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Comment by Margaret Hsing on July 14, 2024 at 6:54am

The painter may paint blankness, applying white paint perhaps but rarely leaves the canvas untouched. But there are also similarities between the blank space of the painter and the poet. One similarity is suggested by Gilles Deleuze in his meditation on Francis Bacon. Here he suggests that the blank canvas that con fronts the painter is not blank at all but invested with every painting ever done before. In fact, it would be a mistake to think that the painter works on a white and virgin surface. The entire surface is already invested virtually with all kinds of clichés, which the painter will have to break with (Deleuze 2005, 11). The image Deleuze gives us is of a painter confronted with the whole tradition of painting right there on the blank space which is no longer blank. This is the same for a poet who has to face the page/screen with the knowledge of all the poems that have gone before. There are all the ballads and sonnets, the free verse and the sesti nas, Caedmon’s Hymn, the long lines of Whitman, the dashes of Dickenson, iambic pentameter, half rhyme, sprung rhythm, spondees, syllabic experiments, language poetry and limericks – all of these pre-figure the first letter written or typed. The space is not blank but dizzyingly full. Returning to Deleuze: It is a mistake to think that the painter works on a white surface. The figurative belief fol lows from this mistake. If the painter were before a white surface, he – or she – could reproduce on it an external object functioning as a model. The painter has many things in his head, or around him, or in his studio. Now everything he has in his head or around him is already in the canvas, more or less virtually, more or less actually, before he begins his work. They are all present in the canvas as so many images, actual or virtual, so that the painter does not have to cover a blank surface, but rather would have to empty it out, clear it, clean it. (Deleuze 2005, 87).

The space of the poet, like that of the artist’s is a space to fill with what gets defined by the words or a seething endless presence of everything that has been written before. Once there is a poem on the page then an act of dwelling has occurred that brings space and place into being. If we move beyond the blankness of the empty page/ screen then we begin to see all the other ways in which space works for the poem. Take any poem, copy it, and apply a thick black marker to the lines of text. You end up with a black shape and a white shape. Space works as margins, as gaps, as signi f iers of intent when the poet does anything other than left align the lines. Naturally this use of space is most pronounced in forms of experimental poetry in the modern ist tradition: concrete poetry, Mallarme’s radical departures from the left margin, the projective verse of the Black Mountain School or the contemporary experimen tation with ‘erasure’. But space and place do their work too in traditional forms. The popularity of the sonnet is partly attributable to the perfect way it sits on the page, announcing itself as a poem. 3 Stasis and Flux The topos of the poem results from its play of ink and the absence of ink.

Comment by Margaret Hsing on July 12, 2024 at 8:46am

Something has to appear for space to emerge. Georges Perec makes this clear: This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text (Perec 1997, 13).

Perec’s book, Species of Spaces is a catalogue of spaces and places with chapters devoted to “The Apartment”, “The Street” and “The Town” for instance. The first chapter, though, is “The Page”. The page is immediately equivalent to spaces we may more easily think of as the world beyond the page.

The page and its markings are not removed from, and about, the world – they are of the world. In this chapter Perec outlines the nature of a topopoetics in simple terms. Writing, particularly writing poems, is the production of space and place.

It is a cartographic act that combines senses of home and journey. The process of writing creates coordinates – a top and a bottom, left and right, beginning and end. In amongst the words are pauses and hesitations. There is a poetic topological correspondence between the poem and the place it is about. In Peter Stockwell’s account of ‘cognitive poetics’ a key idea is the notion of f igure/ground – the notion that some things appear to be more important, more fluid, more foregrounded while others remain as background and setting (and thus seem ingly less important) (Stockwell 2002).

The first is figure and the second is ground. The figure is prominent and the ground is not. This occurs most obviously in the way characters are more important than the places they are in in novels. Description is often about ground and action involves figures. Figures often move across a

We make our places by doing them –by beating the bounds rather than drawing a line in the sand. Beyond that place of movement is the white of silence. But even that space is being shaped, if only as the negative image of the poem. 4 Inside and Outside One way of thinking about place is to think of it as a singular thing – specific, par ticular, bounded and separate.

The very idea of place is bound up with uniqueness and a sense of division from what lies beyond it. But places are actually connected into networks and flows – they have an extrovert side (Massey 1997). This paradoxi cal sense of separation and connectedness is noted by Malpas.

One of the features of place is the way in which it establishes relations of inside and out side – relations that are directly tied to the essential connection between place and boundary or limit. To be located is to be within, to be somehow enclosed, but in a way that at the same time opens up, that makes possible.

Already this indicates some of the directions in which any thinking of place must move – toward ideas of opening and closing, of concealing and revealing, or focus and horizon, of finitude and “transcendence,” of limit and possibility, of mutual relationality and coconstitution (Malpas 2012b, 2). This feature of place is one that translates into the topos of the poem. Poems too open and close, conceal and reveal. (Con't  below)

Comment by Margaret Hsing on July 11, 2024 at 7:09am

Poems speak to things which lie outside the poem. Clearly the poem has a referential function – like all language. It is about something. But even if we include the things the poem directly names on the inside of the poem, there is yet another set of things that are not directly named but instead gestured towards. In this way the poem opens up to the world. We have seen how one of the features of place is the way in which it gathers things.

A place is a unique assemblage. The things that constitute a place often appear to us as specific to that place even if they have, in fact, travelled from else where. Things form a particular topography of place at the same time as their jour neys link the inside of a place to elsewhere. Poetry is one way in which we stop and wonder at the specificity of the way things appear to us in place.

Poetry involves being attentive to things and the way I which they are gathered. Poetry is an ‘encounter with the world’. No matter the changes in Heidegger’s philosophical vocabulary, a key point around which his thinking constantly turns is the idea that thinking arises, and can only arise, out of our original encounter with the world – an encounter that is always singular and situated, in which we encounter ourselves as well as the world, and in which what first appears is not something abstract or fragmented, but rather the things themselves, as things, in their con crete unity (Malpas 2012b, 14).

This insistence on the specificity of ‘things themselves’ is one way we can think about poetic attention. A poetic concern ground that appears relatively static. This movement, in a poem, is expressed with direction words such as “over” or “in” or “towards”. Topopoetics challenges some of the assumptions of the figure/ground equation. As place is most often equated with ground it tends to have a degree of deadness associated with it. It seems less important.

Topopoetics draws our attention to the opposite – the active presence of place in the poem. Another key term in cognitive poetics is “image schema” which refers to “loca tive expressions of place” (Stockwell 2002, 16). Stockwell gives the examples of “JOURNEY, CONTAINER, CONDUIT, UP/DOWN, FRONT/BACK, OVER/ UNDER, INTO/OUT OF”. Terms of mobility catch our attention and urge us to continue reading – static elements are frankly boring and we quickly forget them. The difference between the moving elements and static elements produces literary and cognitive effects. But even before any particular word is written or read we have the poem – the lines that form a shape in space. As we read left to right and top to bottom against the white space a figure forms over ground. A passage is enacted. Stuff happens.

Poems are made out of arrangements of type and blank space – figure and ground in a physical, pre-verbal sense. I am not sure what the cognitive content of this patterning is but it is surely important to poetry – even before the specifics of actual words and their meanings. This is the start of the geography of the poem. There are two spatial metaphors at work in the basic language of poetry that point towards the way a poem is an act of dwelling: these are the words ‘stanza’ and ‘verse’.

Comment by Margaret Hsing on July 9, 2024 at 7:54pm

(Con't) Stanza means ‘room’, ‘station’ or ‘stopping place’ and refers to blocks of black separated by white on the page. These are rooms we pass between surrounded by outside. Stanzas found their way into written poetry through the act of memoriz ing verse. Rooms, or stopping places, are memorized and filled with words that would be activated by an imagined walk through the rooms. While stanzas are clearly places to stop – they are also clearly linked by movement. Movement also occurs within the stanzas as we follow the lines of text. The word ‘verse’ comes from the practice of tilling the soil – agriculture – the root of ‘culture’. It is rooted in the Latin versus, meaning a ‘furrow’ or a ‘turning of the plow’. As the farmer (or farm worker) tills the soil they come to an edge, turn around, then make their way back, pacing out the day. Verse can thus be found in ‘reverse’. These two ideas – stanza – as a block of bounded space and verse as an action – a form of practice that brings those blocks alive and reminds us that they are only there because of move ment – these two ideas describe something of the geography of the poem as the interplay of fixity and flux of being and becoming.

Poetry is often referred to as freezing time. In fact, many kinds of representation are said to freeze time (and thus, in some circles, representation has become deeply suspect) (Anderson and Harrison 2010). In poetry’s case, this could not be further from the truth. Poetry, to me, is a mobile form related to walking and, indeed, ploughing and reversing. This sense of mobile journeying in the poem is part of the topological understanding of the poem on the page.

Perec knew this: I write: I inhabit my sheet of paper, I invest it, I travel across it, I incite blanks, spaces (jumps in the meaning, discontinuities, transitions, changes of key) (Perec 1997, 3) with place starts from a recognition of an original encounter which is “singular and situated”. The more the poem can reflect this situated singularity the more faithful it will be to the place that lies beyond it. But it would be wrong to think of the ‘concrete unity’ of place as a pure, bounded entity with no relation to a world (even an abstract world) beyond it. Places always point to a world beyond them, and so do poems.

One way in which the place of the poem opens up to its outside is through metaphor. Metaphor is another component of poetics that has a spatial root in travel. Metaphor comes from the Greek metaphorá (μεταφορά ) for ‘transfer’ or ‘carryover’.

In modern Athens, the vehicles of mass transportation are called metaphorai. To go to work or come home, one takes a “metaphor” – a bus or a train. Stories could also take this noble name: every day, they traverse and organize places; they select and link them together; they make sentences and itineraries out of them. They are spatial trajectories (de Certeau 1984, 115).

Metaphors perform two operations simultaneously – they say a equals band, at the same time, a does not equal b. Just saying a is the same as b is not metaphorical.

For a metaphor to be a metaphor a has to also be different from b. The more different they are the more powerful the metaphor. This is true as long a and b are not so different that they are not, in fact, similar in any way.

Comment by Margaret Hsing on July 8, 2024 at 9:00pm

（con't from above）Metaphors have a spatial logic, they connect a thing which is present in the poem to something which is absent outside of it. In doing this the absent thing becomes present. The inside is connected to the outside. Using metaphor means seeing one thing as another – a form of understanding that is “fundamentally spatial in organization” (Zwicky 2003, § 3). This spatiality is one which is not bounded and singular but, instead, one which makes a connection, or, as Jan Zwicky puts it. “a linguistic
short-circuit.”

Non-metaphorical ways of speaking conduct meaning, in insulated carriers, to certain ends and purposes. Metaphors shave off the insulation and meaning arcs across the gap (Zwicky 2003, § 68).
The place which is a poem has both the meanings which lie within the boundaries marked by the presence of type, and the meanings that this type connects to. The text of the poem is both a neat, closed entity and a set of links to what lies beyond.

It is in this sense that the metaphor formulas a=b and a≠b simultaneously recognizes the inherent qualities of what lies within the poem and the connections to what lies without.

A metaphor can appear to be a gesture of healing – it pulls a stitch through the rift that our  capacity for language opens between us and the world. A metaphor is an explicit refusal of the idea that the distinctness of things is their fundamental ontological characteristic.

But their distinctness is one of their most fundamental ontological characteristics (the other being their interpenetration and connectedness). In this sense, a metaphor heals nothing – there is nothing to be healed (Zwicky 2003, § 59).

Metaphor works on the dual capacity to recognize the concrete unity of the assemblage of things that lies before us and to insist on their connectedness to a world beyond. Things (and the assemblages of things which are places) are both distinct (in that there is no other assemblage exactly like this one) and connected (things are always interconnected). Metaphor allows us to be near to things, in the way both a poet and a phenomenologist insist on, and to recognize a constitutive outside. This outside is also a world of things, practices and meanings that can be drawn upon to recognize the specificity of ‘here’.

5 Conclusion

In this essay I have developed a basis for topopoetics – a way of reading poetry that uses spatial thinking to interpret the work a poem does. This is distinct from an analysis of poems about place – or the poetics of sense of place. While it is clear than many poets evoke place in their poetry and that geography may be one of the few constants in the history of English language poetry, it is also the case that poems are kinds of places and they enact a form of dwelling. Indeed, it was poetry that
inspired much of Heidegger’s thinking about place and dwelling. Topopoetics insists on the active nature of spatial thinking in the process of interpretation. Place and space are not just setting or subject but are, rather, woven into the fabric of poetic making itself. I have made a start to outlining topopoetics through reference to the role of blank space, stasis and flux and inside and outside in order to show how spatiality is implicated in the process of meaning making. This, in turn, becomes a tool in relating the poem to the places the poem is about.

（Towards Topopoetics: Space, Place and the Poem，Tim Cresswell，© Springer International Publishing AG 2017 B.B. Janz (ed.), Place, Space and Hermeneutics, Contributions to Hermeneutics 5, Pg.319-331，See discussions, stats, and author profiles for this publication at: https://www.researchgate.net）

Comment by Margaret Hsing on May 29, 2024 at 7:43am

[火車聲]

包圍著我的，是列車各種運動那令人鎮靜的活動。這各種運動伴著我，如果我沒有睡意。他們會主動過來和我聊聊，它們的聲響像搖籃曲那樣催我入眠。……好像我在一瞬間得以化身為某種魚類在大海中安睡，睡意朦朧中被水流和浪濤蕩來蕩去，或者化成一隻鷹，仰臥在暴風雨這唯一的支柱上。

 

[旅行：想出各種生活畫面]

由於種種原因，人們為自己設想的圖景是永遠不會成為現實的……人們構想出各種生活畫面，小至在日落中品嚐鱸魚，為此一個深居簡出的人會決心乘一趟火車，大至渴望某天晚上乘坐一輛豪華馬車停在一個高傲的女出納面前讓她大吃一驚，為此一個不擇手段的人會謀財害命，或者巴不得親人死掉好獨吞遺產，這要看他是膽大包天還是懶惰成性，是不達目的決不罷休還是停留在醞釀計劃的第一步，總之，不管構想什麼樣的畫面，為了實現這一畫面所采取的行動——旅行、結婚、犯罪等等，會使我們起深刻的變化，以致我們在自己成為旅客、丈夫、罪犯、孤獨者（後者為獲得榮譽而開始工作，但工作又使她對榮譽的渴望變得淡泊）之前構想的畫面不再重現，我們也許連想都不去想了。再說，縱然我們下定決心不肯徒勞無益，也有可能日落景象未達到預想的效果，或者到那時我們因感到寒冷而寧願在火爐邊喝湯而不想在露天品鱸魚，也可能我們的馬車絲毫未打動女出納的心，她出於別種原因本來對我們十分敬重，而我們陡然擺闊反倒引起了她的猜疑。

 

[火車鳴笛]

我聽到火車鳴笛的聲音，忽遠忽近，就像林中鳥兒的囀鳴，標明距離的遠近。汽笛聲中，我仿佛看見一片空曠的田野，匆匆的旅人趕往附近的車站；他走過的小路將在他的心頭留下難以磨滅的回憶，因為陌生的環境、不尋常的舉止、不久前的交談，以及在這靜謐之夜仍縈繞在他耳畔的異鄉燈下的話別，還有回家後即將享受到的溫暖，這一切使他心緒激蕩。

 

 

[火車站]

火車站幾乎不屬於城市的組成部分，但是包含著城市人格的真諦。這聖拉扎爾車站，在開了膛破了肚的城市高處，展開廣闊無垠而極不和諧的天空，戲劇性的威脅成團成堆地聚集，使天空顯得沉重……在這樣的天空下，只會完成某一可怕而又莊嚴的行動，諸如坐火車動身或豎起十字架。

 

[適應：醒來之後和人說話]

……說出這些話，而不是我這個處於剛剛醒來狀態的睡眠者正在繼續思考的那些話，這樣做要求我拿出平衡的力量，就像有人從一列行進的火車上跳下來，沿途跑上一段時間，最終得以站穩，沒有跌倒。他奔跑一段時間是因為他離開的是一個高速運轉的環境，與靜止的環境不同，他的腳一時難以適應。

（摘自：《追憶似水年華》[法語：À la recherche du temps perdu，英语：In Search of Lost Time: The Prisoner and the Fugitive]，[法国]馬塞爾·普魯斯特 [Marcel Proust ，1871年—1922年] 的作品，出版時間：1913–1927，共7卷）

Comment by Margaret Hsing on May 20, 2024 at 9:06pm

[彩繪玻璃]

有一面彩繪玻璃窗，從上到下只被一個人物形象所佔滿，那人的模樣跟紙牌上的大王相似；他就在上面頂天立地地站著，教堂的拱頂成了他的華蓋。……其中有一面窗像長條的棋盤，由百十塊長方形的小玻璃拼成，主調是藍色的，像當年供查理六世用來解悶的一幅大紙牌。

[古老的建築]

這座建築可以說佔據了四維空間——第四維就是時間，它像一艘船揚帆在世紀的長河中航行，駛過一柱又一柱，一廳又一廳，它所贏得、所超越的似乎不僅僅是多少公尺，而是一個朝代又一個朝代，它是勝利者。

[拱門]

重重疊疊哥特式的、風姿綽約的拱門，一個挨一個地擋著，讓外人一眼看不到樓梯，好比一群千嬌百媚的大姐姐，笑吟吟地擋住了身後土裡土氣、哭哭啼啼、衣衫寒酸的小弟弟。

[拱頂]

幽暗的拱頂下，天花板上鼓起一道道粗壯的筋脈，像一隻巨大的蝙蝠張開的翼膜。

[教堂牆上的植物]

然而在教堂和非教堂之間，卻有一道我的思想始終不能逾越的界限。盡管盧瓦索夫人的窗前有幾棵倒掛金鐘，習慣於不知趣地縱容耷拉著腦袋的樹葉到處亂躥，那上面的花朵開到一定時候，總迫不及待地要把自己的紅得發紫的面孔貼到教堂陰沉的牆上去涼快涼快，我覺得倒掛金鐘並不因此而沾上靈氣；在花朵和它們所投靠的陰沉的牆面之間，我的肉眼雖看不到半點間隙，但是在我的心目中，卻存在著一個不可逾越的深淵。

（摘自：《追憶似水年華》[法語：À la recherche du temps perdu，英语：In Search of Lost Time: The Prisoner and the Fugitive]，[法国]馬塞爾·普魯斯特 [Marcel Proust ，1871年—1922年] 的作品，出版時間：1913–1927，共7卷）

Comment by Margaret Hsing on April 27, 2024 at 5:38pm

文本轉譯知覺：策劃空間的多向度異變

策劃視野的引導、路徑的假設、空間的分隔等皆基於形式組織的理性規劃與感性體悟，而游牧理論下對展覽空間的邊界設定在當代極高效信息傳播的語境下不斷受到碰撞，物質與觀念雙重維度上的界限被打破。

（一）邊界重置：桎梏流變的感官空間

1.視覺延展

策劃空間的呈現一貫致力於側重視覺作用於體驗的表達，而負責紐約現代藝術博物館殘疾人長期項目的卡裡·麥吉質疑了視覺中心主義，博物館自20世紀70年代開始邀請盲人參觀展覽，後拓展至可直接觸摸畫作，展覽對視障的關懷並不同於傳統美術館以展覽預錄制聲音描述的形式呈現展覽，而是以藝術家向導描述現場聲音為對應人群提供強連接、逼近現實的體驗。展覽中藝術作品的概念框架在更探索性、試驗性的多感官體驗間來回游走，偏袒視覺的感官等級制度崩塌，展覽不僅傳達了一種策展需要破開視覺空間屏障的觀念與邏輯導向，同時探索了無障礙行動的闡釋和轉譯方式，拓展了策展實踐思考無障礙的方式。

2.聽覺解碼

聲音是聯結人與世界的基本交流媒介之一，當代聲景設計以人的聲音機能為核心，創造性地將聲環境、聲信息和聲技術融合成新的媒介。當代策展性手法通過新興媒介對體驗的引導探索聲音可超越的維度，2021年於於木木美術館由難波祐子主策劃的「阪本龍一：觀音·聽時」展覽以敏銳的情緒洞察力打磨聽覺的呈現，其中的《你的時間》將空曠場所兩側並排放置音響與LED面板，鋼琴跟隨地震數據彈奏其因為海浪沖擊而異變的音律，人類定義的鋼琴原音所謂符號定義因自然活動被消除，聲音意味的游離與搖擺在被刻意打造的沉浸場域中被感知。

3.嗅覺祛魅

長期以來，受到嗅覺本身複雜性質的局限，以視聽為主要內容的藝術史中很少出現嗅覺的身影，嗅覺的表達潛能處於被忽視的狀態。當代嗅覺策展正以大量的實踐作品中累積而逐步形成自身的話語場域，但嗅覺藝術的豐碩成果並非是一蹴而就的，它經歷了長久的冷落和漸進的嘗試。2012年策展人Chandler Burr受紐約藝術與設計博物館所委托策劃的「The art of scent香氛藝術」消除了視覺材料的所有參考而僅留下承載氣味的香龕、被懸掛的容器，並給予體驗者比較與討論的嗅覺體驗的游牧場所，以一向被忽視的、私人的嗅覺體驗借由公開交流的主動權調動想象，擺脫被規訓的參展體驗形式而以反向的知覺路徑對當代策展的可能性進行突破。

中心隱匿：多維重塑的觀念敘事——能動的策展性突破展覽的邊界、挑戰規范式空間、超越媒介與感官體驗，使得展覽能夠作為發聲、社交、賦權場拋出問題、催生意義。

（盧錦程·德勒茲「游牧空間」理論下當代策展性手法與觀展空間的關係；[原載：中國民族博覽2023年6期]）

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Comment by Margaret Hsing on April 15, 2024 at 9:47pm

（續上）五、書寫的肉身：「無器官身體」波特萊爾在〈人間以外的地方〉說：「人生是一家醫院，那兒的每個病人都被想換床的慾望所佔有。這個病人願意在火爐對面受苦，那個卻認為他在窗戶旁邊病就會好。我覺得在我不在場的地方老是會感到好些，這個遷居問題就是我不斷地和我的心靈討論的問題。」（《憂鬱》，152-3）

透過醫院這個隱喻，生病的詩人宛如大病初癒般的啟發，以不斷遷居的行動慾望來實踐漫遊，甚至在同一地點（旅館或醫院）也不停地移動。 為了自救，漫遊是一種必然的行動慾望，里斯本、荷蘭或巴達維亞，「無論什麼地方！只要不在這個世界上！」

突顯這個漫遊身體不受任何地方 羈絆，被想移動的強烈慾望支撐著，而不是單純想旅行的慾望而已。 波特萊爾漫遊式書寫的初始姿態是脫逃性質的，為了逃離依功能劃分的資本主義，而以一種紈袴子或藝術家從容閒適的外表，來反抗制度， 所呈現的是一個特立獨行的身體，不斷沉浸於環境所給予的現實感中， 促使詩人正視自身的限制，所產生的是必然的反身性、必然地逃跑，因大量的流動性驅動了逃跑的路線與向外連結的慾望，詩人也不斷在變向、不斷變形、位移（déplacement），強調脫逃的過程與路線，作為書寫創造運動之所本。

在巨大城市如迷宮般的裝置中不斷移動，詩人的城市漫遊與書寫已變成相同的動作。而這個漫遊姿態剔除了本質主義色彩，並沒有任何實體作為基礎的堅實存在（猶如身體進行不移動的旅行）。在某一方面，這種姿態與德勒茲與瓜達裡所謂的「無器官身體」39 十分接近。

39 德勒茲與瓜達裡藉用這個「無器官身體」來進行他們的解域化實踐（déterritorialisation）。「無器官身體」不是一個身體形象，不等同於沒有器官的身體，它是一個成型和變型、分解和重組身體的過程，這種身體，因為沒有羈絆，沒有組織，因而可以四處流走，亦可反覆地重組。用德勒茲的話語來說，它是遊牧與流動的存在，它是「根莖式」的，四處蔓延與滲透。


從此來看，無器官身體有正面及負面涵義，可以泛指任何宗教、道德、意識形態、資本或人物，本身不事生產，卻可控制人的行為。《千山台》一書第六章〈如何成為無器官身體〉，甚至呼籲人們去創造屬於自己的無器官身體。參考Gilles Deleuze et Félix Guattari, Mille plateaux, 1. Introduction: rhizome; 6. Comment sefaire un corps sans organes? (Paris: Éditions de Minuit, 1980), pp. 9-37, 185-204.

它是一個非形式、非組織性的不穩固身體，不受任何生物性事實所主宰，在不斷與 現代社會發生關係的過程中，這個散亂、零碎、靈活、可變的姿態，與漫遊主體一般，不斷處於流動與變向（devenir）的姿態。事實上，這個姿態不是封閉的有機體，沒有定義與從屬關係，不受權力箝製，它是主動的，為一種慾望之流所灌注，但這個慾望跳離傳統精神分析，不是因 匱乏而生的缺陷，這個慾望是一個生產的機器，它不是形式的統一，而是不斷流動的，永遠在生產、在逃逸、在衝破、在連結。

猶如波特萊爾筆下詩與慾望的迷宮中，詩歌已然太接近慾望，折回到純粹詩意的驅動， 通過修辭的文藻，嘗試捕捉（關住）那個受到慾望唆使慫恿的心靈訴說， 猶如那個來自於詩歌、同時又表現某種超越詩歌的自由意象，將語言置於解域化的方向中。

在〈高翔〉（«Elévation»，《惡之華》，51-2）一詩中，詩人與他的心靈逕行分裂，在分裂的過程中，他對他的心靈以「你」相稱並用祈使句的口吻。詩人自己「我」與任何影射身體的字詞幾乎不存在。

此處，祈使句所指的既是一種自律也是一種自我觀察（「去吧」、「飛吧」），將身體視為一種負擔、一種羈絆。其實在希臘哲學（柏拉圖）與基督教傳統中，身體早被視為一種牢籠，死亡之後靈魂遂與留於塵世中的身體進行分 離。波特萊爾重拾此一傳統，藉由詩中「泳者」與「鳥」的譬喻，將脫去身體的心靈，與速度、流動性以及自由產生關聯。但在這個去身體的解放中，心靈所沉迷的卻又是某種「無法形容的男性快感」，一種非常真實的肉慾。

這個對比矛盾修辭（paradoxe）同時表現出一種抽象與具體的愉悅，代表著詩人所追尋的「理想」是身體與心靈進行最原始與最快樂的結合？抑或這個身體為慾望之流，不斷變形、變向？在此詩中，肉慾所開啟的狂喜，幾乎與某種神秘經驗貼近，甚至超越詩人對「理想」的想望，尤其詩中最後一個反轉，出現了那個最反詩意的字：「東西」，在語言與啞口無言之間存在著某種吊詭，將我們帶回到那個破解世界之謎的詩人身邊，他象徵性的視野，只能透過從不替自己說話的「東西」（«des choses muettes»）來發聲。

心靈的激情與所謂的「真實」如何互相指涉？其間關係糾纏，唯有詩人得以進行比擬。是詩的語言讓我們如此理解真實，抑或真實如斯不可理喻而我們只有用詩的機制才能靠近它，穿透它的表層？（齊嵩齡，2015，《身體如表現：波特萊爾的步態式書寫》，《中央大學人文學報》第五十九期 2015年4月頁71-120中央大學文學院，淡江大學英美語言文化學系助理教授[yslc7@mail.tku.edu.tw]）

Comment by Margaret Hsing on April 5, 2024 at 5:52pm

Senses of place: architectural design for the multisensory mind

Abstract

Traditionally, architectural practice has been dominated by the eye/sight. In recent decades, though, architects and designers have increasingly started to consider the other senses, namely sound, touch (including proprioception,  kinesthesis, and the vestibular sense), smell, and on rare occasions, even taste in their work.

As yet, there has been little  recognition of the growing understanding of the multisensory nature of the human mind that has emerged from the field of cognitive neuroscience research. This review therefore provides a summary of the role of the human senses in architectural design practice, both when considered individually and, more importantly, when studied collectively.

For it is only by recognizing the fundamentally multisensory nature of perception that one can really hope to explain a number of surprising crossmodal environmental or atmospheric interactions, such as between lighting colour and thermal  comfort and between sound and the perceived safety of public space.

At the same time, however, the contemporary focus on synaesthetic design needs to be reframed in terms of the crossmodal correspondences and multisensory  integration, at least if the most is to be made of multisensory interactions and synergies that have been uncovered in  recent years. （Con't Below）


(Source: Senses of place: architectural design for the multisensory mind by Charles Spence; in Cognitive Research: Principles and Implications (2020) 5:46 Keywords: Multisensory perception, Architecture, The senses, Crossmodal correspondences)

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