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City Vision (2)

City Vision (2). 黃凡與林燿德. Image source. Outline. General Introduction 黃凡 and 〈 系統的多重關係 〉 林燿德 and his poems 〈 馬桶 〉--an interface between city dweller and a city 〈 上班族的天空 〉-- vision abstracted 〈 文明幾何 〉. General Introduction.

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City Vision (2)

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  1. City Vision (2) 黃凡與林燿德 Image source

  2. Outline • General Introduction • 黃凡 and 〈系統的多重關係〉 • 林燿德 and his poems • 〈馬桶〉--an interface between city dweller and a city • 〈上班族的天空 〉-- vision abstracted • 〈文明幾何〉

  3. General Introduction • Concept City and Lived City are not mutually exclusive. We can envision both. • Concept •  our memory, desire and vision of ‘the city.’ •  regulations; spatial design, *e.g from our text?

  4. City Vision (1) • Two perspectives: of a bird, of a bug, from a tall building, or on a street. • Different Ways of Looking at a City (next time; Multiple Sites with multiple Sights & Desires) • Different Ways of Imagining/Conceptualizing a City and its po • perspectives: detached, critical, participatory; abstraction, aestheticizing, historicizing, Subliminal imprint, etc. • From different social positions: city planners, artists, workers, children, etc.

  5. City Vision: (2) Visualization & Conceptualization

  6. City Vision (3): What and How do we see? Can we “see” the city as a whole? • City of Spectacle – We are bombarded by images • filled with images; can be artistic; • implosion of images  nothing but images; • The city watches over us – e.g. Traffic control, census, TV wall, surveillance camera, etc. •  Can we escape from the system?

  7. 黃凡 and 〈系統的多重關係〉 • From 都市生活－－ • 〈系統的多重關係〉 都市生活的少年期 • 〈如何測量水溝的深度〉都市生活的成年期 • 近作《躁鬱的國家》(intro) • 林燿德和黃凡合編: 『新世代小說大系』「都市卷」

  8. 〈系統的多重關係〉: Starting Questions • The story of 賴仲達, how does he “luckily” avoid being dismissed from school and unfortunately stays within its control. • Systems: What does the title mean? What are the main sites of ‘the system’? The people supporting their power? And the signs to represent their power? • 多重關係；How does the narrator deal with or resist the signs which represent system control? How about the characters? How are they interrelated (to constitute the multiple relations of the urban system)? How do they “evade” the system’s control?

  9. The story of 賴仲達 Composed of • his narration— • of what he thinks about the school, his experience at the supermarket, and the day when he runs away from school and returns to it. •  the reader’s sympathy for Lai’s attempt to run away. • (the author’s) supplementary explanation: • Of the principal’s, the boss’s and the teacher’s view points, and of the supermarket and the principal at the supermarket •  connecting the people in their multiple ‘power’ relations (economic, gender, teacher-student, sexual).

  10. The Sites of ‘the system’ & their Position of Power and Regulation • School  principal (163; yearbook) , meetings 訓育會議(157)，homeroom teacher (pp. 157) • Supermarket (165; another example); the manager and VIP card (167-68); customers 169; • Company pp. 176 – operator, maid, office ladies, the boss and secretary; the contract 172 • Family parents and sister 172; • Chiang Kai-shek Memorial Hall 174-75

  11. The Signs of System Control  School (1) • Number: (p. 154-55) • The Walls & slogans (p. 154) •  another example

  12. The Signs of System Control  School (1) The Walls: another example –self-expression • Blue Gate Crossing

  13. The Signs of System Control  School (2) • Scribbling and drawing on other places – p. 160 – Mailbox, toilet, • (Another example: students’ giving teachers nicknames) • The notebook of (訓導主任, 狗屎）the Director of Students Affairs. (160)

  14. The Characters’ Vision of Control and Desire, Blank Stare • The principal: – who likes green color (179; 154);an panoramic view – possessive and calculative • The teacher: 184 blank stare • The company boss: 178-80; 183; 系統的聲音– his command • The supermarket manager 167 • The women at the supermarket:like flies or eagles (169)

  15. The Characters’ Deviation • Thru’ their actions, thinking, sometimes in parentheses • The homeroom teacher 156 • The principal: 164 • The company’s boss: 174 • The company’s clerks 180

  16. 賴仲達 and his rebellion • Making his own connections to express his desire and views of his future 155 • At the supermarket—critical p. 170 • Writing 160 (graffiti); his playing soccer with the teacher (sexual/physical and brutal 161) • Takes a real action p. 181 (after knowing that the father is coming to school to have a meeting) • Has genuine experience/knowledge outside of different sounds • those of wind and his panting p. 185  • A motorcyclist 189

  17. 賴仲達’s dead ends Cannot escape • Thoughts of family and his ‘system’ control 191 • Limitations in thinking and mobility: • of his desire: robot parents 191; his power (e.g. whistling 192) • of his mobility: Back to school 192 • his vision of the school 195 • What does he hear at the end? What does he know? P. 197, 198

  18. Multiple Relations in the System • The father and the principal’s complicity • The look of the principal at the father p. 191; 193-194 • The narrative structure // social coercion: • 「補充說明」(connecting the people in power and their activities)「同一時間」(connecting people in blank gaze pp 183-184; their solving the problem • A negative symbol: 木箱 (crate, wooden box) 183 vs. a pool with fish

  19. 林燿德 • 輔 仁 大 學 法 律 系 畢 業 • 在八○年代，首倡都市文學，並且以詩、散文、小說、評論各種文類創作。 • 鄭明娳認為他作品中的「都市」定義，是指「社會發展的變遷、矛盾與衝突的人文觀照」，而且他具有「一個現代主義/後現代主義過渡者的複雜性格」 （鄭明娳 〈林燿德論〉頁702）。(source: http://xs3.tcsh.tcc.edu.tw/~fish/chinese/Now/lin_eau_de.htm )

  20. 都市迷宮、作家導遊 • 迷宮是人類文明本身，也是現代都會擴張發展的原型。從散文集『迷宮零件』中，包括「生命零件」、「公寓零件」、「人類零件」、「地球零件」的構成上可以看出，任何現代生活和宇宙生命的組成要素都是「零件」。 • 作家是「迷宮」的導遊，「只不過導遊隱身其中，成為『零件』的一部份，那個消失的『我』是逃避者又是追索者。」(杜國清 source)

  21. 都市終端機 ‧‧‧‧‧‧‧‧‧‧‧我 迷失在數字的海洋理 下班的我 帶著喪失電源的記憶體 成為一部斷線的終端機 (pp. 66-67)

  22. 都市文本：人與建築 • 都市小說「使都市 中的建築空間變成一種有機正文，充滿著立面[vertical?]的動感、方位的誘導性、透視感，進而提供讀者某種或多種與空間交談的可能性」97)。 • 「每一個做為建築內部元素的空間，都是等待重新被書寫的正文。人類對於空間的支配是一種單純的幻覺，人類只不過和空間互為正文罷了。」 (〈空間剪貼簿—漫遊晚近台灣都市小說的建築空間 〉）

  23. 馬桶 – an exploration of urban identity • The poem is divided into three parts: • When ‘you’ are drunk experience of sexual desire, self-cleansing which is mingled with ads and chemicals • 當然 －－when sober, the self is presented as a 腔腸動物 Coelenterate • 只是－－ showing concerns with the soul and health.

  24. 馬桶– section I—body connected with • one’s language: “記憶被截斷前的最後一句話依舊駐守在粉碎性骨折的裂口上把那句被揉皺的話從額間撕下 ” • With the toilet//世界的體腔 “將這張 陌生的臉孔泡進馬桶沁涼的水面 …” • Female organ • All the same: norm and the abnormal, art and sex, etc.

  25. 馬桶– section II—body connected with • Like a part of a coelenterate; like featherless pigeon stooping on the toilet • Connected with the sewage system of the whole city//the collective unconscious 又蹲踞在大廈排泄系統的上頭整棟大樓的排水管又, 又全部扭結為一體流進陰森森的陰溝所有的陰溝匯集到都市黝暗的底層 • Connected with the computer network—a virtual space • The city as an organism – with many toilet bowls seducing you.

  26. Soul and – e.g. ”萬一萬一, 不小心將靈魂排泄到黑黯的城市地層 ” … Health 在腹瀉和便秘之間唯一冥想的焦點只要求那象徵健康的軟硬適中並且不黑不白結實而充滿彈性秀色可餐的金黃色糞便掉落馬桶 馬桶– section III—body concerned with

  27. 上班族的天空 – What kinds of sky do you have? Meanings? • Main idea: office workers (or city dweller) have limited geometric vision of the sky, because…. • Square – office, table, suitcase, office logo, files, newspaper • Circle – receiver, speaker, clock, • Mesh-like computer screen, filter – • Irregular – dry ice • Shapeless –waves and rains • No sky • Endless sky out in nature •  Do we only get endless sky out in nature?

  28. 上班族的天空 – Urban identities Are you like this? • Square – obedient and organized by grids (the grid-like structures of urban systems) • Circle – two-dimensional (生命隨這三隻針競走), • Mesh-like computer screen – networked codified, fragmented or pulverized in a placeless, virtual space • Irregular cube –memories like a weightless specimen expanding and shrinking • Shapeless -- bombarded by sound waves and rains • No sky – just thoughts contracted in our brain into a black spot or ink stain • Endless sky out in nature •  Do we only get endless sky out in nature?

  29. 文明幾何 -anonymity • 人的幾何意義 – 1) anonymity of city dwellers (Wirth: identified by our secondary role) 2) quantified, but also powerful as one corner of a triangle. 3) Pay attention to the poem’s shape: the going-up-and-down of counterpoise//passengers

  30. 文明幾何 -anonymity • 不規則圖形－－都市 （圓與方的壓迫，重組）-- mixed and sprawling shapes like humans (umbrella as our defense or our bodies)  • 不規則圖形－－大眾 as mass • Shape: low noise and lifeless passing of years

  31. 文明幾何 –blasé mentality • 音爆的矩陣 – • Note: 當飛機以超過音速的速度飛行， 飛機所發出的疏密狀的音波無法跑在飛機前方，所就全部疊在機身後方，形成了圓錐形狀的音錐。當這種爆震波傳到，我們就聽到所有累積起來的聲音，在聽覺上，這就是一聲轟然巨響的音爆。 • What does this part mean? • Collective discontent  internalized.

  32. 文明幾何 –control and rebellion • 不規則圖形– 大眾 – massification; control of shapes and desire of individuals • 不規則圖形– UFO － aggressiveness of humans  • Denied • In conflict • Reduced to a wiping green hand and sneaky spiders’ thread • 有關圓柱體 (cylinder )-- pillar of salt, a cylinder to redeem City’s or God’s errors, leafless trees,

  33. Reference • 杜國清 台灣都市文學與世紀末 • 林燿德與都市文學 http://xs3.tcsh.tcc.edu.tw/~fish/chinese/Now/lin_eau_de.htm • 林燿德 • 都市詩閱讀

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