| 摘要: | 臆測的思維 ，天地演化的描繪以及音樂的空間在我現正研究的國科會計畫中，噪音被〈A〉雙重使用於有機體的作品以及感知的作用，也就是被外界所分裂的表象世界，並藉由著這樣的感知對於這樣的表象世界提高警覺 ─〈B〉也就是說在這樣有機世界的兩端，試圖滲透藉由噪音滲透之。在有機體存在於時間以及空間的自我定位的情況下，一個等同於臆測問題最主要問題的根本的過程正滲透著噪音，也就是將噪音轉化為聲音，讓自我秩序的意義脫離最原始的噪音問題。伊麗莎白‧葛羅茲( Elizabeth Grosz )，被德勒茲(Deleuze)以及被 in A Thousand Plateau 的瓜達里( Guattari )所影響，她提到音樂的根本其實是個身體以及地球的感知作用，在這樣的感知作用下而產生了喜悅。之後她又引用著達爾文的觀點，她認為音樂其實是來自於動物的重複生產 〈或是對於性的需求〉─以至於造成求偶的行為。在我新的計畫中，我想要探討更多的可能以及未知數〈強烈的求知〉，也許，在最根本的層面上，對於性為性需求為歡愉的感知，或是根本為一種生存的需求的界定，是難以界定分清的；好奇通往原始科學的思考，像是，發掘起因，並做出預測。而且，我想找出音樂在某些原始的場警中起源於推測的質詢的可能，就像我之前所述，音樂源自於性，以及生產。更進一步來說，也就是這樣的共通性其實都是建立於未來的走向：生育是為了種族的生存〈存疑〉，推測則代表著偶然的預測。在這個新計畫中，我想要對於推論臆測的空間，以及質詢的立場做更深的研究，因為我認為如此的研究可對於音樂空間與敘述空間中的關連有著更多而詳盡的認識。敘述被列為水平譬喻的空間，以及垂直線性瞬間的空間，這也是在不考慮歷史上變化的情況下，我門都在這樣的時刻中被凍結，從這樣的狀態去發掘背後的場景，儘管之後的演變是如此的歷時而恆久；相同地，以德列茲對於尼采恆久的論述而論，這樣的演變則回歸到了一連串的擲骰子論，〈尼采與哲學，相異與重複〉，推論的質詢結合了水平的思考在丟出一連串回答的可能性後，在垂直瞬間的空間中，對於正在以及即將發生的事件中，再予以發掘探討。但是在音樂方面，對於結合水平空間以及垂直瞬間空間的方法有著有別於他的方法。在〈工具主義〉的音，樂中有著頻繁的重複─也就是同步，水平，以及空間，一種反覆循環的形式，但其實這樣的形式正是重複中相伴著變化與相異，這也是一種一直存在於時間中的持續性變動。因為這樣的循環，今後的變動也當將顯的不確定而動搖，因為在每一個成功的變動下，都充斥著適應以及修正於框架下的改變。我在此篇的推測空間論就相強調這些本質，並讓音樂空間成為一種瞬間，探討著從過去以及更久遠前的空間〈為了找尋最原始的根源〉直到無限的未來〈偶然的預測〉。
Speculative Orientation, Earth-Sky Framing and Musical Space In my current NSC project, noise is taken as both (a) the product or even action of vibration of an organism’s membrane—that which separates it from the outer world, and by vibrating enables it to become aware of this outer world—and (b) that which lies on both sides of this membrane and “passes through it.” In the case of an organism’s self-orientation within its immediate spatio-temporal situation, a fundamental process which I am equating with speculative questioning at its most primitive level, this passing-through of noise is the transformation of noise into sound/voice, which has to do with the self-ordering of meaning (of an “answer”) out of the primordial noise of the question. Elizabeth Grosz, influenced by Deleuze and Guattari (in A Thousand Plateaus), argues that music is fundamentally a body-earth vibration which produces pleasure; following Darwin she claims music is originally grounded in animals’ reproduction (or sexual desire)- driven mating calls. In my new project, I would like to explore the possibility that curiosity (desire-to-know) may be, at the most primitive level, indistinguishable from sexual desire since both are fundamentally “pleasurable vibrations” and fundamentally survival-driven; curiosity leads to proto-scientific thinking, e.g. investigating causes and making predictions. Thus I would like to pursue the possibility that music is in some originary sense grounded in speculative questioning, just as it is grounded in sexuality and reproduction. A further suggestion of their commonality lies in the fact that both are future-oriented: reproduction is for the (never-certain) future survival of a species and speculation implies an always-contingent predicting. Furthermore, in this new project I would like to develop the conception of a “speculative space” or “space of questionability” that can be better understood by beginning from the notion of “musical space” in relation to “narrative space.” Narratives have both horizontal-metaphorical-spatial and vertical-linear-temporal dimensions, the former a synchronic dimension insofar as we are frozen at each moment in order to “see the scene” while the latter is the diachronic, forward-moving series of events; similarly, on the Deleuzian model of Nietzsche’s eternal return as a series of dice throws (Nietzsche and Philosophy, Difference and Repetition), speculative questioning combines the horizontal dimension, where “after” each throw all the answer- possibilities are spread out and explored, with the vertical-temporal dimension of the ongoing (imminent) series of throws/events. But music has a special way of combining these horizontal-spatial and vertical-temporal dimensions. In (instrumental) music we have a frequent repetition—suggesting synchrony, horizontality, spatiality—in the form of circling-back but this is repetition-with-variation, and there is always some sort of movement forward in time. Due to this circularity, however, the forward movement may seem uncertain, faltering, as if feeling its way or even, at each successive moment, “reorienting” itself. My theory of a musical-speculative space will emphasize these qualities and take this musical space as a kind of tentative, “exploratory” space which extends or expands back into the past (as if seeking its own origin) and (as if making contingent predictions) into the future. |
