when it is not an entrust 

demand so much of one that eliminates one

最近寫文,提到八十後談六四,似是我們七十後做不了傳承,上陣子七十年代老兵團絕食,也有趣自謙的說,三十年來都在想傳承,卻原來要向些九十後學習,其實,如黃碧雲撰的《遺忘之必要》,我們一代不遺忘我們活不成,或者,我還是想說,我地死左了

你問我點解今天o黎到呢度，其實我心中屈悶係無法去除
我住o係香港地o既某個角落，求活個溫飽安定暢快都算囉

點知Ｄ老細話要將Ｄ屋租加，仲話係在下日日佔佢o既便宜
佢話香港Ｄ樓價現已翻o左幾翻，若係呀富戶就要俾呢俾市價喎

你咪話把口呢大就當我霎贛，回望我本應係有木屋兼有田
某日你耍起官威搶奪我小天地，然後夾硬話係改善我生活質素
我仲識得老李佢住o係深水埔唐樓，佢日做又夜做為著屋租去酬謀
一朝Ｄ老細話要翻新這都市，焗住佢一家接受「中轉」o既安置

老弱o既街坊你就當佢無價值，遙遠去編配又或者係舊樓o既雀籠
好似阿球o既單身寡佬就更加折墮，完全係啦．．．啦．．．
啦．．．． 啦．．．．

作業o既黑箱手法無呀無公道，重建好Ｄ公屋又話係居屋要賣錢
攪到等候上樓o既街坊無晒著落，然後又指責富戶自私不合理
呀官呢講Ｄ乜記者就寫Ｄ乜，玩弄吓數字佢地化呀化神奇
遮掩Ｄ生活實況社區o既聲音，互助o既活力被漠視個個變o左個o林把

我以憤怒o既歌聲控訴這個制度，肥大o既官商不問我地o既居住權
希望我地草根街坊個個要出點力，齊集好聲音去指示政策新方向
港九新界我地合眾一班一班，戶外集會另立我地o既議事堂
草根o既意見直接高聲呼，互助又互勵行動志氣堅壯

呵．．．． 呵．．．．

點解我要o黎
曲、詞：凡人
4/1997
 

當它被踩扁、被輾碎、被壓縮
垃圾也會發放自己的煙花
有時橙色，有時混成了黑
垃圾不起哄，也不歡呼
但垃圾也有軟弱的時候
哪怕只給它起一個英文名字
它就會脫離垃圾，成為煙花

失業漢腳踢汽水罐

它很快就會被踩扁
或者一躍入海
是他唯一變作煙花的路
但煙花有什麼好？
為着那綻放，原是一種反抗

即使垃圾哼着歌謠
綻放七彩的汁液在天空
觀眾不知那是一種放棄
拆去垃圾，建造煙花
與使用垃圾來建造煙花
觀眾未知有何分別，但很快
會知道那失去，原比所得更多

晚安，那麼再見了，城市
天空和它的贊助者
隔絕了風也不要隔絕煙花
為什麼這樣好看？那絢麗
原是一種溫馴的垃圾
然而它被視為爆發
這就是這城市的煙花
陳滅 垃圾的煙花

Eilot The Waste Land / quote from Tristan and Isolde n Goetterdaemmerung
Joyce Ulyssess / The Ring n Goetterdaemmerung
Finnegans Wake / Tristan

Verlaine
Laforgue>Eilot
Zola
Cezanne
Renoir
Gaugin
Wagnerian Degas Whistler
G. Dore
Mann / Joseph n (Death in Venice?)
Shaw / Back to Methuselah
Oscar Wilde
Lawrence / The Trepasser / Women in Love
Richard Strauss
Elgar
young Debussy
Rimsky-Korsakov
Auden
Baudelaire
Mahler
Schoenberg

Nietzsche

The Jewish renaissance has happened almost entirely since his day, and he did not foresee it,...
{yet Wagner's Das Judentum in der Musik -1850 argues that }
A really great creative artist is one who, freely expressing his own fantasies, needs, aspirations and conflicts, articulates those of a whole society, This is made possible by the fact that, through his earliest relationships, mother tongue, upbringing and all his first experience of life, the cultural heritage on which he has entered at birth is woven into the whole fabric of his personality, He has a thousand roots in it of which he is unaware, nourishing him below the level of consciousness, so that when he speaks for himself he quite unconsciously speaks for others.

In Wagner's time Jewish artists could not possibly in this position. ...

Wagner's anti-semitism is strikingly similar in its personal origins to Hilter's. The worst period of deprivation and humiliation he ever had to suffer was the two and half years during which he tried and failed to establish himself in Paris, which was then the world capital of opera, at a time when the roost was ruled by Meyerbeer, a Jew, and the next figure to him was Halevy, also a jew. It came close to breaking his spirit. (His fears found expression in a short story he wrote at the time about a young German composer dying in Paris in neglect, poverty and despair.) Even in its duration the period of the humiliation was roughly the same as Hilter's in the Vienna dosshouse. Both men were the sons of petty officials, both were megalomaniac, and in both of them the experience of being brought to the edge of starvation by society's total disregard of them seems to ahve activated a sense of persecution which bordered on paranoia ... Wagner - ferociously conscious of his neglected genius, and utterly destitute - hated the works whose popular acceptance barred the way to his own. He saw them as gimcrack and fraudulent, which they were. In retrospect he hated them all the more because in desperation he had succumbed to the temptation to write like them himself.

布魯門貝格是無法歸類的

絕對隱喻回答那些...原則上無法回答的問題

重新說出來的恐懼就已經不再是恐懼


柏拉圖的政治篇是一個放棄對話的對話,對話中間的洞穴譬喻連接著理念論及其失敗...不過,失敗的恰恰是理性本身的獨裁(Alleinvertretung)要求

理論使自身理想化為首先為生活謀求原因的需要.不過,生活不需要原因
所以,概念與直接的生活相比常常是次要的

重要的不是隱喻的意義問題,而是其功能問題

歷史現象學的材料正好構成那種對自我和世界的描述,我們同樣用這些描述創造並理解我們的未被關閉的精神傳記

Paul Virilio
速度學(Dromologie)
速度衝破任何人的限度

海涅:空間通過鐵路而被殺,留給我們的只餘下時間.如果我們有足夠的錢也可體面地殺死時間.(1943)

消失審美學
速度似乎不僅要排除障礙,而且還需排除物質

主體--像是被做成木乃尹的運動中的屍體 - 被運輸到世界各地

交通工具的速度使世界成為畫面

哲學不斷試圖區分真實和虛假世界,這不過是哲學上的柏拉圖騙案

哲學不應當向我們展示我們往何處去
哲學更多的是要向我們說明,無處是歸處,是我們的宿命

瓦蒂默Vattimo認為,從烏托邦的無處到別處的過渡中,藝術解放的最醒目特徵在於裝飾
從嚴肅到遊戲,從本質到表面,從原因到偶然的過渡

care a human
if u care

he was attempting to understand them and to offer solidarity.
restored the trust between audience and film makers which other experiences of the medium had destroyed.
a complicity which was half-consciously aware of the fine line between observation and silence, and which nonetheless resolutely begged for self-understanding and integrity, constructing almost secretly a complicated web of significant, ambivalent observations which, given a critically-minded audience, was interpreted as a critical picture of reality. It was a tacit agreement ...

DEFA

"Art in Hong Kong has never had it so good."

"Hong Kong is now full of hope."

if i may add, this is may 2012, Hong Kong.

對於公共醫療系統,我們家每天每刻遇著的狀況,對於他們,所能應付的辦法,就是把母親綁在床上

若非輸打贏要的無原則者,怎可以精神分裂的share同like立場不同的

文化界就是大災難

遇上中宣部，而不是社運

面對不公義時，先不談甚麼藝術工作者甚麼拍片的人，我們首先得是一個人，不是嗎？
影行者
製造香港，頁131

Theory and politics may not be an escape route any more. Art may be one of the border forms that allow them to be marketed.
- M. Carpenter

Get out of the horse, Colin de Land used to say to artists who claimed to criticize from within - but you get out today and you are still in a bigger horse, the whole Troy is a horse.
- "The Tail that Wags the Dog" - M. Carpenter

als jeder Mensch schuldig war,
妥協的,一切看在心裡,有些時候想著這些人,以及自己...

"if nothing is susceptible to change, there is no point to criticism." -JJ Charlesworth

... dead or at least dying out are strong positions, especially ones which announce that something is not good enough, which become useless in a system where everything always changes so that nothing really changes.
- M. Gilligan

... the art market, in its new financialized form, apparently has less of a use of criticism. In the recent past, the art market has acquired a self-valorizing autonomy with regard to the general climate of opinion - or, to put it in another way ... with broader, more fundamental shifts in which the extraction of profit increasingly governs more and more aspects of contemporary culture. ... This is one example of how bourgeois freedoms born with the expansion of capitalist exchange are now shut down through its hyper-involution/domination. ...
- M. Gilligan