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Monthly Archives: June 2020
《克勞德•莫奈(Claude Monet),自由思想者:激進的共和主義,達爾文科學和印象派美學的演進”Claude Monet, Free Thinker: Radical Republicanism, Darwin’s Science and the Evolution of Impressionist Aesthetics”》
在這本革命性的跨學科研究的作品中,作者Michael J. Call認為,莫奈的藝術實踐和選擇是他作為19世紀自由作家的政治立場的直接結果,這一立場的特點是激進的共和主義,進步的社會議程和激烈的反對派主義。他努力創造出反映他的個人政治守則的風格,導致他產生了志同道合的自由思想家稱之為“一門不斷完善的科學”的畫作(Gustave Geffroy),也就是說,他只強調在眼前的可觀察現像中通過謹慎,堅持現場觀察,捕獲感覺和感覺體驗的原始數據,並聲稱記錄了一個沒有內在含義的世界。達爾文的世界同樣沒有預先包裝的保證人類享有特權的位置的保證;取而代之的是一個空間,在這裡,所有種類的生物和物種都在為生存而鬥爭,爭奪有限的資源。幾十年來,隨著達爾文主義風格的發展,他的自然模式似乎越來越影響著莫奈的藝術創作。與後文藝復興藝術(post-Renaissance art 無論是代表人物還是觀看行為)都優先考慮人類的存在,莫奈的後來繪畫在所有可觀察到的現象之間創造了虛擬和視覺上的平等感。因此,人類和觀察者不僅表現為與自然分離的觀察者,也不與自然分離,也不比人類優越,而是與周圍的所有其他有機生命形式等同。這種方法在呼應達爾文對自然及其規律的欽佩之餘,也使人類想起了自己的脆弱性以及為避免滅絕必須做出的艱難選擇。
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最壞最好的時代。。。希望
“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season … Continue reading
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紛爭
在衆多政體中,民主並不是最好的。至少歷史上丘吉爾也同樣承認這點。但在威權/極權政體中,執政者就從不思考本身的好壞、甚且會自認為自己是最好的;而民衆呢?看怕連想做甚麼也不可以、衹能被認為是甚麼:如中國大量的農民散工就被視為“散沙”(白曉紅:《散沙:中國農民工的故事》),甚且更甚的被視為“韭菜”(比奴隸的稱呼更低,任人宰割,在其體制中,無論甚麼層級的執政者:高層終極的(如習)、中層的(各級幹部)、甚至最下層的執行者(城管))都不會去討好人。甚麼軟弱不軟弱的可能也沒有,叫你站就站、坐就坐。。。甚至任何異議也不可能存在,心中有絲毫的不滿、不同意也不可能發出來:譬如愛國,你衹能盲目的選擇愛、不可以、也不可能不愛;當國家為惡、政治失控、正義失靈,人也不可能反抗(但想想:不可能不愛的情況下,那所謂愛又有甚麼意義?)。但在民主體制內,當國家為惡、政治失控、正義失靈,人民的反抗無罪(Jason Brennan,When All Else Fails: The Ethics of Resistance to State Injustice)(看看美國現在的情況:川普他號令天下勤王,結果軍隊從前後防長開始到各軍種都發誓不會遵令、他们的職責是保衛憲法保衛人民,鎮壓民衆的事情不是軍隊所爲;衹有共和黨執政的俄亥俄和猶他州的國民衛隊聽話,結果運兵去了華府還被市長以第三修正案從住處趕出去。)再看看威權/極權政體的中國,李總理最近説地灘經濟,過不了多久王滬寧管的就把它唱壞。。。 民主你可以視之爲軟弱,但人在其中至少有更多的自主:政府至少會去看民意。選舉中勝了的並不是代表人民認為他好,衹因對家太差,所以選民給另一方一個機會去做。同理輸了的也無須死、失望,可以再努力再捲土重來。威權/極權中呢?。。。 説到台灣,一個市長選舉中勝了,衹是選民覺得他的對手實在無能、換個來試試而已。可是這個韓市長完全沒有民主體制下的意識,自以爲真的是王、可以目視一切、天下歸心。自己吹出來的工作還沒做得好就跑去挑機天下,所以可以死的慘(罷韓的票比選他的票還多呢)。他更失敗的是:輸了還不明白,還要把責任推到對家去。國民黨往後的勝敗也在於能否理解民主選舉的意義所在,至少菜英文比較理解 説到抗疫,也許威權/極權真有其效率,可以很快動員。但想想,若在開放體制內,有可能給這種疫情在這種情況下這樣發生嗎?能隱瞞嗎?吹簫的會被罰嗎?即使通過疫情這事,也不能証明威權/極權比其他體制優越。因為,這種事在人類社會中不竟不是常規發生的。。。
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