有关虚拟形式的寓言

A Fable about Virtual Form 有关虚拟形式的寓言 Lying, Self-Reference, and Mortification in the Age of Computing 谎言、自我指涉、及在电脑时代的羞辱 Donald Kunze 杜拿德、昆泽 Penn State University 宾州大学 Virtual architectural spaces made possible in recent years by computer hardware and software have, for better or worse, liberated architectural representation from the fetters of rectilinear thinking, traditional construction and manufacturing practices, environmental strictures, and materiality. However, in addition to what the computer screen creates and makes possible, the screen itself is present in space and in the mind of the architect in particular ways that radically condition this new free-form speculation. 虚拟的建筑空间在最近几年成为可能，由于电脑的硬体与软体已经解放建筑的符号再现，免除直线式的思维，传统建筑及制造的实际做法，环境的窄化，及物资性，无论影响结果的好坏。可是，除了电脑萤幕所创造及使成为可能的东西，萤幕本身被呈现在空间，及建筑师的心里，以特别的方式，强烈地制约了新的免除形式的思维。 Albrecht Dürer, who stood at the edge of another revolution in visual thinking, would have understood this exactly. "An Artist and Model in the Studio" (above) is perhaps the most publicized of this artist’s œuvre because it is said to portray the dominance of the male gaze in Western visuality. However, the opposite case can be made. While it is true that Dürer seemed to know consequences of mechanizing the relationship between the viewer and the viewed, other structures are both evident and deeply informative. 在视觉思想，阿布瑞奇、杜瑞尔，处于另外一个革命的边缘，他本来会确实地了解这一点。「艺术家与在画室的模特儿」可能是这位艺术家的最传世的著作。因为据说它描述在西方的视觉意象里，男性凝视的支配性。可是，相反的情况也能够成立。虽然杜瑞尔似乎知道，将观看者及被观看者之间的关系机械化的各种后果，其他的结构既是明显，又是深具资讯。 Some, such as the topiary tree and water vase on the windowsill (icons found in some paintings of the Annunciation) possibly convey the notion that the work of art is a form of incarnation. Other elements seem to be very modern — the lucinda’s "pixelation" of the mediating plane, the radical pictorial division between subject and object, the right angle between the picture plane and surface of representation (cf. the split in production between input and output), the lateral position of the model ("objectivity" rather than "passivity"), the vertical obelisque immobilizing the artist’s eye and establishing a teleological relationship between the view and its representation, and the drawing paper’s duplication of the lucinda’s grid. If some elements have made the 500-year trip from Dürer’s instructional manual for draftsmen to the present world revolutionized by the microcomputer revolution, perhaps this image can say something about the creation of architecture through the use of virtual, computer-generated spaces. 有些结构，譬如，修剪装饰的树及窗框上的装水花盆，（在圣母画派Annunciation 的一些图画里被发现的图像），可能传递这个观念：艺术作品是圣灵化身的形式。其它因素是非常现代—中介层次的栏栅的点位化，在主体与客体之间的强烈的画面的区分，在画面层次与符号再现的表面之间的适当角度。（譬如，在输入与输出之间的产品的分裂），模特儿的倾斜位置 （客观化，而不是被动化），让艺术家的眼睛不能动弹及建立目的论的关系的垂直中介物，处于景象跟它的再现之间，以及栏栅的框格的画纸的复制到目的论关系。假如一些因素已经让这500年的旅行，从杜瑞尔的画匠的教导手册，到微电脑的革命所革新的目前的世界，或许这个意象能够说出某件东西，关于建筑的创造，凭借虚拟的由电脑制作的空间的使用。 The devices of the Dürer engraving have an enigmatic kind of "curvature" that makes the analogy of the Möbius band particularly apt. Properly understood, this curvature reveals symptoms of the future of architecture. I shall present these symptoms in their barest form, so that the astute reader, who "knows how the story ends," can make the ultimate connections. The Dürer image is subtle in its use of vectors and personifications, and several "experiments" are required. 杜瑞尔雕塑的各种设计具有一种谜团一般的「凹面」，让莫比斯环带的类比特别的容易。它适当地被理解，这个凹面显示建筑未来的病征。我将呈现这些病征，以它们原初的形态，这样敏锐的读者，知道「这样的故事如何结尾」，他就能够做最后的连接。杜瑞尔的意象是微妙的，在它使用各种向量及人格化，以及好几个「试验技术」被要求。 Experiment One: the Blind Spot 试验一：盲点 First, reverse the presumed artist-to-model direction of the gaze. Have the model project a visual field, regulated by a device ("lucinda") that is a part of the model’s structure, and you have Jacques Lacan’s flip of the standard Derrida interpretation that has for over twenty years underwritten this condemnation of the (male) gaze. In fact, the model’s indifference, her supine tranquility, her lateral position (which leaves the artist with an end-on view) make signification into a fluid flow from authority ("the Other") to the artist-subject who is immobilized (the "barred subject," which Lacan symbolizes as $). The artist’s view is framed "from the inside" by the small blind spot — the central eye-point — which is the point at which the scene looks back at the artist. It "commands" him to be there and at no other point. Quite literally, it frames the scene from the inside out, for the scene is not the scene unless the artist occupies this one fixed spot. 首先，倒转假设的艺术家跟模特儿的凝视的方向。将模特儿投影到一个视觉的领域，由一个类似栏栅的设计，那是这个模特儿的结构的一部分。你就理获得雅克、拉康的翻阅标准的德希达的解释，这种解释过去二十年来，饱受男性凝视的文字的谴责，事实上，模特儿的漠不关心，她的脸孔上扬的宁静，她的倾斜的位置，（让艺术家处于一种观看的目的）。这造成意义的流动，从权威（大他者），到不能动弹的艺术家的主体（被划杠的主体， 拉康给予符号象征$）。这个艺术家的观点「从里面」被给予框架，由于这个小小的盲点—中央的眼睛点—在这个点，这个场景「回顾」艺术家。它「命令」他在那里，而不是在其他的点。从实质上来说，它从里面向外框架这个场景。因为这个场景并不是这个场景，除非艺术家佔有这个固定的地点。 We, the audience of the engraving, also have a blind spot — the lucinda. Dürer has cheated on the one-point perspective’s vanishing point by moving it to the right of where it should be. Normally, we would find it in the middle of the composition, directly behind the lucinda. If that had been the case, we would only be able to see the wooden edge of the frame. With the vanishing point between the vase and topiary tree, we can see a bit of the screen. The lucinda is like the "anamorphic" images painters inserted into images to be seen "correctly" from some extreme angle. The only "correct angle of view" for the lucinda is the artist’s, doubly confirming this element as "anamorphic." 我们，这个雕塑的观众，也有一个盲点—这个栏栅。杜瑞尔曾经靠着这个一个点的透视的消失点欺骗，凭借将它移动到它应该所在地右边。正常来说，我们将会找到它，在图画制作的中间，直接就在这个栏栅背后。假如当时是这个情况，我们仅能够看出这个框架的木材的边缘。使用处于花盆与修剪装饰的树之间的这个消失点，我们能够这个帘幕的一些。这个栏栅就像是这个「变形」的各种图像，被插入图像，为了「正确地」被看见，从极端的角度。这个唯一的「正确的观看点」，对于栏栅而言，是艺术家的观看点，双重地肯定作为「变形」的这个元素。 雄伯译 32hsiung@pchome.com.tw http://springhero.wordpress.com