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NoMans Land (數位荒原)
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"The time of great narratives has past, I know, and it could seem ridiculous to tackle a question so big from so small a point of entry. But that's just the reason I wish to do so: what do we do when questions are too big for everybody... that is, for myself?" In Bruno Latour's "Waiting for Gaia. Composing the common world through arts and politics", he suggests an effort to connect the tool of political representation and the representative tool of arts with politics to address the ecosystem-related issues. In writing this doomed-to-be overwhelming topic, in the name of "Gaia", he also poses a skeptical thinking - as we also raised our question on "Great narratives" in issue 31, asking passionately, "Is there a way to bridge the distance between the scale of the phenomena we hear about and the tiny 'Umwelt' inside which we witness, as if we were a fish inside its bowl, an ocean of catastrophes that are supposed to unfold?"

「⋯大敘事(great narratives)的時代已成往事,而要從這麼小的切入點處理一個這麼大的問題可能看似荒謬,但這正是我想這樣做的理由:當這些問題對每個人構成極為嚴峻的挑戰,尤其是對本文作者而言更是規模過大時,我們該怎麼做?」本月訪台的西方學者拉圖爾(Bruno Latour)在〈等待蓋婭:藝術與政治共構的世界〉(Waiting for Gaia. Composing the common world through arts and politics)一文裡談到連結政治代表工具與藝術及政治工具來檢視生態問題的嘗試,在這篇以神性的「蓋婭」為標題,且規模注定過於龐大的書寫裡,拉圖爾也在文章中提出質疑—如同我們在上期專題《在記憶抵觸時》對於「大敘事」的懷疑立場—他急切地這樣問:
「是否有任何方法能夠彌合我們耳聞現象之規模與我們眼中所見自身週遭渺小環境(Umwelt)之間的鴻溝?這就好比是我們是一條缸中之魚,而災難之海正朝我們襲捲而來。倘若沒有任何地面控制中心可供我們傳送求援訊息⋯我們該如何明智合理地行動?」(Bruno Latour)

http://www.heath.tw/nml-issue/art-and-commitment/

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本文原為《牯嶺街小劇場文化報》第52期關於〈聖巴斯蒂安之(渴)‧求‧(疒正)〉與〈無眠〉兩齣劇作發表之延伸評論(原副標題:「關於〈聖巴斯蒂安之(渴)‧求‧(疒正)〉與〈無眠〉的「身體」和其他想像」)。作者從〈聖巴斯蒂安之(渴)‧求‧(疒正)〉與〈無眠〉兩齣表劇作出發,援引德勒茲的「廢島」、中世紀「受傷的人」和歐傑「非地方」等意象,探索劇場裡「酷兒身體」的構成方式,並指出一種具備動能的「未來之我」所召喚的身體,如何避免自我耽溺或者太快被馴化的酷兒美學觀。
Published on issue 52 of GLT Newsletter, this article was originally an extended critic for “Sleeplease“ and ”Sebastian / Crave / Proof ”. The initial sub-title for the article was “Regarding ‘Sleeplease’, ‘Sebastian / Crave / Proof’ and Other Imaginations”. The writer departed from the two theatre performances, “Sleeplease” and “Sebastian / Crave / Proof”, and furthermore explored “images” such as “Desert Island” by Deleuze, “Wound Man” during medieval time and Marc Auge’s “non place” to explore the construction of “queer body” in theatre. The article also indicates a kind of body summoned by the active “future-self”, as well as how to prevent queer aesthetics from self-indulgence or to be domesticated too soon.

http://www.heath.tw/nml-article/desert-island-non-place-necromancy/

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[Syafiatudina] Numpang as Inhabiting Thresholds
(Author: Syafiatudina; the article is the report of her residency program at ifa gallery.) What is numpang ? A friend of mine has been living in a communal house for his whole life. Once he lived in and took care of the headquarters of an artist-run space i...

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Check the interview with Zikri Rahman by Show Ying Xhin on http://malaysiakini.com/!

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「那是我們可以用來焚毀歷史的火。」
—新加坡2066

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本文原為《牯嶺街小劇場文化報》第52期關於〈聖巴斯蒂安之(渴)‧求‧(疒正)〉與〈無眠〉兩齣劇作發表之延伸評論(原副標題:「關於〈聖巴斯蒂安之(渴)‧求‧(疒正)〉與〈無眠〉的「身體」和其他想像」)。作者從〈聖巴斯蒂安之(渴)‧求‧(疒正)〉與〈無眠〉兩齣表劇作出發,援引德勒茲的「廢島」、中世紀「受傷的人」和歐傑「非地方」等意象,探索劇場裡「酷兒身體」的構成方式,並指出一種具備動能的「未來之我」所召喚的身體,如何避免自我耽溺或者太快被馴化的酷兒美學觀。

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[Wang Po Wei] Scenes of Magic Realism in “Malaysia, Truly Asia"
(Author: Wang Po-wei; translator: Cliff Chang/ Origin link ) This article originally stems from the Meeting No Man's Land series: “ Art-in-Production 2: Yao Lee Chun + Au Sow Yee ”, organized by No Man’s Land . Yao, Lee-chun, the director of Guling Street A...

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Sound Route: Three Notes on Geography
(Author: Wu Chi Yu,Shen Sum Sum, and Musquiqui Chihying; translated by Zoey Wu / Original link )  Leaping North from the seaside wetland on Java, Indonesia Crossing the Sea Contemporary art as an interdisciplinary subject is never the accumulation of a cert...

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