《空氣蛹》出版物
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《空氣蛹》出版物
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空气蛹-母的变异体 /龙一海

空气蛹出自日本作家村上春的小1Q84》中象征邪力量的意象, 也是通往另一度世界的出口。在我的解,“空气蛹有更多其它的含义, 它是一个充联想空间的名

1Q84》是英国作家.奥威尔完成于 1948 年的政治体小1984》的回与致敬, 在两者之间, 村上的空气蛹对应的是奥尔的电幕”-机与视、听器的复合体。在《1984》中你的一一动在人眼中一就好像《1Q84》中织空气蛹的小小人无所不知的敏可见, 文化的演变与播就像生命体的繁衍与化一样, 生命体的复制密是基因(Gene), 而文化播的密码则“Meme”, 母作模仿文化播的(此概念由理查德.道金斯于 1976 年版《自私的基因》中提出)人类的文化之所以会在人类意中复制、射、演变都因其中这 称“Meme”的文化基因具有的作用力。

源学中,“meme”“memory”, 也与法 Même (同样的) 同音。可见,“Meme”“Gene”一样携带记忆与复刻性, 也会生突变与异化。人类与其它动物大部分基因相, 但人类之所以和其它物种有本质区别乃至主宰个地球, 正是因文化个东西。文化播的(text), 广义文本指任何由书写所固定下的任何话语, 文本指由言文字成的文学实体, 代指”(《文本中心论》保罗·科利尔)本文讨论文本包括视觉图-影。万年以人类种自见能力功于种文化基因的化。名引用的空气蛹的引用不是抒情,而是一种回溯。

所探议题并非文化基因的复制性”, 而是探文本在长间流中自的演变与变异, 的非线性叙事好像一趟跨越文字与像的光溯源之旅, 间与空间经纬度的引下文字与像充了奇遇。如博尔赫斯所:“去是构成间的物,因此间很快就会变成去。册书中前部分使用了收集的无从考究的民国期照片, 与其片是实的切片, 不如间的分泌物。编辑过程中我感受文本的演变所带来的迷惑, 历史记载的就是不重要? 落的照片即是空胶囊, 间侵人无从得知其往昔故事, 真实发生的故事也的确成了迷, 消失在史之中。

文本的播会无中生有、有中生新, 例如中引用的文字我和个世界不熟。并非是我迷茫的原因会停息。节 选自互联网相传为著名人北所作, 然而并非北的原作, 则为一网络写手的仿, 由于文风更符合大众的抒情趣味, 被大量转载, 以至多网文学坛及大众媒都公然表明作者本人。可以理解是一个突变的, 的引用和添加文本的新复合体在新的境中又派生出一个新的, 过传播它会不化。文本的变异有也会变得非常荒, 例如流传为苏格拉底的一句:“田野与我一点启发, 而城市的人赐给多教益。有反自然的, 而且反城市化群体而言是过时且失效的。但是中国高速城市化程的下而言又非常实。间推移而扭曲的概念不胜枚也回了后解构主义定文本的多义性, 恒定不变的意义是不成立的。

无法抵达真实, 如何界定真实”? 有多少种真实”? 实中多荒诞现象容易生无法克服的抵触情, 之所以不愿意相信, 是因为历史一直在不被篡改。.奥威尔在 1948 年已经言了下世界, 好比其的思想警察所:“老大哥一直在看着你!” 不代表, 个多元且扭曲世界里的瑕疵, 样就有借口自己所做的一切都不是徒, 着彷徨, 过镜头一路找我愿意相信的真实。

只要是绝对纯粹的, 那就是有意义的。



EN:

Mutated Memes: About “TheAir Chrysalis” By Dragon Zheng

“The air chrysalis” originates from an imagery symbolizing “evil spirits”and “an entrance / exit to another dimension” in “1Q84”, a novel byJapanese author Haruki Murakami. From my own perspective, “the air chrysalis”is a noun full of associations and implications. And “1Q84” is aresponse and tribute to “1984”, a political fiction finished in 1948 byEnglish writer George Orwell. In between these two contexts, “the airchrysalis” Haruki Murakami uses in “1Q84” is probably referring to “thetelescreen”, the fictional devices which operate as both televisions andsecurity cameras in George Orwell’s “1984”. Orwell told his readers,“You had to live—did live, from habit that became instinct—in the assumptionthat every sound you made was overheard, and, except in darkness, everymovement scrutinized.” This is somewhat similar to the “know-it-allsensitivities” of the tiny crowds weaving “the air chrysalis” in “1Q84”.

Therefore, technically, the evolvement and transmission of culture is likethe reproduction and evolution in living organisms. The code for thereproduction in living organisms is gene, whereas the password for thecultural communications is meme. Meme was put forward by RichardDawkins, in “ The SelfishGene ”, his book published in 1976, as an element or unit in the imitationof cultural communications. The reason why the culture of human beings can becopied, radiated and evolved is that there are forces within the cultural genesof meme. In terms of etymology, “meme” is the root of the word “memory”,homophonous with “Même” in French (meaning “the same”). Consequently, the words“meme” and “gene” carry the meanings as “memory” and “reproduction”, and theywill also mutate and alienate. Human beings and most other animals aregenetically similar, but it is culture that distinguishes humans from animals.Culture also enables human beings to dominate our planet. In other words,owning to the evolution of meme, we are able to foresee consciously.Except for gene and meme, we shall look at text. Text isthe content of cultural communications and it is encoded twofold; In itsbroadest sense, text refers to any discourse set by any form of writing;Specifically, on the other hand, text is categorized as a literaryentity constituted by language. In this book, visual images, counting photography,are seen as texts. Based on all these explanations, it is clear that mycitation of “the air chrysalis” here as the title of this book is not lyricismbut retrospection.

The book in your hands explores a spontaneous evolution and variation ofthe text over a long period instead of the “replication” of cultural genes. Inthe course of reading, you will find that the nonlinear narrative in this bookwill be like a journey in time crossing over texts and images. You will alsofeel as if you were going through an adventure led by the latitude andlongitude of time and space. Inspired by what Jorge Luis Borges used to say,“The past is the matter that makes up time, and so time will soon be the past”,I selected some old and mysterious photos — the “exudate of time” instead ofthe “section of time ” —screened a century ago. Then I put them into the firstpart of this book. In the process of editing, I was puzzled by the evolution oftexts. And I also raised a question, “Are those things not being documented notimportant?” Later, when I was looking at these “lost” photos, I found apoignant sense behind these “ time capsules ”. And my answers to the questionwould be that, we do not know exactly the stories behind from the images erodedby time, and, undeniably, stories happened had turned into an enigma, vanishingforever into the history. When it comes to the mutation of texts, it issometimes preposterous. In addition, the transmissions of texts can be afabrication. Take the five-line verses (“I’m Not Familiar With This World”)I quoted for an instance, the excerpt from an Internet post was initiallyregarded as a poem by Chinese poet Bei Dao, but it turned out to be a knock-offwork by an Internet user. Many reposted this pseudo-Bei Dao poem because it catersto a popular taste centering on lyricism. For me, this case is a mutatedmeme. The new complexities and quotations added to the context of this bookare expected to derive a new mutated meme, which will transform byitself through communications.

Legend has it that Greek philosopher Socrates once said, “Fields and treesdid not give me any inspiration, but people in the city did teach me a lot.”This saying tends to oppose nature and yet it’s invalid and outdated for thosewho hate cities. However, Socrates’ words are extremely realistic to the extendof the rapid urbanization China is experiencing right now. Concepts that aredistorted due to time changes are countless, and this has reacted to thepolysemy of texts identified by Post Deconstruction. In this sense, constantmeanings do not hold.

We will never reach to the truth because we do not know how to define andclassify it. In the current world we live in, there exist numerously absurdphenomena so we cannot avoid conflicting emotions. We do not believe thehistory because it has always been manipulated. Back in 1948,George Orwell hadprophesied our future by writing “Big Brother Is Watching You!” In my view, thesentence shows not desperations but an attitude towards our reality—we mustrecognize the blemish of this diverse and twisted world so as to make it anexcuse to say that everything we do is not in vain. We can, in fact, seek forthe truth we want to believe, through the cameras and hesitations we carry. Ina word, what is absolutely pure is meaningful.