。Ornament and Crime 14 Jul 2011, 11:25 pm

閱讀 Adolf Loos 著名的文章摘要，提及紋身，與裝飾的罪惡，陡然憶起前陣子得知的新流行：所謂日本驚嚇行為藝術「身體膨脹(body inflation)」------ 將生理食鹽水注入身體裡面，讓身體的「某部份」巨大化....有時透過對膨脹部位的按壓，在身體上造成某些奇形怪狀。


對此，猜想 Loos 也許會表示，這不是裝飾，是表現材質？一笑。
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參考報導：日本驚嚇藝術 身體膨脹 人體改造變形的極致

Adolf Loos, Excerpts from 。Ornament and Crime (1908)

裝飾與罪惡 盧斯 [奧地利]

In the womb the human embryo passes through all the development stages of the animal kingdom. At the moment of birth, human sensations are equal to those of a newborn dog. His childhood passes through all the transformations which correspond to the history of mankind. At the age of two, he sees like a Papuan [a people of New Guinea], at four, like a Teuton, at six like Socrates, at eight like Voltaire. When he is eight years old, he becomes aware of violet, the color which the eighteenth century had discovered, because before that the violet was blue and the purple snail red. Today the physicist points to colors in the sun's spectrum which already bear a name, whose recognition, however, is reserved for the coming generation.

人的胚胎在子宮裡通過了動物的進化的所有階段。人剛生下來的時候，他的感覺印像跟小狗小貓的差不多。他在兒童時代經歷了人類歷史的全部變化。2歲的時候，他用巴布亞人的眼睛看東西，4歲的時候用古代條頓人的眼睛，6歲用蘇格拉底的，8歲用伏爾泰的。到8歲，他認識了紫色。紫色是18世紀才發現的，早先，紫色就是藍色，蝸牛紫是紅色。物理學家現在在太陽光譜裡指點顏色。這些顏色都已經有了名字，但對它們的理解還留待將來的人。

The child is amoral. To us the Papuan is also amoral. The Papuan slaughters his enemies and devours them. He is no criminal. If, however, the modern man slaughters and devours somebody, he is a criminal or a degenerate. The Papuan tattoos his skin, his boat, his oar, in short, everything that is within his reach. He is no criminal. The modern man who tattoos himself is a criminal or a degenerate. There are prisons where eighty percent of the inmates bear tattoos. Those who are tattooed but are not imprisoned are latent criminals or degenerate aristocrats. If a tattooed person dies at liberty, it is only that he died a few years before he committed a murder.

兒童是無所謂道德不道德的。在我們看來，巴布亞人也這樣。巴布亞人殺死敵人，吃掉他們。他不是罪犯。但是一個現代人殺了個什麼人，還把他吃掉，那麼，他不是個罪犯就是個墮落的人。巴布亞人在他們的皮膚上、船上、槳上，總而言之，在一切他能夠用手摸到的東西上，都刺上花飾。他不是罪犯。一個紋身的現代人不是個罪犯就是個墮落的人。監獄裡的犯人有八成是紋過身的。紋過身而還沒有進監獄的人都是潛在的罪犯或者墮落的貴族。如果一個紋過身的人清清白白地死掉了，這就是說，他死在犯殺人罪之前。

The urge to ornament one's face, and everything within one's reach is the origin of fine art. It is the babble of painting. All art is erotic.

修士自己的面孔和一切可以到手的東西的迫切願望是造型藝術的開始，這是關於繪畫的童稚之見。所有的藝術都是性的。

The first ornament that came into being, the cross, had an erotic origin. The first work of art, the first artistic action of the first artist daubing on the wall, was in order to rid himself of his natural excesses. A horizontal line: the reclining woman. A vertical line: the man who penetrates her. The man who created it felt the same urge as Beethoven, he experienced the same joy that Beethoven felt when he created the Ninth Symphony.

過去產生的第一件裝飾，十字，起源於性。這是藝術家為發泄他多余的精力而畫在牆上的第一個藝術作品，第一個藝術性的行為。一橫是趴著的婦女。一豎是正在跟她交媾的男子。創造這個十字的人感到貝多芬所感到的那種創作衝動，他跟創作第九交響樂時的貝多芬在同一個極樂境界裡。

But the man of our time who daubs the walls with erotic symbols to satisfy an inner urge is a criminal or a degenerate. It is obvious that this urge overcomes man; such symptoms of degeneration most forcefully express themselves in public conveniences. One can measure the culture of a country by the degree to which its lavatory walls are daubed. With children it is a natural phenomenon: their first artistic expression is to scrawl on the walls erotic symbols. But what is natural to the Papuan and the child is a symptom of degeneration in the modern man. I have made the following observation and have announced it to the world: The evolution of culture is synonymous with the removal of ornament from objects of daily use. I had thought to introduce a new joy into the world: but it has not thanked me for it. Instead the idea was greeted with sadness and despondency. What cast the gloom was the thought that ornament could no longer be produced. What! Are we alone, the people of the nineteenth century, are we no longer capable of doing what any Negro can do, or what people have been able to do before us?

但是我們今天如果有一個人由於內部衝動而在牆上畫性的像征，那麼，他不是罪犯就是墮落者。用不著說，這種作為墮落症狀的衝動總是在廁所裡發作的。一個國家文化水平的高低可以從它的廁所的牆壁被塗抹的程度來判斷。兒童的第一個藝術表現就是在牆上亂畫性像征，這是自然現像。但是，在巴布亞人和兒童是自然的那些行為，在現代的成年人就是墮落的症狀了。我有一個發現，把這向世界公布如下：文化的進步跟從實用品上取消裝飾是同義語。我相信，我的這項發現會給世界帶來歡樂；但世界至今還沒有感謝我。人們過去是愁悶的。耷拉著腦袋。使他們灰心喪氣的是他們認識到他們不再能做出新的裝飾來。我們，19世紀的人們，難道做不出任何一個黑人和我們之前任何一個時代任何一個民族都做得出來的東西嗎？

Those objects without ornament, which mankind had created in earlier centuries, had been carelessly discarded and destroyed. We possess no carpenter's benches of the Carolingian period; instead any rubbish which had even the smallest ornament was collected, cleaned and displayed in ostentatious palaces that were built for them, people walked about sadly amongst the display cabinets. Every period had its style: why was it that our period was the only one to be denied a style? By “style” was meant ornament. I said, “weep not. Behold! What makes our period so important is that it is incapable of producing new ornament. We have out-grown ornament, we have struggled through to a state without ornament. Behold, the time is at hand, 2 fulfillment awaits us. Soon the streets of the cities will glow like white walls! Like Zion, the Holy City, the capital of heaven. It is then that fulfillment will have come.”

過去一千年中人類創造的一切沒有裝飾的東西都被想也不想地扔掉了，被遺棄在一邊隨它們朽爛敗壞。我們不保存卡羅林時代的細木工板凳，卻把哪怕只有一點點裝飾得毫無價值的玩意兒收集起來，弄干淨，造起豪華的大廈來珍藏它們。然後，人們在玻璃櫃子之間滿腔愁緒地走著，為自己的無能感到羞愧。每個時代都有它的風格，只有我們的時代沒有風格嗎？人們認為風格就是裝飾。那麼我說：不要哭哭啼啼！看，我們的時代不能產生新的裝飾了，這恰恰是我們時代的偉大所在。我們已經成長，裝飾已經容不下我們了；我們已經從裝飾中掙扎出來取得了自由。看，時候來臨，我們要抓緊機會。城裡的街道不久就會像白牆一樣閃閃發光。就像沙恩，那座聖城，天堂的首都。然後機會將要實現。

But there are hob goblins who will not allow it to happen. Humanity is still to groan under the slavery of ornament. Man had progressed enough for ornament to no longer produce erotic sensations in him, unlike the Papuans, a tattooed face did not increase the aesthetic value, but reduced it. Man had progressed far enough to find pleasure in purchasing a plain cigarette case, even if it cost the same as one that was ornamented. They were happy with their clothes and they were glad that they did not have to walk about in red velvet trousers with gold braids like monkeys at a fun fair. And I said: “Behold, [German Romantic writer] Goethe's death chamber is more magnificent than all the pomp of the Renaissance, and a plain piece of furniture is more beautiful than all the inlaid and carved museum pieces. Goethe's language is more beautiful than all the ornaments of the shepherds of the Pegnitz.”

穿黑色道袍的神職人員都接受不了這個。人類還要在裝飾面前奴顏婢膝。人已經發展到了足夠的程度，以致裝飾不再能夠引起他們愉快的感覺，以致刺墨的臉不能像在巴布亞人中間那樣提高審美效果，相反，倒會降低它。人已經發展到了能夠愉快的欣賞一只樸素的煙盒，而一只有裝飾的，盡管價錢一樣，卻沒有人買。他們穿著他們的衣服覺得舒暢，並且因為不必穿著有金色流蘇的紅色天鵝絨長筒襪像游樂場裡的猴子那樣走來走去而感到高興。我說：看，歌德臨終的臥室比文藝復興的所有華貴裝飾都優雅，一件簡單樸素的家具比博物館裡任何一件鑲嵌的、雕花的家具都美麗。歌德的語言比派尼茲牧羊人的全部裝飾都精致。

This was heard by the hob goblins with displeasure. The state, whose duty it is to impede people in their cultural development, took over the question of development and re-adoption of ornament and made it its own. Woe betide the state, whose revolutions are brought about by its privy councillors! Soon one was to see a buffet introduced into the Viennese Museum of Applied Arts, which was called “the properous fish shoal,” there was even a cupboard, which was given the trade name “the cursed princess” or something similar, which referred to the ornament with which this unfortunate piece of furniture was covered. The Austrian state takes its task so seriously that it ensures that outdated footwear will not disappear from within the boundaries of the Austro-Hungarian Empire. The state forces every cultivated twenty-year-old man to wear outdated footwear for three years (after all, every state proceeds on the assumption that a poorly developed population is more easily governed).

穿黑道袍的神職人員聽到這些就不高興，而政府呢，它的任務是制止各民族文化的發展，用力去復活和發展裝飾。這個由小白臉面首們掌握命運的國家要受苦受難了！很快，我們在維也納實用美術博物館裡會見到一個叫做“魚滿網”的餐具櫃，很快就又叫做“中了魔法的公主”的酒櫃，還有類似的一批東西，都以施加於這些不幸的家具身上的裝飾命名。奧地利政府如此認真的對待它的任務，以致要確實保證奧匈帝國前線的裹腳布永存不滅。它強迫每一個受過教育的20歲的人穿3年裹腳布而不穿精致的靴子。總之，每一個政府存在的前提都是底層的老百姓比較容易統治。

Well, the epidemic of ornament is recognised by the state and is subsidised with government money. I, however, consider that to be a regressive. I will not subscribe to the argument that ornament increases the pleasure of the life of a cultivated person, or the argument which covers itself with the words: “But if the ornament is beautiful! ...” To me, and to all the cultivated people, ornament does not increase the pleasures of life. If I want to eat a piece of gingerbread I will choose one that is completely plain and not a piece which represents a baby in arms of a horserider, a piece which is covered over and over with decoration. The man of the fifteenth century would not understand me. But modern people will. The supporter of ornament believes that the urge for simplicity is equivalent to self-denial. No, dear professor from the College of

Applied Arts, I am not denying myself! To me, it tastes better this way. The dishes of the past centuries which used decoration to make the peacocks, pheasants and lobsters appear more appetizing produce the opposite effect on me. I look on such a culinary display with horror when I think of having to eat these stuffed animal corpses. I eat roast beef.

很好，政府賞識這個裝飾流行病並且用國家的錢津貼它。但是我卻認為這是倒退。我不同意那種反對意見，說什麼裝飾增加了受過教育的人生活中的樂趣；我不同意那種反對意見，說什麼“裝飾多麼美呀！”裝飾並沒有增加我們生活中的樂趣，也沒有增加任何一個受過教育的人生活中的樂趣。如果我想吃一塊姜汁餅，我就要挑選一塊光溜溜的而不是一塊心形的、嬰孩形的或者騎士形的，上面蓋滿了裝飾。15世紀的人不能理解我。但所有的現代人，裝飾的鼓吹者認為我對簡練的渴望本質上是禁欲主義的。不，實用美術學校裡的可敬的教授們，我不克制我自己。過去幾個世紀裡的那種賣弄炫耀的菜品，用盡各種裝飾來使孔雀、野稚和龍蝦看起來更鮮美，對我只能起相反的作用。當我走過菜肴陳列處，並且想到我將要吃這些塞得滿滿的屍體時，我極度厭惡。我吃烤牛排。

The immense damage and devastation which the revival of ornament has caused to aesthetic development could easily be overcome because nobody, not even the power of the state, can stop the evolution of humanity! It represents a crime against the national economy, and, as a result of it, human labour, money and material are ruined. Time cannot compensate for this kind of damage.

裝飾的復活給審美意識發展造成的巨大破壞和損失可以不必重視，因為沒有任何人，甚至政府的力量，能夠制止人類的進步。它至多被延緩而已。我們可以等待。但是裝飾的復活是危害國民經濟的一種罪行，因為他浪費勞動力、錢和材料。時間不能補償這個損失。

The rate of cultural development is held back by those that cannot cope with the present. I live in the year 1908, but my neighbor lives approximately in the year 1900, and one over there lives in the year 1880. It is a misfortune for any government, if the culture of its people is dominated by the past. The farmer from Kals lives in the twelfth century, and on the occasion of 3 the jubilee Procession, tribes walked past which even during the period of mass migration were thought to be backward. Happy is the country which does not have such backward-looking inhabitants. Happy is America!

落伍者降低了文化進步的速度。我可能生活在1908年，但是我的鄰居生活在1900年，而街對面的那個人生活在1880年。對一個國家來說，它的居民的文化分布在這麼長的時間區段裡是很不幸的。卡爾斯的農民們生活在12世紀。還有參加25年一度的大赦慶祝游行，即使在民族大遷移時代，他們也要被看作是落後的了。沒有這落伍者和劫奪者的地方多麼美好啊！阿美利加多美好！

Even here we have people in the cities who are survivors from the eighteenth century, and who are appalled by a painting with violet shadows, because they cannot understand why the artist has used violet. To them, the pheasant which the cook has spent days preparing tastes better, and the cigarette case with Renaissance ornaments is more pleasing. And what is happening in the countryside? Clothes and household utensils belong to previous centuries. The farmer is no Christian, he is still a heathen.

在我們中間，甚至城市裡，也有些跟不上時代的人，從18世紀來的遺老遺少們，他們討厭紫色陰影的畫，因為他們還不會看紫色。要廚師花費整整一天時間搗鼓出來的野稚他們才認為鮮美可口，他們喜愛有文藝復興裝飾的煙盒甚於一只樸素的。那麼，在農村裡怎麼樣呢？衣服和家具全都是上一個世紀的。農民現在還不是基督徒，甚至仍然是個異教徒。

Those who measure everything by the past impede the cultural development of nations and of humanity itself. Ornament is not merely produced by criminals, it commits a crime itself by damaging national economy and therefore its cultural development. Two people living side by side who have the same needs, the same demands on life, and the same income, but belong to different cultures, perceive the national economy differently. The result is that the man of the twentieth century becomes richer and the man of the eighteenth century becomes poorer. I assume that both their lifestyles reflect their different attitudes. The man of the twentieth century can satisfy his needs with a much smaller capital and can, therefore, set aside savings. The vegetable which is appetizing to him is simply boiled in water and has butter spread over it. To the other man it will only taste good if honey and nuts are added to it and it has been cooked by someone for hours. Decorated plates are expensive, while white crockery, which is pleasing to the modern individual, is cheap. Whilst one person saves money, the other becomes insolvent. This is what happens to entire nations. Woe betide the nation that remains behind in its cultural development. The English become richer and we become poorer ...

落伍者遲緩了民族和人類的文化進步；裝飾是罪犯們做出來的；裝飾嚴重的傷害人的健康，傷害國家預算，傷害文化進步，因而發生了罪行。如果有兩個人比鄰而居，需要相同，對生活的要求相同，收入也相同，但是他們卻屬於不同的文化，那麼在經濟方面可以看到這樣的情況：20世紀的人將會越來越富，而18世紀的人越來越窮。我們假定他們倆各按自己的嗜好生活。那個20世紀的人花不多錢就能滿足需要，可以省錢。他愛吃的蔬菜不過是在開水裡煮一煮再加上一點奶油。另一個人只有再加上蜂蜜和堅果，並且由人花幾個鐘頭烹調之後才會感到同等程度的滿足。經過裝飾的菜盤是很貴的，而現代人喜歡用的素白盤子很廉價。一個人積攢省下來錢，另一個人舉債。英國人富起來而我們窮下去。

In a highly productive nation ornament is no longer a natural product of its culture, and therefore represents backwardness or even a degenerative tendency. As a result, those who produce ornament are no longer given their due reward.

制造裝飾的國家受裝飾之害甚至更重。因為裝飾不再是我們文化的自然產品，所以它是落後的或者退化的現像，裝飾匠的勞動再也不能得到合理的報酬了。

We are aware of the conditions that exist in the wood caning and turning trades, the very low wages which are paid to the embroiderers and lace makers. The producer of ornament must work for twenty hours to obtain the same income of a modern laborer who works for eight hours. As a rule, ornament increases the price of the object. All the same there are occasions when an ornamented object is offered at half the price, despite the same material cost and production time, which works out to be three times longer as that of a plain unornamented object. The lack of ornament results in reduced working hours and an increased wage. The Chinese carver works sixteen hours, the American laborer works eight hours. If I pay as much for a plain box as I would for an ornamented one, then the difference is in working hours. And if there existed no ornament at all, a condition which might arise in millennia, man would only need to work four instead of eight hours, as the time spent on ornament represents half of today's working day.

木雕匠和車木工收入之間的差別，繡花女工和織帶女工工資不能容忍的微薄，這是大家已經知道的了。裝飾匠必須干20個小時的活才能掙到現代化工人8小時就能掙到的收入。裝飾通常提高物品的價格；但是發生了這樣的情況：用同樣價格的原材料，花費三倍長的時間，裝飾過的物品卻只有素樸的物品的一半價錢。取消裝飾能縮短制造時間和增加工資。中國的雕花木匠工作16小時而美國工人只工作8小時。如果我付給光溜溜的煙盒的錢跟給有裝飾的一樣多，那麼工時的差額就歸工人所有了。如果壓根兒沒有裝飾——也需要幾千年之後才會有這種情況——人只要工作四小時而不是八小時，因為目前有一半工作量是花在裝飾上。

Ornament is wasted manpower and therefore wasted health. It has always been like this. But today it also means wasted material, and both mean wasted capital. As ornament is no longer organically related to our culture, it is also no longer the expression of our culture. The ornament that is produced today bears no relation to us, or to any other human or the world at large. It has no potential for development. What happened to Otto Eckmann's ornaments, and those of Van de elde? The artist always stood at the centre of humanity, full of power and health. The modern producer of ornament is, however, left behind or a pathological phenomenon. He disowns his own products after only three years. Cultivated people find them instantaneously intolerable, others become conscious of their intolerability after many years. Where are Otto Eckmann's products today? Where will Olbrich's work be, ten years from now? Modern ornament has no parents and no offspring, it has no past and no future. Uncultivated people, to whom the significance of our time is a sealed book, welcome it with joy and disown it after a short while.

裝飾是浪費掉了的勞動力，因而是浪費掉了的健康。他從來如此。由於裝飾不再跟我們的文化有機的聯系，他就不再我們文化的表現了。當今制造出來的裝飾跟我們沒有關系，跟世界秩序沒有關系。它不能發展。奧托.艾克曼和亨利.凡.德維爾德的裝飾怎麼樣了呢？藝術家總是精力飽滿生氣勃勃的站在人類的前列。但是現代的裝飾主義者卻是落伍的或者病態的現像。3年之後，他要親自否定他的作品。對有教養的人來說，它們眼下就是不能容忍的；另外的一些人要待幾年之後才會感到他們不能容忍。現在，奧托.艾克曼的作品到哪裡去了呢？現在的裝飾既沒有爹媽也沒有兒女，既沒有過去也沒有未來。那些沒有受過教育的人們不能理解我們時代的偉大，他們高高興興贊美裝飾，但是不用很久就會厭棄它們的。

Today, mankind is healthier than ever before, only a few are ill. These few, however, tyrannize the worker, who is so healthy that he is incapable of inventing ornament. They force him to execute ornament which they have designed, in the most diverse materials.

人類比過去更健康了，只有少數人患病。但這些少數人強制健康的、不會發明裝飾的工人，他們逼迫他用各種材料制作他們發明的裝飾。

The change in ornament implies a premature devaluation of labor. The worker's time, the tilized material is capital that has been wasted. I have made the statement: The form of an object should be bearable for as long as the object lasts physically. I would like to try to explain this: a suit will be changed more frequently than a valuable fur coat. A lady's evening dress, intended for one night only, will be changed more rapidly than a writing desk. Woe betide the writing desk that has to be changed as frequently as an evening dress, just because the style has become unbearable. Then the money that was spent on the writing desk will have been wasted.

裝飾的變換使勞動產品過早貶值。工人的實踐和所用的材料是浪費掉了的資產。我宣布過我的主張：一件東西能夠物理的存在多久，它的形式就能存在多久，這就是說，能夠叫人看得下去。我要試著解釋這個。一件上衣比一張貴重的毛皮更常常改變形式。夫人的舞會長袍，只打算穿一晚上的，它的形式變化之快超過書桌。但如果書桌像舞會長袍那麼快的因為舊式樣已經叫人生煩而換掉，那可要倒楣了；在那種情況下，花在書桌上的錢就白扔了。

This fact is well known to the Austrians who promote decoration and try to justify it by aying: “A consumer who owns furnishings which become unbearable to him, after only ten years, and who is therefore forced to buy furniture every ten years, is preferable to one who only buys an object for himself once the old one can no longer be used. Industry demands it. Millions of people are employed because of this rapid change.” This appears to be the secret of the Austrian national economy; how often does one hear the words uttered on the occasion of the outbreak of a fire: “Thank God: now there will be some work again.” I know a good remedy! Set a whole city on fire, set the entire Empire alight and everyone will wallow in money and wealth. Let us have furniture made which can be used for firewood after three years; let us have ironmongery which will have to be melted down after four years, as it is impossible to realize even a tenth of the original labor and material costs at the pawn-brokers, and we will become richer and richer.

裝飾主義者知道這一點，奧地利的裝飾主義者試圖避免這個缺點。他們說：“我們喜歡一個買了一套家具而在十年之後就厭煩它們的消費者，他每隔十年就不得不換掉它們。我們不喜歡那種非把舊東西一直用得不能再用才買一件新東西的人。工業要求如此。幾百萬人因為那種怏怏的變化而得到職業。”這仿佛是奧地利國民經濟的秘密。在失火的時候，我們經常聽到一些人說：“感謝上帝，這下又有人可以找到工作了。”要是這樣，我倒有了個好主意：在城裡放一把火，給國家也放一把火，那麼，每個人就都要在錢財和繁榮中游泳了。制造那種三年之後就得當劈柴的桌子好了，制造那種四年之後就得熔掉的小五金好了（因為即使在一場拍賣中也不可能收回工料成本費的十分之一），我們將會越來越富。

The loss not only hits the consumer; it hits primarily the producer. Today, decorated objects, which, thanks to progress, have become separated from the realm of ornamentation imply wasted labor and materials. If all objects were to last as long in aesthetic terms as they did physically, the consumer could pay a price for them which would enable the laborer to earn more money and work shorter hours. I would gladly pay forty crowns for my boots even though I could obtain boots for ten crowns at another store. But in every trade which languishes under the tyranny of the ornamentalists, neither good nor bad work is valued. Labor suffers because no one is prepared to pay for its true value.

損失不但打擊消費者；它首先打擊著生產者。在沒有必要裝飾的東西上進行裝飾意味著浪費勞動和糟蹋材料。如果任何東西在美觀上都能像在物理上那麼耐久，消費者就會為它們付價，這樣，工人就能多掙錢，就能縮短工作時間。為一件我確信能夠充分使用的東西，我很情願付形式和材料都差一點的東西的4倍價錢。我高高興興為我的靴子付了40克朗寧，雖然在另外一家鋪子裡用10個克朗寧就能買到一雙。但是，在那些呻吟與裝飾主義者的專制之下的行業裡，手藝好壞是不分的。工匠吃虧，因為沒有人願意按它的真正價值付錢。

Thank goodness that this is the case, because these ornamented objects are only bearable in the shabbiest execution. I recover from the news of a fire more rapidly if I hear that only worthless rubbish was burnt. I can be happy about the junk in the Kunstlerhaus (the Municipal art gallery in Vienna), as I know that they put on exhibitions in a few days which are pulled down in one. But the flinging of gold coins instead of pebbles, the lighting of a cigarette with a banknote, the pulverization and drinking of a pearl appear unaesthetic.

這是好事情，因為經過裝飾的東西中只有那些質量低劣的才是可以容忍的。當我知道燒掉的是些不值錢的廢物的時候，我烤起火來更加心安理得。我為手工藝匠作坊裡的廢物高興，因為我知道幾天之後它將被加工，而再過一天就會被弄成碎片。但是，扔金幣而不扔石頭子兒，用鈔票點香煙，把珍珠研成粉末再喝下肚去，都會產生不美的效果。

Ornamented objects appear truly unaesthetic if they have been executed in the best aterial, with the highest degree of meticulous detail, and if they have required a long production time. I cannot plead innocence for having been the first to call for quality labor, but not for this kind of work.

經過裝飾的東西，如果使用最好的材料、最精致的手藝和長時間的勞動做出來，首先就會產生不美的效果。我起初曾經要求高質量的作品，我不能為我自己辯護這個過失，但是我說的當然不是這類玩意兒。

The modern man who holds ornament sacred as the sign of artistic achievement of pastepochs will immediately recognize the tortured, laboriously extracted and pathological nature of modern ornament. Ornament can no longer be borne by someone who exists at our level of culture.

一個收藏著作為過去時代的藝術精力過剩標志的神聖裝飾的現代人，將會很快認出現代裝飾是扭曲的、牽強的和病態的。任何生活在我們這個文化水平裡的人都再也做不出裝飾來了。

It is different for people and nations who have not reached this level.

至於那些還沒有達到這個水平的個人和民族當然就另當別論了。

I preach to the aristocrats, I mean the individuals who stand at the pinnacle of humanity and who nevertheless have the deepest understanding for the motivations and privations of those who stand further below. The Kafir who weaves fabric according to a specific order which only appears when one unravels it, the Persian who ties his carpets, the Slovak farmer's wife who embroiders her lace, the old lady who makes beautiful things with glass, beads and silk; all these he understands very well. The aristocrat lets them have their own way; he knows that they are sacred hours in which they work. The revolutionary would come and say “it is all nonsense.” As he would pull the old lady away from the roadside shrine and say to her: “There is no God.” But the atheist amongst the aristocrats lifts his hat as he walks past a church.

我向貴族說教，我指的是那個站在人類寶塔尖上，而又深深了解下層人民的痛苦和需要的人。他很了解卡費人，他們按照一種特殊的韻律在布匹裡織圖案，這些圖案只有在拆散布匹時才能看得到；他了解織毯子的波斯人，繡花帶的斯洛伐克農婦，用玻璃珠和綢子編精彩東西的老太太。這位貴族隨他們去；他知道，他們工作著的時間是它們的神聖時間。而革命者會來到他們身邊向他們說：“這都是蠢事。”就像他會從路邊的十字架上把那小老太婆扯下來，告訴她：“根本沒有上帝。”貴族中的無神論者卻相反，他在經過教堂的時候會舉起他的帽子。

My shoes are covered all over with ornaments, which result from notches and holes: work which the cobbler carried out and which he was not paid for. I go to the cobbler and say to him: “For a pair of shoes you are asking thirty crowns. I will pay you forty crowns.” By doing this I have made him happy and he will thank me for it by the work and materials which will not bear any relation in terms of quality to the extra amount. He is happy because rarely does fortune enter his house and he has been given work by a man who understands him, who appreciates his work and who does not doubt his honesty. He already imagines the finished pair in front of him. He knows where the best leather is to be found today, he knows which worker he will entrust with the shoes, and that they will display notches and holes, as many as there is space for on an elegant pair of shoes. And now I say: “But there is one condition which I have. The shoes must be completely smooth.” By that, I have plunged him from the height of happiness to the depths of Tartarus. He has less work to do, I have robbed him of all pleasures.

我的鞋子上布滿了用扇貝和窟窿組成的裝飾。鞋匠做了這些裝飾但從來沒有為它得到過報酬。我走去對鞋匠說：“你每雙鞋要價30克朗寧。我要給你40.”我的話把這個鞋匠送上樂陶陶的雲端，他將用手藝和材料報答我，遠遠超出我家的那些錢所該得到的。他很快活，快活很少進他的屋。有了一個人了解他，尊重他的工作，不懷疑他的誠實。他已經構思成了那雙鞋。他知道現在去什麼地方弄最好的皮子；他知道哪個手藝人能做這雙鞋；這雙鞋應該如何以最雅致的方式布滿扇貝和窟窿。這時候，我對他說：“但是有一個條件。這雙鞋必須是素淨的。”我的話又把他從樂陶陶的雲端扔進灰心喪氣的深淵。他可以少辛苦一點，但是我剝奪了他的樂趣。

I preach to the aristocrats. I allow decoration on my own body, if it provides a source of pleasure for my fellow men. Then they are also my pleasures. I suffer the ornament of the Kafir, that of the Persian, that of the Slovak farmer's wife, the ornaments of my cobbler, because they all have no other means of expressing their full potential. We have our culture which has taken over from ornament. After a day's trouble and pain, we go to hear Beethoven or Wagner. My cobbler cannot do that. I must not rob him of his pleasures as I have nothing else to replace them with. But he who goes to listen to the Ninth Symphony and who then sits down to draw up a wallpaper pattern, is either a rogue or a degenerate. The absence of ornament has raised the other arts to unknown heights. Beethoven's symphonies would never have been written by a man who walked around in silk, velvet and lace. The person who runs around in a velvet suit is no artist but a buffoon or merely a decorator. We have become more refined, more subtle. Primitive men had to differentiate themselves by various colors, modern man needs his clothes as a mask. His individuality is so strong that it can no longer be expressed in terms of items of clothing. The lack of ornament is a sign of intellectual power. Modern man uses the ornament of past and foreign cultures at his discretion. His own inventions are concentrated on other things.

我在向貴族說教。我容忍我身上的裝飾，如果它們使我的伙伴高興。他高興我就高興。我可以容忍卡佛人的、波斯人的、斯洛伐克農婦和鞋匠的裝飾，因為除了這些裝飾之外他們再也沒有別的方法可以達到生存的較高之點了。我們有取代裝飾的藝術。在一天的煩惱和疲勞之後，我們去聽貝多芬，或者去看特裡斯滕。我的鞋匠不可能這麼干。我不能剝奪他的樂趣，因為我沒有別的東西給他樂趣。但是一個聽了第九交響樂的人，坐下來設計牆紙的圖案，那麼他不是一個算命的騙子就是一個墮落的人。別的藝術因為沒有裝飾而達到了意想不到的高度。貝多芬的交響樂絕不是穿著綾羅綢緞、帶著花邊走來走去的人所能夠寫得出來的。今天還穿著天鵝絨外套到處走的人不是一個藝術家而是一個插科打諢的小醜或者一個油漆粉刷匠。我們已經成長的更雅致、更精妙了。狩獵的游牧人必須用顏色來區分它們自己；現代人用衣服當面具。他的個性已經如此強烈，一只已經不可能表現在穿戴上了。擺脫裝飾的束縛是精神力量的標志。現代人在他認為合適的時候用古代的或異族的裝飾。他把自己的創造性集中到別的事物上去。

。與粉紅色最接近的瞬間 3 Jul 2011, 11:18 pm

INT. KARAOKE BAR HALLWAY - NIGHT

Taking a break from the crowded and hot Karaoke room,
Charlotte sits for a break alone on a bench in the bright
hallway. It is quiet with just the muffled sound of music
from the Karaoke room. She's wearing a pink geisha wig. Bob
sits down next to her.

Charlotte lights his cigarette with some crazy Japanese light-
up lighter.

She leans her head back - it's getting too heavy.

She looks at his hands.

[more...]

CHARLOTTE
You bite your nails?

He nods.

CHARLOTTE
I could cut the ones that are left
for you.

BOB
Ok.

------ Sofia Coppolla 《Lost In Translation》

我的頭也很沈。粉紅色能漂浮嗎？

。又是夏天 27 Jun 2011, 10:51 am

許了個以愛為名 的諾言，不得已魚目混珠，談談近來的不舒暢：

1.
為了主角吃素而繼續讀一本並不喜歡的小說，是否太政治正確？ [more...]前陣子一位朋友推薦《股色股香》，閱讀後相當失望，還是喜歡張賢亮多些（如果您們要稱我為文藝青年，好吧）。類似的場景描寫一比高下立現，《股色股香》是樣版戲。

感想：若果情欲皆如此，不如自掛東南枝。

2.
發現有人比我還在意我先前的體重暴增（十公斤）。

3.
心情總隨天氣變化，情感忽大忽小。

。我的藍莓夜 29 May 2011, 4:41 pm

複習了兩回 yumeji's theme ，也複習了《重慶森林》裡關於加州夢的忠告：了結舊夢，認真開始一段新戀情之前，請先清理並充實自己。

。in the spring 27 May 2011, 5:59 pm

Some say love it is a river
that drowns the tender reed
Some say love it is a razor
that leaves your soul to bleed

Some say love it is a hunger
an endless aching need
I say love it is a flower
and you its only seed

[more...]途經這首歌，想起我彩色的大理花，在春意裡如此娉婷。

。六月 19 May 2011, 4:21 am

一日之晨始於電影《Henry and June》配樂 Parlez-moi d' amour，然而六月未至。[more...]



決定多寫些以愛之名招攬視線的文章，去去晦氣。

。自由 4 Apr 2011, 9:49 am

對具病態戀母情結者的人情道義責任似乎已了，該給的機會，該嘗試的也試過了，某些人大概終其一生無法改變。 <br /> <br />終於可以放自己自由，不再因為對方幫助過我而屢屢前行後退。[more...] <br />也很感謝曾經有人如此替我設想：「一般來說。人格模式應該在青春期左右就決定（與固定）得差不多了，對於他，我卻有個感覺，似乎他沒有一個比較固定（或核心）的形象，所以並不是在虛假形象與原本形象間擺盪，而是一路往新的形象發展。此外，如果跟媽媽的關係仍舊緊密，儘管表面上直接跟他在一起的是你，也許媽媽才是隔山打牛般地誘發這些病態的主要來源...而爸爸，感覺似乎有點無足輕重。」

。淪落在五光十色裡流浪 16 Feb 2011, 5:50 pm

不期望天天向上 / 只知道生命無常 / 這是我孤獨的信仰 / 是人間沒有天堂 / 還是我沒有翅膀 / 飛不出慾望的圍牆 /
總是墮落在誰的胸膛 / 總是讓這個世界失望

---- 黃耀明 〈我們不是天使〉[more...]

。情人節快樂 14 Feb 2011, 7:07 pm

在這個偉大的節日的偉大的夜晚，因著人言可畏之故，想起香港著名作家亦舒寫過一篇很有意思的羅曼史《愛情慢慢殺死你》，也想起先前看見某報社同事對於當年由於涉及家暴與情殺的社會案件層出不窮，教育部擬於國高中生課程中加設情感學程時，表露的嘲笑與不屑一顧，彷彿只有那些名之為社運激進抗議鬥爭的事，才具崇高意義。

我也曾經在那裡工作，直到我再也不想進報社的門。我也曾經對於流言置若罔聞，直到，是的，如同接下來你們所見，直至被人言騷擾得厭煩得想更為清晰地說出一件事，替自己平反。[more...]過去對於許多人們的揣測或疑問，我時常只說，因為我要照顧生重病的動物，因為我不善於社交，因為....。

以上皆為事實的一部分。而沒說出的那些，一方面為了保護自己保護動物，另一方面，天真的以為只要肉身逃離了，時間過去，便可風平浪靜。

幾年過去，耳聞越來越離奇的流言，不堪的傳聞，匿名的騷擾，不禁感嘆：畢竟我還是把對方想得太好了點。

所以，現在我想告訴大家，多年前我一度因為憂鬱崩潰住院，最後一根稻草-----因為發現當時的交往對象蓄意欺騙我，而受到對方的暴力攻擊後嚴重發病住院----非常重，壓了我七八年。在這七八年裡，我反覆地受到對方的肢體暴力對待，直到我想方設法，只帶了隨身物品，與當時重病需要密集照顧的動物們，逃離對方。這段時間裡，我也曾有過所有被家暴的婦女典型的心理狀態，也曾經為了自保勉強自己配合對方的要求，也曾經為了動物居處不敢聲張實情，也曾經從根本不懂得動手，到看見對方傷害動物忍無可忍下還手。

我非常能體會那些家庭支持差，受制於人的女性們可能遭受的虐待剝削，身體的，還有心理的，以及經濟上的。這世界上有許許多多在各處佔居要角的「好人」，面對社經背景優良的人時多麼純良，一旦有機會控制一時跌跤，或誤入陷阱裡的女性時，絕不手軟，吃乾抹淨。也有不少時常大談運動、不平等、反抗的人，因為利益關係，明知身邊的同事有問題，卻仍為虎作倀。

這位前對象，在我逃走後，持續有計畫的在人前扮演關係裡的受害者，誹謗我的名譽。這使我狠下了心決定不再隱瞞此事，一個人反覆暴力對待女友已經人神共憤，關係結束了還刻意毀掉對方名譽，下作至此，請別怪我不顧過去相處多年的，不知算不算情誼的情面。

。其實，我想說 18 Dec 2010, 2:31 am

「氣氛如此浪漫，而話題如此空泛，辜負了良辰美景的燦爛。」---- 娃娃 〈燭光晚餐〉

。欺騙 16 Dec 2010, 6:26 pm

雖無前言，仍是感冒的後續報導。[more...]<img src="http://www.upsaid.com/files/isis/2010/c3.PNG"> <br /> <br />凌晨，呼吸不甚平安，轉醒。少頃，收割 FarmVille（至少，夜半暈眩時存在這麼一件事證明自己依然深具生產力），已是第三次，收成的植物們一簍簍消失在網路封包大海中，也許去到了另一空間而在那兒零與壹有著不同意義。不甘心地盤駐畫面，等了十分鐘，無意中觸發了 Carousel，於是其上綿羊、雞、鴨兀自歡欣地旋轉旋轉，極快極快，以一種超乎場景速度的堅持上下竄前奔動，並且永遠停留原地。

。湊合普希金 15 Dec 2010, 4:50 am

<br /><br />被你那纏綿悱惻的夢想，<br />隨心所欲選中的人多麼幸福，<br />我的頭上又有烏雲，在悄悄地聚集。

。喫 15 Dec 2010, 3:43 am

喫

（應忠泰建築文化藝術基金會邀稿）
文/ 康寧馨
[more...]2005 年末的日本兵庫縣相生市，適合關東煮的季節，尋常瀝青路面中異軍突起一株白蘿蔔，蒸蒸日上，綠葉華美，強韌生命力使人們封這株特異的植物為「勇氣蘿蔔」， 暱稱「大大」，大大一夕成名，生長處成了熱門景點，掙破柏油路面生長的蘿蔔吸引了全日本的目光。好景不常，不久大大被人惡意折斷隨手丟棄，柏油路面下的根部也慘遭掘出。人們拾起殘株，想方設法維繫大大生命，舉國關注下，電視台特意轉播市公所人員復育過程，初初略見起色，稍後急轉直下，最後，大大已近彌留， 命懸一線時，透過細胞複製技術，人們留存了基因，打算複製繁殖這株蘿蔔商品化。原生長地不但設立紀念石碑，其上雕刻蘿蔔圖案，相生市也出現周邊商品、食品，祝福考試合格的蘿蔔圖騰祈願餅乾、鑰匙圈、吊飾、卡片等等，勇氣蘿蔔的故事還以繪本流傳。兩年後，克隆蘿蔔繁盛，身型四十到六十公分大小的白蘿蔔，農民迫不及待把大大的子孫切塊，做成關東煮，嚐嚐勇氣白蘿蔔的滋味，希望藉此讓大大的勇氣代代傳承。

這則人造物叢林裡的日式神話，不禁使人好奇，何以一株白蘿蔔的身世，能引發現代社會裡人類的強烈驚嘆？而從唯一獨有的勇氣蘿蔔，到不分彼此的勇氣蘿蔔們；從想方設法助其保小命，到迫不及待切塊燉關東煮，人們又展現了怎樣的復古風情？

暫且回到台灣。2008 - 2009年台北雙年展中，有支旗幟鮮明的「綠色游擊隊伍」－－由本土藝術家吳瑪悧與「專業者都市改革組織」（OURs）所合作的藝術計畫：《台北明天還是一個湖》，子計畫《台北好好吃》與《台北綠一點》關注「都市農耕」議題，從糧食危機、減碳生活、食物里程與都市綠化切入，提倡「可食地景」的概念，強調有機栽培，並鼓勵合適的市民團體及鄰里單位，將周遭閒置的社區空地、城市角落、陽台頂樓等，改造為一畝畝的景觀菜園。其中農園城市小組發動「吃掉 CO2－再現台北的土地生產力」為名綠色藝術行動，於台北市街頭發送菜苗，以隨地擺攤的方式宣導「吃掉 CO2」的主張。

勇氣白蘿蔔軼事，或者雙年展藝術計畫《台北明天還是一個湖》，皆與「吃」息息相關。歷史學家菲利普‧費南得茲-阿梅斯托曾於《食物的歷史》書中如此分析： 「食物不僅可以維持生命，也能增進生命力，有時則會侵蝕生命。它可以讓吃的人好轉或變壞，它能帶來精神上、形體上、道德上的影響，並有變質的效果。不過說來也怪，最能凸顯這項發現的最佳範本竟然是食人族....。」過去對於若干南美與斐濟食人部落的研究顯示，許多時候食人行為不僅僅為了獲取營養，大多數例 子牽涉其他目的，如書中所舉「自我轉化、挪用權力、食人者與被食者之間關係的儀式化」，食人族享用本族死者，以保存珍貴的生命液體；食人族認為敵人就是 「他們的獵物」，食人是為了「捕捉靈魂」，以補償失去的戰士。不約而同地，人們欲透過食用，獲得蘿蔔的勇氣毅力，帶有完善自我的意涵；人們想透過都市農耕，象徵地吃掉敵人 CO2，藉以支配地球上的二氧化碳總量，再現台北的土地生產力。食人族與現代社會人們皆為食物賦予了超越物質性的意義，飲食即文化的轉化行為。菲利普‧費南得茲-阿梅斯托言：「加諸於食物的含意，就像一切事物的含意，都是約定俗成，最終是自由心證。」於是，飲食可表喜怒哀樂、婚喪喜慶，也可表認同、明心志，可分我族與他者，可以顯示仇恨或愛，可以是一種宗教，也可以是苦痛焦慮乃至於幸福的展現。

人類歷史中的畜牧隨工業化發展，成了集約養殖經濟動物，與生產現場、輸送過程漸行漸遠下，人們若不費心留意，難以得知真相絕不如大眾傳播媒介上的牧場綠油油、動物和樂齊歌唱。被工廠化飼養做為人類肉食的動物，遭遇比野外生長或者畜牧空間較大而開放的動物，來得更為悲慘，自出生開始，完全被人類剝奪了生命的 樂趣。存活到生命的最後一刻，也只是為了活著被宰殺為人類食物。也因此，工廠化飼養不僅殘虐動物身心，也因需要急速生長，動物平均壽命不長之故，飼養中添 加許多有害人體健康的物質（只求存活至被宰殺的瞬間，動物體健康與否，消費者很難接觸或判斷），或因長期精神受虐，工廠化飼養動物體內生理情況，與該種健康生物相當不同。而如此集約化飼養方式，亦無助於全球糧食均衡分布，不符合節能減碳原則。昔日的狩獵行為隨 工業化發展已轉型商業狩獵，動機已非因為食物缺乏，而是歸屬於饕餮放横，愛食野味的獵奇心理，造成了人類與動物間病毒突變傳播的最佳途徑，觸發大規模流病危機。哲學家費爾巴哈有言：「吃甚麼，就是甚麼樣的人。（Der Mensch ist, was er isst）」，於是乎你成為你自己所不知道的一種動物，帶著生命的悲涼殘酷，外加大把藥劑、致病蛋白、抗生素，還有病毒。

現代都市有意無意替人們濾除的不只工廠化飼養，與商業化狩獵的真相。推土機、瀝青、水泥、鋼筋，人造物封印了沃土肥田，身 處於人造都市，這等康斯勒（James Howard Kunstler）所謂的「無以名狀之地（geography of nowhere）」中，人們越來越難從日常所見意識到生活運作與自然的關連，食物生產過程、水、電力、廢棄物、污水處理系統漸趨隱蔽，人們不能直觀地了解 自己生活所需要、所製造、所排放的物質對大自然的影響，慢慢地所謂的「自然」在人們的認識論中成為抽象的符號，也從道德判斷中消失。而人造都市裡常見的設計， 總是涇渭分明的邊緣，缺乏大自然中更為常見的生物型態、地理形狀（如碎形），缺乏自然曲折而自我相似的線條，提醒人們大自然具各種尺度的連結，因而人們習於只由單向度思考、解決問題，無能連結不同尺度的需求。人們日漸耽溺於自身所創造的物品構築的「超現實」中：電腦、網際網路、手機、虛擬遊戲...... 自肉身所處的環境中抽離，也逐漸失去了本有的生物秩序，忘了天地玄黃，宇宙洪荒。

以此作為切入視角，綜觀近年興起一波種植有機蔬果的綠色風潮，鼓勵人們利用周邊閒置土地生產蔬果，自家露台頂樓也可變成迷你蔬菜園，除了欲效法古巴哈瓦那 「都市農耕」經驗，為因應能源危機、石油短缺，繼而可能造成運輸困難、貿易鏈中斷早做準備，強調在地生產、在地消費，或全球氣候劇變使人類不得不關注的環境議題之外，各地天災頻仍，自上世紀末延續的末日說，工業化生產食品導致大規模有毒食物透過商業傳輸迅速流通，諸現象導致的緊迫感，更使人們想要自行決定食物的成分內容，更欲控制整副糧食生產過程。現代人對所處環境的不安全感與日俱增。由此，進一步提倡自耕自食、區域性消費，間接強化了人們種植蔬果糧食的風氣。歐美已行之有年的「農夫市集（farmers market）」，晚近在台灣各地漸次興起，類似傳統市場集散地，主題卻更明確，固定日期或假日時，由小農聚集設攤，販售新鮮有機蔬果，與果醬、釀造醋等加工品，透過與農人及生產者面對面接觸，消費者可直接求教於攤位園丁，瞭解作物種植與衍生商品製作過程，得知其生產理念和動機，增進對土地生產的認識。農夫市集也意味著自主與多樣選擇，小農種植喜愛的作物，並且自行販售，避開盤商層層剝削，消費者亦有機會尋獲不同於大賣場制式化的農作物，買賣行為往來之間有著更多人際情感互動。

生活於封印之上的人們，除了充滿規訓意味的公園、行道樹、河堤綠地、校園、擺設般的植生牆面，唯剩無意中偶遇的都市菜園，趁著建設營造業江河日下，土地閒置或產權爭議之時，在安全的偏離中佔領基地，召喚從生活中消失的自然，豐饒假借人類之手復甦，卻也似進入了或短暫或漫長的告別儀式，直到再度被人造物捫蓋封印。勇氣蘿蔔之吸引人，不僅在於突破了瀝青封印，更因為其存在突然地揭開了人們對周遭環境的習焉不察，瞬時觸動了一些遺忘已久的失落困乏。

人們就是他們所攝入之物，可視為人是他們由外界所吸納、轉化的總和，意即人類與周遭其他生物、環境互動後留存的沈積。人攝入的除了物質性食物粒子，還有超越物質並與自身依存的外在環境。故此，反思工業化影響後，生態設計建築主張導入自然，希望人們雖身處人造結構物中，卻能感受外界光影變化、時節遞嬗、氣候溫差等，刺激或喚醒人類已近遲鈍的知覺感官，體驗氣味、顏色、聲音、形狀，並強調親生物性（biophila），崇尚生命的複雜與多樣，設計時連貫各尺度思考、處理問題，以達永續。生態設計可視為企圖與星球同步的其一嘗試，藉由於設計裡重新擁抱自然，人們可望攝入一些時脈，一些規律，一些順序與一些韻律，調整破碎、零散的工業化習性，潛移默化使自身生活更為平衡與連續。

「樸門農藝」（permaculture）和「園藝療法」（horticulture therapy）皆為上述概念的實作範例。樸門農藝（permaculture）是「permanent」（永恆的）、 「agriculture」 （農業）和「culture」 （文化）的縮寫，亦即永續栽培，1970年代由澳洲的比爾‧莫裏森（Bill Mollison）和大衛‧霍姆格倫（David Holmgren）所提出，觀察大自然如何運作以維持多樣複雜的生態系統，研究某些古老的傳統耕作方法，以大自然為師，模仿大自然的運作模式設計庭園與運作生活，主張回返自然，是一種簡樸的農耕作法，一類設計方法，一項大原則，也是面對生活的基本態度與哲學，強調省力維護、節省灌溉資源、有機、自足共享， 也有人稱之為「懶人農法」。園藝療法（horticulture therapy）為一種非傳統醫療領域的輔助療法，藉由接觸植物、庭園環境來接近自然，透過知覺（觸覺、味覺、聽覺、視覺、嗅覺）來心領神會，或自培育照顧植物過程平衡身心，此類藉特殊設計以抒解現代人身心困擾的療癒庭園，因與現代身心流病發展趨勢若合符節，亦被稱為未來庭園。

在這艘看似新穎、企望和諧共存的方舟上某處，現代洛哈思主義（LOHAS）與食人族無與倫比地相似（only anthropophagy unites us?），摩登復古大行其道，人們巍顫顫地眺望未來，重新經歷前人崇拜大地豐饒與生產力的讚嘆時刻，感動近乎宗教修行。也許，凝視佛塔花椰菜、羽衣甘藍與過溝菜蕨那些精細、無窮回歸式的碎形構造而出神時，人們更易感於自身與宇宙間的聯繫，益發明白現今許多問題起於人類自身，不假外求，「你必須在方向不明的大海裡冒險，而這個沒有方向的大海就是你自己」。

• 〈世貿一館對街大蔬菜園〉



攝影 / 康寧馨


攝影 / 康寧馨

台北市信義區世貿一館對面，也是台北101 大樓斜對街，有塊橫跨一整個街廓的閒置地，佔地2554坪，據傳市值台幣150億元，民眾自發佔領種植，成為阡陌縱橫的蔬果園。置身其中，耳聽蟲鳴鳥兒歡唱，使人難以想像身處信義區。與菜園相鄰的信義區著名豪宅〈新世界〉裡的某住戶，則認為此地耕種的菜農地主才是「真正的有錢人」，可以閒置地利（當然，指的是開發利潤的「利」），浪漫地在市中心無水電之地享受耕作，並歡欣表示「他們賣菜很便宜唷，十元好大一把。」。相片攝於2009 年底，本路段正興建捷運，作業人員居住在施工線旁的臨時屋裡，受環境感召，也開始一享田園樂。

其實，這塊土地最大的地主就是多年前因財務危機而消聲匿跡的前僑泰建設董事長陳居德，原本打算開發名下擁有的 1300 坪成為頂級豪宅，後又因與銀行產權糾紛，土地閒置。引述提及此事的報導文句：「未來這位最大地主和富邦銀行將簽署合作計畫，要同心協力把不起眼的菜園，變成身價上百億的高級樂園。」弔詭的是，或許這片菜園才是周遭唯一使人感覺生機之處，而頂級豪宅不過是失樂園。



• 〈俯瞰四四南村〉



攝影 / 康寧馨

俯瞰全台最昂貴的蔬菜園隔鄰，為四四南村舊址。眷村拆遷後，現為台北市信義區公民會館。鋼架上，架空的貼皮綠地，人們於地面高度親臨現場時，時常對於設計上奇怪的起伏不知所以。唯有從信義區高級住宅高樓往下望，或人造衛星拍攝，才能略略領會設計奧義----模仿眷村拆遷後重新修補過的建築頂部。雖看似深具紀念或悼念意義，綠地平整劃一，分佈在場域空間裡，實則不符合人的尺度（human-scale），裝飾性遠勝實際互動功能，依然是失落之地。


• 〈婆婆的小菜園〉


攝影 / 康寧馨

台北市各地為鋪設捷運大興土木，工程圍牆周遭許多閒置小空地，恰巧成為珍惜土地生產者最愛。圖為可愛婆婆的小小菜園，植有粗生粗長地瓜葉、蔥與紅鳳菜。

。困惑 12 Dec 2010, 11:56 pm

這一年多來，對當代精神醫學治療達到前所未有的困惑。為何如下情況會被診斷為 Obsessive–compulsive？那種被掩飾的「不能說我不好，不能說我傷人」想法表現成不斷地做更糟糕的事，重複犯同類的錯誤，竟只是 OC。


[more...]醫師似乎主要以「有沒有同理心」來判別，可是，我覺得，當「表現出同理言行」被當成可得到讚美的方式，模仿出同理安慰並不困難。或時有些同理心，但遇上與自身感覺衝突的情況便缺乏真實的同理，只有涉及自身以外的事務時可以習得的同理表現應對。

They can't tolerate the least disagreement. In fact, if you say, "Please don't do that again -- it hurts," narcissists will turn around and do it again harder to prove that they were right the first time; their reasoning seems to be something like "I am a good person and can do no wrong; therefore, I didn't hurt you and you are lying about it now..." -- sorry, folks, I get lost after that. Anyhow, narcissists are habitually cruel in little ways, as well as big ones, because they're paying attention to their fantasy and not to you, but the bruises on you are REAL, not in your imagination. Thus, no matter how gently you suggest that they might do better to change their ways or get some help, they will react in one of two equally horrible ways: they will attack or they will withdraw. ....see

。以致於 14 Nov 2010, 2:53 pm

感想：勇敢的人往往最終一無所獲，以致於這世界如此匪夷所思。[more...]

匪夷所思的故事叫《哭竹生筍》：三國時代的孟宗，因為病了的母親想吃筍，於是他便到處找筍蹤，不過當時是冬天，在森林裡找不到筍，於是坐在竹林的他急得哭了，結果眼淚一落地，筍就冒了出來。這不是奇蹟還是甚麼？不過這個故事教曉我的不是如何盡孝道，而是遇到挫折的時候，不妨脆弱一點。勇敢的人往往最終一無所獲，脆弱的人反而可能踫上奇蹟！------節錄《人間喜劇》劇本。

。基本 12 Nov 2010, 7:15 pm

（此相片攝於 2005年4月5日）[more...]連在以前那種受到暴力威脅下的環境裡，還可享有的小小幸福，3、4 年來這兒都未曾出現過。因為有人一直想介入他人的重要事物，於上刀刻出其姓名，並非出自關心，而是控制。是對他人珍惜物事的一種踐踏。