心悸(呼吸困难和呼吸困难)

IF 0.3 3区 文学 N/A LITERATURE
Peter Szendy
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引用次数: 0

摘要

阴谋论可能已经成为我们这个时代的一个关键概念或幻想。阴谋,在这个词的现代理解中,如“阴谋论”,不仅充斥着我们生活和呼吸的媒体领域,而且也掩盖了——也许我们应该说压抑了——它的古老含义。令人惊讶的是,这种被遗忘的感觉在1969年安迪·沃霍尔(Andy Warhol)为芝加哥一家画廊的一场群展印制的海报上复活了。这张海报的目的是为芝加哥七人(他们被联邦政府指控阴谋组织反越战抗议活动)的法律辩护基金提供资金。沃霍尔使用了电椅的形象(就像他在1964-5年的一系列名为“小电椅”的画作中所做的那样),并在上面印上了下面的话:“阴谋意味着一起呼吸。”接下来的评论是第一次尝试让我们的耳朵适应这种基本上被埋葬的含义,即过去的未来。将被遗忘的阴谋共鸣发掘出来作为共同激励,当然可以被描述为一种考古姿态。但是,由于我的挖掘的目的是寻找隐藏在我们认为(简化地)最非物质(或微妙的)媒介中的东西,即空气或大气,它也可以被定性为非考古学,作为一种颠倒或颠倒的考古学,指向向上,朝向空中的地下。在冠状病毒大流行(口罩和呼吸机短缺)之后,在美国和其他地方执法部门数十年的种族主义扼杀达到高潮之后,呼吸和一起呼吸的可能性可能从未像现在这样脆弱,在经历了一个多世纪的全球空气末日烟雾事件之后(“雾霾”一词是由减少煤烟协会的司库于1904年创造的,指的是“伦敦特有的”,“烟雾比真正的雾多得多”,而“空气末日”一词出现在2013年,指的是北京创纪录的大气污染)我们是如何呼吸和共享呼吸的,当我们这样做的时候?
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Conspiring (Sympnea and Dyspnea)
Conspiracy has probably become one of the key notions—or fantasies—of our times. Conspiracy, in the modern acceptation of the word, as in “conspiracy theory,” has not only filled the mediasphere in which we live and breathe but it has also overshadowed—maybe we should say repressed—its ancient meaning. Surprisingly, this forgotten sense was revived on a poster lithographed by Andy Warhol in 1969 for a group exhibition in a Chicago gallery. The poster was meant to benefit the legal defense fund for the Chicago Seven (who were charged by the federal government with conspiracy for organizing anti-Vietnam War protests). Warhol used the image of an electric chair (as he did in a series of paintings titled Little Electric Chairs in 1964-5) and he printed the following words over it: “conspiracy means to breathe together.” The remarks that follow are a first attempt to attune our ears to what this largely buried meaning bears as a future-in-the-past. Unearthing the forgotten resonances of conspiracy as co-inspiring could certainly be described as an archaeological gesture. But since my excavation aims at finding something hidden in what we think of (reductively) as the most immaterial (or subtle) of media, i.e., air or the atmosphere, it could also be characterized as anarchaeological, as a sort of reversed or upside-down archaeology, directed upwards, towards the unground of the aerial. The very possibility of breathing, and breathing together, has maybe never seemed as fragile as now, after a coronavirus pandemic (with face masks and ventilator shortages), after the culmination of decades of racist chokeholds by law-enforcement in the United States and elsewhere, after more than a century of airpocalyptic smog episodes worldwide (the word “smog” was coined in 1904 by the Treasurer of the Coal Smoke Abatement Society to designate the “London particular” which “consists much more of smoke than of true fog,” while “airpocalypse” appeared in 2013 to refer to record atmospheric pollution in Beijing).1 How do we still breathe and share breath, when and if we do?
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来源期刊
SUB-STANCE
SUB-STANCE LITERATURE-
CiteScore
0.20
自引率
0.00%
发文量
21
期刊介绍: SubStance has a long-standing reputation for publishing innovative work on literature and culture. While its main focus has been on French literature and continental theory, the journal is known for its openness to original thinking in all the discourses that interact with literature, including philosophy, natural and social sciences, and the arts. Join the discerning readers of SubStance who enjoy crossing borders and challenging limits.
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