泡网俱乐部

This is Not a Pipe (1968), Excerpt

这不是一只烟斗（摘录）
原著：（法）米歇尔-福柯
英译：JAMES HARKNESS
中译：肖伊绯

Nonaffirmative Painting
不确定的绘画

Separation between linguistic signs and plastic elements; equivalence of resemblance and affirmation. These two principles constituted the tension in classical painting, because the second reintroduced discourse (affirmation exists only where there is speech) into an art from which the linguistic element was rigorously excluded.

语言学符号与可塑性元素之间的区分；相似性与确定性之间的暧昧关系，这两组微妙关联构成了古典绘画的某种不安。因为这第二次的复述（确定性仅仅存在言语之中），进入了一种奇妙的艺术，它来自一个语言元素被严格排除在外的空间。

Hence the fact that classical painting spoke—and spoke constantly—while constituting itself entirely outside language; hence the fact that it rested silently in a discursive space; hence the fact that it provided, beneath itself, a kind of common ground where it could restore the bonds of signs and the image.

因此事实上古典绘画也在言说——直接地言说——而它自身的构成却完全外在于语言；因此事实上它就安静地伫息于一个叙述性的空间内；因此事实上它俯身劳作，独自准备着一种能重建符号与形象之边界的公共空间。

Magritte knits verbal signs and plastic elements together, but without referring them to a prior isotopism. He skirts the base of affirmative discourse on which resemblance calmly reposes, and he brings pure similitudes and nonaffirmative verbal statements into play within the instability of a disoriented volume and an unmapped space.

马格利特将言说的符号与可塑性元素编织在一起，但并未指出这二者谁更优先。他轻盈地掠过确定性叙述的基础之上，而这一基础扎根于相似性安然停息的地方。他还把纯粹的直喻和不确定性的声明带入了一场游戏之中，这场游戏就生发于一个非东方式卷轴的不稳定性和一个未有标注的空间之中。

A process whose formulation is in some sense given by Ceci n’est pas un pipe.

《这不是一只烟斗》给我们带来了感官感受的精确表达之过程。

1. To employ a calligram where are found, simultaneously present and visible, image, text, resemblance, affirmation and their common ground.

租用一种书写程序，将形象、文本、相似性、稳定性和它们的共同空间同时地呈现出来。

2. Then suddenly to open up, so that the calligram immediately decomposes and disappears, leaving as a trace only its own absence.

那么，突然地开启这画面，以致于这样的书写程序立刻腐败与消亡，离散，如同一道自身缺席的划痕。

3. To allow discourse to collapse of its own weight and to acquire the visible shape of letters. Letters which, insofar as they are drawn, enter into an uncertain, indefinite relation, confused with the drawing itself--but minus any area to serve as a common ground.

要试图阐明，图画自身重量的坍塌和对可见的字母外形的要求。那些被提取出来的字母，如此一来就进入了一种易变的、模糊的关联之中，这种混乱的关联正是这种提取本身所造成的。这种混乱的关联并不是因为要减除任何一个领域而去为共同空间服务才造成的。

4. To allow similitudes, on the other to multiply of themselves, to be born from their own vapour and to rise endlessly into an ether where they refer to nothing more than themselves.

要试图直喻，换句话说，就是任其自身繁衍，图画就涎生于这种混沌关系中的自我蒸腾，永无休止的自我蒸腾，形成一种醚状物。在那团醚中，这种混沌关系中的各个元素除了自身，不再指涉任何事物。

5. To verify clearly, at the end of the operation, that the precipitate has changed colour, that it has gone from black to white, that the “This is a pipe” silently hidden in the mimetic representation has become the “This is not a pipe” of circulating similitudes.

非常清楚，在这幕戏剧的最终，沉积物已经变换了色彩，它由黑色变作白色，这幅《这不是一只烟斗》的图画就静静地隐藏在那个滑稽的“代表作”之中。它已经成为“这不是一个烟斗”的直喻的循环运作。

A day will come when, by means of similitude relayed indefinitely along the length of a series, the image itself, along with the name it bears, will lose its identity.

终有一天，当直喻的方式沿着一系列的尺度，不确定地依次接替；当图形自身也为其所标注的命名所接替，这样的话，事物都将失去确证其存在的证明。



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谢谢，谢谢哪个谁和哪个谁。

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