Creep

禁色 - 三島由紀夫

「我就是想借重你的僥倖來挽回青春」

Walter Benjamin Essais

MezzotintMezzotint is a printmaking process of the intaglio family, technically a drypoint method. It was the first tonal method to be used, enabling half-tones to be produced without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening the plate with thousands of little dots made by a metal tool with small teeth, called a "rocker." In printing, the tiny pits in the plate hold the ink when the face of the plate is wiped clean. A high level of quality and richness in the print can be achieved.

An A to Z of Theory | Walter Benjamin: Art, Aura and Authenticity   - Andrew Robinson

+URL

In Marxist fashion, Benjamin sees the transformations of art as an effect of changes in the economic structure.  Art is coming to resemble economic production, albeit at a delayed pace. The movement from contemplation to distraction is creating big changes in how people sense and perceive. Historically, works of art had an ‘aura’ – an appearance of magical or supernatural force arising from their uniqueness (similar to mana). The aura includes a sensory experience of distance between the reader and the work of art.

- The aura has disappeared in the modern age because art has become reproducible.

- The aura is an effect of a work of art being uniquely present in time and space. It is connected to the idea of authenticity

The loss of aura seems to have both positive and negative effects for Benjamin. He sees the aura, authenticity, and uniqueness of works of art as fundamentally connected to their insertion in a tradition. The reproduced work of art is completely detached from the sphere of tradition. It loses the continuity of its presentation and appreciation.

The Work of Art in the Age of Mechanical Reproduction

Art was originally derived from ritual, and depended on it for its aura. Tradition and ritual have mainly negative meanings for Benjamin.

On the positive side, this loss of tradition brings the work of art into the distinct life-situation of the reader, viewer or listener. The work of art can be disconnected from its past uses and brought into new combinations by the reader. 

According to Benjamin, art is now gaining ‘entirely new functions’. The liberation of art from ritual frees it for connections to the practice of politics. Responses to art are also increasingly collective – as in audience responses to film – the individual reaction is produced or compounded by the reaction of the entire audience. Earlier artworks, even when exhibited in galleries, did not lead to an ‘organised’ mass response. (This difference is probably less relevant in the era of television).

Benjamin also discusses the impact on actors of performing for a machine instead of a human audience. He suggests it is an uncomfortable experience in which the body is deprived of substance. There is a feeling of strangeness, similar to looking in a mirror, but with the mirror image separable and transportable.

Humanity becoming a spectacle or contemplated object to itself, or subordinating itself to an aesthetic for an external gaze, is taken by Benjamin to be alienating, reactionary and fascistic.  Hence, there seems to be a direct, political effect of technological changes, and a distorted, fascistic effect which occurs when this direct effect is truncated and contained. A Benjaminian reading might suggest that this fascistic ‘distortion’ has now become the normal form of the production and consumption of culture. The progressive force of new media has been thoroughly contained, as this particular appropriation has been normalised.

‘politicisation of art’

The politicising of art refers to the depiction of life at its most ephemeral. This is part of Benjamin’s broader project of the ‘redemption’ of the everyday through a small split which makes a world of difference. The object, detached from the fields of tradition and of conventional, operational use, can be recombined in new ways. Life is politicised in becoming a set of fragments which can be rearranged by an active user. This is Benjamin’s response to the aestheticisation of politics. Art is to be reconstructed as something to be used, recomposed, combined rhizomatically, as a montage. This style of art is radically counterposed to the integrity and wholeness of the artistic spectacle.

The transformation of the superstructure, which takes place far more slowly than that of the substructure, has taken more than half a century to manifest in all areas of culture the change in the conditions of production. Only today can it be indicated what form this has taken. Certain prognostic requirements should be met by these statements. However, theses about the art of the proletariat after its assumption of power or about the art of a classless society would have less bearing on these demands than theses about the developmental tendencies of art under present conditions of production. Their dialectic is no less noticeable in the superstructure than in the economy. It would therefore be wrong to underestimate the value of such theses as a weapon. They brush aside a number of outmoded concepts, such as creativity and genius, eternal value and mystery – concepts whose uncontrolled (and at present almost uncontrollable) application would lead to a processing of data in the Fascist sense. The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism. They are, on the other hand, useful for the formulation of revolutionary demands in the politics of art.

The situations into which the product of mechanical reproduction can be brought may not touch the actual work of art, yet the quality of its presence is always depreciated. This holds not only for the art work but also, for instance, for a landscape which passes in review before the spectator in a movie. In the case of the art object, a most sensitive nucleus – namely, its authenticity – is interfered with whereas no natural object is vulnerable on that score. The authenticity of a thing is the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced. Since the historical testimony rests on the authenticity, the former, too, is jeopardized by reproduction when substantive duration ceases to matter. And what is really jeopardized when the historical testimony is affected is the authority of the object.

IV

The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition.

An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.

IX

“feels as if in exile – exiled not only from the stage but also from himself. With a vague sense of discomfort he feels inexplicable emptiness: his body loses its corporeality, it evaporates, it is deprived of reality, life, voice, and the noises caused by his moving about, in order to be changed into a mute image, flickering an instant on the screen, then vanishing into silence .... The projector will play with his shadow before the public, and he himself must be content to play before the camera.”

- estrangement feel

XII

Mechanical reproduction of art changes the reaction of the masses toward art. The reactionary attitude toward a Picasso painting changes into the progressive reaction toward a Chaplin movie. The progressive reaction is characterized by the direct, intimate fusion of visual and emotional enjoyment with the orientation of the expert. Such fusion is of great social significance. The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed, and the truly new is criticized with aversion. With regard to the screen, the critical and the receptive attitudes of the public coincide. The decisive reason for this is that individual reactions are predetermined by the mass audience response they are about to produce, and this is nowhere more pronounced than in the film. The moment these responses become manifest they control each other. Again, the comparison with painting is fruitful. A painting has always had an excellent chance to be viewed by one person or by a few. The simultaneous contemplation of paintings by a large public, such as developed in the nineteenth century, is an early symptom of the crisis of painting, a crisis which was by no means occasioned exclusively by photography but rather in a relatively independent manner by the appeal of art works to the masses.

XIV

The Dadaists attached much less importance to the sales value of their work than to its uselessness for contemplative immersion. The studied degradation of their material was not the least of their means to achieve this uselessness. Their poems are “word salad” containing obscenities and every imaginable waste product of language. The same is true of their paintings, on which they mounted buttons and tickets. What they intended and achieved was a relentless destruction of the aura of their creations, which they branded as reproductions with the very means of production. Before a painting of Arp’s or a poem by August Stramm it is impossible to take time for contemplation and evaluation as one would before a canvas of Derain’s or a poem by Rilke. In the decline of middle-class society, contemplation became a school for asocial behavior; it was countered by distraction as a variant of social conduct. Dadaistic activities actually assured a rather vehement distraction by making works of art the center of scandal. One requirement was foremost: to outrage the public.

From an alluring appearance or persuasive structure of sound the work of art of the Dadaists became an instrument of ballistics. It hit the spectator like a bullet, it happened to him, thus acquiring a tactile quality. It promoted a demand for the film, the distracting element of which is also primarily tactile, being based on changes of place and focus which periodically assail the spectator. Let us compare the screen on which a film unfolds with the canvas of a painting. The painting invites the spectator to contemplation; before it the spectator can abandon himself to his associations. Before the movie frame he cannot do so. No sooner has his eye grasped a scene than it is already changed. It cannot be arrested. Duhamel, who detests the film and knows nothing of its significance, though something of its structure, notes this circumstance as follows: “I can no longer think what I want to think. My thoughts have been replaced by moving images.” The spectator’s process of association in view of these images is indeed interrupted by their constant, sudden change. This constitutes the shock effect of the film, which, like all shocks, should be cushioned by heightened presence of mind. By means of its technical structure, the film has taken the physical shock effect out of the wrappers in which Dadaism had, as it were, kept it inside the moral shock effect.

XV

- Clearly, this is at bottom the same ancient lament that the masses seek distraction whereas art demands concentration from the spectator. That is a commonplace.

Epilogue

- The violation of the masses, whom Fascism, with its Führer cult, forces to their knees, has its counterpart in the violation of an apparatus which is pressed into the production of ritual values.Fiat ars – pereat mundus”, says Fascism, and, as Marinetti admits, expects war to supply the artistic gratification of a sense perception that has been changed by technology. This is evidently the consummation of “l’art pour l’art.” Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. This is the situation of politics which Fascism is rendering aesthetic. Communism responds by politicizing art.

Walter Benjamin (1936)

II/ The Illusion of Love - Empire of Illusion

The end of literacy and the triumph of spectacle - Chris Hedges

"What does it say about our culture that cruelty is so easy to market?" Jensen asks. "What is the difference between glorifying violence in war and glorifying the violence of sexual domination? I think that the reason porn is so difficult for so many people to discuss is not that it is about sex - our culture is saturated in sex. The reason it is difficult is that porn exposes something very uncomfortable about us. We accept a culture flooded with images of women who are sexual commodities. Increasingly, women in pornography are not people having sex but bodies upon which sexual activities of increasing cruelty are played out. And many men - maybe a majority of men - like it."

The Porn films are not about sex. Sex is airbrushed and digitally washed out of the films. There is no acting because none of the women are permitted to have what amounts to a personality. ... The lighting in the films is harsh and clinical. Pubic hair is shaved off to give the women the look of young girls or rubber dolls. Porn, which advertises itself as sex, is a bizarre, bleached pantomime of sex. The acs onscreen are beyond human endurance. The scenarios are absurd, The manicured and groomed bodies, the huge artificial breasts, the pouting, oversized lips, the erections that never go down, and the sculpted bodies are unreal. Makeup and production mask blemishes. There are no beads if sweat, no wrinkle lines, no human imperfections. Sex is reduced to a narrow spectrum of sterilised dimensions. It does not include the dank smell of human bodies, the thump of pulse, taste, breath - or tenderness. Those in the films are puppets, packaged female commodities. They have no honest emotions, are devoid of authentic human beauty, and resemble of plastic. 

Pornography does not promote sex. It promotes masturbation. It promotes the solitary auto-arousal that precluded intimacy and love. Pornography is about getting yourself off at someone else's expense. 

The cruelty takes a toll on the bodies, as well as the emotions, of porn actresses. Many suffer severe repeated vaginal and anal tears that require surgery. ... Roldan, like most of the women did not eat on nights before she was filmed. she flushed out her system with enemas and laxatives. " I would starve myself," she says, " so I wouldn't have to suck on my shit. The worst was when it came out of another girl and it was not clean and you had to do it."

The Sex those in the porn industry claim to promote is as fake, absurd, and unattainable as the facade of the Luxor casino and hotel. Porn is not about love or eroticism. It is about power and money. It is a transaction. Ot is based on the conversion of women into objects. 

Little Airport

耶穌說的愛是無條件的、獻身的
奧修說的愛是能量的互動、是自由的、無束縛的，
昆德拉說的愛是機遇的、偶然的、命定的
高達說的愛是刺激的、好玩的、有今生沒來世的、哲學的
小津安二郎說的愛是溫柔的、隱藏的、非愛的
畢卡索說的愛是經驗的、性慾的、美好的
夏卡爾說的愛是聖潔的、救贖的、唯一的。
l'amour, mes amants, mon amour, aimer. 
愛情，愛人們，我的愛，去愛。
而我將要說的是, 
l'impossibilité d'aimer dans notre temps. 
我們時代的愛無能

le ravissement de lol v stein

le ravissement de lol v stein - Marguerite Duras

「這片樹林，火車從更遠處經過。田野裡一點兒日影都見不到，可那天倔是陽光燦爛的，我眼睛疼。」

「可是前天有太陽嗎？」

她沒注意。前天她看到了什麼？她目前正處在連續地認出地點、事物的機械性進程中，是這些東西，她不會弄錯，我們正是在開向T濱城的火車上。她在一個好像對她暫時有用的腳手架上堆積著樹林、小麥、耐心。

她非常專注於尋求重見的東西，她是頭一次這樣遠地離我而去。可是，不時地她就朝我轉過頭來並向我微笑，就像 ---- 我不該如此認為 --- 某個不會遺忘的人一樣。

接近在所短，困擾著她，最後她幾乎一直說個不停。我沒有全部聽清楚，我一直把她抱在懷裡。就像有人吐了，我們要輕輕抱住他。我也開始看這些不可毀滅的地點，它們此時成了我來臨的地點。我進入勞兒. V. 施泰因的記憶的那一刻到了。

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我拒絕可能使我們分開的終結到來，拒絕它得輕而易舉。它那令人神傷的簡單易行，而既然我拒絕這一個，我就接受了另一個，一個有待發明的、我所不知的、還沒有人創造出來的終結：勞兒. V. 施泰因沒有終結的終結，沒有終結的初始。

--
我和她一起在等我自己：大海終於漲潮了，海水一塊一塊地淹沒藍色的沙洲，沙洲帶著同樣的緩慢漸漸地失去自己的個性，與大海融為一體，這片沙洲這樣了，其他的在等待著它們的輪迴。沙洲的消亡使勞兒充滿了嚴重的憂傷，她等待，預料這一消亡的出現，看到了它，她認出了它。

AUTOMATE THIS: How algorithms came to rule the world

High-frequency trading

High-frequency trading (HFT) is a primary form of algorithmic trading in finance.[1] Specifically, it is the use of sophisticated technological tools and computer algorithms to rapidly trade securities.[2][3][4] HFT uses proprietary trading strategies carried out by computers to move in and out of positions in seconds or fractions of a secon (From Wikipedia) 

Black–Scholes equation

As above, the Black–Scholes equation is a partial differential equation, which describes the price of the option over time. The equation is:

The key financial insight behind the equation is that one can perfectly hedge the option by buying and selling the underlying asset in just the right way and consequently "eliminate risk". This hedge, in turn, implies that there is only one right price for the option, as returned by the Black–Scholes formula .

Gaussian Copula (probability theory)

euler's formula : Graph Planarity
http://www.personal.kent.edu/~rmuhamma/GraphTheory/MyGraphTheory/planarity.htm

Polyphonic's algorithm:

advanced spectral deconvolution, by using Fourier transform to isolate the melody, rhythm, beat, and so on.

Lisp (programming language)

Beatles
The first chords

The Beatles - "A Hard Day's Night" 

https://www.youtube.com/watch?v=zSm0M-BbVdY

Game theoryhttp://episte.math.ntu.edu.tw/articles/mm/mm_01_3_05/

Zoobiquity: The Astonishing Connection Between Human and Animal Health

Zoobiquity: What Animals Can Teach Us About Health and the Science of Healing by cardiologist Natterson Horowitz and journalist Kathryn Bowers 

The authors share real clinical cases and further imply how the disease processes in humans and the animal kingdom have commonality. The authors believe that understanding disease processes in animals will benefit humans, as well as animals.

About Cancer
Peto's Paradox:
the incidence of cancer does not appear to correlate with the number of cells in an organism. For example the incidence of cancer in humans is much higher than the incidence of cancer in whales. Evidence suggests that large organisms such as elephants have more cancer suppressor genes. (From Wikipedia). 
Too much drinking, excess sunlight and also obesity might alter the DNA sequences and further  yield various types of cancer.

About Cardio

Takotsubo cardiomyopathy :
a type of non-ischaemic cardiomyopathy in which there is a sudden temporary weakening of the myocardium. Because this weakening can be triggered by emotional stress, such as the death of a loved one, a break-up, or constant anxiety, it is also known as broken heart syndrome. (From Wikipedia)

Capture myopathy:

or Shock Disease, is a little-studied condition observed in wild animals such as hares and birds that have been captured or handled.[2] The condition is usually lethal and stress has been identified as the single most determining factor, exacerbated by muscle exertion. (From Wikipedia)

使動物加速逃離威脅的是一種強有力的神經化學反應：兒茶酚胺大量釋放(Catecholamine dump) 。然而如果過度催逼，超過了安全界限，兒茶酚胺有可能會徹底擊垮骨骼與心肌，造成他們陷入癱瘓。等到相當數量的骨骼肌損傷，會有大量的肌肉蛋白被釋放、進入血液中。這些蛋白質會傷害腎臟功能，最終導致腎臟完全停工。這種肌肉損傷醫學名詞叫做「橫紋肌溶解」(rhabdomyolysis , abb. rhabdo). 腎臟無法濾除的有毒肌肉酵素會使尿液呈紅褐色。
Note: 同樣情況也會發生在屠宰場的動物身上，因此如何在屠宰時減輕動物的壓力，在部分畜牧業者體認到這點。

Note: 在QT 延長症候群中，由於離子通道功能異常，導致心臟活動的QT節段時間過度延長。這種病會讓患者容易產生致命的心律不整。該症候群可能是遺傳亦或是後天。許多藥物(包括某些抗生素、抗憂鬱藥物和抗組織胺)和某些電解質失衡(如嚴重嘔吐或腹瀉），都有可能引起QT延長症候群。
溫哥華動物園曾有四頭斑馬死魚捕捉性肌病。可是他們並沒有被追殺。實際上壓力源是被安置在斑馬圍欄裡兩隻駭人的南非水牛(Cape Buffalo)，而柵欄和壕溝讓動物無法逃脫。

About Obesity

Firmicutes :
The abundance of Firmicutes was observed to be proportionate to the obesity levels in the mice, with the obese, conventional mice carrying significantly more Firmicutes than the lean germ free mice . Along with increased fatty acid absorption, more energy was also found to be efficiently obtained from diet in the obese mice compared to the lean mice, illustrating the connection between Firmicutes and improved efficiency in energy harvesting.

The study shows that obese people have greater numbers of firmicutes (Gram - positive bacteria) in their interstine
; whereas thin people have greater bumbers of bacteroidetes there (gram-negative).

* circadian rhythmz, diurnal rhythm

人類身體的所有細胞，從表面的頭皮細胞到體內深處的心臟細胞，全部都包含了由Clock gene打造的計時器。這些計時器決定了一切。從你能燃燒多少卡路里到你何時想吃東西。科學家不止在動物細胞中找到這些計時器，也在植物、細菌、真菌和酵母菌的細胞中找到這些遠古的跨物種計時器。

Proceeding of the National Academy of Sciences上的一向嚙齒動物研究顯示，住在一直有光的地方的老鼠，其BMI和血糖濃度都高於住在標準光案循環下的老鼠。

About Euphoria
Chapter Five - Addiction
David J. Linden, Autor of "The Compress of Pleasure"
他將人類在學習與訓練中體會到的快樂與其他成癮的神經生物連結在一起。

他寫道，學習跟賭博、購物與性等行為「能引發神經訊號，匯聚在名為“Medial forebrain pleasure circuit”的一小塊互相連結的大腦區域」。成功的犬隻訓練在愉悅迴路的驅使下，會製造出我們可以稱為“學習成癮”的狀態。Linden寫道，這些迴路也可能被像是古柯鹼、尼古丁、海洛因或酒精等人工活化劑所徵用。
note: 成隱性在個體間存在異質性，即每一生物個體對於相同的化學物質的反應皆有些微不同。

青春期的大腦俱有高度可塑性。若恰巧在大腦試圖校準整個系統是注入大量外來的強力報償化學物質到腦內，可能會造成終身的影響。他可能會影響耐受程度即反應的敏感度，綜觀不同的物種會發現，延遲第一次使用藥物的年紀，能有效防止成癮。

Rapture

再回想近兩年的工作，除了再製程上人工的謬誤，演算法幾近讓人發笑，一個最簡單的算法可以被當作核心價值的部分。我們著眼于的，到底是一個愛慕虛榮的碎沫。我們盡可能的包裝，這些虛偽的色彩，這些的白種人傲慢的設計，這些似乎勾起購買欲望的宣傳影片：我們究竟還要製造多少人為垃圾？

現在的困難點在於自己市儈的部分。抉擇在抉擇之間其實說也沒太大分別了。
如果頭也不回

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儀式是彰顯全人類亞斯伯格症的基因缺陷。在秩序與無端的重複之下，你波動的心情是否已平復了呢。我們不相信信仰是精神病，我們甚至認為懷疑主義是某種精神疾病作祟：你好端端的照做，沒事的。

在儀式裡我們打扮可笑。是否記得在大學時期總是有個神秘的值星帶，他帶著反攻大陸的思想以及莫名的神（鬼）話故事。但也沒多少人相信了。在儀式裡，我們眾排成列，一層劃開一層，這些我無心玩的遊戲一下就安了上來。你山形狀的帽子在你的頭上看起來可笑，但你的眼神悲傷。請不要悲傷，儀式結束後，招魂的單子葉植物，你的廉價製造的不織布頭紗，你沒了根的花們，都會放進廢棄廠裡處置，邁向終亡。

在儀式裡，我距離情感遙遠。

#人在儀式信仰裡失去判斷能力

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村裡的人認為她不是裝瘋就是卡到陰。她接受現代的藥物治療。治療的情況還甚不錯，她正常起居，吃飯，即使不快樂的臉在年輕時候老得太快。她很意外的看著我們（其實我們一樣大）。噢，我們大概六七年沒見面了（尤其那件事發生了以後）。

她靈魂是否被關進在軀體裡我們不得而知，我甚至連她的聲音都沒聽見。

其實我想多跟你說話。

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夢醒了的很緩慢，其後我奇怪著這世界。

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我們的關係像是一個不存在的記憶。於是，我開始遺忘過去的那些是什麼
它逐漸變成存在的遺忘

Nymphomaniac || Plateforme draft

如果我不了解愛，了解其他一切又有何用？

Nymphomaniac: Volume I

“一開章，從男主角Michel父親的死，導出了他對於生命的平淡態度。「為什麼，更廣泛地說，我生命中從沒對任何事情感受到真正的熱情呢？」他工作、他看電視、他度過每一天，如此冷靜。下班後去看的真人秀，不過是某種發洩，就像其他人會狂吃甜食一樣。他去泰國參加書中描述的第一次渡假，一樣的平淡，他評價他的同團旅伴，但仍像是置身事外。用特別的觀點，講述講述「性旅遊」。至此，我仍覺得這些文字用藥過猛，只能說是低俗。”


The taxi





They don't have touch
http://www.taipeifestival.org.tw/blogContent.aspx?ID=605

Au revoir

我會不會 

永遠和你是這個聲音

從失去 到失去

我會不會

永遠和你是這個愛情

從失去 到失去

我會不會

永遠和你是這個恐懼

從失去 到失去

我會不會

永遠和你是這個問句

從失去 到失去

Aicher

11

艾舍主張激進的回歸主體，取代對政府, 經濟力量或精神層次的信賴。這樣的方式反映了人們構思設計物件是按其需要的標準，而不是在於一個抽象交換價值的期望。構思設計的精准度在於其任務結果是否符合各面向的檢驗。為了什麼目的的提問取代了為什麼的提問。適用必須在其意義上受到檢視。

對他而言，設計不是表面的造型或講求視覺刺激的產品。因此，「後現代主義」借用藝術與時尚是回返隨性和浪費，它的形式主義推崇多餘, 過剩的熱衷，且在並非不計代價的在「不再被使用的日常品」裡，以這樣的意識達到頂點。適用性排起了使用性：風格取代了設計。

設計是思考和執行互相產生關係。美學欠缺倫理會趨於假象。使用的準則還包含社會和生態的影響：「設計是指一個時期, 時間, 世界的文化狀態。今日的世界，是藉由它的構思狀態而被定義。今日的文明是由人所造，所勾畫擬定。構思的質素即是世界的質素。」

17

後現代主義是一種新的信仰。它不是設計，而是一種信仰。

35

享受有兩種形式。一種是生理上的滿足，另一種是精神上的滿足。精神滿足的釋放因素是象徵性，有如Arnold  Schwarzenegger 的強而有力、Al Capone的聰明、Frank Sinatra的成功，而且不是作為標記的象徵符號，而是作為夢想，作為超驗。德國作家Arno Schmidt 認為，在遙遠的未來只存在表面的物質，不再有物件本質。從現在起，我們將其帶向更進一步的境界。物件不再代表它們本身，而是由人將其銘刻為超驗。

41

一個政權越是顯著，就會衍生出越多美學開支。就像是聖彼得大教堂的圓頂、凡耳賽宮的鏡廳，或是莫斯科的地鐵。

114

1920年代

1929黑色星期五

介於革命與革命消除之間

當時生活在維也納的有阿道夫．洛斯、西格蒙德．佛洛伊德、路為希．維根斯坦（ludwig Wittgenstein)。Paul Klee、Andreas Feininger 、瓦希利．康定斯基、瓦特．葛羅培斯和漢斯．梅耶則在柏林附近的德紹發揮影響力。紐約出現了第一場爵士音樂會。在莫斯科有Sergei Eisenstein，電影界出現，還有Wladimir Majakowski、卡西米爾．馬列維奇與佛拉基米爾．塔特林。在荷蘭，泰奧．凡．杜斯博格與皮耶．蒙德里安從事繪畫; 在巴黎，科比意創作出第一批建築，而畢卡索致力于打破中產階級的世界觀。底特律的輸送帶讓大量生產與大量消費瀰漫著樂觀主義。國際大都會用霓虹燈、電影城、文藝咖啡廳與第一份大型畫報獲得解放，取得新時代的感官知覺。

1920年代焚書：科比意的自由

121

政治的目的只會是個體的發揮。國家是為了個人而存在，不是個人為了國家而存在，公共福祉與關心個人的發展一樣重要。

今天的情況又不一樣了。取代公共福祉，人們談論的是祖國。我們。若我們以祖國之名而被無謂犧牲，有可能再也不敢說出這字。

尤深

 女人的一個鬧劇，配上男人的抒情
（豈不更加可笑？)

耶穌基督誕生之前，世界先已存在。（聖母瑪麗亞還是個處女，夏娃已經犯了禁忌）

給世界以生命/而義務與道德/正義和說教/
      都無是生非，多餘的製造。

先是輕輕蕩漾，繼而釀成波浪。在漲為海潮，潮漲潮落
如此往返，如是催眠 靜悄悄

總以為走上前去一個擁抱是所謂浪漫，但浪漫在浪漫的語句之後開始臉色泛白尖笑。他期待雨天的青蛙能匍匐於另外一隻潮濕女媧，這只是假交配的儀式
             誰相信兩棲類有沒有愛情
清醒時分疲倦褪下的時候，昨日的你與現在的你有什麼關聯性？
欲望把人分割，欲望期待下，乳房逐漸膨脹。
欲望褪去，形單影隻的是你。

妳事與願違；妳求之，但不得

你沒多少機會可以痛哭，你用力鄙視世俗的一切，卻在肥皂劇中哭泣。
你說你沒有愛情，你推開所有愛情築成的潮，卻在丟棄愛情後為愛情的熱切悲憫哭泣
心頭也別急著發酸，可知不久後，你漸漸遺忘  忘記  忘記 你忘記了  你討厭了。

只是一個影子在做夢

從說完的地方下筆

畫一塊石頭深思 

畫棵柳樹悲泣

在畫一隻不流淚的眼睛

注視你自己

死神本當將你收拾，是上帝說 “且慢，再留他一程”

這孽障猶言未儘，不妨又他把話說完

一顆骷髏 兩個黑洞 / 殘缺的下巴/ 不再說話

一副散架的骨骼，如同乾枯的樹杈

只要退後一步，便可以審視。那顆頭顱，儘管取下，盡興把玩
等膩味了，不妨再安上。

真理不可說
說出的都不是
知道了就好

不知道的

可不由去了

你可見過醜陋的樹？

你可見過醜陋的山？

你可見過醜陋的石頭？

你卻看儘醜陋的人。

Ch5 完全無關

Simone de Beauvoir 寫到同一主題也表達相同看法：“以道德之名抗議”過當或“濫用”是錯的，這暗示了積極的共犯。沒有"濫用"或“過當”，只有一個無所不在的體制。
他的論點是，佔領無法以人道的方式達成，違背人的意志的統治絕非人道。Simone de Beauvoir 寫道：有兩個選擇，接受佔領及執行它的手段，否則便是拒絕，不只是拒絕某些具體的作法，而是拒絕容許它們的存在，拒絕採取這些做法的更大目標。
- 震撼主義

模擬《Mimesis》奧爾巴哈1951,1957 Pass away
 彰顯西方文學上自荷巴, 維吉尼雅吳爾芙, 對於現實的多樣性與具體性
- 一個時代的輓歌
 They cannot represent themselves, they must be represented

不可共量性
福婁拜
Poetry: Harold Monro
詩與人生的關係得再認真討論，用於別種藝術的標準也該用於詩

Theoretical girl

83磅的的體重：他的軀體像是一棵褐色的otik, 窄小的骨盆腔只裝得下Alice的樹洞。他在不久後爬上我的背後，用他指間勾住我的臂膊，我似乎可以感受到一些憤怨的黑色眼珠在我後腦勺流轉

"這些都沒關係，我習慣的            不會去怪誰” 

又說，“等你渴的時候，自然會去找水喝”

- 關於體內受精

其一 : Phallology  所謂陽具崇拜

史上最古老的陰莖可以回溯到四億兩千五百萬年前。它屬於某個甲殼類動物，埋藏在海底的遠古火山灰下，後來在Herefordshire重見天日。古生物學家將這種像蝦的生物命名為Colymbosathon explecticos ，在希臘文中的意思是「擁有大陽具的游泳高手」。在他被發現之前，最古老的已知陽具存在於四億年前，來自蘇格蘭的一隻盲蛛化石。

如今，地球上存在各式各樣壯觀的陽具。Spiny anteater發展出四個頭的陰莖，每次交尾旋轉。雖然大多數的鳥類沒有陰莖，但Argentine lake duck的陽具卻逼近二十公分長（幾乎跟駝鳥的陰莖一樣長），螺旋般的形狀，陰莖基部飾有濃, 毛絨絨的刺。儘管擁有八十四公分長的傢伙，且陰莖長度與體長的比率為七比一，但學名Limax redii的這種瑞士蛞蝓並不是大自然中最不成比例的一員。這項殊榮由學名為Balanus Glandula的藤壺摘下。永久固著在某塊潮礁上的藤壺，其陰莖尺寸是自己體長的四十倍。

離去的時候，他眼神中閃爍著複雜的情緒，或許攙著生命的重量, 卑賤的感激與疲憊
這時候我才發現他戴著耳環，亮晶晶的在路燈下蕩漾。

*&

- Do you think I have one small chance with you ?
- nope
I am sorry
I seldom like people
- You are not animal Come on
- It's not a joke
- Maybe you have to go somewhere. Really
Stop your fucking busy job and go travel alone to an other country
You can't still live like that
You need know you
Understand ?
- :'(
- Don't cry
I can't hug you
But really it's not joke
You have to meet new people, maybe old people
You have to talk with strange people
Go live few week to temple
Or go to the mountain in Nepal
Or meet some medecin in jungle American
You understand what I mean ?
- Ja..
- And ? Why you don't do that ? I think you have money for leave
- I don't knw
i'm afraid of losing track

Trois

RoomTemperature(water): 22 Celsius


Double X : 800 / 400 +1
Develop : HC-110 / 

B : 9.4 ml / 300ml

Developer time : 13(?) min | 8.5 min | 9.5 min (?) 

Fixer : 

- Bottom : 800

- Upper: unknown

- Dev Solution: 18 Celsius

Trix 400 (2 roll)

B : 18.8 ml / 600ml

Developer time : 4.5-6 min or 7.5 min | 6.5 min

Fixer : 

- Bottom : unknown type (Long)

- Upper:Trix

- Dev Solution: 21 Celsius

ART || MIGRATION

do not asking please, why this man we could not see

his head or face, only we can see his head not face

the man face it is very

this man have a very angry face,

do we want to see the face, no, certainly not,

ugly

do not asking please, why we only see the man's back

because, they do not want to see his ugly face that's all

why not just imagine what his face like

that's much more interesting.

do not asking please, I know you want to know why we

only see one part the body.

a human head and face are not always nice to see. 

- Li Yuan Chia

Despite his trials, Li's art work continues to develop. He is invited to participate in The Other Story: Afro-Asian Artists in Postwar Britain, a survey show of twenty-four artists curated by Rasheed Araeen[Hayward Gallery, London; Wolverhampton Art Gallery; and Manchester City Art Gallery, 1989-1990], where he brings severals stands of his work to fruition.

His room contains twelve free-hanging discs supporting a large number of photographic magnetic points for the public to move (up to 350 in all),Mushroom Toys (low tables with moveable points), and Time Toys, reliefs incorporating the intermittent chimes from dismantled clocks. Writing in the catalogue, Rasheed Araeen frames Li's work, and that of the other artists in the show, within 'the process of decolonization across the world'. He pays tributes these artists who' defied their "otherness" and entered the modern space that was forbidden to them.' The significance of Li's work, in Araeen's opinion, was not merely its' "fusion" between his own culture and Modernism but its strategic location within avant-garde tradition.'Although 'without any rhetoric of opposition, is metaphorized paradigmatically. There is no concern for painterly marks or sculptural modulations. Instead the various elements of the work are placed wither on the flat surface or hung in space, not  necessarily in a fixed position but so they can be constantly shifted in a variety of arrangements manipulated by the spectator or audience. Demystification is achieved not only within the work itself but also by changing the status of the work from a single unique object to multiples.'

According to Andrew Dempsey,Hayward Gallery Assistant Director at the time, Li Yuan-Chia's and David Medalla's rooms in The Other Story are those in which people'Linger most'.

LI YUAN-CHIA: HOW FAR TO COME HOME?

http://leapleapleap.com/2011/06/li-yuan-chia-how-far-to-come-home/

Diana Yeh: art, migration and the complexity of belonging

http://www.slideshare.net/WellcomeCollection/china-symposium06yeh

Common people

成為蒼生一分子，首先得面目模糊，你中有我我就是你，活像一個命運共同體，僅餘一堆堆一條條未亡的生命。

自然要模糊，一旦你特立獨行，不能保持沈默，不甘心被安排被打救自己跌出來，想要做點什麼，便已脫離了蒼生族，也超越了蒼生。

因為，會說“拯救蒼生”，指責某人某黨某制度“誤盡蒼生”的，即使從蒼生來，也已站離蒼生高一點點就那麼一點點的位置，去憐憫蒼生。蒼生們最喜歡有人替他們搭這個舞台，也不耐煩分辨台上的是戲子。他們只樂於捧英雄等青天，更安於窩在台下，觀賞被打救的曙光，在等待蒼天開眼的忐忑中，獲得了作為蒼生一份子的快感。

至於那個誤盡蒼生的高台是如何搭建出來，就要問問蒼生，何以袖手旁觀，或是推波助瀾。我寧可被打成“黑五類”，也不願接受那帶著悲憫的蒼生知名，好像就只有等待，並且活該被塗炭似的。

李商隱名句“不問蒼生問鬼神”，哀漢文帝夜半請教其國師賈誼，竟然關注不靠譜的鬼鬼神神，而不取治蒼生就蒼生的經。

哀什麼哀，那些兩不分的鬼神，不正是由蒼生心連心手把手的塑造出來的。面對無解的世道，認為那就是很玄的命運，過早的認命以後，便造神造鬼，再扶植鬼神的代言人，之後，就安樂於自我感覺良好與自我感覺委屈之間。

蒼生爭取公義的能量，就耗盡在自憐的血淚史與怨恨天地不仁的怪圈裏。

蒼生誤盡蒼生，此為”共業“。

節錄：蒼生誤盡蒼生    - 都什麼時候了- 

Ill Fares Land

從另一方面來說，儘管有所謂的一九八九年的"教訓"，我們知道政府並非完全是壞事。只有一件事比太多政府更壞，那就是太少政府。在在失能的國家裡，人們遭受的暴力與不正義至少會跟在極權統治下一樣多，此外再加上他們的火車不準時。再者，如果我們多花一點時間思考這個問題，就可以見到，二十世紀"社會主義對抗自由體制"或"共產主義對抗資本主義"這樣的道德故事是有誤導意味的。資本主義並不是政治體系，而是一種經濟生活的形式;資本主義在實踐上可以跟右翼的獨裁體制(皮諾契統治下的智利）、左翼的獨裁體制(當前的中國)、社會民主主義的君主憲政(瑞典）以及富人統治的共和政體（美國）通通相容。資本主義經濟是否在自由的政體下才最繁榮發展？這答案或許比我們想像中還要不確定。

The Museum of Innocence

THIS IS what I observed while traveling the world, and wandering through Istanbul. There are two types of collectors:

1. The Proud Ones, those pleased to show their collections to the world (they predominate in the west)

2. The Bashful Ones, who hide away all they have accumulated ( and unmodern disposition) 

The Bashful collect purely for the sake of collecting. like the Proud, they begin - as readers will have noticed in my own case - in pursuit of an answer, a consolation, even a palliative for a pain, a resolution of difficulty, or simply out of a dark compulsion. 

In the writing of this book, Pamuk was influenced by the Bagatti Valsecchi Museum in Milan, Italy, as he noted in the museum's guestbook on June 27, 2007: “It is the third time that I have visited this extraordinary museum. I love this house, the idea and the imagination that hide behind these walls. They influenced me a lot for the novel I am writing, ''The Museum of Innocence''. I am happy to be here for the third time.”

This controlled atmosphere can be justified in part by the obsessiveness of the character of Kemal, whose mania is exhausting for the first couple hundred pages of The Museum of Innocence, and then simply becomes part of the air of the novel. Kemal thinks his main psychological problem (he has a few) is that he is unable to recognize happiness in the moment, as it is happening. This is the human condition, as Pamuk is at pains to enunciate in both the novel and catalog, and Kemal’s inability to know happiness as it happens isn’t unusual. Neither is it unusual that Kemal, like other lovers, dwells unhealthily on objects that his beloved has worn or touched
What is peculiar about Kemal’s case is that these objects become his main obsession, even while his beloved is still alive. Rather than trying to win Fusün back, or free her from her loveless marriage, or even get to know her better, Kemal becomes addicted to gathering and handling Fusün-related objects. Her untimely death doesn’t interrupt this fetishistic collecting, but intensifies it.

Wasser

Please help me build a small boat
One that'll ride on the flow
Where the river runs deep
And the larger fish creep
I'm glad of what keeps me afloat

Sigrid Undset

It supposes to be delighted now she feels grief, she kisses over the dead head, the curly spread on the forehead, the dark skin, dark lips, as going through vicissitudes. At the same time, her son stand at the door, with pack on his back. 

He killed his father, now he is gonna going elsewhere, like what his father did.