德勒茲的「類比論」

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(1)Gilles Deleuze’s “Analogy Theory”.

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(3) !. Abstract This thesis aims to study Deleuze's “analogy theory”. “Analogy theory” is the discussion of material issues of Bacon's paintings in analogical concept. This study is divided into four parts: First part discusses basic infrastructure of “analogy theory”; Second part studies the role of resemblance issue at “analogy theory”; Third part analyzes how Deleuze specify mediums issues in “analogy theory”; Forth part clarifies presence-issues implication used to discuss the significance of painting materials. This study finds that Deleuze left analogy the unique meaning, and he signified the “analogical painting” by resemblance which excludes resemblance problems of the shape but directly expresses through the mediums. Accordingly, analogy and resemblance give “analogical painting” a unique material presence. To sum up, this research concluded that thinking ways in “analogy theory” involve the multiple, creative thinking character of Deleuze: multiplicité.. Keywords: Gilles Deleuze, analogy, resemblance, medium, presence. !. ii!.

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(8) !. 1. 可. !............................................................................................................!19!. 好. ! ! 化 !. !. !. vii!. 、五. !.

(9) !. ! 入. 1 2. 可《. 3 4. 《巨. 可巨. 可. 9. 可. 11. 巨. 可. 《. !..................................................................................................!57!. 印. 巨. !............................................................................................................!66!. 日. !......................................................................................................................!67! !.......................................................................................................!70!. 日. !..........................................................................................................!75!. 巨. !......................................................................................................................!77!. 水. !............................................................................................................................................!93!. 13 〕］. 14 15. !............................................................................................................!54!. 《. 巨. 12. 巨. 《. 巨. 10. !....................................................................................................................!47!. !.........................................................................................................................................!58!. 巨. 8. !............................................................................................................!46!. !..................................................................................................................................!55! 《. 7. 巨. 巨. 元. 6. !............................................................................................................!28!. 叫. 《《. 5. 地. 可. 日巨. 民日. !.........................................................................................................................!104! 叫. !........................................................................................................!121! !..........................................................................................................!123!. 16. 巨. 叫. 17. 巨. 18. 巨. 叫. !..........................................................................................................!125!. 19. 巨. 叫. !..........................................................................................................!126!. 20. 《. 水. ——. !............................................................................................!149!. 21. 《. 水. ——. 22. 《. 水. ——. 23. 《. 水. 《. !.....................................................................................................!124!. 叫. 》口. !............................................................................................!149!. 日!..........................................................................................................!149! 本》. !............................................................................................!149!. ! 化. 、五. ! !. !. viii!.

(10) !. 〕. ・ 1. 《. 》. 〉. 》. 《. 《. analogy. analogical language art. sensation cliche. digital. digital language. aesthetic Analogy. 》. 』. modulation. resemblance matters of Fact. isomorphic. analogical 2. diagram. the figure body. direct. the motif. hysteria. the body without organs. presence. 3. 《. 《》《【. 』. 》【. 〉. 》. 』. 《. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1. 1. analogy 》 2. resemblance. presence. “modulation”. 3. !. 1!.

(11) !. 《 4. 《. 〕. 【【 5 6. 7. 〉』. à. 〉〉. 》〕. 》. ……. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 4 5. bad painting neo expressionism. new wilde. 6 7. !. the Figure. 2!.

(12) !. 』. Lucio Fontana, 1899-1968 》. 《. …… 》【《》【. 》. 》. 》. 》》【 !. 3!.

(13) !. 》. 》. 《. 【 !. 【. 》 !. 》. 》. 《. 》. 』《. !. 4!.

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(15) !. ・『. 《. David Hume, 1711-1776 》. 4. 1. 5. 8. 〉 —— René Descartes, 1596-1650 9. deductive. method10 Francis Bacon, 1561-1626. Baconian method. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 9 10. 2000 Deductive reasoning. deductive logic. logic !. 6!. logical deduction. "top-down".

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(17) !. 》. 《. 《《》《《. 《』》. 』. 《. 《〉. 』〉. 《. 》 Félix Guattari, 1930. 1992. …… 》・《. 》. 《. 《》〉《. 〉. ㄕ〉. 《. 』. 〉【《. 《. !. 8!.

(18) !. 《. 《》. 《. 《 18. 《. 』. 《《《《. 《 19. 《《《. 《. 《. 》. 20. 〉. 《. devenir 《. 《. confrontation 《. 《》 —. — 》. —. 》. —. —. —. Georges Bataille, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 18. 2014. 19. 115 114. 20. Modern Art !. 9!.

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(21) !. 》》. ・. 《・. 1. 1.1. 『 2000. 2010. 、 — .. 2. —. 2012 2003. !. 12!. 、. :.

(22) !. 1. 2. 2004. 2006. 2009. ·. 2001 —. —. 32. 〕. 〕 33. 』 simulacre. haptique figure. 2007 》. 2007 2013 2009. 2007. 1997 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 32 33. !. 2001 2001. 141 131-133 13!.

(23) !. 2009. 〉. 2010 2013. :. 〕 2011. 《. ・「. 〉〉 2006 !. 14!.

(24) !. 2007 2010. 《〕・. 1981. 2003 2007 ・. 2011 Figure 》. 《. 《. ——. !. ——. 15!.

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(30) !. 3.!. 4.!. analogy. digital. 5.!. analogical language. 6.!. aesthetic Analogy. 7.!. analogical art. 8.!. modulation. 9.!. digital language. diagram 【. 10.!. sensation. 11.!. resemblance. 12.!. figuration. the figurative. the Figure 13.!. cliche. 14.!. matters of fact. !. 21!.

(31) !. 15.!. the body. 16.!. 17.!. directly. 》. 18.!. 》. isomorphic. the motif. 19.!. 38. spectator Figure. 20.!. 21.!. 22.!. Hysteria. the body without organs. presence. 《《. 《. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!. 38 39. !. #. témoin # Le corps sans organes 22!. 39.

(32) !. 《《』. ・. 、. …… 「. ・《〉. ・. 〉》. 〉・. 〉《. !. 23!.

(33) !. Gilles Deleuze, 1925-1995 40. 《. analogy. Francis Bacon, 《. 1909-1992 41. modulation 【. 《. 42. digital. analogy. language "analogical language". "digital language". !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 40 41. ”aesthetic Analogy” 42. digital analogy. !. 24!.

(34) !. 入. 失. …. 文 43. 又. 入. {……} 入. FB113. 、句句 44. 入. 又. …. 水. 之. FB114 因. 入及. diagram. 45. 46. FB117 elevate. become. ……. 『. elevate. 〉 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 43. 44. 45. 46. !. More generally, painting elevates colors and lines to the state of language, and it is an analogical language. One might even wonder if painting has not always been the analogical language par excellence. (FB113) The very existence of painting would be enough to confirm the necessity of a lengthy apprenticeship for the analogical to become language. (FB114) Diagramme the diagram the diagram Diagramme Painting is the analogical art par excellence. It is even the form through which analogy becomes a language, or finds its own language: by passing through a diagram. (FB117) 25!.

(35) !. 47. 48. 』. 》 ”modulaires” 【句句他. {……}. 水地. 49. 升力力. signes para-linguistiques 50. ﹞ 水句句. FB113 【』. 51. 』. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 47. One can question whether or not this is a language properly speaking. (FB113). 48. 《. 49 50. 』. FB116-117 signes para-linguistiques 150 "Analogical language," it is said, belongs to the right hemisphere of the brain or, better, to the nervous system, whereas "digital language" belongs to the left hemisphere. Analogical language would be a language of relations, which consists of expressive movements, para- linguistic signs, breaths and screams, and so on. One can question whether or not this is a language properly speaking. (FB113). 51. !. 26!.

(36) !. 〕. 》『. 【 52. ・. … 53. 〉. 54. 〉. 〕. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 52. 4. 49. 87. 88. 132. 53. 54. !. 7 27!.

(37) !. 入. 1. 地. 【. 【. 55. 【. 56. ・. 《 57. 58. sensation. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 55 56. 50. 57 58. !. FB36. figuration. 28!.

(38) !. 59. — 60. beyond figuration. 61. abstract painting. figuration. 1.. cliché. represent. 』. modèle. narrate. 62. the Figure —— !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 59 60 61. 62. !. 3 beyond figuration FB34 Painting has neither a model to represent nor a story to narrate. (FB2) 29!.

(39) !. le figural. le figuratif. 63. ——. 64. représentation 65. 66. fait 67. matters of fact. 68. ・. past painting the Figure 70. 69. the figurative modern painting. 71. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 63. It thus has two possible ways of escaping the figurative: toward pure form, through abstraction; or toward the purely figural, through extraction or isolation. If the painter keeps to the Figure, if he or she opts for the second path, it will be to oppose the "figural" to the figurative.1 Isolating the Figure will be the primary requirement. (FB2). 64. 65. 66. 67. 68. The figurative (representation) implies the relationship of an image to an object that it is supposed to illustrate; but it also implies the relationship of an image to other images in a composite whole which assigns a specific object to each of them. (FB2) Narration is the correlate of illustration. A story always slips into, or tends to slip into, the space between two figures in order to animate the illustrated whole. Isolation is thus the simplest means, necessary though not sufficient, to break with representation, to disrupt narration, to escape illustration, to liberate the Figure: to stick to the fact. (FB3) Of course, so many of the greatest paintings have been done with a number of figures on a canvas, and of course every painter longs to do that …… But the story that is already being told between one figure and another begins to cancel out the possibilities of what can be done with the paint on its own. And this is a very great difficulty. But at any moment somebody will come along and be able to put a number of figures on a canvas. (FB3-4) What is this other type of relationship, a relationship between coupled or distinct Figures? Let us call these new relationships matters of fact, as opposed to intelligible relations (of objects or ideas). (FB4). 69 70 71. Painting has to extract the Figure from the figurative. (FB8) modern painting FB10. !. 30!.

(40) !. El Greco, 1541-1614. Giotto di Bondone, 72. 1266-1337. 73 74. represent. 75. narrate 76. 77. 』. 【. 2.. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 72. 73. 74. 75. With God - but also with Christ, the Virgin, and even Hell - lines, colors, and movements are freed from the demands of representation. The Figures are lifted up, or doubled over, or contorted, freed from all figuration. They no longer have anything to represent or narrate, since in this domain they are content to refer to the existing code of the Church. Thus, in themselves, they no longer have to do with anything but "sensations" - celestial, infernal, or terrestrial sensations. (FB9) This is exactly what Bacon says when he speaks of the photograph: it is not a figuration of what one sees, it is what modern man sees. It is dangerous not simply because it is figurative, but because it claims to reign over vision, and thus to reign over painting. (FB11) On the contrary, modern painting is invaded and besieged by photographs and cliches that are already lodged on the canvas before the painter even begins to work. In fact, it would be a mistake to think that the painter works on a white and virgin surface. The entire surface is already invested virtually with all kinds of cliches, which the painter will have to break with. (FB10-11) FB 9-10. 76 77. !. 31!.

(41) ! 78. être-au-monde. primary figuration. 79. 80. 【. The Mona Lisa. 81. 【、 Study after Velázquez's Portrait of Pope Innocent X. 82. …… !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 78. 79. 80 81. 82. There are two ways of going beyond figuration (that is, beyond both the illustrative and the figurative): either toward abstract form or toward the Figure. (FB34) “être dans le monde” being in the world 《 Sensation is the opposite of the facile and the ready-made, the cliche, but also of the "sensational," the spontaneous, etc. Sensation has one face turned toward the subject (the nervous system, vital movement, "instinct," "temperament" a whole vocabulary common to both Naturalism and Cezanne) and one face turned toward the object (the "fact," the place, the event). Or rather, it has no faces at all, it is both things indissolubly, it is Being-in-the-World, as the phenomenolegists say: at one and the same time I become in the sensation and something happens through the sensation, one through the other, one in the other. (FB34) " [……] this secondary figuration depends on the neutralization of all primary figuration. " (FB34) La Gioconda Leonardo Da Vinci, 1452-1519 1503-1506 https://en.wikipedia.org/wiki/Mona_Lisa 、 1953 https://en.wikipedia.org/wiki/Study_after_Velázquez%27s_Portrait_of_Pope_Innocent_X. !. 32!.

(42) !. ……. 83. …… 84 85. 86 87. 88. 89 90. 91. 〕. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 83. 84. 85. The violence of sensation is opposed to the violence of the represented (the sensational, the cliche). The former is inseparable from its direct action on the nervous system, the levels through which it passes, the domains it traverses: being itself a Figure, it must have nothing of the nature of a represented object. It is the same with Artaud: cruelty is not what one believes it to be, and depends less and less on what is represented. (FB39) When Bacon speaks of sensation, he says two things, which are very similar to Cezanne. Negatively, he says that the form related to the sensation (the Figure) is the opposite of the form related to an object that it is supposed to represent (figuration). As Valery put it, sensation is that which is transmitted directly, and avoids the detour and boredom of conveying a story. (FB36) “But the story that is already being told between one figure and another begins to cancel out the possibilities of what can be done with the paint on its own.” (FB3). 86 87. 88. Having renounced the religious sentiment, but besieged by the photograph, modern painting finds itself in a situation which, despite appearances, makes it much more difficult to break with the figuration that would seem to be its miserable reserved domain. (FB11) But it does not treat the eye as a fixed organ. (FB52). 89 90. !. — In this regard, the same criticism can be made against both figurative painting and abstract painting: they pass through the brain, they do not act directly upon the nervous system, they do not attain the sensation, they do not liberate the Figure —all because they remain at one and the same level. FB36 But it does not treat the eye as a fixed organ. It liberates lines and colors from their representative function, but at the same time it also liberates the eye from its adherence to the organism, from its character as a fixed and qualified organ: the eye becomes virtually the polyvalent indeterminate organ that sees the body 33!.

(43) !. 【』. 【. body 92 93. 3.. 【. 94. aesthetic Analogy 》. 』. 》. 』. ・. the analogical art par. excellence !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 91. without organs (the Figure) as a pure presence. Painting gives us eyes all over: in the ear, in the stomach, in the lungs (the painting breathes ...). (FB52) But it does not treat the eye as a fixed organ. It liberates lines and colors from their representative function, but at the same time it also liberates the eye from its adherence to the organism, from its character as a fixed and qualified organ: the eye becomes virtually the polyvalent indeterminate organ that sees the body without organs (the Figure) as a pure presence. Painting gives us eyes all over: in the ear, in the stomach, in the lungs (the painting breathes ...). (FB52). 92 93. 94. !. As Valery put it, sensation is that which is transmitted directly, and avoids the detour and boredom of conveying a story. (FB36) 》 isomorphic resemblance is the producer resemblance is the product aesthetic Analogy 34!.

(44) !. 95 96. 《 1.. 》北北. 地. value. 97. modulation 地. 千. 『不不. ﹞. 去. 失. 也永. déclinaison. 分. 水小小. 手. 任. 北北. 98. FB118. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 95. 14. 96. 97. ’the body’. ’the body’. 〕. 98. !. —— —— ’the body’ As an analogical language, painting has three dimensions: the planes, the connection or junction of planes (primarily of the vertical plane and the horizontal plane), which replaces perspective; color, the modulation of color, which tends to suppress relations of value, chiaroscuro, and the contrast of shadow and light; and the body, the mass and declination of the body, which exceeds the organism and destroys the form- background relationship. There is a triple liberation here - of the body, of the planes, and of color (for what enslaves color is not only the contour, but also the contrast of values). (FB118) 35!.

(45) !. 99. 〕 100. 【. ——. ——. 2.. catastrophe 水. 及生. 在. 、. 文. 及半. 文. 同 101. 失. FB118. ……. 102. 103. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 99 100. Paul Cezanne, 1839-1906 intertwining intertwining. 101. 》 Now this liberation can occur only by passing through the catastrophe; that is, through the diagram and its involuntary irruption: bodies are thrown off balance, they are in a state of perpetual fall; the planes collide with each other; colors become confused and no longer delimit an object. (FB118). 102. !. 36!.

(46) !. 〉. 3.. 』. Fait 104. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! visible” FB56 FB119. Paul Klee, 1879-1940 “Not to render the visible, but to render ” one has "realized" the sensation, says Cezanne.”. 103. 3 Head III 1961 http://www.artquotes.net/masters/bacon/paint_head.htmˤ 104 Only then will something emerge from the motif or diagram. Or rather, this operation that relates geometry to the sensible, and sensation to duration and clarity, is already just that: it is the outcome, the result. (FB112) !. 37!.

(47) !. 105 106. 107. 1. 108. l’art informel 【入. 又. …. 水. 因. 入及. 入句句心. 入. 及. ：. 升. 及. 文. 因. 水水. 及. 水民. {……} 也. 入尤. ﹞》 109. FB154-155. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 105 106. 107. 117 119 Painting is the analogical art par excellence. (FB117) 109 Painting is the analogical art par excellence. It is even the form through which analogy becomes a language, or finds its own language: by passing through a diagram. Abstract painting consequently poses a very particular problem. Abstract painting obviously proceeds by code and program, implying operations of homogenization and binarization that are constitutive of a digital code. But the abstractionists often happen to be great painters, which means that they do not simply apply to painting a code that would be external to it; on the contrary, they elaborate an intrinsically pictorial code. It is thus a paradoxical code, since instead of being opposed to analogy, it takes analogy as its object; it is the digital expression of the analogical as such. Analogy will pass through a code rather than passing through a diagram. It has a status that borders on the impossible. And in another way,. 108. !. 38!.

(48) !. 、日人地 110. 之. 水. 水. 成企. 他. FB155. 111 112. 113. 2.. 水千. 水. ；. ？. 《. 刊水. 《. 《口. 又上. 子. 生. 句句印. 及. 刊. modulation ﹞. 升. 口. transformation. 千. …：叫. 在. 叫『. 小水. 升. 尤. 及『不不叫及元回. 全叫. 水北北地. 水水升 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! perhaps art informel also borders on the impossible, for by extending the diagram to the entire painting, it takes the diagram for the analogical flux itself, rather than making the flux pass through the diagram. This time, it is as if the diagram were directed toward itself, rather than being used or treated. It no longer goes beyond itself in a code, but grounds itself in a scrambling. (FB154-155) 110 The "middle" way, on the contrary, is one that makes use of the diagram in order to constitute an analogical language. It assumes its complete independence with Cezanne. It is called a "middle" way only from a very external point of view, (……). (FB155) 111 112 113. !. The first question concerns use. (FB112) The geometry must be made concrete or felt, and at the same time the sensation must be given duration and clarity. Only then will something emerge from the motif or diagram. Or rather, this operation that relates geometry to the sensible, and sensation to duration and clarity, is already just that: it is the outcome, the result. (FB112) 39!.

(49) !. 甘及元. 正. 生企. 半. 企. …. ：千. ；心. 》 114. 他﹞. 心. 《他. 心. 入. FB118-119. (1). 115. (2). ・. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 114. In order for the rupture with figurative resemblance to avoid perpetuating the catastrophe, in order for it to succeed in producing a more profound resemblance, the planes, starting with the diagram, must maintain their junction; the body's mass must integrate the imbalance in a deformation (neither transformation nor decomposition, but the "place" of a force); and above all, modulation must find its true meaning and technical formula as the law of Analogy. It must act as a variable and continuous mold, which is not simply opposed to relief in chiaroscuro, but invents a new type of relief through color. And perhaps this modulation of color is Cezanne's principal operation. By substituting for relations of value a juxtaposition of tints brought together in the order of the spectrum, modulation will define a double movement of expansion and contraction-an expansion in which the planes, and especially the horizontal and the vertical planes, are connected and even merged in depth; and at the same time, a contraction through which everything is restored to the body, to the mass, as a function of a point of imbalance or a fall. It is through such a system that geometry becomes sensible, and sensations become clear and durable: one has "realized" the sensation, says Cezanne. Or, following Bacon's formula, one has passed from the possibility of fact to the Fact, from the diagram to the painting. (FB118-119). 115. ・. !. 40!.

(50) ! 116 117. 118. 119. 120. (3). 』』 121. 』 —— !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 116. For there is a community of the arts, a common problem. In art, and in painting as in music, it is not a matter of reproducing or inventing forms, but of capturing forces. (FB56) 117 Bacon's Figures seem to be one of the most marvelous responses in the history of painting to the question, How can one make invisible forces visible? This is the primary function of the Figures. (FB58) 118. “the body's mass must integrate the imbalance in a deformation (neither transformation nor decomposition, but the "place" of a force)”, FB118 This is why the problems Bacon faces are indeed those of deformation, and not transformation. These are two very different categories. The transformation of form can be abstract or dynamic. But deformation is always bodily, and it is static, it happens at one place; it subordinates movement to force, but it also subordinates the abstract to the Figure. (……) Everything is now related to forces, everything is force. It is force that constitutes deformation as an act of painting: it lends itself neither to a transformation of form, nor to a decomposition of elements. (FB59) 119. 120 121. !. 117 “a double movement of expansion and contraction” 41!. FB119.

(51) !. 』 ……. 122. 』. 3.. 》. ——. ——. 【. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 122. !. “and above all, modulation must find its true meaning and technical formula as the law of Analogy.” FB118 42!.

(52) !. 》. 』』. 》. 〉》. …… ・. 》. —. ——. ——. !. 43!.

(53) !. 》. 》. 》 123. 『 124. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 123. 3 124. !. 44!.

(54) !. 125. 【. …… 》. 《》『. 《. ： 126. FB114. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 125 126. 134 【 150 Now our first temptation, which would be to define the digital by convention, and the analogical by similitude or resemblance, is obviously ill founded. A scream no more resembles what it signals than a word resembles what it designates. (FB114) !. 45!.

(55) !. 2. 可. 《. 巨. 1.. 》. “A scream no more resembles what it signals than a word resembles what it designates.”. cry. scream. 1 2 3. !. 46!.

(56) !. 4. 5. 2.. convention. similitude. resemblance. ——. 』》. 3. 《. 巨. 叫. 』. ……. !. 47!. 【.

(57) !. 【》 127. 》》・》・ 1 2 』. 3. 3. 128. Antonin Artaud, 1896-1948. 129. breath-scream. ……. 〉 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!. 【. 127. 2 "Analogical language," it is said, belongs to the right hemisphere of the brain or, better, to the nervous system, whereas "digital language" belongs to the left hemisphere. Analogical language would be a language of relations, which consists of expressive movements, para- linguistic signs, breaths and screams, and so on. One can question whether or not this is a language properly speaking. But there is no doubt, for example, that Artaud's theater elevated scream-breaths to the state of language. More generally, painting elevates colors and lines to the state of language, and it is an analogical language. One might even wonder if painting has not always been the analogical language par excellence. When we speak of analogical language in animals, we do not consider their possible songs, which belong to a different domain; rather we are essentially concerned with cries, variable colors, and lines (attitudes,postures). Now our first temptation, which would be to define the digital by convention, and the analogical by similitude or resemblance, is obviously ill founded. A scream no more resembles what it signals than a word resembles what it designates. (FB113-114) 129 Antonin Artaud 1896 1948 《 FB 48 2 128. !. 48!.

(58) !. 【. 130. 【. 【. 1. 2. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 130. !. 》 49!.

(59) !. 4.. 》. 5.. 【. 《. 』. !. 50!. 』.

(60) !. 【. 』 1. 』. 』. 2. 》. (1) …… (2) (3) (4). !. 51!.

(61) !. (5). 《. 』. 【. 131. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 131. !. 》 52!.

(62) !. 132. 》. similitude. resemblance. 》. 》. 133. FB114. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 132 133. One could then define the analogical by a certain obviousness or "evidence," by a certain presence that makes itself felt immediately, whereas the digital needs to be learned. But this is no better, for the analogical requires an apprenticeship as well, even in animals, although it is a different type of apprenticeship than the acquisition of the digital. The very existence of painting would be enough to confirm the necessity of a lengthy apprenticeship for the analogical to become language. The question therefore cannot be decided by appealing to a clear-cut theory, but must be made the object of practical studies (on which the status of painting depends). (FB114) !. 53!.

(63) !. 4. 可. 《. 巨. 1.. 》. présence. ・. !. 54!.

(64) !. 5. 《. 巨. 元. 134. ——. —— 1. ・. 2. 3. 《. 2.. ……. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 134. !. 2. 55!.

(65) !. 』. 1. 2. 135. 3 136. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 135. 136. 5 !. 56!. 4.

(66) !. …. 《. 6. 巨. 印. 3.. 1 2 !. 57!.

(67) !. 3. 巨. 7. ・. 4.. 137. 138. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 137 138. !. 4 5 58!. ・.

(68) !. 〕 the figurative representation. 139. 1 2 3 4. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 139. The figurative (representation) implies the relationship of an image to an object that it is supposed to illustrate; but it also implies the relationship of an image to other images in a composite whole which assigns a specific object to each of them. (FB2) 》 !. 59!.

(69) !. 【 5.. 140. ・. “define the analogical by a certain obviousness or "evidence," by a certain presence that makes itself felt immediately” (FB114). obviousness evidence. présence. ・. ・ 141. obviousness. evidence. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 140. 2. 141. !. 60!.

(70) !. 142. 1 』. 2 》〕. 》. 〕》. 4. 〉. 5. 〉. 6 》. 143. 》. 7 figurative. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 142. 4 143. !. 61!.

(71) !. A. C. “obviousness”. B.. 〕 “obviousness” “evidence”. “The very existence of painting would be enough to confirm the necessity of a lengthy apprenticeship for the analogical to become language.” (FB114). !. 62!.

(72) !. ・. 』. 』 !. 63!.

(73) !. 》. !. 64!.

(74) !. 》 144. ・》. 》. 》. isomorphic. 》. 《》. 》. 》. 〕》. 》. 》. 》》. 》》. 145. FB115. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 144 145. Thus we cannot be content with saying that analogical language proceeds by resemblance, whereas the digital operates through code, convention, and combinations of conventional units. For one can do !. 65!.

(75) !. 8. 1.. 可. 《. 巨. 》. 》. 》》. 》 1 》. 2 》. 》. 3 4 〕》. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! at least three things with a code. One can make an intrinsic combination of abstract elements. One can also make a combination which will yield a "message" or a "narrative", that is, which will have an isomorphic relation to a referential set. Finally, one can code the extrinsic elements in such a way that they would be reproduced in an autonomous manner by the intrinsic elements of the code (in portraits produced by a computer, for instance, and in every instance where one could speak of "making a shorthand of figuration"). It seems, then, that a digital code covers certain forms of similitude or analogy: analogy by isomorphism, or analogy by produced resemblance. (FB115) !. 66!.

(76) !. 》. 2.. 》. 》. 》. 》. 》. 》》. 》 ——. 》. 》. ——. 》. 》》》》. 》》. 》》》. 9. 可. 》. 巨. 日. 》 !. 67!.

(77) !. 》 146. 》》. 》. 3.. 》》. 》》》. 》 —— 147. 》. 《. 《. 148. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 146. 2. 147. 》 148. !. 68!. 》.

(78) !. 《. 149. 《. 》. 『》. 《. 4. 《. 》. 《. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 》 149. (. !. 69!. ).

(79) !. 巨. 10. 《. 日. 1. ——. 2 《. 》. 3. 150. 《. 》. 》 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 150. The very existence of painting would be enough to confirm the necessity of a lengthy apprenticeship for the analogical to become language. The question therefore cannot be decided by appealing to a clear-cut theory, but must be made the object of practical studies (on which the status of painting depends). (FB114) !. 70!.

(80) !. 【. 》. 》. 》. 》. 《. 1 2 151. 3. 》. 《. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 151. !. 71!. 《.

(81) !. ……. 《. 【. “The very existence of painting would be enough to confirm the necessity of a lengthy apprenticeship for the analogical to become language.” 《. ・》. ……. !. 72!.

(82) !. 152. 》. 《. 》 ——. ・. ・. 田. 正. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 152. !. 73!.

(83) !. 《. 》. 乎. ：. 、口. 水. 地. … 去尤. 地. 心. 《. ，. 失. 地. 去尤. 口之. 各. 《. ：及. ，. ；. 字去. 印. ：《. figurative. 在. 他. 《《：. 日，. 水. 水. …. 分. ，. 《. 分. 乎. 地乎. 、. 及. 地. 及. 地《. 水. 《. 水. sensible resemblance. 《. "sensually" sensation. 子. 三. resemblance ；. 乎. "aesthetic Analogy". 水. 分. 《. primary. prior code. nonfigurative. noncodified. 153. FB115-116. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 153. But conversely, even when analogy is independent of every code, one can still distinguish two forms of it, depending on whether the resemblance is the producer or the product. Resemblance is the producer when the relations between the elements of one thing pass directly into the elements of another thing, which then becomes the image of the first for example, the photograph, which captures relations of light. The fact that these relations play within a margin of error great enough for the image to present significant differences from the original object does not negate the fact that these differences are attained by a loose resemblance, sometimes decomposed in its operation, sometimes transformed in its result. In this case, analogy is figurative, and resemblance remains primary in principle. The photograph can rarely escape this limit, despite all its ambitions. On the contrary, one says that resemblance is the product when it appears abruptly as the result of relations that are completely different from those it is supposed to reproduce: resemblance then emerges as the brutal product of nonresembling means. We have already seen an instance of this in one of the analogies of the code, in which the code reconstituted a resemblance as a function of its own internal elements. But in that case, it was only because the relations to be reproduced had themselves already been coded, whereas now, in the absence of any code, the relations to be reproduced are instead produced directly by completely different relations, creating a resemblance through nonresembling means. In this last type of analogy, a sensible resemblance is produced, but instead of being produced symbolically, through the detour of the code, it is produced "sensually," through sensation. The name "aesthetic Analogy" must be reserved. !. 74!.

(84) !. 11. 可. 《. 巨. 1.. analogy is figurative "aesthetic Analogy". a loose resemblance 〉. sensation ——. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! for this last eminent type, in which there is neither primary resemblance nor prior code, and which is both nonfigurative and noncodified. (FB115-116). !. 75!.

(85) !. 》. ……. 2.. 》. !. 76!.

(86) ! 12. 巨. 水. 》. 〉》. 154. 》. (1). 》》. 》. (2). 【. ……. à. 【 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 154. !. 1 77!.

(87) !. 155. 【. 【. 》。》. ……. 《 156. 3.. 【. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 155. 156. !. 78!. 》.

(88) !. 正. 水. 水、. 《乎. 157. 地. FB116. ㄤㄤ. 》. 【. 》. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 157. We have already seen an instance of this in one of the analogies of the code, in which the code reconstituted a resemblance as a function of its own internal elements. But in that case, it was only because the relations to be reproduced had themselves already been coded, whereas now, in the absence of any code, the relations to be reproduced are instead produced directly by completely different relations, creating a resemblance through nonresembling means. (FB115-116). !. 79!.

(89) !. 》 ……. 》. ……. 》. 4.. 》【. !. 80!.

(90) !. 【》……. 158. …. 4.. 尤. 失. 《. 永《. 《. 《. 人. 失. 失. 叫. 叫. 、. 升. 》. 入. 水氾. …入《. ：. 千. 尤. 》心. ；水. figuration (. 入). the visual world of. 、他. 入. ；. 方. 田. (. 入). 入 …. 159. 在 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 158. FB Ch12 The Diagram It is like the emergence of another world. For these marks, these traits, are irrational, involuntary, accidental, free, random. They are nonrepresentative, nonillustrative, nonnarrative. They are no longer either significant or signifiers: they are asignifying traits. They are traits of sensation, but of confused sensations (the confused sensations, as Cezanne said, that we bring with us at birth). And above all, 159. !. 81!.

(91) !. figurative probabilistic givens. 160. 』 will. sight. 》 El Greco, 1541–1614 The Burial of the Count of Orgaz 1266–1337. Giotto di Bondone,. Stigmatization of St. Francis. ：心. 刊、. 161. 口. 地. FB9. movement 162. religious. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! they are manual traits. It is here that the painter works with a rag, stick, brush, or sponge; it is here that he throws the paint with his hands. It is as if the hand assumed an independence and began to be guided by other forces, making marks that no longer depend on either our will or our sight. These almost blind manual marks attest to the intrusion of another world into the visual world of figuration. To a certain extent, they remove the painting from the optical organization that was already reigning over it and rendering it figurative in advance. The painter's hand intervenes in order to shake its own dependence and break up the sovereign optical organization: one can no longer see anything, as if in a catastrophe, a chaos. (FB100-101) 160 FB100 161 “Despite appearances, there is no longer a story to tell; the Figures are relieved of their representative role, and enter directly into relation with an order of celestial sensations.” (FB9) 162 “Despite appearances, there is no longer a story to tell; the Figures are relieved of their representative role, and enter directly into relation with an order of celestial sensations. This is what Christian painting had already discovered in the religious sentiment: a properly pictorial atheism, where one could adhere literally to the idea that God must not be represented. With God - but also with Christ, the Virgin, and even Hell - lines, colors, and movements are freed from the demands of representation. The Figures are lifted up, or doubled over, or contorted, freed from all figuration. They no longer have anything to represent or narrate, since in this domain they are content to refer to the existing code of the Church. Thus, in themselves, they no longer have to do with anything but. !. 82!.

(92) !. 163. sentiment. 164. figuration a properly pictorial. atheism. sensation. 》. 仍. 永六六. 及. 母. 充永. 失 165. 尤. 六六失. 充三六六六六. FB10. 166. 【 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "sensations" - celestial, infernal, or terrestrial sensations. Everything is made to pass through the code; the religious sentiment is painted in all the colors of the world.” FB9-10 163 14 164. FB9 “Christ is transformed into a kite in the sky, a veritable airplane, which sends the stigmata to St. Francis, while the hatched lines that trace the path to the stigmata are like free marks, which the Saint manipulates as if they were the strings of the airplane- kite.” (FB10) 166 FB 3 165. !. 83!.

(93) !. 入. 叫. represent 他. narrate. 167. modèle. FB2. — —. 《. 》. 』. 》 —— !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 167. !. “Painting has neither a model to represent nor a story to narrate.” (FB2) 2 》 84!.

(94) !. 》. 》. 〉. 〉. !. 85!.

(95) !. 《. 《. 【. 【. 《. 【》. !. 86!.

(96) !. ……. ・. 》. 168. 169. 》. 【. 【. 170. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 168. 》. 169 170. Two questions follow from this: What makes this relation within the motif or diagram possible (possibility of fact)? And how is this relation constituted when it emerges from the diagram (the fact itself)? The first question concerns use. (FB112). !. 87!.

(97) !. 水. 入. 入. 及. 力力入. …. ：心. 水千. ——. 小. volumes, except the cube. 水. 入乎、他. …… 水. ﹞ 171. 》. ﹞. 他》. FB113 172. 【. 173. 》. 〉. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 171. Synthesis is thus an analytic of elements. When Cezanne, on the contrary, urges the painter to "treat nature through the cylinder, the sphere, the cone, putting the whole in perspective," one has the impression that abstract painters would be wrong to see this as a blessing - not only because Cezanne puts the emphasis on volumes, except the cube, but above all because he suggests a completely different use of geometry than that of a code of painting. The cylinder is this stovepipe (emerging from the tinsmith's hands) or this man (whose arms do not matter .. .). Following current terminology, we could say that Cezanne creates an analogical use of geometry, and not a digital use. The diagram or motif would be analogical, whereas the code is digital. (FB113) 172. “. ”. 【》《 173. !. http://zh.wikipedia.org/zh-cn/. FB ch8 88!.

(98) !. 【. 》. primary resemblance 》. 174. 【 —— —— 175. #. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 174 175. !. “The first question concerns use.” FB114 89!. FB112.

(99) !. 』. 』. 〕. 〕. 』』』. 【 176. 』. 〕. 』. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 176. FB116. !. 90!.

(100) !. Jackson Pollock, 1912-1956. 177. 』. 178 179. 〉. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 177. All the violent methods of action painting - stick, brush, broom, rag, and even pastry bag - are let loose in a catastrophe- painting. This time sensation is indeed attained, but it remains in an irremediably confused state. Bacon will never stop speaking of the absolute necessity of prevent- ing the diagram from proliferating, the necessity of confining it to certain areas of the painting and certain moments of the act of painting. He thinks that in this domain of the irrational trait and the line without contour, Michaux went further than Pollock, precisely because he remained a master of the diagram. FB109-110 178 FB112 179. !. 91!.

(101) !. 180 181. 』. ；. ？. 且. ？. ：. sensation. Frame “coloring sensation”. 心. 水》. intertwining. 企. 叫《 clarity 《. 日. ；. 《. 大《. duration. 凡子. 三. 《. 》. 子水. 》. …. … 182. 升. 《. (FB111-112). sensation the frame. intertwining 』 —. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 180. …… 》. 181 182. It is thus a temporal diagram, with two moments. But the diagram connects these two moments indissolubly: the geometry is its "frame" and color is the sensation, the "coloring sensation." The diagram is exactly what Cezanne called the motif. In effect, the motif is made up of two things: the sensation and the frame. It is their intertwining. A sensation, or a point of view, is not enough to make a motif: the sensation, even a coloring sensation, is ephemeral and confused, lacking duration and clarity (hence the critique of impressionism). But the frame suffices even less: it is abstract. The geometry must be made concrete or felt, and at the same time the sensation must be given duration and clarity. Only then will something emerge from the motif or diagram. Or rather, this operation that relates geometry to the sensible, and sensation to duration and clarity, is already just that: it is the outcome, the result. (FB111-112). !. 92!.

(102) !. 13. 【 183. 【. 184. modulation of color 【. 185. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 183. Only then will something emerge from the motif or diagram. Or rather, this operation that relates geometry to the sensible, and sensation to duration and clarity, is already just that: it is the outcome, the result. (FB112) 133 184 It is through such a system that geometry becomes sensible, and sensations become clear and durable: one has "realized" the sensation, says Cezanne. Or, following Bacon's formula, one has passed from the possibility of fact to the Fact, from the diagram to the painting. (FB119) 140 185 》. !. 93!.

(103) !. 186. 〉. —. 、他水. 叫. 水心. 文. 及：. 入. 文. 因. 口. 水. 因. 入. 水. 心. presence. 入. 日. 他《. 《. 分. 企. 《. 分. 《. 地】…… 水. 文. 入. 211 …. 子. …. 企. 心《. 子心《》. …… 入. ……. 分. 尤. 瓜：. 113. 入. 口 187. 示》. FB187. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 186. FB118-119 》 The two criticisms leveled against the impressionists by Cezanne are, in general, to have remained at a confused state of sensation through their treatment of color, and, for the best of them, like Monet, to have remained in an ephemeral state: "I wanted to make impressionism something solid and enduring like the art of museums.... In these paintings of Monet, a solidity, a framework in the present, has to be put in the flight of the whole...." The solidity or endurance that Cezanne calls for must at the same time agree with the pictorial material, the structure of the painting, the treatment of colors, and 187. !. 94!.

(104) !. 』. 【…… ……. 188. 』』【. 189. particular treatment of colors. …… 190. ……. 《. 【. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! the state of clarity to which the sensation is led. For example, a viewpoint does not create a motif because it lacks the necessary solidity and duration ("I have here beautiful viewpoints, but that does not at all make a motif hair if necessary"; Paul Cezanne, Correspondence, ed. John Rewald [Paris: Grasset, 1978], p. 211). One finds in Bacon the same demand for clarity and endurance, which he himself opposes not to impressionism but to abstract expressionism. And he attaches this "possibility of enduring" first of all to the material: "think of the Sphinx made of bubble gum ..." (Interviews, p. 58). Significantly, Bacon thinks that oil painting is a medium of both long duration and a high clarity. But the possibility of enduring also depends on the framework or armature, and on the particular treatment of colors. (FB187, Notes 2) 188 "I wanted to make impressionism something solid and enduring like the art of museums.... In these paintings of Monet, a solidity, a framework in the present, has to be put in the flight of the whole...." (FB187) 189 “One finds in Bacon the same demand for clarity and endurance” FB187 190 "think of the Sphinx made of bubble gum ..." (Interviews, p. 58) FB187 Note 2. !. 95!.

(105) !. 〕』. 191 192. 193. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 191. FB116. 192. 》 193. 》. !. 96!.

(106) !. 《. 》. 《. 『. presence. !. 97!.

(107) !. 〉 presence. 《. 《. 〉. 》. # !. !. 98!.

(108) !. ……. 入. 》功. 功入. 升. 194. FB12. 》. 【. 一. 》. 力力. 功. 》 spectacle 》》力力. 水. 水. 力力. 成 195. 成. FB12-13. 〉. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 194. If painting has nothing to narrate and no story to tell, something is happening all the same, something which defines the functioning of the painting. (FB12) 195 Within the round area, the Figure is sitting on the chair, lying on the bed, and sometimes it even seems to be waiting for what is about to happen. But what is happening, or is about to happen, or has already happened, is not a spectacle or a representation. In Bacon, these waiting Figures or "attendants" are not spectators. One discovers in Bacon's paintings an attempt to eliminate every spectator, and consequently every spectacle. (FB12-13). !. 99!.

(109) !. 196. 197. # ! 》》》. 〉. 198. 》. 199. 升 {……}句句及. 五他. 》. 功. 他八. 》. 及. 水八. 力力. 八. 力力. 尤分. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 196. FB12-14 “this attempt to eliminate the spectator” (FB14) 198 “It is the extreme solitude of the Figures, the extreme confinement of the bodies, which excludes every spectator: the Figure becomes a Figure only through this movement which confines it and in which it confines itself.”, FB14 199 But the other movement, which obviously coexists with the first, is on the contrary the movement of the Figure toward the material structure, toward the field of color. From the start, the Figure has been a body, and the body has a place within the enclosure of the round area. But the body is not simply waiting for something from the structure, it is waiting for something inside itself, it exerts an effort upon itself in order to become a Figure. Now it is inside the body that something is happening; the body is the source of movement. This is no longer the problem of the place, but rather of the event. If there is an effort, and an intense effort, it is in no way an extraordinary effort, as if it were a matter of undertaking something above and beyond the strength of the body and directed toward a separate object. The body exerts itself in a very precise manner, or waits to escape from itself in a very precise manner. It is not I who attempt to escape from my body, it is the body that attempts to escape from itself by means of … in short, a spasm: the body as plexus, and its effort or waiting for a spasm. (FB15) 197. !. 100!.

(110) !. 水. 》. 文. 入. {……}200 他﹞. 及. 光本. FB15 少. 升他. 》. 〕］. 分. 巴旦. ，. 1976. 八及. 工. 日. FB16. 201. 入尤. 1973. 目民. 水. 升. 及. 升. ？. 心. 尤印…. Figure. 202. 水. 全日. the. FB19. 》. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 200. Now it is inside the body that something is happening; the body is the source of movement. This is no longer the problem of the place, but rather of the event. If there is an effort, and an intense effort, it is in no way an extraordinary effort, as if it were a matter of undertaking something above and beyond the strength of the body and directed toward a separate object. The body exerts itself in a very precise manner, or waits to escape from itself in a very precise manner. It is not I who attempt to escape from my body, it is the body that attempts to escape from itself by means of …… in short, a spasm: the body as plexus, and its effort or waiting for a spasm. Perhaps this is Bacon's approximation of horror or abjection. There is one painting that can guide us, the Figure at a Washbasin of 1976: {……} (FB15) 201 The standard formula, "To pass through the eye of a needle," trivializes this abomination or Destiny. It is a scene of hysteria. The entire series of spasms in Bacon is of this type: scenes of love, of vomiting and excreting [73], in which the body attempts to escape from itself through one of its organs in order to rejoin the field or material structure. (FB15-16) 202 Thus, in the 1973 Self-Portrait of the man with the pig's head, the deformation takes place on the spot. Just as the effort of the body is exerted upon itself, so the deformation is static. An intense movement flows through the whole body, a deformed and deforming movement that at every moment transfers the real image onto the body in order to constitute the Figure. (FB19). !. 101!.

(111) !. 【. !. 》. 他去及. 加. 去. ；. 氾氾. 手. 民. 去. 企及. ……203. ；. 十 …. 升. 民. FB16. 1.. 【. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 203. Bacon has often said that, in the domain of Figures, the shadow has as much presence as the body; but the shadow acquires this presence only because it escapes from the body; the shadow is the body that has escaped from itself through some localized point in the contour. And the scream, Bacon's scream, is the operation through which the entire body escapes through the mouth. All the pressures of the body…… FB16. !. 102!.

(112) ! 204. 》. 2. 【【 —— ——. 》. 205. 206. 》. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 204. 205. The entire series of spasms in Bacon is of this type: scenes of love, of vomiting and excreting, in which the body attempts to escape from itself through one of its organs in order to rejoin the field or material structure. FB16 198 206 198. !. 103!.

(113) !. 14. 〕］. 日. 3. 【 —. 207. !. a scene of hysteria. 【 208. 》. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 207 208. “The entire series of spasms in Bacon is of this type: scenes of love, of vomiting and excreting, in which the body attempts to escape from itself through one of its organs in order to rejoin the field or material structure.” FB16. !. 104!.

(114) !. 【. !. 水. ﹞. 也；. 也. 《. 》印. 》. 三 … 209. FB34. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 209. There are two ways of going beyond figuration (that is, beyond both the illustrative and the figurative): either toward abstract form or toward the Figure. Cezanne gave a simple. !. 105!.

(115) !. 入. 、. 入. 入 …. …. D. H.. 210. of the apple". 他. 心. 入他. 只. 心. 他﹞. 211. FB35 》. 人. {……}. FB36 ：. 入. 水大. 》. 件 212. 刊 213. "the appleyness. FB35. 失. 正. 式. 《》 214. 小小. FB37. 《 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! name to this way of the Figure: sensation. The Figure is the sensible form related to a sensation; it acts immediately upon the nervous system, which is of the flesh, whereas abstract form is addressed to the head, and acts through the intermediary of the brain, which is closer to the bone. (FB34) 210 As a spectator, I experience the sensation only by entering the painting, by reaching the unity of the sensing and the sensed. This was Cezanne's lesson against the Impressionists: sensation is not in the "free" or disembodied play of light and color (impressions); on the contrary, it is in the body, even the body of an apple. Color is in the body, sensation is in the body, and not in the air. Sensation is what is painted. What is painted on the canvas is the body, not insofar as it is represented as an object, but insofar as it is experienced as sustaining this sensation (what Lawrence, speaking of Cezanne, called "the appleyness of the apple"). (FB35) 211 This is the very general thread that links Bacon to Cezanne: paint the sensation, or, as Bacon will say in words very close to Cezanne's, record the fact (FB35) 212 As Valery put it, sensation is that which is transmitted directly, and avoids the detour and boredom of conveying a story. (FB36) 213 And positively, Bacon constantly says that sensation is what passes from one "order" to another, from one "level" to another, from one "area" to another. This is why sensation is the master of deformations, the agent of bodily deformations. In this regard, the same criticism can be made against both figurative painting and abstract painting: they pass through the brain, they do not act directly upon the nervous system, they do not attain the sensation, they do not liberate the Figure —all because they remain at one and the same level.1 They can implement transformations of form, but they cannot attain deformations of bodies. In what sense Bacon is Cezannean, even more so than if he were a disciple of Cezanne, we will have occasion to consider later. (FB36) 214 All this is true. But it would not be true were there not something else as well, something that is already at work in each painting, each Figure, each sensation. It is each painting, each Figure, that is itself a shifting sequence or series (and not simply a term in a series); (FB37). !. 106!.

(116) !. 》. D. H. ("the appleyness of the apple"). 》. ! 《《. 《【. 【. 人旦 !. 文 107!. 上.