Mapping the Affective Landscape 描绘情感景观


Book 2 from July 9th to August 6th 2018

第二册书撰写周期:从7月9日到2018年8月6日

Movement without Doubt 轻盈的运动


Chapter 4: Between Landings and Groundings

第四章: 从下榻到驻留

A family of emergences1 seeking a world

一个涌现的家庭的归属性

On living with a Wal-Mart over the mountain, anthropologist Kathleen Stewart writes,
‘It was then that I begun to think, along with others, that nameable clarities like family or friendship or love or collapse or laughing or telling stories or violence or place are all bloom spaces. They are all forms of attending to what is happening, sensing out, accreting attachment and detachments, differences and indifferences, losses and proliferating possibilities.’ (Stewart. K; 2010; 344).

谈及与沃尔玛共居一山的经历,人类学家凯思林·斯图尔特(Kathleen Stewart)写到:

“从那时起,我开始与他人有了共通的领悟。很多生活中意味清晰的符号,比如“家庭”、“友情”、“崩溃”、“欢笑”、“讲述”、“暴力”、“地点”, 都是滋生蕴意的土壤。它们以各自的形式诠释着人们对生活的专注、羁绊、离别、差异、冷漠、失利、以及生命中生生不息的可能性。

Like Stewart, we too live with a Wal-Mart over the mountain.

On this day, at the beginning of the second week of our residency, the glacier made its first appearance since our arrival.
Like Wal-Mart, it hovers behind a mountain.

Framed by the above, we ask once again: ‘How can questions that emerge from our encounter with the location participate in emergent realities?’ And ‘What niche of the artistic imagination, that cannot flourish anywhere else, can flourish here?’

But who are ‘we’, who address these questions?

和斯图尔特一样,我们住的山上也有沃尔玛。

这天,在我们驻留第二周的伊始之际,我们首次见到了冰川。像沃尔玛一样,它在一座山后面涌现。

如上所述,我们再次问:“我们对驻留地点产生的疑问与现实有怎样的关联?”“艺术想象力有哪些特性是只能在这里成长的?”

但提出这些问题的“我们”究竟是谁?

On July 9th a new group of artists convened to consider the topic of ‘Mapping the Affective Landscape’ during weekly study sessions. With our arrival begins also a new chapter in the residency program. Not only do each of us perceive the landscape differently, coming as we do with clearly distinguishable sets of skills, sensitivities and memory spaces, but also the landscape presents itself to each group of artists differently.

In July the first crop of peaches is being harvested; the size of maize, gourd plants and sunflowers makes it impossible now to traverse field paths without causing some damage and water levels have risen, so that the improvised passages across man-made channels - made up of slats of wood and bags of concrete - have become flooded.

7月9日,一群新的艺术家在学习期间每周召开例会,讨论“描绘情感景观”的主题。我们的到来拉开了驻留计划新的帷幕。我们每个人对风景有不同的视角,正如同我们每个人拥有独特的技能、灵敏度、和记忆空间一样,而且景观也以不同的方式呈现给每一组艺术家。

7月是年内第一批桃子收获的季节;如玉米、葫芦、向日葵般大的桃子的大小使得人们不可能在不损害果实的情况下穿越田间小路。与此同时水位也有所上升,因此临时由由木板条和混凝土袋组成的人造渠道 也被淹没了。

Aided by our host family, Xuemei, Erge, Jiyu, Amma and LaoHe, we, who are attuning our rhythms, our thinking, our visceral and sentient bodies, are

在我们的寄宿家庭,  Xuemei, Erge, Jiyu, Amma 和LaoHe的帮助下, 我们接通我们的节奏, 我们的思想, 我们的内脏和有知觉的身体。我们是:

Hanne van Dyck: fine artist 美术家

///  www.hannevandyck.com

Kitamari: dancer 舞者

/// http://ki6dance.jimdo.com / http://dancefanfarekyoto.com

Stephanie DeBoers: poet & media critic/ theorist 诗人&媒体评论员/理论家

/// http://mediaschool.indiana.edu/profile/?p=sdeboer

He Jixing: filmmaker 电影人

http://v.youku.com/v_show/id_XMzcwNDYzMTI5Ng==.html?sharekey=b8a5d0ecc47668221953

46dfb919c3085 // (Password: HJX5991xjh)

Li Lisha: artist 艺术家

https://lsirlisa.weebly.com

Jay Brown: founder of Lijiang Studio 丽江工作室创始人

www.lijiangstudio.org

Quanquan: 3-year old girl 三周岁的小姑娘

Petra Johnson- artist 艺术家

www.walk-with-me.org.uk

 

Utsa Hazarika, an artist/anthropologist from India/US as well as family members and in-laws from Kumming, neighbours and friends, who played important roles in the formation of the studio, join us for some of the time during the festive season of Tabbu, which began on Friday, the 13th July: the first day of the sixth lunar month. Jixing tells me the festivities will last for fifteen days. The village has become a busy place. The roadside by the entrance to most farmhouses is lined with cars. I encounter a form of movement, I have not noted before in this location: ambling. This ‘walking without purpose’ in groups brings with it imaginary spaces of the sentient body: the puzzling space of homecoming after long absences and, for the in-laws, the semi-magic space of encountering the childhood environs of a loved one. Back in the 70s, Mueggler notes, pestilence came with the sixth lunar month. ‘With no pesticides in use until the late 1970s, insects feasted in clusters on the rice stalks. Women spent their days in the fields sweeping long, plaited bamboo scoops over the rice plants, trapping the pests, and packing them into tightly woven carrying baskets to burn.’ (Mueggler. 2001; 151).

来自印度/美国的艺术家/人类学家Utsa Hazarika以及来自昆明的家庭成员和姻亲,邻居和朋友,在工作室的组建过程中发挥了重要作用,并在Tabbu节日期间与我们共处。Tabbu节从7月13日的星期五开始:农历六月的第一天。吉星告诉我,庆祝活动将持续十五天。这个村庄俨然因此变得繁忙。大多数农舍入口处的路边都是汽车。我结识了一种在来云南前从未留意过的运动形式:漫步。这种团体性的“无目的地行走”为身体意识带来更多的想象空间:背井离乡多年后与公婆的旧地重逢所带来的错愕,以及遇到亲人和童年环境的半魔法化的空间感。 Mueggler指出,早在70年代,瘟疫就发生在每年农历六月。 “直到20世纪70年代后期人们才使用杀虫剂,遏制昆虫在稻秆上成群结块。女人们在稻田里清扫许久,编织竹铲,捕捉害虫,并将它们装入紧密编织的筐中燃烧。“(Mueggler.2001; 151)。

In 2018, men organise the social space for encounters including visits to other families and prepare the meat whilst women spend their days preparing meals. Every one of them is a feast for us humans, notwithstanding such everyday hiccups, as a broken phone, a cooker that refuses to work and a dog bleeding profusely from escaping a trap.

2018年,当地的男性负责组织社交场所进行会面,包括探访其他家庭,准备肉类,而女性则在准备餐点。每一餐对我们而言都是一道盛宴,即使会伴有美中不足的元素,比如每日饭后的打嗝,故障的电话,坏掉的炊具,还有一只因逃离陷阱而大量流血的狗。

Forms of attending

In the time of landing, it is the breakfast for one, the movements of LaoHe for another that help stabilise one’s presence during the first week. Jixing, who lives here, is repeatedly becoming part of new configurations from the inside and thus experiences the time of landing in inverse order. Telling stories: He has been dreaming of a nine-headed snake. Once he realised the heads were human, he lost all fear. The heads lined up one after the other with just their backs visible. There had been nine artists before we came. I wonder what configuration we will acquire in his dreams once we are gone.

参与形式

在下榻的时候,早餐和LaoHe的运动在第一周稳定了人们的心情。住在这里的吉星在一开始便成为人们新生活的一部分,因此他是以反向的顺序经历着下榻的过程。

讲述:他一直梦到一条九头蛇。当他意识到九个头所指的是人类,他就失去了所有的恐惧。在梦里,这些头一个接一个地排成一列,他只能看到头的背面。在我们来之前曾经有九位艺术家到访这里。我想知道一旦我们离开,我们会以什么样的形象出现在他的梦里。

We touch upon references, films, texts: ‘The Century of Self’ by Adam Curtis; ‘The Art of not being governed’ by James C. Scott. A new question, ‘Are Avery Gordon (in Ghostly Matters) and Kathleen Stewart trying to connect the epistemological (what might be known and how it can be known) with the social?’ For once a definite answer: a resounding ‘Yes’.

我们参考了文献,电影和文本:“亚当柯蒂斯的“自我的世纪”;詹姆斯·斯科特的“不受治理的艺术”。一个新的问题诞生了:“Avery Gordon(在Ghostly Matters中)和Kathleen Stewart是否试图将认识论(可认知的以及如何认知)与社会联系起来?”

我们第一次有了一个明确的答案:一个响亮的'是'。

The route from Landing to Grounding leads into the long, never-ending process of reading and understanding. Landings, by contrast, happen in a short span of time and cannot be repeated. Telling stories: Jay tells us about the role of the village chief, about his being caught between the local government and the villagers; how upon ending the reign of a corrupt village chief, the women demanded to replace his position with a women’s committee; how, in spite of being ignored by the local government, the women held this role for one and a half years alongside a new village chief installed by the government. Right now the only task the current village chief - of whom the villagers approve - has to take care of, is the resurfacing of roads. He is grateful, that no other demands are made on him. Here in the valley, everything is more legible and thus easier to put in the ledger. In the mountains it is more difficult to control people and their actions but that invisibility might come with other forms of constraints, like giving up schools.

从下榻到驻留代表着一个漫长而永无止境的阅读和理解的过程。相比之下,下榻发生在一个很短且转瞬即逝的时间段里。

讲述:Jay向我们解释了村长的职责以及他是如何在民众和政府之间斡旋的;如何在他结束腐败村长的统治时,妇女要求以妇女委员会的名义取代其职位的; 尽管被当地政府忽视,妇女是如何在一年半的时间里与新上任的村长分享此职务的。现在,现任被村民认可的新村长的当务之急是重铺道路。他对这些没有其它过分要求的村民表示感激。在山谷中,一切都显得如此清晰、如此容易被记录。在山区,政府对民众的行为控制会相对宽松,但这种自由也伴随着其他形式的限制,比如教育的缺失。

How can we work with the ‘Location as Curator’? How to inhabit the disturbance of being cured (as in to prepare or alter), of feeling coerced into having to give things away; of feeling it is easier to start from oneself rather than a place; of feeling unfocussed?

我们如何把驻留地当成一个艺术空间来管理?如何忍受修缮自我过程中的烦恼(如准备或改变),或者被迫放弃某些事物的感觉;或者思考这些历程是否以从个体展开会更为简单,而不是环境为主体;或者难以集中注意力的散漫状态?

How to allow questions that can only be asked here, to emerge?
For Steph, this entails letting go of the imaginary for action, she came with: of not writing poetry. She is writing lists of nouns and verbs/actions.

如何提出这些只能在这里提出的问题?

对于斯蒂芬来说,这意味着放弃想象中的行动,她对此的理解是:不写诗。她正在编写一个名词和动词/动作的列表。

How to be here?
Here, where you have time and space to create whatever you want. How to negotiate the effort to come out?
How to maintain the alertness to every difference ‘making’ a difference?

What aids come to our assistance?

如何在这里生活?

在这里,你有时间和空间来创造你想要的任何东西。

如何协商出来的努力?

如何对个体差异所带来的“影响”保持警惕?

什么可以来帮助我们?

Living in a family home ‘makes’ us aware of connectivity.
Living in a space of generosity ‘makes’ a difference, both the fertility of the land and the generosity of Xuemei, Erge, Jiyu, Jixing, Amma and LaoHe are for many of us unprecedented.

Our encounter with the location spans the extremes of beginnings: Jixing was born here; for Steph and Mari the day, when the glacier becomes visible, is the eighth day of their stay. In between those anchor points, Jay, Li Lisha, Petra and Hanne have had encounters of varying lengths with the location, beginning in 2005.

住在民宿里'促使'我们产生了对连通性的认识。

生活在充斥着人性慷慨一面的空间中对我们是“有一定影响的”,无论是土地的肥沃还是Xuemei, Erge, Jiyu, Jixing, Amma 和LaoHe 的慷慨,都是我们许多人从未感受过的体验。

我们大家与地点的相遇跨越了形态各异的起点:Jixing出生在这里;对于斯蒂芬和马里来说,在他们逗留的第八天时,冰川出现了。在这些定位点之间,Jay,Li Lisha,Petra和Hanne从2005年开始就经历了与当地深浅不一的缘分。

Re-Telling Stories wrongly from memory
Jixing joins in during Steph’s daily conversations with her husband, who is in the US. Jixing: ‘Why is he on the couch?’
Steph: ‘It’s Friday.’
Jixing: ‘Today is not Friday and he is on the couch.’
Steph: ‘The couch is his place when he talks to me.’

Forms of attending

In Butoh, Bu means dance and to (sometimes toh) means step. The dancer uncovers the dance already in the body. The starting point is the place of one’s handicap.2

从记忆中错误地重新讲述故事

Jixing有一次看到了斯蒂芬与她在美国的丈夫的日常视频对话

吉星:'为什么他在沙发上?'

斯蒂芬:'因为今天星期五。'

吉星:'今天不是星期五,为啥他还在沙发上。'

斯蒂芬:“他喜欢在沙发上和我聊天。”

参加的形式

在舞踏里,Bu意味着舞蹈,to(亦称作toh)意味着踏步。舞者发现了身体里固有的舞蹈。一个人的起点始于他的弱点。


Telling Stories

Mari tells us that Butoh returns the dancer to the body of the farmer, that all movements are related to the earth and gravity. Butoh has gone underground again in Japan whilst it enjoys immense popularity in the West. Mari walks and cycles everyday, studies gestures, flows with the locality.

讲故事

Mari告诉我们Butoh将舞者与农夫的身体联系在一起,所有的动作都与地球和重力有关。 Butoh在西方享有极大的声望的同时在日本逐渐隐匿了它的文化影响。 Mari每天都会走路和骑车,学习新的姿势,随环境而行动。

Steph reads a quote from Stewart:

All the world is a bloom space now. A promissory note. An allure and a threat that shows up in ordinary sensibilities of not knowing what compels, not being able to sit still, being exhausted, being left behind or being ahead of the curve, being in history, being in a predicament, being ready for something—anything—to happen, or orienting yourself to the sole goal of making sure that nothing (more) will happen. A bloom space can whisper from a half-lived sensibility that nevertheless marks whether or not you’re in it. It demands collective attunement and a more adequate description of how things make sense, fall apart, become something else, and leave their marks, scoring refrains on bodies of all kinds—atmospheres, landscapes, expectations, institutions, states of acclimation or endurance or pleasure or being stuck or moving on. Affect matters in a world that is always promising and threatening to amount to something. Fractally3 complex, there is no telling what will come of it or where it will take persons attuned. (2010; 340)

斯蒂芬引述了斯图尔特说的一句话:

现在全世界都是一片绽放的空间。一张期票。一种被普通的感知所激发的诱惑和威胁:不知道被何种力量所强迫,不能静坐,精疲力竭,被抛在人群后面或领先于潮流,停滞于过去,陷入困境,为某事、任何事的发生做好准备,或期许自己任何事情(或者更多的事情)都不会发生。绽放的空间可以用一种微妙的感觉窃窃私语,但这种感觉却足以证明或否定个体的存在。它要求集体的协调性,以及一种更清晰的语言来阐释事物的内在意义、事物的分崩离析、事物之间的相互转化,并且在各种事物上留下他们的印记和线条:气氛,风景,期望,机构,适应环境的状态,耐力,愉悦,困顿或继续前进。在一个总是充满希望的、对成功富有严峻要求的世界里,情感显得颇为重要。这种分裂的复杂性的后果,以及它对适应环境的个体所产生的影响将无从得知。

Telling Stories

A brother who used to smell like a wet dog ....’even worse’... is evoked in our imagination.

Petra reads a quote from Lauren Berlant

’Affect affects worlds and is impacted by them; the disjunction between affect, the event of its worlding (when it seeks a world), and anything like consciousness makes possible different encounters with oneself and one’s objects. Moving differently with affect is therefore not the same as pretending that a drama of decision changes things permanently or fundamentally. It involves discovering and inhabiting disturbances in the relation between one’s affects and one’s imaginaries for action. That discovery is the site of potentially recontextualizing creativity.’ (2014;89)

讲述

一位曾经闻起来像湿狗的兄弟使我们想象出更糟的一种画面。

Petra引述了Lauren Berlant的一句话

'情感影响世界并受其影响;情感之间的脱节,它“归属性”的行为(当它寻求一种归属感时),以及任何类似意识之类的东西,都可以造成个体与本我与自我之间的交集。因此,以不同的方式对情感进行捕捉与假设一个戏剧性的决策可以永久性或根本性地改变事物是不同的。它涉及发现和承载存在于情感和对行动的想象的关系中的矛盾。发现是重新构建潜能创造力的基础。'(2014; 89)

persons attuned

Steph recalls the Japanese word kuuki o yomu: To read the air in a social context

适应的人

斯蒂芬回忆起日语单词kuuki o yomu:在社会背景下解读气氛

Telling Stories

Seven days of Landing

Lisha has lived here for three years between 2006 and 2009. She returned in 2017. On this, her second return, she first cleaned the studio as she had done on leaving last summer.
Lisha comes with an imaginary for action:
to experience life here in her physicality;

to experience many things she has not experienced before.

During this first week she has been washing dishes and discovered a way to wash the dishes so the fields do not get polluted;
She is learning to prepare Jiatsu, a natural fertiliser;
she begun building a compost structure: she and Jixing went and got mud from the river, a crane there helped loading up their little truck;

she got pig shit and discovered it is not that dirty;
she finished the compost structure and experienced happiness that night;
she prepared a small piece of land to farm organically;
she met people who explore the relationship between one’s inner life and the land; people who shared their experience with her;
she discovered one should use a fork to break the earth rather than a spade which compresses as it divides
she was told to put oneself very low in order to face nature.

’Every one of these moments felt like a landing’, she says.

讲述

下榻的七天

Lisha在2006年至2009年期间在这里住了三年。她于2017年归来并展开了她的第二次驻留,他此次归来后做的第一件事与她去年夏天离开时如出一辙:打扫工作室。

丽莎有一个想象中的行动:

在她的身体中体验生活;

体验她以前没有经历过的许多事情。

在这第一个星期里,她一直在洗碗并发现了避免田地污染的洗碗方法。

她正在学习准备天然肥料Jiatsu;

她开始建造一个堆肥结构:她和Jixing去河边找到了泥巴,并用一台起重机把泥巴装上他们的小卡车;

她找到了猪屎,发现它并不那么脏;

她完成了堆肥结构,那天晚上享受着成就感;

她准备了一小块土地来进行有机耕种;

她遇到了探索内心生活与土地之间关系的、与她分享相似经验的人;

她发现应该使用叉子来疏松土地,而不是用铁铲,那样只会在打破土层的时候让它更为坚硬。

为了面对大自然,她被告知要把姿态放得很低。

她说,这些时刻中的每一个都感觉像是一次新的着陆。

Lisha is thinking of making a mural of a grandmother, daughter and granddaughter fighting; a semi- playful incident she observed on the train coming here. She plans to place it between the large, bright red characters that announce a new government slogan ’people’s war’ on the wall of the old primary school in the village.

We return to the Wal-Mart over the Mountain
So far we have not needed to go there, have not missed anything except, maybe, a smidgeon of sugar.

Musing about the word affect, Utsa observes that ’If you don’t feel the lack of it, you don’t need the word.’

丽莎正在考虑制作一幅刻画祖母,女儿和孙女的争吵时的壁画;其灵感来源于她在来途的火车上观察到的一个近乎有趣的事件。她计划把它放大,并放置在村里的旧小学的墙上,画上用鲜艳字体宣布一个新的政府口号:“人民的战争”。

我们回到山上的沃尔玛

到目前为止,除了买砂糖,似乎没有其它理由促使我们去那里。

关于“情感”这个词,Utsa认为:“如果你感觉不到情感的缺乏,那证明你不需要情感。”

Quanquan joins the discussion with a refrain: Dengzi
Yizi
Dengzi

Yizi
Dengzi
Yizi
(Stool, Chair, Stool, Chair......) A list of nouns.

A naming into being.
Spoken by a three-year old, each word gives birth to a liminal space harbouring the emergence of new thoughts seeking a world.

Quanquan喃喃自语地加入了讨论:

凳子

椅子

凳子

椅子

凳子

椅子

(凳子,椅子,凳子,椅子......)

一系列名词

赋予名字生命

在一个三岁的孩子的话语中,每个词都拥有着一个限制性的空间,其蕴含的新思想在寻求着自己的归属感。


1 emergence occurs when "the whole is greater than the sum of the parts," meaning the whole has properties its parts do not have. Wikipedia

2 “Start from the place of your handicap,” Hijikata’s female counterpart Ashikawa Yoko liked to say (Fraleigh, p.3; 2006)

3 Word Origin and History for fractal
1975, from French fractal, from Latin fractus "interrupted, irregular," literally "broken," past participle of frangere "to break" (see fraction). Coined by French mathematician Benoit Mandelbrot in "Les Objets Fractals."
Many important spatial patterns of Nature are either irregular or fragmented to such an extreme degree that ... classical geometry ... is hardly of any help in describing their form. ... I hope to show that it is possible in many cases to remedy this absence of geometric representation by using a family of shapes I propose to call fractals -- or fractal sets. [Mandelbrot, "Fractals," 1977] available on http://www.dictionary.com/browse/fractal


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Mueggler, E (2001) // The Age of Wild Ghosts University of California Press