Thursday, August 28, 2008
Tuesday, August 26, 2008
Monday, August 25, 2008
A Dialogue on Ambience and Biennales by Lee Weng Choy and Roger McDonald
It was not easy to translate; I did have a little interpretation.
關於環境和雙年展的對話
李永财與櫓蛇亜．蒔土成努
“In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.” — Guy Debord
“在現代生產條件當道的社會裡，人生皆以無窮無盡的景觀呈現出來，所有過去直接經驗到的，已轉變為一種表象”。 — Guy Debord
How might one describe the job of the art critic or the curator? Someone who has a conversation with Art. Given that what we have are the texts of critics and curators, one might be mistaken that this conversation is mostly one-sided: the writer speaking to art.
可以怎樣描述藝評員或策展員的工作呢？是跟“藝術”對話吧。就我們所讀的藝評和策展的文章，也許會誤以為這種對話多數是單方面的：書寫者對著藝術說話。
Display / Exposition / Presentation / Showcase / Exhibit / Demonstration / Manifestation
陳列 博覽 呈現 表現 展品 示範
But what we forget, at our peril, is that conversation begins and ends with listening. So what is it that one hears, when one listens to Art? There is the stuff that is apparent, but there is also a lot of stuff in the background.
但挺危險的，我們忘記的正是那對話的開始和結束同在於聆聽。那當我們聆聽“藝術”，我們是聽見什麼呢？有些東西是很明顯的，但也有很多是藏於背景中。
Atmosphere / Air / Aura / Mood / Climate / Feel / Quality / Flavor / Sense
Tone / Setting / Milieu / Environment / Conditions / Temperature / Situation
氛圍 氣氛 靈氣 心情 氣候 感覺 素質 味道 意識
調子 佈景 處境 環境 條件 温度 形勢
“The concept that previously unacceptable sounds can be used as music has disturbed the musical world.” — David Cope, New Directions In Music, 1976.
“Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular.” — Brian Eno, Ambient 1: Music for Airports, 1978.
“以過去不可接受的聲音作為音樂，這概念已擾亂了音樂界。”— David Cope, New Directions In Music, 1976.
“環境音樂一定要能照顧到聆聽上不同層次的集中力，毋須勉強某一方面。”— Brian Eno, Ambient 1: Music for Airports, 1978.
“We are presenting today for the first time a creation of Messieurs Erik Satie and Darius Milhaud, directed by M. Delgrange, the ‘musique d’ameublement’ which will be played during the intermissions. We urge you to take no notice of it and to behave during the intervals as if it did not exist.” — Erik Satie
今天我們首次上演Erik Satie和Darius Mihaud先生的作品，由M. Delgrange導演。此‘musique d’ameublement’（“傢具音樂”）將於中場休息時演出，我們促請你們千祈不要理會，若無其事一般就好了。— Erik Satie
“Sun is one of the eight doubled trigrams. It is the eldest daughter and symbolizes wind or wood; it has for its attribute gentleness, which nonetheless penetrates like the wind or like growing wood with its roots.” — Richard Wilhelm on I Ching
“巽：小亨，利攸往，利见大人。彖曰：重巽以申命，刚巽乎中正而志行。柔皆顺乎刚，是以小亨，利有攸往，利见大人。象曰：随风，巽；君子以申命行事。”—《易经》
關於環境和雙年展的對話
李永财與櫓蛇亜．蒔土成努
“In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.” — Guy Debord
“在現代生產條件當道的社會裡，人生皆以無窮無盡的景觀呈現出來，所有過去直接經驗到的，已轉變為一種表象”。 — Guy Debord
How might one describe the job of the art critic or the curator? Someone who has a conversation with Art. Given that what we have are the texts of critics and curators, one might be mistaken that this conversation is mostly one-sided: the writer speaking to art.
可以怎樣描述藝評員或策展員的工作呢？是跟“藝術”對話吧。就我們所讀的藝評和策展的文章，也許會誤以為這種對話多數是單方面的：書寫者對著藝術說話。
Display / Exposition / Presentation / Showcase / Exhibit / Demonstration / Manifestation
陳列 博覽 呈現 表現 展品 示範
But what we forget, at our peril, is that conversation begins and ends with listening. So what is it that one hears, when one listens to Art? There is the stuff that is apparent, but there is also a lot of stuff in the background.
但挺危險的，我們忘記的正是那對話的開始和結束同在於聆聽。那當我們聆聽“藝術”，我們是聽見什麼呢？有些東西是很明顯的，但也有很多是藏於背景中。
Atmosphere / Air / Aura / Mood / Climate / Feel / Quality / Flavor / Sense
Tone / Setting / Milieu / Environment / Conditions / Temperature / Situation
氛圍 氣氛 靈氣 心情 氣候 感覺 素質 味道 意識
調子 佈景 處境 環境 條件 温度 形勢
“The concept that previously unacceptable sounds can be used as music has disturbed the musical world.” — David Cope, New Directions In Music, 1976.
“Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular.” — Brian Eno, Ambient 1: Music for Airports, 1978.
“以過去不可接受的聲音作為音樂，這概念已擾亂了音樂界。”— David Cope, New Directions In Music, 1976.
“環境音樂一定要能照顧到聆聽上不同層次的集中力，毋須勉強某一方面。”— Brian Eno, Ambient 1: Music for Airports, 1978.
“We are presenting today for the first time a creation of Messieurs Erik Satie and Darius Milhaud, directed by M. Delgrange, the ‘musique d’ameublement’ which will be played during the intermissions. We urge you to take no notice of it and to behave during the intervals as if it did not exist.” — Erik Satie
今天我們首次上演Erik Satie和Darius Mihaud先生的作品，由M. Delgrange導演。此‘musique d’ameublement’（“傢具音樂”）將於中場休息時演出，我們促請你們千祈不要理會，若無其事一般就好了。— Erik Satie
“Sun is one of the eight doubled trigrams. It is the eldest daughter and symbolizes wind or wood; it has for its attribute gentleness, which nonetheless penetrates like the wind or like growing wood with its roots.” — Richard Wilhelm on I Ching
“巽：小亨，利攸往，利见大人。彖曰：重巽以申命，刚巽乎中正而志行。柔皆顺乎刚，是以小亨，利有攸往，利见大人。象曰：随风，巽；君子以申命行事。”—《易经》
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