into them one day with a sense of deja-vu.

   事實上,這是真實的炸彈。這個炸彈在魅影般一再發生時使事件停頓下來。你所希望的是,某些碎片,無論隕石或流星,許多已經進入未來的向度。在那裡,我們有一天邂逅到他們時,會有似曾相識之感。

P54—p55

Cool Memories 24

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

    

Cool Memories 23

December 12, 2007

Cool Memories 23

涼爽的回憶

Jean Baudrillard 布希亞

Translated by Springhero 雄伯

 Female mud wrestling

The female in Quest for Fire. Goldfinger

Sweet Movie: the woman in liquid chocolate

Natives in their masks of mud

Blacks with glistening skins

Bodies greased with suntan oil on the beaches.

女性及摔跤

「火的追求、金手指」的女性

「甜美電影」:女性如流動巧克力

塗抹泥土面具的土著

閃亮皮膚的黑人

海灘上塗抹防曬油的身體

    The lubricious is that which is lubricated. Which slides. Which looks like a sex emerging from a sex, or a child emerging from its mother. When the skin puts on show the inside of the body, with its mucous membranes turned inside out, the moistness of sexual arousal.

    潤滑劑等於被潤滑者。捉摸不定。看起來像是從性感中性感出現,或是像嬰兒從母體出現。當皮膚展示身體的內部,黏膜自裡面翻轉,性感被挑逗起濕液。

    A sweating body already offers a show of erotic repulsion and attraction. The body’s primordial temptation to cover itself with its secretions. A mere trickle of water flowing over a smooth stone is enough to make it erotic. Everything that slides evokes sexual pleasure, even the wind. Why not oil or mud?

    流汗的身體已經提供色情排斥跟吸引。身體的原始誘惑,以自己的排泄物隱藏自己。水滴自光滑的石頭流下,就足夠引起性的欲望。流動的東西,即使是風吹,都會挑逗起性的歡樂,何況塗油或泥土?

   The body in its liquid form is life itself. The opposite of Goldfinger, in which it dies transfixed within its film of gold.

   處於流動狀態的身體就是生命的本身,是「金手指」的相反。在影片中,身體死於黃金流體的變形中。

   But the fluid must not be too fluid. It is the viscosity of mud which gives pleasure, even one’s gaze slides and becomes viscous. Sliding would thus seem to be the source of all pleasure, and perhaps of meaning.

   但是流動一定不要太過流動。泥土的黏性給予歡樂,即使我們的眼神都會滑動成為黏性。滑動因此似乎是所有歡樂的來源,或許是意義的來源。

   In just one week, winter, spring and summer one after the other. Hence the dreamy mists of the St Lawrence, caused by the tepid rain falling on the ice. On the other side of the lake, the Indian village takes on the dramatic form of the Great North, of exile and snow. But here, in the city, everything takes on the dramatic form of ennui. There are two forms of energy in Montreal, the electric energy of the Great lakes and the psychological energy of monotony.

    就在一周內冬天,春天,夏天接續而來。因此聖勞倫斯的夢幻迷霧,被落到雪地上的微雨所引起。在湖的另一邊,印地安村莊突然有大北方,放逐及雪地的面貌。但是此地,在城市,每一樣東西都呈現倦怠的諸般面貌。在蒙特婁,有兩種能源,大湖區的電力能源,以及單調所形成的心理能源。

   There is a vigorous and a languid way to conduct politics. The same applies to lovemaking. The conjunction of the two styles produces the best effects and the best-looking children.

   從事政治有活力充沛及若拒若離兩種方式。相同模式可應用到談戀愛。兩種形式的結合產生最好的效果及最好看的小孩。

   This is the secret of a life: how many faces and bodies would you recognize by caressing them with your eyes closed? From whom would you accept anything with your eyes closed? Have you ever closed your eyes, have your ever acted blindly, have you loved blindly and sensed, in the dark, the tactile windings of ideas?

   這是生活的奧秘。你閉起眼睛,用手撫摸,有多少臉孔跟身體你能認得出來?閉起眼睛,你願意讓什麼人來接觸你?你曾經閉起你的眼睛嗎?你曾經盲目地行動嗎?你曾經盲目地戀愛,在黑暗中感受心緒的觸覺起伏嗎?

   Seduction is the direct and murderous irradiation of the object, the end of metaphor, the strategy of an enchanted world, the triumphant resurrection of an illusion which puts an end to the dialectical swoonings of sense and the all too naïve ruses of history.

    誘拐是客體的直接而強悍的照耀,是隱喻的終結,是魔幻世界的策略,是幻覺的勝利的復活,結束感官的辯證昏眩及歷史過份天真的花招。

   If you wish to speak of fiction, the text must obliterate all reference. If you are speaking of simulation, the text must scoff at meaning, while at the same time being completely true. If you are speaking of seduction, language has to pervert something or other in elliptical ways. Otherwise, what would language be there for?

   假如你希望談到幻想,本文必須抹除各種符號。假如你談到擬象,本文必須嘲笑意義,而同時又是完全真實。假如你談到誘拐,語言必須以橢圓的方式扭曲內容。否則語言是做什麼用的?

   Language is a woman: it seduces you by metamorphosing into what it says. It is a woman also in that it will never stop its taking its revenge if it does not succeed in seducing you. It will avenge itself by saying only what you make it say, like a woman who only satisfies what you ask of her.

    語言像女人,用變形成為它所說的方式誘拐你。語言像女人,因位它會不停地尋求報復,假如它未能成功地誘拐你。語言會只說你要說的作為報復,就像女人只滿足你所要求的而已。

    The Suicide Academy: you go there to take refresher courses in will power. Which is indeed a very academic subject. In the Suicide Motel ( a project never fulfilled in the grandiose form in which it was conceived) the verdict of the client who comes to hire the motel’s services is irrevocable. He is not given back any free choice ( this would be to do him scant honor!) Wine, women and philosophy, etc., are lavished upon him. But, on the appointed day, he is executed, in accordance with his own wishes, in what are the best conditions for him.

   自殺學院:你去那裡選修意志力量的新鮮課程。這可是非常學術性的科目。在自殺汽車旅館(此企劃沒有原先構想的浩大),前來租用旅館服務的客人被判決後不可撤銷。他沒有給予自由的選擇餘地(那未免太抬舉他了!)酒,女人及哲學,他可盡情取用。但是在特定的日子,他將依照自己意願,以適用於他的最好狀況,執行自殺。

P52—p53

Cool Memories 23

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

      

Cool Memories 22

December 11, 2007

Cool Memories 22

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

 

The repetition of days is interminable, that of nights less so. It is probable that the succession of nights has a meaning, whereas that of the days lead us nowhere. The day should simply break, and then immediately come to an end. Things should just appear, and be immediately abolished.

   白天的重複是無止境的,夜晚的重複亦是如此。夜晚的連續也許有意義,白天的連續卻說不上意義在那裡。白天只應該中斷,然後迅速結束。事情應該出現,然後立刻被廢除。

 

The loss of virile mythologies, and also of feminine emblems, with the concomitant rise of transsexual, narcissistic mirage common to both sexes, which only falsely assumes an air of homosexuality.

剛健神話及女性象徵的喪失,伴隨著跨越性別,兩性都共有的自戀,像海市蜃樓般的興起,虛假地擺出同性戀的模樣。

 

The seductive power of the feminine bends back on itself. As for men, they can only have recourse o the mirror of woman, but this is already occupied.

   女性的誘拐力量迴向自己。至於男性,他們只有訴諸於女性的形象,但是這個形象比已經被捷足先登。

 

    Pompeii: we are indebted to a catastrophe for having reserved the most extraordinary piece of our classical heritage. But for Versuvius we would not have had this living hallucination of antiquity. As we owe the preservation of mammoths in the sudden onset of the Ice Age. Today, it is all our artificial memory systems that play the museum-building role of natural disasters.

   龐貝廢墟:我們感謝天災,保留我們特別的古典遺產。若非維蘇比斯火山爆發,我們不會享有古代遺址的生動幻覺,如同我們將長毛象的保存歸功於冰河世紀的突然來臨。今天,我們所有的人為記憶系統都像天災一樣,扮演建築博物館的角色。

 

   At male stripshows, it is still the women that we watch, the audience of women and their eager faces. They are more obscene than if they were dancing naked themselves. This is so because of the hysterical overflow from their sexes into their faces, but particularly because what they are looking for is a right of revenge over men. What is obscene more than anything else in all this is the egalitarian demand for the right to pleasure.

    在男性脫衣舞中,我們觀看的依舊是女人,女性觀眾跟她們渴望的臉孔。她們看起來比正在赤裸跳舞的舞娘更加放蕩。所以如此,是因為她們的性感歇斯底里地流露到她們臉上,尤其甚者,是因為她們所尋求的是對男性報復的權利。最為放蕩的是平等要求歡樂的權利。

 

   No one has any right to pleasure, any more than to water or to life. Let us leave this form of legality to the emancipated slaves. Enjoying life has already been rendered obscene by the right to leisure. This time it is sex that is being rendered obscene by the right to sexuality. Obscenity threatens everything that claims to be considered as a legal right.

   沒有人有歡樂的權利,如同水沒有要求生命的權利。奴隸被解放後才能享有這個法律的條款。享受人生,得先享有悠閒,否則會顯得放蕩。享受性,得先有性的性愛的權利,否則會認為是放蕩。放蕩威脅到每一樣宣稱是被認為合法的權利。

 

   The right to pleasure and the right to suffering usher in a civilization of hysteria and gaudy vulgarity. The ecstasy of the female strip clients is akin to the ecstasy of the holy women of Lisieux. The same form of voracity is directed towards the masculine sex or the Sacred Heart of Jesus.

   歡樂的權利跟痛苦的權利,引導人類進入歇斯底里跟俗麗粗鄙的文明。脫衣舞的女性觀眾的幻想,類似里希可修女院的聖女的幻想。兩者都同樣貪婪渴望陽剛之性及耶穌的聖靈。

 

   The body on stage is never obscene. The only thing that is is the cannibalistic gaze of these women absorbed in their own symbolic revenge and the living derision of their sex. Man is a touching sight in his contemplative pornography ( peep show, live show, etc.). He confusedly pays homage with his gaze to the perfection of a body which lacks nothing. For men do not believe in this business of the castrated woman. They know woman has a perfect body and that her body will never lack anything. And their gaze reflects this: if the feminine body can offer itself naked in this way, deliver itself up to the eyes without withholding anything, this is the sign of a great power. The power of prostitution which man will never know, any more than he will know that of parturition.

   舞台上的身體不算是放蕩。唯一放蕩的是女性以野性的眼神,專注於自己的象徵報復,以及對於同性的嘲諷。男性沉思於色情時(窺視秀,現場秀,等等)是動人的景象。他困惑地用他的眼神,對於一個並無欠缺的身體的完美,表示敬意。因為男性不相信女性沒有陽具是閹割。他們知道女性有完美身體,她們的身體並無欠缺。他們的眼神反映出:假如女性身體能以這種赤裸方式呈現,毫無保留地讓別人眼神瀏覽,這是偉大權力的象徵。男性不知道賣淫的力量,正如不知道分娩的力量。

 

   Whereas what women come to look at in a masculine striptease is precisely castration, deep down, they are the only ones who really believe in it. That is why the gaze has no option but to turn back upon them, these women who are madly keen on castration and who have become the impure subjects of castration, instead of shining forth as pure objects, in their nudity, with their powers of illusion, on the pornographic stage of the body.

   雖然在男性脫衣舞中,女性前來觀看的確實是閹割陽具,內心裡,她們才是唯一真正相信自己是被閹割陽具。那就是為什麼眼睛別無選擇,除了全神貫注那些正狂熱愛好於被閹割具的女人,那些已經成為被閹割陽具的污穢主體。那些女人在身體的色情舞台上,赤裸身體,展現幻想力量,但不是以純潔客體姿態招搖。

  

P50–p51

Cool Memories 23

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

    

Cool Memories 21

December 11, 2007

Cool Memories 21

涼爽的回憶

By Jean Baudrillard 布希亞

Translated Springhero 雄伯

 

  When the force of love is spent, there comes the serenity of the state of weakness. When the crime has been committed, there comes the serenity of expiation. In all things, once should only concern oneself with the effects and leave the causes to the Last Judgment.

   當愛的力量耗盡,呈現的是疲倦狀態的安詳。當罪行已犯,呈現的是贖罪的安詳。這一切,我們應該只關心後果,將原因留給最後審判。

 

   Hegel: the injustice of society is that it is the subordinate who has to understand what power is.

   Aristotle: all organic existence proceeds from two sources—on the one hand, from its natural causes and, on the other, from the necessary intervention of the sun.

   黑格爾:社會的不公正是屬下必須瞭解權力是什麼。

   亞里斯多德:所有有機體的存在都從兩個來源出發:一是自然原因,另一是太陽介入的必要。

 

   I have the impression—more or less—that this abject and glorious mercenary has a dual nature, that she is torn between the two sides of the same character—Leo rising in Leo—time alone, or depressive illness being able to distinguish in her heart between the two rivals, who in reality are only one. In mythological terms, I see this creature of the sea undulating like a suicidal Aphrodite between two opposite poles, fleeing on an invisible wire as far as the luminous escarpment of the lower world, where lurks the touching brute who will kill her.

   我有個大約的印象:唯利是圖的人有既卑鄙又光榮的雙重特性,她掙扎於相同性格的兩邊,卑鄙的李奧跟光榮的李奧。只有時間,或大病來臨,才有能力在她心中區別兩邊的敵對,而事實上只有一人。以神話術語而言,我看到這個海洋生物起伏,像處於這相對兩極只有自戕以盡的艾夫羅黛蒂愛神,沿著看不見的波濤逃逸,直到慘淡的陰府懸崖處。

 

  In astral terms, I see the pendulum in her heart hesitating like a metronome out of kilter—magnetic hesitation of the needle between two signs, femininity floating in the double helix of the will to power.

   以靈魂術語而言,我看她的內心的鐘擺猶豫,像故障的節拍器,針處於兩個符號之間磁性地猶豫,在意志力量的雙重螺旋中,女性的飄浮。

 

   Sublime epigraph on seduction on Omar Khayyam:

   ‘ It is better for you to have reduced a single free man to slavery by gentleness than to have freed one thousand slaves.”

   奧瑪、卡揚詩中有句論誘拐的崇高題詞:

   「溫和地曾使一位自由人淪為奴隸,總比曾經解放一千個奴隸好。」

 

   Organic and sepulchral mystery of concupiscence.

   Crucial and imponderable universe of concomitance.

   Alleluia!

   性慾望具有器官及陰鬱的神秘。

   伴隨的宇宙嚴酷而不可思議

   阿利路亞!

 

   Only cats leave the total imprint of their sleeping bodies on the sand or the bed. Man does not know how to abandon himself to the form of his body, so as to experience total abandon. He does not know the inertia from which the cat draws its felinity, its vivacity, its formal cruelty. He does not know that mystic elasticity, the dissolution of the body into its various members, which enables the cat to fall without being crushed as it lands. For in itself each part is light; it is the heaviness of the whole which is our perdition.

   只有貓留下它們睡眠身軀的全部印記在沙或床上。人想放縱自己身體的形式,卻不知如何著手。貓從懶散中得來狡黠、活潑、及正式的殘酷,人卻不知所措。人不知道,神秘的彈性,將身體瓦解成許多部份,可使貓跌落而在落地時不被壓倒。因為貓的每個部份本身都是輕盈。我們的致命傷是全身的沉重。

 

   Why did we have to leave the perfect, silent indifference of the plant kingdom? Why did we have to abandon the immobility of the mineral kingdom, the swiftness of the animal kingdom? In man, the metamorphosis reaches its end. Yet the animals still speak to us of it: a cat, a horse, a bird, an octopus, what are these forms unintelligible to human understanding but the signs of a lineage whose powers of fabulation end with our species?

   為什麼我們必須離開植物界那種完美的沉默漠然?為什麼我們必須放棄礦物質界的靜止不動,或動物界的敏捷快速?人的變形已達黔驢技窮,可是動物卻仍然津津樂道:貓、馬、鳥、章魚,這些人所無法理解的形式,不就是我們人的想像力所喪失的符號象徵?

 

  But perhaps women retain something of this enigma, something of the immobility and swiftness.

   但是也許女人保留某些漠然之謎,某些靜止不動,某些敏捷快速。

 

The mental dread of the tree with ice-laden branches

The paradoxical dread of the woman disrobed

The mental dread of the naked truth

The paradoxical dread of the waking dream

樹木精神上畏懼冰霜壓枝

女人矛盾地畏懼寬衣解帶

真理精神上畏懼赤裸

夢想矛盾地畏懼清醒

 

   When the night is as long as the day, then the storms of the equinox begin to get up, when artificial light is as strong as the violence of the sun, then the passion for gambling is unleashed, when two women equal each other in your mind, then the equinox of pleasure begins.

   當夜晚如白間漫長,晝夜平分的暴風雨開始大作。當人造的光亮跟太陽的強光一樣耀眼,賭博的激情釋放出來。當兩個女人在你心目中勢均力敵,歡樂的畫夜平分於焉開始。

 

   For some, life is interminable, and what is interminable no longer makes sense. How are they to find time to live? For others, life is over right from the outset. It has ended before it has begun. It unfolds on a sort of abstract strip, without any temporal dimension. In this way, some lives sacrifice their own ends uselessly, and lose even the memory of their origins.

   某些人覺得人生永無止盡,而且永無止盡不再有意義。他們如何找到時間來過生活?還有些人覺得,從一開始人生就已結束。人生在未開始之前,就已宣告結束。人生展開於抽象的綿延,沒有時間的向度。以這種方式,有些生命無用地犧牲自己的窮盡,甚至喪失他們起源的記憶。

 

  If there were a secret, no one, not even the person who knew it, would be able to divulge it.

  假如天機存在,無人,即使知曉天機的人,都不可洩露。

 

  We must keep watching, from the depths of a definitive silence, for the definitive event.

   我們必須從明確沉默的深處,觀察明確的事件。

 

P47—p49

Cool Memories

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

Http://springhero.wordpress.com

32hsiung@pchome.com.tw

      

Cool Memories 20

December 10, 2007

Cool Memories 20

涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

Brilliant little irruptions

Brilliant little connections

Brilliant little illusions

Brilliant little lips

Brilliant little altercations

Very brilliant little honey combs

Brilliant little adversities

Very brilliant little ravages

Brilliant little cogs

Brilliant little circumvolutions

           Around a vertical axis

燦爛的小小迸發

燦爛的小小連結

燦爛的小小幻覺

燦爛的小小嘴唇

燦爛的小小爭吵

非常燦爛的小小蜂巢

燦爛的小小敵意

非常燦爛的小小蹂躪

燦爛的小小齒輪

燦爛的小小盤旋

          繞著垂直的軸心

   Why has the deficiency of the mentally deficient become a cultural fact, whereas the very much more terrible fact of ordinary stupidity strikes no one as very odd?

   為什麼精神貧瘠者的貧瘠已經成為文化的事實,而日常愚昧的更加可怕的事實反給人的印象是古怪?

   Moscow Airport. Bureaucratic stupidity knows no bounds once it has aestheticized itself in the performance, once it is raised to the aesthetic power of a old-war rhetoric. A cold war waged by the state against each citizen, all the more odious for being artificially sustained. A simulacrum of stupidity which has become the only vehicle of social life. A whole society with its eyes popping out beneath the mask of military power, a whole civil society reduced to blandness beneath the mask of bureaucracy. A dead society, clinging on to the appearance of death, to a final performance which it cultivates as bitter denial of its own reality.

    莫斯科飛機場。官僚體制的愚昧一但在表現時美學化,一但被提昇到冷戰文宣的美學層次,真是匪夷所思。國家對於公民所從事的冷戰,因為人為操作而顯得更加令人作嘔。愚昧的幻影已經變成社會生活的唯一工具。整個社會在軍事力量的面具下目瞪口呆,整個民間社會在官僚體制的面具下,淪為刻板無趣。僵化的社會,緊捉住僵死的外表,最後表現出來,像是在痛苦地否定自己的真實。

   The only historical advantage that comes from Soviet society is that certain characteristics, certain customs of the human race will be found saved and preserved there, as mammoths were saved by the ice age, when they will have disappeared everywhere else.

   來自蘇維埃社會的唯一歷史的利益是某些特性,某些人類種族的風俗將會被拯救保存在那裡,如同大毛象在其他地區都消失,卻被冰河時代所拯救。

   The workers, once the heroes of historical negativity, have become the transparent unemployed workforce of factories that are but simulacra. The intellectual, once the herald of historical negativity, has become the transparent clown of dissidence.

   工人,曾有一度是歷史革命的英雄,現在成為僅僅是幻影的工廠裡,明顯閒置的人力。知識份子,曾有一度是歷史革命的先驅,現在成為異議的明顯丑角。

   Bureaucracy had found the best way of exploiting cadaveric rigidity in the social world. We found something better: cadaveric flexibility which had already been adopted by the efficient Jesuits, supple as corpses, helping grace to flow in worldly circles. Today electronics has replaced grace; it circulates in the semi-tetanic, semifluid networks of the immense and flexible mortification system which serves as our driving force. And the same Jesuitical strategy, indifference, works a treat there.

   官僚體制最擅長利用社會生活的僵化刻板。我們發現更高明的是,僵化裡的變通,已經被耶穌教會靈活運用,讓神的恩典可以在民間流行。今天,電子產品已經取代神的恩典,流通於巨大而變通的僵化體系,好似在半痙攣,半液態的網絡中充當我們的驅動力。相同的耶穌教會的策略,冷漠以對,在那裡運用自如。

   The insomniac dreams of a loss of consciousness, which would allow him to sleep; in the same way, the acrobat dreams of a failure of gravity, which would allow him never to fall again.

    失去意識的失眠者的夢,使他可以入睡,同樣的,地心引力失效的夢,使表演特技的空中飛人,永不再掉落。

    You can dream of a theory which would work like acupuncture, by the fainted touching, by an unexpected correlation of sensitive spots over a distance, using its gold needles to create short-circuits across them.

    你能夠夢想一種理論,像針炙一般地運作,靠著模糊的碰觸,靠著隔一段距離,出乎意料地連接到敏感點,使用金針創造過程線路中斷。

    In any system there must be a nerve centre which, if you touch it in some way, causes the whole system to contract and implode, as with a crystalline solution, just as, when a particular spot in the brain is touched, it immediately plunges the body into sleep.

    任何系統都有一個神經中樞,假如你用某種方法碰觸,會引起整個系統收縮及內爆,如水晶晶體。有如大腦的某一特別地方被碰觸到,立刻會使身體沉沉入睡。

    There must be a somnambulic lucidity which allows you to go right to the heart of things just as there must also be a particular position of the body which would put you to sleep instantly.

    你一定有夢遊症者神志清晰的一面,才可能直接找到事情核心,就像身體一定有某一特別地方,會使你迅速入睡。

P45—p46

Cool Memories 20

By Jean Baudrillard 巴舍拉

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

     

Cold Memories 19

December 9, 2007

Cool Memories 19

涼爽的回憶

By Jean Baudrillard  布希亞

Translated by Springhero 雄伯

 

Bright, icy sunshine like moonlight on snow or the tragic cry of seagulls over the green sea of a February twilight.

   燦爛而冰冷的陽光,像雪地上月光,或海鷗飛越二月黃昏的綠色海面的悲鳴。

 

   The choice would be between a woman who would be happy to give you an assurance of uninterrupted sexual potency ( and where does this sensual genius come from in a woman?) and a woman so mentally enigmatic as to frighten off the slightest caress.

   兩個女人中間的選擇:一位快樂地給你保證,享有無間斷性的潛力(這位女子的性感天才從何而來?)。另一位心靈神秘如謎,你連稍微撫摸一下都不敢。

 

   Accumulation is a paralytic’s dream. When you accelerate, everything starts swirling around.

   累積是痲痺患者的夢。你加速度時,一切才旋轉。

 

   There is a particular kind of provocative moodiness which has something of the daydream about it, something of the defiant gesture of loving without being loved or of any kind of intense feeling so long as it is willing to take everything and to sacrifice itself, which can only be compared to a sort of ether, a mental elixir, a firing of the nerve-ends and the elation of an intelligence happy in its own duplicity. A woman in such a state is so beautiful you have to seduce her. The world in such a state is so beautiful you have to destroy it.

   有一特別種類的挑釁,帶有白日夢的氣息,愛而不被愛或強烈感覺的挑釁姿態,只要它願意接納一切和犧牲一切。這種挑釁可比擬為一種空氣,精神的精靈,一種神經末梢的火焰,智慧滿足於複製自己的昇華。處於這種狀態的女人,如此之美,你不得不誘柺。處於這種狀態的世界,如此之美,你不得不毀滅。

 

   What one dreams of is a beautiful, formal style of thinking, which despairs of its object clearly and takes its revenge without hypocrisy, by pulling aside the veil of jealousy.

   人之所夢是美麗及正式的風格:思想絕望於自己的客體,並且拋棄掉妒嫉的面紗,毫不掩飾地報復。

 

If you don’t have to be missed by someone, it is no use slipping away.

If you do not have to love her, it is no use being missed by her.

If you do not have to destroy her, it is no use loving her.

假如你無需被人懷念,偷溜無益。

假如你無需愛她,受她懷念無益。

假如你無需毀滅她,愛她無益。

 

   What else was it that charmed me if not that passionate affection, which I have only ever been able to absorb, without being able to reciprocate? I lacked passion when it mattered, but she too lacked originality when it mattered.

   若非我只能接納卻無法回饋的那種激情,還有什麼可使我迷戀?激情重要,我卻缺乏,但是創意重要,她也缺乏。

 

   Jealousy gets the same results as passion, but it gets them cold, like in a dream. Might it be the basic passion of the age of psychology, that is, of a fate always deferred and indifferent? For psychology itself is only a belated perception of the obvious.

   妒忌跟激情結果一樣,但是結果容易冰消,如同在夢中。妒嫉可能是心理年齡,也就是順服而漠然的命運的基本激情嗎?因為感覺會來,卻遲遲未來就是心裡作用。

 

   Every man has an intense fear that he will no longer be taken in charge by some woman or female image. No one can live without the absolution of a female image.

   每個男人都強烈恐懼:他不再受寵幸於女人或女性意象。沒有男人能生活於沒有女性意象的免除。

 

P43—p44

Cold Memories 19

By Jean Baudrillard

Translated by Springhero

https://springhero.wordpress.com

32hsiung@pchome.com.tw

    

Cool Memories 18

December 7, 2007

Cool Memories 18 涼爽的回憶

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

 

   Here begins my delirious self-criticism ( all self-criticism is delirious, the worst form of the critical spirit being that which claims to be directed against itself). Nonetheless, I accuse myself of:

   我譫妄的自我批評在此開始(所有的自我批評都是譫妄,批評精神的最糟糕形式就是宣稱對自己不利)。可是我還是控訴我自己:

 

–having surreptitiously mixed my phantasies in with reality and, more precisely, with the little amount of reality available at this most mediocre moment in history

–having systematically opposed the most obvious and well-founded notions, in the hope that they would fall into the trap of this radicalism, which has not occurred

–having dreamt of a different world which—whether women or concepts—would have been that of a sacred form of prostitution

–having subtly drawn my energy from the energy of others according to a mentallaw of derivation

–having cultivated a twilight zone of thought the more effectively to disguise the difference between night and day

–never having been tempted to throw everything away, but merely obsessed by a sense of frustration and having sublimated all cowardice in theoretical radicalism

–having sinned by omission of references

秘密地將幻想跟現實混為一談,說得準確些,就是在歷史的這個平庸時刻,只有極少量的現實可供使用

系統地反對很明顯是基礎穩定的觀念,因為希望他們會掉入激進主義的陷阱,但事實上並沒有發生

夢想會有一個不同的世界,會是神聖娼妓的世界,無論是女人或觀念。

微妙地從別人的能源得來我的能源,依照精神的衍生法則。

鑄造思想的陰陽魔界,更加有效地偽裝是日夜之間的差異

從來不被誘惑去拋棄一切,而僅僅是著迷於挫折及昇華感,因為自己懦弱不敢面對理論的激進主義。

省略符號象徵,有原罪

 

  Of being profoundly carnal and melancholy

  Of having withdrawn from things to the extent that any judgment I make is merely the word of a phantom

    But where are the blinding insights of yesteryear? Around me I see nothing but groundless hysteria and unscrupulous vitality

   我控訴自己耽溺肉體與憂鬱

   我控訴自己我過份從世俗隱退,以致我的判斷僅是魅影話語。

   但是去年令人目眩的洞察力在哪裡?四周我只看到毫無根據的歇斯底里跟肆無忌憚的活力。

 

Two inalienable skins rigged out in opposing kinds of cynicism and considered as masks. Respect for the mask. Submission to unlimited reciprocal judgment. Total commitment and total egoism: distances are kept.

兩塊不可分割的皮膚被充當面具,以相反的諷世態度撕裂。尊敬面具。順服無限的互相判決。完全的奉獻,完全的自我主義。保持距離。

 

The final implied effusion is like a last judgment. Meanwhile, meticulous precautions are taken towards the mask, which is not a function of presence, since this is unceasing and haunts us like a slow-burning, indirectly fueled flamed. No longer any distinction between body and soul, but only between created things such as the color of eyes. And yet, a painstaking and persistent hostility.

最後含蓄的表露像是最後判決。同時,小心翼翼地警戒其實無法充當存在的面具,因為慢慢燃燒,間接助燃的火燄不停地縈繞我們。肉體跟靈魂不再有區別,區別的只是人為的東西,像眼睛的顏色。可是,仍然存在著費心而持續的敵意。

 

Proximity hostility tension distance.

The distance between soul and mask is maintained by a lengthy apprenticeship to work up their silences into a proper duel.

The atmosphere also involuntarily affected by what surrounds them and denying this to each other in a judgment long since adapted to the dissimulation of people and animals. In everything—distance, complicity, hostility, judgment—the same schema within one’s self, within the other—and within all the rest, which is judged in terms of this.

靠近、敵意、緊張、距離。

靈魂跟面具之間的距離被維持,因為要將沉默激發到適當的決鬥,還有一段漫長的學習。

氣氛也不由自主地受到他們四周環境的影響,並且在判決中彼此互相否認,因為長久以來大家就適應人與動物的偽裝。每件事都有距離、共謀、敵意、判決。這個相同基型適用於人的自我,他人的自我,以及以這個模式來判決的其餘的人。

 

Constantly lying in wait. Constant fear that the other may have switched allegiances one day and that their judgment of what is good and bad may have altered. Because their intervention is fundamental in the most important questions. Yet I resolve these by myself. And he is different and leaves me feeling lonely. This is the way a duel suzerainty of understanding comes about. When we clash, it is to train our two shadows to coincide. When we agree, it is because we have judged on our own. The two cynicisms must be properly differentiated.

不斷地躺著等待。不斷地恐懼,它者可能有一天會背叛忠誠,他們善惡的判決可能已經改變。因為在最重要的問題上,他們的介入是關鍵。可是我獨立解決這個問題。他與人不同,置我於孤獨。這就是理解發生的雙重宗主權的方式我們衝突,是要訓練我們兩個陰影偶爾會合。我們協同,是因為我們已經獨立判決。這兩個諷世態度必須要適當區別。

 

The complicity in all this is so precious that it seems to creep around on tiptoe and to be ashamed of and superstitious about itself, recognizing that it represents the highest court of judgment in both our cases: he is judged and so am I; there can be no escape. That is why this complicity keeps such a watch on itself and avoids its own reflection, because it is aware of itself as an imaginary solution, and not the only one possible.

在這過程共謀是如此珍貴,躡手躡腳進來,好似慚愧於有關自己的迷信,承認在我們的兩個案例,共謀代表最高的判決法庭。他被判決,我也被判決。無法可逃避。那就是為什麼共謀不斷警戒自己,避免反映到自己,因為它知道自己是幻奇的解決,而且不是唯一的解決方法。

 

P38–p39

Cool Memories 18

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw