(非)必要的注意力 by Romain Bige

(非)必要的注意力

文/Romain Bige

译/尹浩龙

译者注

在法国Lavent Studio交流的时候，朋友和我讲隔壁屋子里住的是一位很有意思的哲学家，也跳接触即兴，说得很神秘的样子。当时作为一群舞者中唯一一个不太会讲法语的人，每次在听不懂的时候，旁边总会默默出现一个人，慢慢为我口译，但好几天我们都没有说上话，但后来才发现，他就是朋友讲的这位哲学家朋友。

作为阅读爱好者，我对他的书架是印象深刻，就是一个让人眼前一亮的大宝藏，并收藏了接触季刊从创刊到停刊的全部刊物，还有很多特别的纪念册。后来我的所有休息时间都耗在这个书架上了。

两年前Romain Bige在葡萄牙里斯本办了一个Steve Paxton的内在技术（Interior Techniques）的展览，几乎是把《勾勒内在技术》这篇做成了一个可观看，可体验的内容，里面你可以听小舞蹈语音引导，也有舞酱空间，有图书，也有视频，伴随着这次展览，他也出版了一本文集《Steve Paxton：Interior Techniques》。

我们曾经共同研读和翻译他在这本文集中的一篇非常精彩的文章《Moving Moved》《移动，被移动》，我也常常在不同课程中引用这本文集中的内容，在某个层面这本书打开了我的很多视角，就好像Romain喜欢援引的法国后现代主义哲学家吉尔·德勒兹关于艺术作品改变我们感知的理论一样，我也通过这本书发现原来舞蹈还可以这么去理解和诠释。我这里选了他的另外一篇同样很精彩的文章，里面有很多有趣的观点，想介绍给中文读者和接触即兴练习者。

打开了语言和文字的可能性，一个舞蹈，一个感受，一个体验，如果我无法用语言去表达出来，那我的感受是模糊而不清楚了，甚至可以说，像斯宾诺莎说的那样，我们无法感受和体验到我们语言没法表达的东西。虽然我不是很同意这个观点，但我觉得语言和文字的确会在帮助我们去理解和塑造我们的体验，阅读Romain的文字对我来说，总是一个去打开语言和文字的窗口，对于文字爱好者来说，是一件振奋人心之事。

浩龙

2021年6月25日于上海

葡萄牙里斯本“勾勒内在技术”展览视频介绍

The revised version of Romain Bige's lecture; "The Artist's Privilege to Displace the Borders Between What Should be Noticed and What Should Not" that took place as the closing lecture of the 4th IDOCDE Symposium.

这篇文章源自Romain Bige在第四届IDOCDE Symposium（国际当代舞教育记录会议）上的结束演讲《艺术家在决定“什么应该被注意到”和“什么不该被注意到”两者之间边界的特权》。

The text you will read is the text as I have re-written it after the lecture: some ideas have changed shape, but most of them remained the same. More importantly, they are interspersed with "moving images" that were not part of the lecture, and that I only thought of afterwards as what could have been part of my talk. Reflecting post hoc on the conditions in which I gave the lecture, I thought it would have made more sense to include some movement on the part of the audience - that would have been at least more consequent with the ideas I defend in it. Sitting still in front of a screen where words and images are projected is a classical mode of transmission in academia: it has some advantages, including that of allowing a specific mind and attention to the details of the wording; but it has the inconvenient to cut both speaker and audience from their own motoring experience. The "moving images" here described could have been antidotes to that default, that I hope can be at least imagined by the readers.

你将要读到的文字是我在演讲结束后重新书写的：一些想法有了变化，但大多数就是一致的。最重要的是，其中穿插的“移动的画面”并不是演讲中的一部分，是我后来想到的。反思我在演讲中的内容，我认为让观众能够有一些运动是一个很好的想法，这至少是我在阐述的观点中所鼓励的部分。在学院中，我们常常坐在屏幕面前，让文字和图像投射在屏幕上是传统的经典教学模式：它有其优势，让一个特定的心智和注意力来到文字的细节中，但同时它也让演讲者和观众脱离了自己的运动体验。这里的“移动的画面”是为这个缺陷所补充设计的，我希望读者们至少会去想象它。

To begin with, I'd like to state two simple principles:

开始之前，我想要陈述两个原则：

1. There's no wrong way of listening. Sitting, looking at my face or at the screen is good, but lying on the floor, moving, stretching are also very good way to attend to yourself as well as to what I am saying.

2. At any moment, you may leave the conversation if you feel uncomfortable. Hopefully, you won't, but this “lecture” format is strongly authoritative, and I want to make sure that I am not taking any prisoners.

1. 聆听没有错误的方法。坐下来看我的脸，或者看屏幕是很好的，但是躺在地上，移动着，拉伸着，也都是很好的方式，在听我说的同时，请去照顾到你所需要的。

2. 在任何时刻，你都可以在感到不舒服的时候离开。我希望你不会，但是这个“演讲”的形式本身是很有权威性的，我想要确保在场没有人感到自己是被困在这里的囚犯。

And now, moving on, I'd like to propose to those of you would like to follow me, a moving image.

继续，我想要给所有还继续想要留在这里的人，一个移动的画面。

[Moving image: a slow walk in a line, crossing the studio, with this simple proposition: moving at the speed of your ability to attend to what I am saying: how can you at the same time pay attention to my voice and words to what you are experiencing in your movement, maybe you will need to adjust the speed depending on your understanding of what I am saying, maybe you will want to stop and ponder, test it..]

【移动的画面：慢慢在一条线上走动，穿过整个空间，只有一个简单的建议：你移动的速度在你可以专心聆听我在说什么的基础之内，你如何可以同时注意听我的声音和说的话，又不丢失你在移动中的感受，或许你会需要根据你对我所说的理解来调整你的行走速度，测试一下。】

And now, let's begin from where we are. As movers, right now, we are far from being only situated on our feet: we are in-between, in between here, where we depart from, and there, where we go. Our movements stretch out our bodyminds into that space of in-between.

现在，让我们从我们所在的地方开始。作为移动者，此时此刻，我们不仅仅是在我们双脚之上：我们在一个两者之间的状态，在此地，我们开始的地方，以及那里，我们要去的地方。我们的移动让我们的身心拉长到一个两者之间的空间。

Movement is, from that point of view, like a string that unites two or more poles. It's less something that I do, than something that bring me together with something, someplace or someone else. In our case, movement is bringing us to the wall.

运动从这个角度上来说，就好像一根连接两个，或多个端点的线，运动不只是我们可以做的东西，而更多是将我和其他什么东西连接到一起的中介，这个东西可以是一个地点，或者某一个人。在我们的练习中，运动将我们带到了墙。

The idea that movement is a string bringing together two poles is, etymologically exactly what is meant by the word dance in most European languages: Tanz in German, danser in French, danza in Italian, tanec in Slovenian, all those words come from the same Indo-European root *tan, which means, precisely, tension. In Greek, *tan gave us the word tonos, which translates into tone: muscle tone, or musical tone, by which we mean a way of tensing.

运作作为一个连接两个端点的线的这个观点，正是词源中“舞蹈”（Dance）这个单词在欧洲语言中的本意，德语中的tanz，法语中的danser，意大利语中的danza，斯洛文尼亚语中的tanec，这些词都来自于同样的印欧语系的词根tan，准确意思是，拉紧，收缩，张力。在希腊语中，tan发展出了单词tonos，这个词翻译到英文就是tone（张力），肌肉的张力，音乐的张力，都指的是收缩的过程。

（译者注：我理解的印欧语系词根tan，我更喜欢去想它更多的去延展，而非收缩，张力本身可以看作收缩和延展这两个极端的一个整合，就好像一个橡皮筋，你去在外在拉伸它，它内部才会产生收缩的复原的张力。-浩龙）

The other word that derives from the Indo-European *tan is the word “attention”: literaly, attention means “a tension addressed to”. Attention is our ability to distribute the tensions into our internal and external spaces. It is grasped by objects, by parts of our bodies when we're ill; but it can also be directed on purpose, in the cases of meditation practices and, of course, dance itself.

从印欧语系词根tan延伸出来的词汇还有一个，那就是注意力（attention），attention这个词字面的意思是一个“指向某物的收紧”。注意力是我们去往内和外两个空间分布我们的张力的能力。它会被外在目标所吸引，在我们身病的时候被我们身体疼痛的部分吸引，但我们也可以有觉知和目的的执行我们注意力的方向，这是我们在冥想练习中练习的，当然在舞蹈中也是一样。

In the practice of dance improviser Lisa Nelson, this strategy has received the name of attentionography: dance, for Lisa Nelson, is the tracing of the travels of attention.

即兴舞蹈家Lisa Nelson的练习中，她为这个概念提出了一个新的名字，叫做attentionography（有关注意的艺术）：舞蹈，对于Lisa Nelson来说，是不断对注意力的旅行的追踪（the tracing of the travels of attention）。

But as you know, there is usually another term that is used to describe dance as a theater art: it's the term choreography. Again, literaly, the term choreography means: the tracing of togetherness (from the Greek choros which means chorus, being initially the dancers-singers that were accompanying the tragedian soloist). Choreographing therefore means: shaping, writing, scribing, tracing the ways we get together.

就你所知道的，我们还有一个词在形容在剧场艺术中的舞蹈，编舞（choreography）。choreography的意思是，追踪“聚合”（togetherness），来自拉丁语choros，最早的含义是舞者们和歌手们为一个悲剧的独舞所伴奏（chorus）。choreography的含义是：塑造，书写，描述，追踪我们如何在一起的方式。

Why does that have to do with dance and attention? Because attention is our most primordial way of sharing the world with other beings: human, animal, vegetal, mineral or stellar, our ways to reach out to them, to exist together with them is to attend to them. To be together with is, first and foremost, to attend to. Being together doesn't mean to be in the same room: I can be next to you in the metro and at the same time be closer to a friend at the other side of the world if she popped into my mind. It doesn't even necessarily mean to move together: right now, you probably feel closer to the wall (or to me as the speaker) than to your fellow movers. Together means to be with, to be on the side of, to be stretched out of oneself by, that is: to attend to, as you are attending to your sensations, or to the wall, or to any other thought, feeling, object, reality that comes into your field of attention.

我们讲舞蹈（dance）和注意力（attention）这两个词，就什么关系吗？因为注意力是我们和他人分享这个世界最本源的一个方式：人类，动物，植物，矿物，星球，我们触及它们的方式，和他们共存的方式，就是注意到他们。在一起的含义，最基本的就是，注意到。在一起并不是指要在一个房间：在地铁上我可以在你身旁，但如果另一个在地球另一端的朋友进入了我的脑海，我会感觉和他更近。这也不需要共同的移动：此刻，比起空间中和你共同移动的其他人，你可能感觉你和墙面更近（或者和作为说话者的我）。在一起的含义是注意力，你注意到你的感受，注意到墙，注意到脑袋里的其他想法，感觉，外在物体和现实，他们都在抓取你的注意力。

Now, I'd like to introduce you to the idea that dance is not the only form of art that we can consider as an attentionography. I would like to consider the idea that every art forms is, at least potentially, an attentionography, that is: a way of tracing the travels of attention.

我们说到attentionography（有关注意的艺术）这个词，我想提出一个想法，舞蹈并不是唯一的一个形式。我想说的是，每一个艺术形式，至少潜在地，都是attentionography，我们都在用不同的形式在追踪注意力的移动。

This requires that we make a detour, to understand what kind of institutions allow for such an understanding of art. At least since the Renaissance, the Western civilization has instituted a specific relationship to art spaces, which consists in separating sensation from movement. This separation is what I will call THE SOCIAL DIVISION OF MOVEMENT.

这需要我们去换一个角度想一想，理解什么样的机构会允许这样对艺术的理解。至少在文艺复兴之后，西方文明机构化了一个和艺术空间的特别关系，那就是讲感受和运动分离开来，这种分离我把它叫做运动的社会分离（the social division of movement）。

By that, I simply mean that we live in societies that have dissociated the activity of witnessing art from action. A good example of this division is the double invention, in the 16th century of the perspectiva artificialis on one hand and of our modern anatomy on the other hand [see Hubert Godard, "Fond / figure" on http://pourunatlasdesfigures.net]. 

我们的社会将观看艺术的行为和动作分离开来。一个好的例子就是两个技术的发明，在16世纪，我们一方面有透视法（perspectiva artificialis），另一方面我们发展出了解剖学。[你可以在以下网站查看Hubert Godard的演讲"Fond / figure” http://pourunatlasdesfigures.net]

Perspectiva artificialis on the one hand contrasted with the idea that we witness art in order to be moved by the image: that's the function, as you know, of the medieval icons; they are not representations of saints, they are ways of communicating with God (they are enthusiasming: which means putting God into the viewer). On the other hand, modern anatomy is the idea that our body can move by itself: it rests on the model of a body as a system of levers, pulled by the muscles. For modern anatomy, you don't care about what is moving you, you care about how the movement functions. In other terms, moving is no longer “being moved”, it is separated from sensorial receptivity.

透视法（perspectiva artificialis）在一方面减弱了一个观点，就是我们观看艺术的目的是被画面所移动：这是中世纪象征手法的功能，就如你所知的；他们不是圣人的代表，而是和上帝沟通的方式（他们是热情化，讲上帝放入观众之中）。在另一方面，现代解剖学的观点是我们的身体自己就可以移动：它的概念源于身体是一个不同级别的系统，由肌肉牵引。在现代解刨学中，什么在移动你的身体并不重要，你关注的是运动和功能是如何发生的。换句话说，移动并不再意味着“被移动”，它和感官的接收是分离的。

The black box theater of the 20th century is the aesthetical accomplishment of this tendency to dissociate movement and perception. In our 20th century theaters, the light goes down, the seats are comfortable, and the audience is mute – which again contrasts with earlier art landscapes, where instead of the religious silence of today the house lights were always on, and where the audience was talking and eating.

20世纪的黑盒子剧场是一个这种趋势的审美实现，他们把运动和感知分离了。在20世纪的剧场中，灯光慢慢暗掉，座位很舒服，观众是安静的，这和早起的艺术形式是不同的，比起今天要求观众保持绝对的安静，以前灯光是一直亮着的，观众可以讨论，吃东西。

All of that contributes to a definition of aesthetic contemplation as inaction. In other terms, we live in societies where we consider that paying attention to what is sensed requires to suspend our moving abilities.

所有的一切都促进了我们审美沉思的定义是不行动。换句话说，我们生活的社会认为，我们关注我们感受，这一点阻碍了我们的移动能力。

[Moving image: small dance]

I propose now that we stop moving, and remain standing for a moment. Of course, it doesn't mean that we're not moving: on the contrary, we're given an opportunity to observe the minute movements of adjustment of our bodies with gravity, as we stand, together, relaxed, examining when tensions arise, easing into the vertical offered by the pull of our weight into the ground.

【移动画面：小舞蹈】

我现在建议我们停下运动，站在原地片刻。当然，这并不意味着我们就完全不动了：反而，我们我们给我们一个机会去观察身体和重力微小的调整运动，当我们站在一起，放松，检视我们的肌肉收缩，然后通过重量在垂直的拉力沉入地球。

And now, let us return to our social division of movement. Western aesthetics have instituted the idea to perceive art, you need to stop moving: that's where we had stopped. We can now go further: we could say that for us, art spaces are spaces where we can deal with our perceptions without having to for survival necessities.

此刻，让我们回到运动的社会一面。西方审美建立了一个感知艺术的观点，你需要停止移动：这是我们停止运动的时刻。我们现在可以再进一步：我们可以说，对于我们来说，艺术空间是我们可以不用去考虑我们生存必需，只用去考虑我们感知的空间。

This is, of course, a paradox, because, like every living beings, what we usually perceive is what we need and can act upon. A good example of that is my cat: my cat perceives sounds that make sense to her, for instance the scratching on the floor that resemble the footsteps of a mouse; but she doesn't perceive loud noises such as a loud clapping, because she couldn't do anything about them. Physically, she has the ability to perceive them, but they just don't make sense to her, and that means two things: they don't have meaning for her life, and henceforth they are not perceivable. This structure of our cognition is what French philosopher Henri Bergson calls “attention to life”: we primarily pay attention to what is useful for our survival.

这一点是一个悖论，因为和其他所有生存的动物，我们感知的目的是我们的需要和行动。一个好的例子是我的猫：她只感知对她有意义的声音，比如地板的摩擦声，因为它代表了老鼠移动的声音。但如果你大声拍手，这个声音对她来说是没有意义的，因为她对此无法做任何事情。在身体层面，她有能力听到这个声音，但因为这对她来说无意义，这包括对于她的生活没有意义，所以她就不会去感知。法国哲学家亨利·柏格森（Henri Bergson，1859－1941，1927年度的诺贝尔文学奖获得者。-译者注）把这个认知的结构叫做“对于生命的注意力”：我们主要关注的是对于我们生存有用的东西。

In our adult and neurotypical worlds, a good example of that is the way we hear foreign languages: you may have noticed, when you're in a foreign country, that people don't seem to use words; their sentences appear a very long series of uninterrupted melodies, like a big chunk of sound, rather than a succession of small chunks. Conversely, it is very difficult to hear your mother tongue as a pure melody: irresistibly, the sounds “make sense”, which means, for us, that they can be separated into semantic units.

在我们成人及神经典型者的世界，一个好的例子就是我们听外语时：你可以在你在一个陌生的国家听到外语的时候，听起来不像是一些词汇的组合，而是如同长句一样一连串不间断的旋律，你听到的是一个超长的音节，而不是小音节组成的长句。相反，对于母语来说，要听到这个整体的旋律又成为了一件非常困难的事情：因为这个声音对你的感知有意义，意味着我们有能力将其分解为小的音节单元。

In the same way, we tend to perceive a chunky reality, because we immediately see in it the objects that we can act upon: table, chair, floor, people. Instead of seeing planes of colours, or melodic continuities of sounds, we tend to perceive objects.

同样的方式，我们倾向于认知大块的现实，当我们将其可以看作是我们可行动的目标：桌子，椅子，地板，人。而不是看到一系列的颜色，声音的音律组合，我们更倾向于感受具体事物。

[Still image: Turner, Yacth approaching the sea.]

Let us now return to the experience of art. What do we witness in front of a work of art? In the vocabulary I just used, we could say that we experience “new chunks”, meaning we perceive the world's associations in new ways. Take for instance this Turner painting: in his incredible skies, what you can experience is the unseen parenthood between gold and blue and rose. After having seen a Turner painting, you possess this very specific knowledge that a gold-blue-rose color exists in the skies, and henceforth, you may in your turn discover it in the world when confronted to a sunset. This is what Gilles Deleuze calls a “percept”, that is: a condensed perception, a sharable way of seeing the world.

【静态画面：特纳，在大海上的帆船】

让我们来看一下艺术的体验。我们在艺术作品前观察到了什么？用我刚才使用的词汇，我们可以将我们感知到的经验叫做“新的大块”，意味着我们在用新的方式来感知这个世界和我们的关系。比如在特纳的绘画中：在他绘制的迷人的天空中，你体验到的是在金色，蓝色，和玫瑰色之间看不到的层级，你在看过这幅绘画之后，你就拥有了这个金色-蓝色-玫瑰色组合在一起的颜色，存在于天空中的知识，之后，你可能在你观看日落的时候，看到这个色彩。（法国后现代主义哲学家）吉尔·德勒兹（Gilles Deleuze）把这个叫做一个“观念”（percept），那就是，一个具体的感知，一个共享的看世界的方式。

So let's say this is our general framework. Works of art are mediums for percepts, that is: ways of unifying reality, ways of dismembering and remembering reality.

我们可以说这是我们普遍的框架。艺术作品是观念的中介，那就是：连接现实的方式，去忘却然后再重新记忆现实的方式。

[Still image: multistable hallway from Don Ihde Experimental Phenomenology.]

【静态画面：美国哲学家Don Ihde的实验现象学中多稳态的走道】

（译者注：Don Ihde 唐•伊德是一位当代美国哲学家，主要研究领域为现象学和技术哲学。此图形在《Experimental Phenomenology: An Introduction》这本书的第70页提出）

Let me present an analogy for this idea. It concerns what is known in experimental psychology as MULTISTABLE PHENOMENA.

我们来描述一个想法。它是关于我们所知的实验心理学，作为一个多稳态的现象（MULTISTABLE PHENOMENA）。

Look at this image, I will direct your attention to perceive it in different ways. Whatever meaning you already ascribed to it, I propose you to see that it is a hallway, a corridor: the grey area in the aid picture is to be considered as the back wall of this hallway, and the other surfaces are two walls and the floor. Now, without changing anything, I propose you to envisage that it is truncated pyramid: the grey area in the aid picture being the plane where the cut occurred. Obviously, you're not seeing something else, these are still the same lines as before, and yet, they are organizing themselves into new relationships.

Analogically, we're now in the situation of having seen a Turner painting and maybe a Manet painting: we have enriched the world of new interpretations, and we can chunk it in those new ways ad libitum.

观看这个画面，我将把你的注意力引导到用不同的方式去感知它。无论你已经建立了对此的任何意义，我建议你去把它看作一个走道，一个过道：辅助图片中灰色的区域是这个走道的后面的墙，其他的表面为两面墙和地板。现在，不要改变任何东西，我建议你想象它是一个缩减的金字塔：在辅助图片中灰色的区域是剪切发生的平面。显然，你没有看到任何其他东西，所有的线条都和之前相同，但是他们在形成新的组织方式，新的关系。类似的，你现在看到了特纳的绘画，或许是莫纳的绘画，我们得到了关于世界的更丰富的新观念，我们可以在这个新的方式中随意去进一步细化理解。

But I will propose a third perception to you. I propose that what you see is a headless robot: the grey area in the aid picture is the torso, his arms and legs are extended, he is holding canes and standing on a floor.

我还会给你呈现一个第三个视角，我建议你去观看作一个没有头的机器人：灰色区域是身体，手臂和腿部展开，站在地面上握着手杖。

There are countless biases in this little experiment of ours, including the fact that I am using a narrative to direct your perceptions, but let us imagine that the function of a work of art is closer to this third shift, than to the second. What happened in this third shift? 

在我们的这个小实验中有很多的曲解，包括我在使用语言描述来指导你的感知这个事实，当让我们去想象艺术作品的功能就像这第三个转变，而不是第二个，在第三个转变中发生了什么呢？

You didn't only change your perception, you changed the nature of the space according to which you were perceiving. It is not only what you were perceiving that changed, it is the overall context in which this made sense. To be able to see the headless robot, you transformed what was an (imaginary) three-dimensional space into the (physical) two-dimensional plane of the wall it is projected on.

你不止改变了你的感知，你也根据你所感知的对象改变了空间的属性。不仅你所感知的对象改变了，一切的意义在一个宏观的语境也产生了改变。为了看到没有头的机器人，你改变了想象中一个三位的空间，进入了一个物理二维空间，就像这个作品投射在墙面上一样。

[Moving image: let us resume our standing position. We're just going to stand, relaxed in this space; and the proposal is to stand in spaces in-between. You can choose what this means: it can be two people, it can be two walls, it can be two particles of air, it can be two cities, two planets. You choose, and vary your referent points.]

【移动的画面：让我们假设我们站立的位置。我们只是会去站立，在这个空间去放松；我的建议是站在“之间”的空间（spaces in-between）。你可以自行选择你对这个概念的理解：可以是两个人之间，可以是两个墙之间，可以是在两段空气之间，可以是两座城市之间，两个星球之间，你可以自由选择你的参照点。】

And don't be too greedy. Maybe choose first two things, or places, or bodies, and take the time to discover them, to attend to them in your standing, before and if ever you change.

不要太贪婪，或许在开始的时候选择两个物体，或者地点，或者身体，然后在你改变参照点之前去花一点时间去发现他们，去在你的站立中注意到他们。

And while, we're dealing with this new puzzle, I will continue my rambling. I was saying that an art work consists in producing a topological shift. Of course, this is not proper to art works, it can happen with a living being, with a landscape, with any object, but art works are mediators of this. And of course this is very subjective, and I can only give you my own examples.

我们在处理这个新的谜团的同时，我会继续说话。一个艺术作品包括了提供一个拓扑的转变。当然，这不是艺术作品特有的，它也可以发生在一个动物身上，一个景观上，在任何物品上，但是艺术作品是其介质。当然这是非常主观的，我只能给你我自己的例子。

I will give you one example, it's a work by Pierre Huyghes, a French contemporary artist, the title is Partition du silence: it is the score he notated from the recording of John Cage's famous piece, Four minutes and thirty-three seconds. In this piece, as you may already know, a pianist sits at a piano, doesn't play for Four minutes and thirty-three seconds, and exits. What Huyghes did, is that he scribed everything he could perceive when augmenting the volume of the recording to a maximum. So in his scores: it says: “rain”, “birds churming”, “wooden floor cracking”, “audience caughing”. These unnecessary sounds, these details were suddenly coming to the fore. He, Pierre Huyghes, was using these Four minutes and thirty-three seconds to observe silence and detect its inevitable noisiness.

这里的例子是法国当代艺术家Pierre Huyghes的作品，标题是Partition du silence：他从John Cage的著名作品4分33秒中记录下来的曲谱。在这个作品中，你可能知道，钢琴演奏家坐在钢琴前，在4分33秒中没有弹奏任何音符，然后退场。Pierre Huyghes记录下了这段时间他所感知到的一切细节，在他的记录中，包括了“下雨声”，“鸟叫声”，“木质地板的咔咔声”，“观众在咳嗽”。这些不必要的声音，这些细节突然来到的意识的焦点。Pierre Huyghes用这4分33秒去观察了安静，并从中找到了不可避免的噪音。

约翰凯奇（John Cage）作品4分33秒

This work, for me, became an attentionography. It became a frame offered by the object, to pay attention to what I was experiencing in the museum: I became the scribe of my own attention for a few minutes, and furthermore, it remains with me, and I can invoke it each time I am “listening to the silence”.

这个作品对于我来说，就成为了一个关于注意的艺术（attentionography）。它成为了一个对象物体提供的框架，来关注我在博物馆中体验到的：我成为了我自己在几分钟的注意力的抄写员，这些东西进一步留在我这里，每次我“聆听安静”的时候我都可以使用它。

The structure of an aesthetical experience is thus such that instead of looking at an object (an art work, a landscape, a being in front), it is as if you were looking “through” it-them, as if you had learned to perceive according to them, rather than according to your own preconceptions.

一个审美的体验的结构是，与其观看一个对象（艺术作品，景观，一个眼前的人），你好像你看穿了它/它们，仿佛你通过它们学到了如何感知，而不是通过你自己预先拥有的观念。

From that point of view, an aesthetical experience is an experience that consists in finding a “mediator”: some body, some place, some thing that initiates us to a realm of existence that was unknown.

从这个观点来看，一个审美的体验包括发现一个介质：某个身体，某个地点，某个事物，它激荡起一个我们之前并不知晓的存在的维度。

In that sense, and this will be my conclusion, the aesthetical experience has something to do with the event of encountering the loved one (or two or three – I mean it can happen many times). If indeed we say that we fall in love, if our legs start to shake, if our head is spinning when we encounter love, it is because the romantic encounter is governed by the dissolution of the very ground of our system of representation. In French, we even talk about a “love vertigo” (un vertige amoureux): and a similar vertigo presides in the encounter of an attentionography. It is not only that we see or hear something new, it is that, to experience this novelty, we witness the shaking of our world. From that point of view, an attentionography is, before anything, a rewritting of necessity, as long as we understand necessity as the law and order of the world. Encountering a work of art, and this will be my final world, entering into the attentionographical mode, is to be, for a few instants, rewritting the laws of our perceptive world.

从这个角度说，这会是我的结论，审美的体验和我们遇到心爱之人（人们，我意思是这个过程可以多次发生）的体验类似。如果我们说我们坠入爱河，当我们遇见爱，如果我们的大腿开始颤抖，如果我们的头脑开始旋转，那是因为浪漫的遇见是由我们的表现系统的基础消融所决定的。在法语中，我们说“爱的眩晕”(un vertige amoureux)：一个类似的眩晕在我们和与注意有关的艺术中也在发生。这不只是我们看到或者听到什么新的东西，而是我们体验到了一种新奇，我们见证了我们世界的摇晃。从这一点来看，关于注意的艺术，在任何前提之前，是一个对于“必要”的重新书写，只要我们理解“必要”作为世界的规律和法则。遇见艺术作品，这将是我最后的世界，进入“关于注意的艺术”模式，就是重新书写我们感知世界的法则。

Thank you for your attention.

谢谢你的注意力。

接触即兴(Contact Improvisation)文集系列

勾勒内在技术 Drafting Interior Techniques by Steve Paxton

《感受，感觉和行动》节选：身心平衡中的体验式解剖学 by Bonnie Bainbridge Cohen

沉思式舞蹈练习（Contemplative Dance Practice）of Barbara Dilley

Questioning Contact Improvisation 质疑接触即兴 by Keith Hennessy

更多文献翻译，请访问www.cidanceresearch.com 

2021年课程信息