如是我聞

ampanman

2007-11-28T21:40:00.000-08:00

Title : Wood Wind Tide
Artist: Ampanman (Clive Bell + Richard Scott)
Venus Lau

The first time that Beijing knew about Clive Bell (not the art critic) was probably the year 2005, when he participated in the Sound and the City project launched in Beijing by British Council, with three other musicians including Brian Eno. Bell collected Chinese pop songs from Beijing shops and restaurants, covered them and returned his new versions of music to those shops to play – fun idea to remodel the sound of a city. But actually this Englishman is also one of the famous western performers of shakuhachi – the bamboo flute for enlightenment of Komuso – monks belong to the Japanese Buddhist Fuke Sect.

It is easy to expect the 53 minutes packed in the cute purplish paper cover to be another typical ambient laptop loops adorned with “mysterious, elusive” oriental elements. Yet surprising, every single sound in the whole album, is derived from shakuhachi performed by Clive Bell, a student of the master Kohachiro Miyata. By using microphones (like, Neumann TLM 170) musician (also another member of Ampanman, a Japanese cartoon hero whose head is made of bread) Richard Scott picked up the sound fragments from the bamboo flute, then through processors and mixers he generated new audios, which he juxtaposed or overlap on the original instrumental tunes.

The sound of shakuhachi, bears the traits of “humanity and inhumanity” at the same time, sometimes maybe a bit ascetic, monotonous. The processed sound part added textures and variousness to the instrument that “enlightens through one note”. The stratum entirely brought from this single bamboo winds is subtly beautiful, like a milky way being placed on a boulder. Yet for an instrument with a tradition that stresses the importance of spacing in the music as the sound, yes, spacing, like those in ancient Chinese paintings, the electrical re-scheming discomfits the elegant voids. Although the digital reorganizing and re-hamonizing generate possibilities for the simple-structured instrument through reallocating the sound and spacing pattern, it somewhat destroys the karesansui (Japanese zen rock gareden) style self-completeness of shakuhachi.

Some may have the comment that the album sounds like any another experimental ambient music which actually resembles soundtracks of thrillers – if Wood Wine Tides does, at least it’s the one from Ugetsu monogatari（1953）.

thanksgiving

2007-11-25T05:12:00.000-08:00

Thanks for all those people who made the party so lovely, and thankful for Buddha, yes, I am serious.

araki

2007-09-12T04:08:00.001-07:00

Araki Nobuyoshi
This is a month of excellent Japanese contemporary art. More than 50 pictures from the 60s to year 2000 by famous Japanese photographer Araki is going to be shown. Yes, he is famous, of his pictures with naked prostitutes, S and M bondage scenarios, fetishism and eroticism– that ‘s why the master is always subject to controversy: some may say he is the greatest artist in Japan, and some may think he is only a pornographer. For the former one, including Bjork, believes that there is something behind the ropes, exposed skin and smeared lipstick marks. As in the ‘Aura- fading ”mass production of photography suggests consumption, the product-like models and every meticulous detail in the pictures, suggests unrealism. When tearing off the erotica, there lies the Zen emptiness, and great sorrows.Just like another Japanese artist, if not a writer, Yukio Mishima, Araki, the choice exposing the richness of flesh is to conquer the richer emptiness– the materialists who are so attached to the flesh, are actually, nihilists. Keumsan Gallery (6436 6176 )

Sakurai Daizo

2007-09-05T03:29:00.001-07:00

Tent Theatre of Sakurai Daizo
Graduated from Waseda University, Sakurai Daizo, Japanese experimental director and actor commenced his Tent theatre, that is, making stage performance inside temporarily–built tents, since the 70s, when social movements in Japan were active and radical. Tent theatres are actually a product of subversive theatre movement parallelling the political ones in Japan’s 60s and 70s. Tent theatre is not only a theatre form that links the surroundings and creates variables, randomness (Like being beaten buy the cops) and instability to the performance, but also a subversion and opposition to establishment and hierarchy, which are symbolized by traditional theatres.

Although Tent Theatres dissolved gradually in the 80s, yet there are still some directors like Sakurai who cast their concern on social issues, among his more than 30 plays, there are many social- conscious works, for instance, Screen Memory– a play based on a script of Japanese traditional story- telling in 12th –16th century revolving around two lepers. The play casts Sakurai’s acute criticism on Japanese government’s unreasonable seclusion policy of lepers. Sakurai’s discontent on capitalism and establishment can also be shown by his firm refusal to funding given by enterprises and government.

In 2007, Sakurai is going to bring his new stage performance, 变幻痂壳之城 (literally Changing Scar City in Beijing from September 14- 16 with a series of activities and lectures. Scar is a metaphor of capitalist societies, where capitals are created supposedly to eradicate poverty, yet it eventually worsens the problem. In a society like that, people, rich and poor, are deprived of their imaginations.

A talk given by the director Sakurai Daizo will take place in Peking University on September 7. On the other hand, in One Way Street Library, there will be a meeting with creators of the play on September 8 and an evaluation discussion on September 22.

http://tent-beijing.blog.sohu.com/entry/

Chinese Dreamers

2007-08-14T00:31:00.001-07:00

Chinese Dreamers

This is just a little photography assignment on dreamers in China with about 10 pieces, shot by Liao Weitang, a photographer and poet born in Guangdong province in 1975. Liao spent his childhood in Zhuhai, a southeastern coastal city famous for its seafood and Lychee, followed by his residence in Hong Kong and Beijing in his 20s. Liao also flies between Chinese provinces including Haerbin, Xinjiang, Mongolia, Yunnan… Liao has never taken any of these abovementioned places as his home. This insider- outsider identity makes him the best person to observe China, just like Edward Said to Middle East.

In these pictures there show the scenes of China we are not familiar– no Tiananmen Square, no Mao’s rosy cheeks, no fog- barraged willows, no bright red lanterns, these are not the images of “China”, which is a hyperreality piled up by unilateral, selected impressions fed to us through media. At the same time, this is the China that we are familiar, swimmers at Houhai, kids standing behind the rusty brick walls, elderly under a tree in a park, these are actually all the things that we encounter in China everyday.

The photographer follows his personal preference by utilizing monotone in this series. On realism people and scenes he adds an effect of pinhole camera, which is characterized by dark from the side of the photo that fades when it comes towards the center. On the background’s visual rough texture characterized by graininess, human figures are thrown by a slab of whiteness. Human figures’ fade away like they are being scotched by a poisonous white sun. The aura of human figures that was already eliminated by the possibility of photography multiplication is further weakened by the wiping off part of their face outlines. The huaman figures in the pictures are devastated to be the backgrounds of the backgrounds behind them.

The title “Chinese Dreamers” reveals that the grassroots in the pictures are actually in dreams, they are in dreams not because they are dreaming, but for the fact that they are, placed, or misplaced, into somebody’s dreams, or the whole country’ s dreams of good future. In these dreams some people found their bliss and some are scalded by the overheated reality: Like Yang Yi, the balladmonger who wandered around museums and universities, was still swooped by the cops when he gave his engrossing tunes that he leant from the north of Shannxi in the era of the rising of the economy. This set of pictures unveils how these grassroots are trapped in some other people’s dream through one of photography’ nature, immobility.

The power of photography, is “measured’ by the extent of how it nullifies the reality and creates its own, it is a process from making replica to creation. The strength of Chinese Dreamers comes from eliminating all others’ Weltanschauung and creating its own China by photographic skills and dissecting the reality.

c-ART-sh

2007-08-09T04:43:00.001-07:00

We all said China’s art scene is market- oriented, just see how people describe 798 factory, (the former Bauhaus industrial area, now an art district) has become an art supermarket and look at how painter Liu Xiaodong’ s 3m x 10m “Three Gorges New Immigrants” ended up being sold at RMB 22 million at Poly art auction (although the artist claimed that his hyper- expensive painting has been made to a tool for making hot money and should cost less that RMB 10 million) We know that it’s all linked with money, and most people agree with this, this is a linear conclusion from the art trends (if you believe that art scene is a market) in the Middle Kingdom. Instead of creating art that makes money, some people do it in a reverse way, which is, making art with money.

Chinese artist Liang Kegang uses one million yuan genuine banknotes to create his work “One Million”. The 10, 000 hundred kuai banknotes are divided into 100 wads, and then placed on a wall as a collage, with ten wads on each side. The physical heaviness of the notes creates problems for the gallery staffs in setting up, they kept falling off from the wall. The artist said he would sell the work at the price of RMB 1.2 to 1.3 million.

Before pushing you into a debate of the relations between art and capitalism, this 1.14m x 1,8m piece raises the abstractness of the concept of money, numbers on the tags of your H & M shirt, shining digitals on ATM screen, or, “material of a general material of contracts”. The tangibility of banknotes sparks off a rethinking process on people’s superstition and dependence on monetary numbers in the e- banking era. Also the hot argument on this work reveals the widely- shared established concept of the contrariety between art/ intellectually and business/ money in China’s (or actually other country) tradition that can be dated back to the Shi (Chinese intellectuals)’s despise on money in ancient times. This thought can be shown on some viewers’ comment: “it’s a shame”. Well, what kind of shame it is? The shame of being absorbed or affected by a establishment? So how about the art-pieces being absorbed by some “spiritual” establishment like politics, philosophy or psychology, which all result in weakening the intuitive/ phenomenological power, which make art to be art but not something else, released from a piece?

This work, which is monetarily expensive before any artistic value is added to the piece, can be compared with British artist Damien Hirst (you know, the shark pickler) ‘s work “For the Love of God”, a platinum life- size human skull encrusted with 8, 601 fine diamonds. Both of them cast materialistic heaviness, on, something like death, or, your and my hands.

DIAF 2007

2007-08-09T03:19:00.000-07:00

In the past four years, DIAF (Dashanzi International Art Festival) has made the Danshanzi District / 798 factory, a former Bauhaus industrial area outside the east fourth ring road, has become part of the world art map. This art fair organized by artists themselves does a good job in raising public’s attention on Chinese contemporary art, the numbers of the DIAF visitors doubled from 80000 to 160000. The disputes between 798’s Seven Stars Management Group and the DIAF’s chief curator Huang Rui procrastinated the festival which is formerly scheduled in May to September 22 to October 14.

In spite of all the disputes, the 2007 DIAF is still worth expecting. Instead of being restricted to the Dashanzi area, the show extents geographically from the German style industrial complex to East Pioneer Theatre, Chaoyang Cultural House, East End Art Zone, Gao Bei Dian Art District, Huanyie Art District, Liquor Art Factory (Jiu Chang) And Yonghe Museum. This act maybe a response to the over-concentration and art super- market tendency of 798.

The motif for 2007 DIAF is yi (1)/ yi(2) (game/ process), the first Yi is from I- ching literally means easy, or change, on one hand it implies the organizer’s emphasis on the randomness, and playfulness of art. On the other hand, Yi (1) is a concept that concentrates the persistency of variability in the existing world to one single character, suggests the possibility of unlimited interpretation and misinterpretations of art. Yi (2) means move, especially the ones undergo under time and space changes, empirical side of art and human under external factors.

Organized by Thinking Hands and its partners including Art Beijing, the art feast canopies various genres including visual arts, lectures, music, films and video, dance and theater, performance arts and children’s programs. Apart from numerous individual exhibitions in a bunch of galleries, one of the features in this year’s DIAF opening is Game in Progress, a Adidas-China sponsored 24- hour continuous creation of Graffiti by Japanese street art/ graffiti artist group Rinpa Eshidan, a Japanese live painting group led by Noiz-Davi and Daisuke Yamamoto. Under the stimulation of music, artists will keep drawing, the first paintings will become the room for the next ones over it. The concept of this is also similar with automatic writing and medical Brut Art which keeps digging out mind flow. Also, the works explore an existence form of art which is parallel to the linear time flow. The happening- disappearing process redefines paintings by the visual process other than outcome

Another highlight is an exhibition of Tendance Floue, a French photography group comprised by 12 photographers who swing their photography stance between news and art with an influence of existentialism. The avoiding of collective metaphysical theories emphasizes on the topic of living experience and allows each artist to preserve their individuality though being in a group. Short films and 50 photos of 12 including artists will be shown.

If one is shocked by the line of Torii-like bright orange gateways in Central Park in New York and eleven pink- polypropylene surrounded islands Miami's Biscayne Bay, missing the talk by the creators of these artworks, environmental installation artist couple Christo and Jeanne-Claude will be his lifelong regret. Since the late 50s the duo started their “Wrapping Up” projects and gigantic Land Art pieces. All arouse phenomenological, intuitive shock and aesthetics by their huge scale (just imagine the wrapping of the Reichstag ) and almost formidable modification of landscapes. Expectedly, the worldly renowned duet will give seminars on environmental installation art, which is rarely practiced in China due to political and capital and other factors.

Performance art is paid great concern in China. People still take delight in talking about by artist Ma liuming ‘s art happening in front of British artists Gilbert and George during the avant garde duo ‘s visit in China, and debates on the ubiquity of Peter-Stembera-style self- mutilation acts are still on . Apart from performance by more than 20 local performance artists Cologne-born artist, Boris Nieslony who founded performance art collective Black Market International will host discussion, workshops and performance in DIAF 2007. The artist undergoes his ah-hoc performance art according to the resonance between him, people and the surroundings, which are coerced to be part of the process of Nieslony ‘s works.

听说

2007-03-20T01:11:00.000-07:00

1. 2001 Kubrick, Stanley 1968(《漫游太空2001，库布利克》)
　　2. Accattone Pasolini, Pier Paolo 1961(《乞丐》，帕索里尼)
　　3. Babette's Feast Axel, Gabriel 1987（《芭贝特的盛宴》）
　　4. Battleship Potemkin, The Eisenstein, Sergei 1925（《战舰波将金号》，爱森斯坦）
　　5. Bicycle Thieves, The De Sica, Vittorio 1949（《偷自行车的人》，德-西卡）
　　6. Blade Runner: The Director's Cut Scott, Ridley 1991（《银翼杀手》，雷德利-斯科特）
　　7. Blue Velvet Lynch, David 1986（《蓝丝绒》，大卫-林奇）
　　8. Chronicle of a Summer Rouch, Jean 1960（《夏日纪事》，让-鲁什）
　　9. Clockwork Orange Kubrick, Stanley 1971（《发条橙子》，库布利克）
　　10. Cook, The Thief, His Wife and Her Lover, the Greenaway, Peter 1989
　　（《厨子大盗他的妻子和她的情人/ 情欲色香味》，格林纳威）
　　11. Crash Cronenberg, David 1996（《撞车》，柯南博格）
　　12. Demon Seed Cammell, Donald 1977（《魔种》）
　　13. Desk Set Lang, Walter 1957
　　14. Draughtsman's Contract, The Greenaway, Peter 1982（《画师的合约》，格林纳威）
　　15. Dreamlife of Angels, The Zonca, Erick 1998（《两极天使》，宗卡）
　　16. Early Works Richter, Hans 192?
　　17. Eraserhead Lynch, David 1977（《橡皮头》，大卫-林奇）
　　18. Fifth Element, The Besson, Luc 1997（《第五元素》，吕克-贝松）
　　19. Film before Film Nekes, Werner 1986
　　20. Gattaca Niccol, Andrew 1997（《变种异煞/千钧一发》安德鲁-尼科尔）
　　21. Big Day, The Tati, Jacques 1947（《节日》，雅克-塔蒂）
　　22. Jules et Jim Truffaut, Francois 1962（《朱尔与吉姆》，特吕弗）
　　23. Beauty and the Beast Cocteau, Jean 1946（《美女与野兽》，让-考科多）
　　24. Hate Kassoritz, Mathieu 1995（《仇恨/怒火青春》，卡索维茨）
　　25. Pier, The Marker, Chris 1962（《堤》，克里斯-马克尔）
　　26. New Enchantment, The l'Herbier, Marcel 1924
　　27. La Magic Melies Meny, Jacques 1997
　　28. Films of Man Ray, The Man Ray 1998
　　29. 400 Blows, The Truffaut, Francois 1957（《四百击》，特吕弗）
　　30. Level Five Marker, Chris 1997
　　31. Man Bites Dog Belvaux, Remy 1992（《人咬狗》）
　　32. Man Ray Fargier, Jean Paul 1998
　　33. Man with a Movie Camera Vertov, Dziga 1929（《持摄影机的人》，维尔托夫）
　　34. Metropolis Lang, Fritz 1929（《大都会》，佛列兹-朗）
　　35. Mr Hulot's Holiday Tati, Jacques 1952（《于洛先生的假期》，雅克-塔蒂）
　　36. My Uncle Tati, Jacques 1958（《我的舅舅》，雅克-塔蒂）
　　37. Naked Leigh, Mike 1993（《赤裸》，迈克-雷）
　　38. Nosferatu Murnau, F.W. 1922（《吸血鬼》，茂瑙）
　　39. Cabinet of Dr Caligari, The Wiene, Robert 1919（《卡里加利博士的小屋》，维内）
　　40. Notorious Hitchcock, Alfred 1946（《美人计》，希区柯克）
　　41. Nuts in May Leigh, Mike 1976（《五月的坚果》，迈克-雷）
　　42. October Eisenstein, Sergei 1927（《十月》，爱森斯坦）
　　43. Paris, Texas Wenders, Wim 1984（《德州，巴黎》，文德斯）
　　44. Pillow Book, The Greenaway, Peter 1995（《枕边书》，格林纳威）
　　45. Playtime Tati, Jacques 1967（《游戏时间》，雅克-塔蒂）
　　46. Solaris Tarkovsky, Andrey 1972（《索拉里斯/飞向太空》，塔尔柯夫斯基）
　　47. Stalker Tarkovsky, Andrey 1979（《潜行者》，塔尔柯夫斯基）
　　48. Tampopo Itami, Juzo 1986（《蒲公英》，伊丹十三）
　　49. Tati Shorts Tati, Jacques 1930-67（雅克-塔蒂的短片）
　　50. Things to Come Menzies, William Cameron 1936（《科幻双故事》）
　　51. Tokyo Story Ozu, Yasuijiro 1953（《东京物语》，小津安二郎）
　　52. Man and a Woman, A Lelouch, Claude 1966（《一个男人与一个女人》克劳德•勒鲁什）
　　53. Wings of Desire Wenders, Wim 1987（《柏林苍穹下》，文德斯）
　　54. Birth of a Nation, The Griffith, D.W. 1915（《一个国家的诞生》，格里菲斯）
　　55. Theorem Pasolini, Pier Paolo 1968（《定理》，帕索里尼）
　　56. Week-End Godard, Jean-Luc 1967（《周末》，戈达尔）
　　57. Brothers Quay, The Brothers Quay 1980s
　　58. Andalusian Dog, An Bunuel, Luis/Dali, Salvador 1928（《一条叫安德鲁的狗》，达利，布努埃尔）
　　59. Rome, Open City Rossellini, Roberto 1945（《罗马，不设防的城市》，罗西里尼）
　　60. Intruder, The Corman, Roger 1961（《入侵者》，罗杰•科尔曼）
　　61. Visions of Light Glassman, Arnold 1992（《光影的美丽》，阿诺德•格拉斯曼）
　　62. Svankmajer : vol 1 Svankmajer, Jan 1960s
　　63. Svankmajer : vol 2 Svankmajer, Jan 1960s
　　64. Contempt Godard, Jean-Luc 1963（《轻蔑》，戈达尔）
　　65. One plus One Godard, Jean-Luc 1968（《一加一》，戈达尔）
　　66. Night in Casablanca, A Mayo, Archie 1946（《卡萨布兰卡之夜》，阿尔其•梅奥）
　　67. Rashomon Kurosawa, Akiro 1950（《罗生门》，黑泽明）
　　68. Yojimbo Kurosawa, Akiro 1961（《用心棒》，黑泽明）
　　69. Early Cinema : vol 1 BFI
　　70. Early Cinema : vol 2 BFI
　　71. Red Desert Antonioni, Michaelangelo 1964（《红色沙漠》，安东尼奥尼）
　　72. Annie Hall Allen, Woody 1977（《安妮•荷尔》，伍迪•艾伦）
　　73. Brazil Gilliam, Terry 1985（《巴西》，特里•吉列姆）
　　74. After Hours Scorsese, Martin 1985（《下班之后》，斯科西斯）
　　75. Wizard of Oz, The Fleming, Victor 1939（《绿野仙踪》，弗莱明）
　　76. Promise, The Von Trotter, Margarethe 1995（《许诺》，玛格丽特•冯•特洛塔）
　　77. Hudsucker Proxy, The Coen, Joel 1994（《金钱帝国》，科恩兄弟）
　　78. Matter of Life and Death, A Powell, Michael 1946（《平步青云》，迈克尔•鲍威尔）
　　79. Thelma and Louise Scott, Ridley 1991（《末路狂花》，雷德利•斯科特）
　　80. Antonia's Line Gorris, Marleen 1995（《不靠男人的女人》，玛琳•格里斯）
　　81. Man Who Fell to Earth, The Roeg, Nic 1973
　　82. Wings of the Dove Softley, Iain 1997（《三颗翼动的心》，伊恩•索夫特雷）
　　83. Portrait of a Lady Campion, Jane 1996（《淑女本色》，简•康萍）
　　84. Sense and Sensibility Lee, Ang 1995（《理智与情感》，李安）
　　85. Fanny and Alexander Bergman, Ingmar 1982（《芬尼与亚历山大》，伯格曼）
　　86. Don't Look Now Roeg, Nic 1973
　　87. Blow Up Antonioni, Michaelangelo 1966（《放大》，安东尼奥尼）
　　88. Mrs Dalloway Gorris, Marleen 1997（《达洛威夫人》）
　　89. Orlando Potter, Sally 1992（《奥兰多》，萨利•波特）
　　90. Colour of Pomegranates, The/Legend of the Suram Fortress, The Paradjanov, Sergo 1969
　　（《石榴的颜色/苏拉姆城堡的传说》，帕拉杰诺夫）
　　91. Sunset Boulevard Wilder, Billy 1950（《日落大道》，比利•怀尔德）
　　92. Citizen Kane Welles, Orson 1941（《公民凯恩》，威尔斯）
　　93. Blood of a Poet, The Cocteau, Jean 1930（《诗人之血》，让•考科多）
　　94. Crimes and Misdemeanors Allen, Woody 1989（《罪与罚》，伍迪•艾伦）
　　95. His Girl Friday Hawks, Howard 1940（《女友礼拜五》霍华德•霍克斯）
　　96. Batman Burton, Tim 1989（《蝙蝠侠》，提姆•波顿）
　　97. Strange Days Bigelow, Kathryn 1995（《世纪末暴潮》，凯瑟琳•碧罗格）
　　98. Age of Innocence, The Scorsese, Martin 1993（《纯真的年代》，斯科西斯）
　　99. French Lieutenant's Woman, The Reisz, Karel 1981（《法国中尉的女人》，卡尔•雷兹）
　　100. Little Dorrit : Part 1 Edzard, Christine 1988（《小杜瑞特》）
　　101. Little Dorrit : Part 2 Edzard, Christine 1988
　　102. Clueless Heckerling, Amy 1995（《独领风骚》，艾米·海克林）
　　103. Third Man, The Reed, Carol 1949（《第三个人》，卡洛尔·里德）
　　104. Fellini's Roma Fellini, Frederico 1972（《罗马》，费里尼）
　　105. It's A Wonderful Life Capra, Frank 1946（《美好人生》，卡普拉）
　　106. Edward Scissorhands Burton, Tim 1993（《剪刀手爱德华》，提姆·波顿）
　　107. Dracula - 1992 Coppola, Francis Ford 1992（《吸血惊情四百年》，科波拉）
　　108. Elephant Man, The Lynch, David 1980（《象人》，大卫·里恩）
　　109. Jane Eyre Stevenson, Robert 1943（《简爱》，罗伯特·斯蒂文森）
　　110. Performance Roeg, Nic and Cammell, Donald 1970
　　111. Flash, The Iscove, Robert 1990（《闪电侠》，罗伯特·伊斯科夫）
　　112. Apartment, The Wilder, Billy 1960（《公寓》，比利·怀尔德）
　　113. My Girlfriend's Boyfriend Rohmer. Eric 1987（《我女朋友的男朋友》，侯麦）
　　114. Silences of the Palaces, The Tlatli, Moufida 1996（《沉默的宫殿》）
　　115. Oliver! Reed, Carol 1968（《奥利弗》，卡洛尔·里德）
　　116. Rope Hitchcock, Alfred 1948（《绳索》，希区柯克）
　　117. Apocalypse Now Coppola, Francis Ford 1979（《现代启示录》，科波拉）
　　118. I've Heard The Mermaids Singing Rozema, Patricia 1996（《我听到美人鱼在唱歌》）
　　119. Intimate Lighting Passer, Ivan 1965（《逝水年华》，伊万·帕瑟）
　　120. Close Encounters of the Third Kind Speilberg, Steven 1977（《第三类接触》，斯皮尔博格）
　　121. Haunting, The Wise, Robert 1963（《猛鬼屋》，罗伯特·怀斯）
　　122. Short Cuts Altman, Robert 1993（《短片集》，罗伯特·阿尔特曼）
　　123. Yellow Submarine Dunning, George 1968（《黄色潜水艇》，乔治·唐宁）
　　124. 8 1/2 Fellini, Federico 1968（《八又二分之一》，费里尼）
　　125. Mirror Tarkovsky, Andrei 1974（《镜子》，塔尔柯夫斯基）
　　126. Dick Tracy Beatty, Warren 1990（《至尊神探》，沃伦·比蒂）
　　127. Lola Demy, Jacques 1960（《劳拉》，雅克·德米）
　　128. Fathers of Pop Arts Council ?
　　129. Conan the Barbarian Milius, John 1981（《霸王神剑》）
　　130. Piano, The Campion, Jane 1993（《钢琴课》，简·康萍）
　　131. Blade Runner: The Director's Cut Scott, Ridley 1991（《银翼杀手导演版》，雷德利·斯科特）
　　132. Red Shoes, The Powell, Michael 1948（《红菱艳》，迈克尔·鲍威尔）
　　133. Gormanghast: Episode 1 Wilson, Andy 2000
　　134. M Lang, Fritz 1931（《M》佛列兹·朗）
　　135. Gormanghast: Episode 2 Wilson, Andy 2000
　　136. Enigma of Kasper Hauser, The Herzog, Werner 1974（《加斯·荷伯之迷》，赫尔佐格）
　　137. Dark City Proyas, Alex 1998（《黑暗之城》）
　　138. Gormanghast: Episode 3 Wilson, Andy 2000
　　139. Fistful of Dollars, A Leone, Sergio 1964（《为了几块钱/荒原大镖客》，莱昂内）
　　140. For a Few Dollars More Leone, Sergio 1965（《为了更多几块钱/黄昏双镖客》，莱昂内）
　　141. Good, The Bad and The Ugly, The Leone, Sergio 1966（《好的坏的和丑的/黄金三镖客》，莱昂内）
　　142. L'Atalante Vigo, Jean 1934（《亚特兰大号》，让·维果）
　　143. Conformist, The Bertolucci, Bernardo 1970（《同流》，贝尔托鲁奇）
　　144. Rear Window Hitchcock, Alfred 1954（《后窗》，希区柯克）
　　145. Kino-Eye Vertov, Dziga 1924（《电影眼》，维尔托夫）
　　146. A Nous La Liberte Clair, Rene 1931（《自由属于我们》，雷内·克莱尔）
　　147. Alphaville Godard, Jean-Luc 1965（《阿尔法城》，戈达尔）
　　148. Touch of Evil Welles, Orson 1958（《历劫佳人/邪恶的接触》，奥逊·威尔斯）
　　149. Fat City Huston, John 1971（《富城》，约翰·休斯顿）
　　150. Under the Roofs of Paris Clair, Rene 1930（《巴黎屋檐下》，雷内·克莱尔）

看

2007-02-13T10:07:00.000-08:00

今晚2 kolegas 看演出。见伟棠疏影。更想回家。
今天演出的是两高大老外。Joel Grip来自瑞典，玩低音大提琴。David Coulter，音乐家，艺术工作坊主持人，导师，也为舞蹈戏剧等配乐。

Joel Grip 玩大提琴，前面提过了。他的即兴演出对大提琴的榨取令人印象极深：用弓拉，弹少不了，在弦上放鼓棍，小玩具（其实我看不清那是什么）敲打。。。。。。破坏性声音把大提琴原本经过设计的线条破坏，并同时创造。号角跟嘶鸣使进攻更为复杂，但无伤其直观性。不少即兴艺术家都着重理论的颠覆性多于艺术的直观部分，即令艺术之所以为艺术，而不是哲学或着数学的成分，听Joel Grip 的时候却人人更注意那些直观的体验，甚于理论上的摄收。看他演出，有时候觉得自己是个磬，声音转在外面，里面空心共鸣，四周慢慢长出檀城。

David Coulter 玩口弦，吹拖把，还有发出卡通片里的碎步声的小玩具，活像卖玩具有热爱玩具的小贩。台上滑稽的声音跟台下屏息的凝神成反差，什么时候我们可以轻轻松松感受艺术呢？

见一红衣妇，作慵懒性感状，样貌激似郑中基，笑死。

田园之死

2007-02-08T14:10:00.000-08:00

《田园之死》(pastoral hide-and seek) 1974 （又译：〈死在田园〉／〈死者田园祭〉
导演：寺山修司 (Sunji Terayama)

《田园之死》是寺山修司五部长片之一，是新手观其电影的入门课。片中华丽的视觉隐喻流溢，碎片般的情节，穿插期间的古怪人物（马戏团里的空气女，侏儒，全身披黑袈裟，带海盗眼罩的白面老妇，硫磺味弥漫的恐山，化浓妆的小孩等），种种意象搭构出寺山修司的世界，跟寺山修司的整个电影系列组成庞大的风格化异色空间。

不少人看过《田园之死》（又译《死在田园》／《死者田园祭》）后均认为其为寺山的自传体作品，除了以第一人称作为陈述角度外，戏中主角（以成人和少年两种姿态出现）与寺山修司同月同日生（同为12月10日，但寺山修司生于公元1935年，主角“我”出生年份则为昭和49年，即公元1974年，亦即该片拍摄年份）；寺山修司在日本青森县出生，戏中主角的出生地是位于青森县，有日本三大灵场之称的恐山（电影里主角称自己的出生地－－－恐山地处东京市）。种种非巧合的安排，证明寺山修司欲一借电影改写自己的历史而重生的意图。故此，解读此片的时候，不少人会堕入以作者生平为阐释单一切入点的圈套，出色的电影随即成了作者经验（empirical）生活的副线，意难平或者有病呻吟，戏里的肆意的意象和诗意都沦为对作者来得太迟的抱怨的附庸。

艺术作品一如艺术家之儿，离开子宫的幼儿已然是独立个体，除了被伦理强化的血缘关系，双亲跟后代其实没有什么实际的联系。孩子不是成人的附属，更不是父母共同投下的影子。解读（虽然所有阐释都是误读）作品如果只取作者为本的角度，难免减损作品的价值－－－－作品的价值就是的每次阐释的内容，每一种解读都赋予作品新的生命。我不否定寺山修司欲以〈田园之死〉来表现昔日屈服于母亲权威下迟熟的反抗，继而获得重生的，但寺山修司的想法并不是诠释的目的，而且这观点在云云有关寺山修司的评论已被多番提及，更有有心人以寺山修司生平对号入座，把电影各元素与寺山生平的经验事件等同，把寺山多彩诡奇的想像力拉低到生活牢骚的水平，艺术里的直观成分亦被完全消去，这非我所愿。

再看田园之死

电影梗概：“在青森县恐山山脚下的小村里，有一位与母亲两人相依为命的少年（”我“）。少年暗恋着嫁入邻家的女子。邻居是地主，婆婆统治家里的一切，女子的丈夫则是个软弱的中年男人。对少年来说，生活中最开心的事情是去见恐山的灵媒，听父亲给他的传言。一天，一个马戏团来到村里，少年从那里了解到外面的大千世界。心生向往的少年准备出村，邻家的媳妇得知后要与少年同行。然而那媳妇却没有赴约，等待的少年独自在原野上入睡……画面突然转到试播室，几个制作人员和评论家们正在观看此片，突然，剧中的少年开门进来，指出电影过度美化了那段日子，于是开始讲述真正的过去……’ （转载自www.mtime.com)

反抗权威的败北

寺山修司电影里对权威的反抗极为明显，如在实验短片《番茄酱皇帝》里小童追杀成人，《再见方舟》近亲表兄妹不顾坚固的贞操带的阻隔，坚持尝试做爱，片中人物对权力象征权力实体的颠覆意图都非常明显。这些露白的反抗行动是寺山修司电影的重要课题。对权威的挑战在《死在田园》展示为弑母意识。主角想借对记忆的操控，让少年时代的自己杀掉母亲，事与愿违，弑母计划最后失败。

弑母计划是对母亲此权力／权威象征和实体的挑战。但何谓权力／权威？权力并非由上而下的，权力是弥散的：权力并不是由在上者的创造，权力得以成就，有赖所有参与者（包括在下者）的共谋，而作为共谋者，在下者的权力就是作为社会共谋的权力；权力是一种力量关系，需要两端的支撑。所以死在田园的主角弑母失败，不单因为受制与社会伦理的羁绊，而是自己还没有脱离作为权力共谋的脚色，主角一厢情愿地企图抹走权力实体或者象征带来的阴影，根本不能切断权力力量关系的纽带，反而越踩越深。这样的反抗一如萨德对神的亵渎，一切最后只是徒劳。

寺山修司的时间

无论在寺山的电影，还是在他主持的《天栈屋敷》话剧团的作品里，时间的象征和隐喻无处不在：《再见方舟》内失去时间的村庄；舞台剧由真人扮演的巨钟，或者，〈田园之死〉主角母亲收集的破钟堆。形形色色，表报不同时间的时钟，没有提醒人时间，相反，它们让人忘掉时间。时钟不但是象征，更是实际工具，令量化客观时间的统一结构可以复印在世界之上。至少是人所认知的世界，之上。

客观时间是我们所熟悉的时间，三点半，美国比中慢，十三小时，一分钟等同六十秒。。。。。。这都是被普遍默认的，跟本真时间对立的派生概念。客观时间也是”时间对我们显现为各个当下，各个现在的次序”“这些现在可以在某写发生事情的时段上被计数”，这种概念为时间的量化和一体化提供了可能性。相反，本真时间没有经过任何概念的干扰，是本原地向人展示的时间。本真时间就是我们的此在，就是我们的主体性，那是真正的自我，而非透过线性时间里，（观察他者得来的）拉康的镜象自我。

〈死在田园〉主角母亲尝试把自己的儿子（少年时代的“我”）困在她的时间里，此举跟客观线性时间的霸权如出一辙。唯压力越大反抗越大，主角为古灵精怪的马戏团所吸引，决心逃离母亲，离开村子过新生活，最后他阴差阳错失去了童贞。客观时间象征－－－－母亲的时钟堆－－－－－渐渐远离的同时，少年手上多了一只象征本真时间的手表。比起弑母此类对某一权力对象的颠覆，重新阐释时间并以此建立主体性是更为彻底的革命。

除了控制戏中人的时间，〈田园之死〉也操控观者的时间。电影开端小朋友玩躲猫猫，原本的小玩伴忽然变成大正年代打扮的诡异人物，电影结尾主角跟母亲在故乡家中，刹那间四面墙倒下，主角暴露与东京繁华的街头，还有电影中空气女的呻吟，系在殉情男女身上的红线，鬼火般飘浮的日本老童谣。。。。。。这些感官异觉化（视觉和听觉上）不啻是寺山修司强烈风格特征，也是延长艾柯（Umberto Eco)在〈优游小说林〉里述及的阅读（观看）时间的技巧。对于电影和书本里寻常的物事和情节，我们会用在现实中早已熟知的经验／取自经验的逻辑推断，加快阅读时间。面对寺山修司精心布局的奇形怪状，既有逻辑无用武之地，观众只好费尽心神寻找当中的意蕴，或者象我那样，尽情享受日本cult 片鬼才预备的感官盛宴。如是者，观众所经验的时间不是放片的102 分钟，而是他们经验的（empirical), 迷路的时间。

记忆的不可信性

在阳光灿烂的日子（或原著《动物凶猛》）里，马小军的记忆处处出错，到后来甚至黑白不分，我们就知道记忆的不可信。记忆隐恶扬善，只保留对自己有利的叙述，甚至对你作出彻底背叛。《死在田园》的“我”以为可以驾驭记忆，并以这种自信武装自己回到故乡恐山。可惜，当他跟昔日年轻的自己开始对话，少年主角马上揭露成年主角美化了过去，记忆本是一连串谎言。记忆就是这么不可靠。无奈的是，我们需要从记忆抽取经验来建立自我的主体性和应付生活上的决定。记忆是每个人自我的基础，可是一个人挑选可以进入其记忆的体验时，往往因为种种原因而歪曲记忆，作出对自己的刻意误导。戏中主角为了拍电影，美化了自己跟邻家美妇就即为一例。

俳句

寺山是俳人，在〈田园之死〉里，俳句俯拾皆是，有人理解其所为是对美国强势文化的抗议。对此我不承认也不否定。俳句的节奏是跟日本人的呼吸非常吻合的，再好的文笔，也只可以翻译俳句书面的意思，但不可能翻译俳句的呼吸。田园之死的俳句表示了艺术的直观成分，那些部分，一如禅言，同为不可说，不可说。我没有大道理，只是任何的解释读不及无法解释的呼吸，那么有趣。

在田园之死的流程里，主角不断与权力短兵相接，不断重建主体性。那些我们永无完结的游戏。

p.s.有人说寺山修司象费里尼（Federico Fellini),因为马戏团是他们作品的重要部分也有人说寺山修司象柏索里尼（Pier Paolo Pasolini )，因为大家都有或隐晦或露白的性描写。

寺山修司就是寺山修司，只能是寺山修司。

PROSTITUTES' RAINDANCE

2007-02-07T21:40:00.000-08:00

Prostitutes' rain-dance
" If the drought persists , the Chinese government officials will report the disaster to the emperor , and the emperor will ask prostitutes to perform a rain dance."
" Those Chinese prostitutes were divided into groups. All of them together sat down to sing and play music. One by one, each group of prostitutes would stand up and dance at the twelve points, offering a peculiar performance; after each group finished, they would leave the stage for the next group, which would writhe and perform for the spirits." Anyone could predict what would happen if the rain still did not nourish the cracked ground after these rituals , everyone knew that if they were undiligent in their sacred task, the emperor would not release and send them back to their brothels with a rosy smile on his face. Everybody knew that, it was impossible, that was China in 1516. It was not hard to foresee that those prostitutes who disappointed their king would all be executed, but at least they would have the luxury of going to the scaffold instead of the other creatively ruthless devices for torturing. You know, there were thousands of prostitutes involved in the ceremony, so would take several years to execute all those innocent females if the emperor wanted to kill them by a wide range of torture varieties. That 's why the square was choked by the waves of women's cries of pain. Through those starving and sleepless days and nights , they could only wait, with their eyes like dried-up wells, opened to the air, for the rain to come.

This ceremony has never been recorded in a Chinese history book, at least not the official ones. Ibn Battuta 's observation provides additional evidence on China' s folk-religious history, and it is this missing part that attracts my attention. During ancient times, just like in any other agricultural Asian society, there were remains of primitive religion in Chinese society, no matter now influential Confucianism and other more advanced religions were. So what is the meaning of these relics of primitive religion? Research tell us that primal agriculture and witchcraft are siamese twins, so it is not surprising that we have found information indicating that there were such shamanistic ceremonies in a dynasty where technology existed that could allow a Chinese eunuch to sail from China to Africa. The link between primitive agriculture and shamanism is based on the unstablity imposed on early peasants by nature: hailstorms, hurricane, flooding ------any one of these disasters could devour millions of peasant s' lives and properties in one gulp. Dealing with the nature that was a provider as well as a foe , early Chinese peasants could only take a passive stance--------let supernatural powers control the uncontrollable nature. This idea was the fundamental concept of primeval Chinese religion, and was closely related to agricultural productivity.

Facing supernatural powers higher than nature , the primordial Chinese could not do anything other than beseech. So who was going to communicate with invisible spiritual beings？Through intuitive observations, early people decided to put emphasis on women. Through visceral observation, early people associated the reproduction of crops with that of human beings directly (in aboriginal matriarchal communities , males' role in breeding was considered not as important as females'). This is the reason why most primitive religious rites were performed by females.

Thus the role of women in rain-dance ceremony could explained by looking at shamanism, but not the choice of using prostitutes. One controversial explanation would be that prostitutes were not considered to be humans. In ancient China, sex-workers were commodified by the patriarchy as toys on men's palms. Transaction contracts for prostitutes and systematic operation of brothels widely legitimated this commodification from an ideological perspective to economic and legal aspects . Being defined as commodities and not humans, sex workers lost their right of blending into the social structure through ethical relations. Ancient Chinese prostitutes were nobody's wives, daughters, or mothers, and so they did not have any corresponding ethical identity in society. Instead, they were attached to brothels and men through repressive relations. Rulers and moralists were happy to assign unpleasant tasks to prostitutes, for instance, the rain-dance, since using women in the societal structure for such dangerous tasks would topple the entire Confucian society, which was formed by individual households.

As French philosopher Gilles Deleuze stated ,empirical history is strata of visible and narrative surfaces. Histories do not exist before they are expressed by narration , nor they are stuffed with visible elements. Narration and selection of discourses are crucial components of history. Chinese history is always utilized as an implement of moral-education ,hence , historians were advised to be cautious when they were going to put something involving prostitutes , who were considered to be immoral and also detrimental to the Confucian stability ,on a history book.

Prostitutes would only appear in Chinese history in two forms : as femme fatale , or an individual whose 'immorality" was watered-down by patriotism . Nobody that the prostitutes who sacrificed their bodies and minds or even lives ,were kind of patriots , but historians and media told us that stories of individuals are more striking than those of a group of people ( The news reports on the Middle-East rivals demonstrate how this theory works), in other words , one prostitute's stories are more eye-catching than the ones of a group of prostitutes , so , they are more effective in moral education and propaganda. That's why we could only see the evidence of those pitiful women's existence on a foreigner's travel note instead of our own history books.

Since ancient days, even on the ancient plain silks or inscribed-bamboo stripes that ancient history was inscribed upon, we cannot find many written records discussing the subject of prostitutes. There were many who were infatuated by prostitutes with snowy-white skin and willing to spend millions in gold on them. However, being treated as commodities, prostitutes were doomed to be muted, to be forgotten on purpose. There might be heavenly nourishment coming down after incantations floated by on chapped purple lips with fading rouge，there might be pomegranate-red wounds with air-pipes exposed blooming in the scorched square, but in any case the prostitutes' voices were forever buried. Only the marble lions on the squares would see them, with sleepless stone eyes.

尺八

2007-01-20T22:31:00.000-08:00

在一次老嬉皮的聚会上，与友人感叹时光无情，当年高呼要做爱不要战争的人们都“从良”，步上结婚生子，刻板的白领道路上，当天高举的手臂安分的埋在发福的皮肉里，对于那个时代，除了留恋，他们什么也不做，过时的金曲在光洁的木地板抱着肚子打滚，老嬉皮们心安理得的怀旧，行动变成了身后无关的背景，甚至连口号也不是。

后来跟聚会上一个不甚起眼的老嬉皮说话，得知其子于夏威夷学习日本尺八，禅乐何以远渡椰林树影之间？大概因为夏威夷日本游客极多（朋友说在夏威夷看到的日本人比白人多），免不了也带去些扶桑文化，也未可知。老嬉皮的心愿可让下一代完成。

听到尺八我们顿时眼前一亮，尺八是日本少数传统乐器之一（虽然他们的传统乐器也多为唐器），以能乐为首的日本传统雅乐也总有尺八伴奏。尺八声音如削竹，尖儿见平面，虚而远，禅味重。

尺八载唐前已有，为名不同。魏晋前称笛，魏晋时称长笛，到唐时才名之尺八，唐尺八后又演变成宋尺八，宋尺八变成今天的南音尺八和洞箫，在日本则演变成日本尺八。

中国音乐辞典中载：“尺八，古代吹奏乐器。唐代已出现，相传吕才善制此器”。相传吕才作尺八是为了正雅乐，并承继和发展魏晋长笛。魏晋长笛又为汉笛发展而成，汉笛之祖为姜笛。

能乐里的日本尺八演奏的非旋律而是音节，中间有极长的留白，比任何声音都重要。
在barnum 博物馆买印度竹笛一只，声音极像尺八而燥，想必是姜笛与尺八的渊源所致。

（资料来自陈正生先生有关文章）

知其白，守其黑

2007-01-03T18:35:00.000-08:00

到了北京，没有太冷，风也不大
在网上看见伟棠的“耶稣在庙街(阿云的圣诞歌)" ,就哭了起来。昏暗的网吧到处睡着颜色，看什么时候我撑不住了，他们好一起扑过来

想起早饭吃的小龙包，发黄的皮多么苦，
我在做什么呢

耶稣在庙街（阿云的圣诞歌）

耶稣在庙街，阿云在耶路撒冷。
在耶路撒冷做什么？一坐下就哭。

哭什么？今天被警察干，
干了我还要递押我出境。

哭什么？今天被“大佬”干，
干了我还抢去我一千块钱。

今天那可以做我爷爷的老头他压在我身上，
今天那记者、法官、署长他们压在我身上。

阿云你撒谎，你不在耶路撒冷，
你分明在香港。

耶稣也不在庙街，
他在九龙湾，做些地盘的黑工。

偶尔抬头，想起了伯利恒。
想起伯利恒做什么？等待一颗星。

阿云在庙街，从左走到右，从右走到左。
地球在她脚下转着，摩擦着她：

从里到外，从身到心。它粗砺得可怕
一如两千零六年前那个圣诞夜，

一颗星在两千光年外爆炸、毁灭，
彼时，耶稣在庙街，阿云又名抹大拉。

抹大拉又名玛利亚。玛利亚的儿子在伯利恒，
阿云的儿子在四川乡下。

2006．12．28．

随便说

2006-12-26T16:39:00.000-08:00

就随便说说

在外地的时候，曾经被一只称为“tick"的小昆虫叮了脖子，当时朋友大为紧张，因为其中一种tick (deer tick)会传染lyme disease ,首尾长而且致命，后来观察了一段时间，似乎没有事了，就放了心。岂料回港以后，被叮的地方有轻微肿胀，而且颈后淋巴结肿大，匆匆跑去医院。香港好像没有这种虫，也没人听说过这种病，护士医生对我的怀疑甚不耐烦。医生随随便便的看了一下，开了抗生素，吃了后胃好像小锅里的菜那样慢慢翻滚，想吐。

虽然很老土，但那时候才知健康宝贵。
死了小事，可是终生骨节疼，坐轮椅，生活又有很多不便，便不敢再想下去。
跟我家人说，如果我死了，请告诉他

哎呀

2006-12-01T08:15:00.000-08:00

几个星期都会看见鹿，通常一家大细到花园吃草，还有园里的食用植物。朋友，或者朋友妈妈的朋友，看见鹿的踪影，便快快手执弓箭猎枪，躲在草丛后伺机出击。开始的时候我非常不高兴，在朋友把弓箭架好以前就高声大叫把鹿吓走。朋友说抓了鹿有鹿肉可以吃。我说我不吃鹿肉。一半是受到迪士尼卡通的荼毒，谁会去吃可爱的斑比？而且鹿在香港人心里的予设不是食物，他们不应出现在肉档的餐桌，而应该出现在金黄的草原，迪士尼卡通片，不少人把他们当做人类的朋友（不管他们想不想跟你建立关系），如果在餐桌上看见朋友的肉，是那么不适合啊。再者，如果朋友给我一块鹿肉，大概我也考虑吃一下，因为中间省却了不少感官体验，尖利的惨叫，微温的血流，动物垂死的眼睛带不到刀叉间。但是我真不忍看动物在我面前被杀，直接的痛苦表现，一下以下刺我的脸。真的难受。
可能有天会成为自相矛盾，眼不见的素食者。

李贺南园十三首其一

2006-11-26T19:14:00.000-08:00

花枝草蔓眼中开，小白长红越女腮。
可怜日暮嫣香落，嫁与春风不用媒。

最好的时光

2006-09-14T22:13:00.000-07:00

最好的时光首部分的恋爱梦
最重要的部分就是最后荧幕全黑的几秒最好的画面

戏

2006-09-04T22:44:00.000-07:00

便赏心乐事谁家园
送给所有我爱的和爱我的人

武士道

2006-09-04T22:41:00.000-07:00

阅读武士道的书亚洲君主控制人民的方法似乎是万宗一元难得中国政府现在还是老样子

此

2006-08-28T11:06:00.000-07:00

我很讨厌现在什么都做不好的状态，惶惶终日，坐立难安。每次转身都觉得后面有巨大的不知名的动物随时扑上来，笑的时候也总认为恶运的旋转在嘴边一边活动一边扩大，以至最后连它自己都发狂，在我的尸身旁边奄奄一息。

游泳时半浮水上，耳朵里一半是水上的声音另一半是水下的声音，我不在上也不在下，真好。

妓女求雨

2006-08-26T09:14:00.001-07:00

季羡林文集里面有一段小小的文章，提到阿里。阿克巴尔写的中国纪行，里面描述了妓女求雨的章节："如果久旱不雨，官员启奏皇帝，皇帝就命令妓女祷雨。"，"妓女分组坐下，唱歌，奏乐；然后一组人起来，在12个地点跳舞，并做出一些奇怪的表演；一组演完，退出，另一组进来，在菩萨面前跳舞，演戏。"
，如果一番胭脂桃红载歌载舞后，上苍还是不降甘霖，妓女的下场是可以想像的，皇上大人断不会挤出透着红光的笑脸，欢送他谓之"办事不力"的臣民回到灯红酒绿，让她们继续操她们的皮肉生涯，你知道，这不可能，这是中国。求雨不成，有负皇命的烟花女，最后会被处死，大概是斩首，因为比较快，须知祈雨的妓女有几千人，若要动员中国封建政权最擅长的五花百门的酷刑，什么炮烙肉蓑衣之类的，怕杀几个月也杀不完。因此祷雨的妓女，总怕自己人头不保，撕心地哭得无日无夜。每天绝谷弃宸，张着枯井般的眼睛等着大雨到来。

，
这个习俗不要说我，连季羡林先生都说闻所未闻，他遂以'孤陋寡闻"自嘲，季先生的孤陋是假，我的寡闻却是货真价实，不过在我读过的古往今来的文献，都没有看见过妓女求雨的记载。话虽如此，我倒相信真有其事。古时中国一如其他以农立国的亚洲诸地，就算儒释道或者其他意识形态有多神通广大，社会总有多少原始信仰的残余。原始农业跟巫术脱不了关系，农业的运作有效与否，很大程度取决于造化，不可驾驭的自然赋予农业不稳定性；冰雹，狂风，暴雨，旱灾涝患各种变幻莫测的自然灾害，不费吹灰便把农民的身家性命付诸一炬。对于妄为的自然，人类完全束手无策，从耕的先民只可以用最消极的办法（但他们可能以为是积极的，谁知道呢），把植物和自己的命运一并交托予超越自然之上的概念————超自然。对于控制以外的超自然，人们只可以寻求沟通救助。农业信仰的核心是生产力，原始的直观观察方法，很容易把农作物的生产跟人类再生产的实行者（原始杂交社会的先民常常'知其母不知其父"，忽略男性在繁殖后代的角色）———女性挂钩，以致后来出现与神鬼沟通，祈求五谷丰登的巫女。求雨这类明显跟农业大有关系的仪式，当然也要请来女性坐镇。

都是女人，都有生而有之的生产能力，为甚么踏上祭台的是性工作者呢？其中一个原因大概是"妓女不是人"。妓女是被父权社会物化的，男性掌上的性玩物。买卖契约和妓院的运作令这种物化从意识形进一步态蔓延到法律和经济范围。被定义为物的瞬间，妓女被褫夺作为人类，以伦理关系作为个人跟社会焊接的权利。妓女不是别人的女儿，妻子，母亲，她们没有相对的伦理身份，只有与妓院的纯粹从属关系，统治者跟所有卫道之士，都乐于把妓女这种'非人"派往从事求雨这种不成功便成仁的任务。反之，要是把家庭妇女—————某人的妻室，闺女，姨妈姑姐。。。。进行这类随时砍头（就算免了一死，触怒神明的后果也是不堪设想的）的恶差，对以家庭为社会结构基本单位的儒教国家的稳定，是猛于虎的威胁啊，哎呀呀，好惊，皇上龙袍都变了色。所以担子落到在伦理关系网之外的妓女身上。

德勒兹所说的每个时代（历史建构）都有其独特的"看"与"说"的方式，即其对历史事件的反省／陈述（黑格尔的第二种历史：反省的历史）和话语。眼睛和嘴巴不一定唇齿相依，看和说的方式也时时变易，引证历史的反覆和虚构。反覆与虚构暂且不说，以历史为道德教化的基本，时时高呼以史为鉴（谁知道他们在模糊的铜镜里看见了多少，铜镜里的东西又有几许）的中国，历史的话语必须有利道德教化，或者它自身就是一种道德。故无论何朝何世，汗青沾不上'伤风败族'的妓女的衣襟。纵有几位秦淮名艳史上有名，基本上都经过爱国情操或者仁义礼智的"净化"，史学家才觉得可以让他们上上台面。在瞩目性／引人眼目方面，（可以参看各色各样的中东战争报道）个体经历的力量总比一个群体的大，用于道德教化时，效果殊异。史册上的妓女，是作为个别例子的'奇女子'，而非柳巷红香脂粉丛的身份出现的。把几千个妓女求雨的事件放在史册上，仲尼老兄会说，那跟修身齐家够不上。

所以，古往今来，无论是简续（错字）或者谦（错字）帛，不墨成簇烟花锦。虽然不少人对妓女又嫌又要，但是商品就算如何其门若市，都注定被割掉声带，注定被刻意遗忘。就算咒文曾蜉经红花汁退尽的紫唇化雨成露，泽稻麦青稞；就算几千个暴露着气管的石榴红创口，如山倒在干裂的广场上，没有人听她们说。只有白狮子睁石头眼睛，空空地望。

病

2006-08-26T09:14:00.000-07:00

7月20
病总不见好。如丝茧抽不完。尿道炎好了以后，这几天开始咳嗽。好像有一只发烧的手，用细绒布包住，在我的气管来来去去扫，深蓝细毛黏附粉红色肉质，随空气流动抖。摩擦生热，深蓝笑笑，牙齿有潮湿的光，把热融融压下。小时候天天气管炎，医生。有什么不妥。好。听听气管，吸气，要用力。拉高衫，听听背脊。肺有点不清。药都是那几种。现在还是先不要开抗生素。每个星期都要看儿科医生，一二三四五六，药水有六支。喝完了又要去医生处。颜色越浅越透明的最好喝，好彩的话的可以喝到菠萝味药水，最难喝是一种紫红的，比黑色那种，大人叫马尿的更难喝。跟世界上任何最难喝的东西一样难喝。如果来自它是纯粹的苦，臭，五感就会在廉价白瓷汤匙碰到我的嘴唇以前尽力钝化一点，象把黄铜棒在地上磨，作用不大，但总让我好受些。偏那药水又甜，逃过了我的感官，使他们放怀拥抱那种直到二十年后我想起来还是想吐的味道。那药在汤匙里一个多小时我家人又打又哄最后捏着我的鼻子灌。呀。紫红色涔入颅骨，金刚箍般慢慢收紧。哎。

发烧时我面好红，嘴唇红到紫，大人看见我会说你今天好靓。吃药后要睡。隔几个钟就醒醒，看看厨房，喝一点冬瓜汤回床睡，冬瓜消暑，不过记紧连皮。总是要躺。坐着不舒服，塞在屁眼的退烧药还没融，子弹形，软软的。吃了药会又再睡好多，奇怪那时侯我不会做梦，脑皮台布半摊开，上面什么都不放。晚上睁开眼全家人都睡着，黑妈妈整个房子，唯独头上关帝爷爷的神位，红色灯泡很暗地亮，望望四周原来我站在红光里，香炉灰垫着脚。你后面站那个，是不是张飞。金戈铁马，红脸膛一滴汗都没有。是气盖世。那身盔甲几十斤重，你几时想脱下来。没有，从来没有，刮过骨。关帝关帝。每日我捧饭碗，里面有面，饭或者汤，从你脚下过，你知道我叫什么名字吗。嬷嬷倒烧酒拜你。很刺鼻难闻。多谢关帝爷。嬷嬷说。初一十五我们把烧肉切鸡水果放你前面，其实都是自己吃。你浓眉压大眼，依旧什么都不说。焚香缕缕飘。我烧还没退，躺在床上可以看见窗边铁打医馆的招牌，拖臼了他们就带我去铁打馆，门口有一副人骨模型，左侧一张图画了大肠小肠十二指肠，假人骨我不怕，它太白，大锣大鼓的暴露它的塑料材质。倒是那些肠画，光滑的外壁自发的推着各种食物残余，那种本能的努力，看者真可怕。把草药煮好摊平在纱布上，皮肤，烂泥样的草药，纱布，胶皮，纱布，三角巾，一层层，固定我刚接好的臼位。窗外铁打馆招牌上一堆小小影子动起来，变成风筝的形状，调人地跳，你也来，跳吧，来。我们就在窗外，等你。来。我还是躺在床上，手指在空气里跟着灰招牌上铁打师傅的名字，一笔笔写，笔画不多。师傅呢很就不见他了。哦他去了欧洲，旅行。哦这样吗什么时候回来呢。这我们也不知道。师傅女儿走开了。嬷嬷说，旅什么行，过了身就真。

嬷嬷也常生病，支气管老发炎，肺又有水肿。嬷嬷在广华医院洗床单被单，看医生平些。咳老是不好，上楼梯喘气哦很久，一头在她的梦里谁的手拉着。可能是萝卜头日本兵，罗圈腿湾在泥黄军服下，比我嬷嬷矮成个头，但是他们有枪有刺刀，远远看见他们要赶紧跑。我从来没见过嬷嬷不咳嗽，入了梦，气管还是西西响，好像一缕丝绵再里面来回牵。从唾液的一头到一头。叫她戒烟有不肯。食烟几十年，一戒就会死，嬷嬷那时侯在山睡了。有次饮茶回家，嬷嬷跑到厕所，吐了起来。我在外面闻到牛肉的味道。从干呕的声潮中，我首次发现，嬷嬷的身体，那么有力的把深红色浅红色柔软的小的大的齿轮连起来，向着同一方向涌动，我那时侯真的为老人突如其来的力量惊呆了。

。

2006-08-26T09:13:00.000-07:00

7月二十一日

以异觉化（defamiliarization)来延长阅读时间，以唤起意识里的既有场景加快阅读速度。

义

2006-08-26T09:12:00.000-07:00

七月二十三

今天看见一本减价的进口鸟类图鉴，三十块便宜的很，因为想把一本日本文化书提到的送葬歌内容画出来，有些鸟名连读都不会读，当然可以虚构一些鸟，但是鸟的姿态跟细部我都不太能掌握。有图片方便很多，付钱以前翻了翻，发觉都颇无味，遂把书放回原处。其实不是图片不好，拍的清楚（图鉴就是要这样），而且展示了不少三尖八角的品种，但是就是没有那种鸟类跟我们哺乳类那种既远又近的湛绿的惊颤，过度鲜艳的颜色也把飞禽那些猩红的大嘴，突兀的毛色排列合理化卡通化，自然的想像力顿时沦为象真度极高的动画。

一直喜欢用电脑写，因为语言延时的情况没有手写那么严重，思路比较轻捷。用笔写的时候，笔画原子笔的油墨，铅笔的碳粉犹如治虫大师笔下拖沓在人身后的大包。
想打"付钱"这个字，挞挞，"fuqian"后面推出托盘，肤浅／浮浅／浮签／
兵列在前，就是没有资本主义社会日常所有动作拉扯到的那两个字（有时是一个），想了想，大概是跟霸王别姬里袁四爷夹着两根留鸟毛在头上，睁大死鱼眼同蝶衣说的那句"这个字实在不雅"有关。呵呵。然后就想起昨天在巴士上看见的以艺术生活作招徕的新楼盘。

2006-08-25T10:28:00.000-07:00