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對于豐富的人生經驗,放下所有戒備,并繼續前行

  Pedestrian:a word fitted to the most drab,tedious and monotonous moments of life.We don't want to live pedestrian lives.Yet maybe we should.Many of history's great thinkers have been pedestrians.Henry David Thoreau and William Wordsworth,Samuel Taylor Coleridge and Walt Whitman,Friedrich Nietzsche and Virginia Woolf,Arthur Rimbaud,Mahatma Gandhi,William James–all were writers who hinged the working of their minds to the steady movement of their feet.They felt the need to get up and get the blood moving,leaving the page to put on a hat and go outside for a stroll.In doing so,they were in step with the antipodal forces of motion and rest,an impetus written into the laws of nature.

  行人:一個適合生活中最單調、乏味和單調時刻的詞。我們不想過平凡的生活。然而我們也就是如此。李上上許多偉大的思想家都是行人。亨利·大衛·梭羅和威廉·華茲華斯,塞穆爾·泰勒·柯勒律治和沃爾特·惠特曼,弗里德里希·尼采和弗吉尼亞·伍爾夫,亞瑟·林波特,圣雄甘地,威廉·詹姆斯——所以這些作家把他們的思想工作與腳步的穩定運動聯系在一起。他們覺得有必要站起來,并讓血液流動,留下一頁來戴上帽子,出去散散步。這樣做的時候,他們與運動和靜止的反阻力同步,這是一種寫入自然法則的推動力。

  How many of us today are able to free ourselves from the page and head out the door when we rise from our desks?Even abiding by the dictates of nature,breathing deeply out in the open air as we set our legs into motion,it's likely we need to accomplish the undertaking as quickly and efficiently as possible.But in so doing,perhaps we still miss the essence of the activity itself.We forego the art of walking.

  現在我們當中有多少人能從書頁中解放出來,當我們從辦公桌上起來的時候走出門外去?即使遵守自然的命令,在我們放開雙腿的時候深呼吸,我們也可能需要盡快高效地完成這項任務。但這樣做,或許我們還是忽略了活動本身的本質。我們摒棄了前行的藝術。

  ‘Walking with a purpose'is usually regarded as a positive thing,taken as a sign that people are focused,with eyes on an end-goal or prize.But the art of walking is not about purpose or aim.As Immanuel Kant maintained,the creation and apprehension of beauty is embodied in‘a purposiveness without a definite purpose'.The art of walking is all about this purposeless purpose.

  “有目的地行走”通常被當做一件積極的事情,被視為人們所關注的標志,眼睛盯著最終目標或獎品。但行走的藝術不是關于目的或目標。正如康德所認為的,美的創造和理解體現在“沒有明確目的的目的性”。行走的藝術就是為了這個毫無目的的目的。

  These days,it's difficult to understand the point of doing something,or doing anything,without an underlying aim.We typically walk in order to get somewhere:the grocery store,the yoga studio,the water cooler.We need to walk the dog,or we walk in protest for a cause.We walk to get in shape,tallying up our steps on a Fitbit or smartwatch.Perambulation becomes a matter of proving,achieving,gaining,winning,meeting a concrete objective.

  如今,如果沒有一個潛在的目標,很難理解做某事或做任何事情的意義。我們往往為了去某個地方而步行:雜貨店、瑜伽室和飲水機。我們需要遛狗,或我們為了一個原因而步行去反抗。我們步行來保持身材,用智能手環或智能手表來記錄我們的步數。散步成了一個證明、實現、獲得、贏得,達到具體目標的事情。

  There is something both funny and sad about orienting our walking exclusively around such discrete ends.The frantic attempt to get somewhere,and to be on time about it,amounts to a Sisyphean struggle against the clock:when we reach a destination,we must immediately set off again,intent on the next stopping place.The point of the journey is no more than to‘get there'.Moving our feet is just the drudgery endured between moments of rest.

  把我們的行走方向限定在這樣一個離散的末端,既有趣又悲傷。瘋狂地試圖到達某個地方,并準時到達,這等于是一場不可休止的人與時間的斗爭:當我們到達目的地時,我們必須立即再次出發,專心于下一站。旅程的目的不過是“到達那里”。移動我們腳步只是在休息期間忍受的苦差。

  Walking is increasingly mediated by technological gadgets worn on wrists or gripped in hands.We spend an increasing amount of time‘screening'the world–taking in most of life through a contracted frame that captures objects of immediate interest.To live with eyes on the screen is to be attached,stuck in the frame,taking in what is presented to us and re-presented to us again.But representation–even in fine-grained pixilation–is not experience.<-->紐約時報中英文網 http://www.738231.buzz<-->

  步行越來越受到戴在手腕上或握在手上的科技設備的影響。我們花了越來越多的時間來“篩選”這個世界——通過一個捕捉眼前事物的縮略框架來捕捉大部分生命。在屏幕上有眼睛的生活就是被附在畫面上,卡在畫面里,接受呈現給我們的東西,然后再次呈現給我們。但是,即使在細粒度的實體動畫中,表示也不是經驗。

  To experience is to perceive.When we look at a screen,we might see something,but we don't perceive.To live life through representations is to live passively,to receive rather than to experience.It is also,we fear,to live the life of a follower.Instead of asking What do I see?How might I tell you?we are told instead how to see,and often what to feel–much of which is determined by algorithm.

  體驗便是感知。當我們看屏幕時,我們可能看到一些東西,但我們感知不到。通過表象來生活就是被動地生活,接受而不是體驗。我們也害怕過著跟隨者的生活。而不是問我看到了什么?我該如何告訴你?我們被告知如何如看,經常去感受——其中大部分是由算法決定的。

  The art of walking is antithetical to‘screening'the world we live in,and there is no pre-programmed set of rules or calculations involved.Walking,simply for the sake of a walk,can be a brief respite in our otherwise frenetic lives,allowing us to detach so we might see life for ourselves again,not unlike a child does.This,according to Kant,is the freedom of any form of art.But we don't need to visit a museum in order to be absorbed in artful perception and contemplation.We can just step out the front door,pay attention,and perceive and feel for ourselves.

  走路的藝術與“篩選”我們生活的世界是背道而馳,沒有預先編程的規則或計算。散步,僅僅是為了散步,可以在我們原本瘋狂的生活中得到短暫的喘息,讓我們分開,這樣我們就可以重新看到自己的生活,就像孩子一樣??档抡J為,這是任何藝術形式的自由。但我們不需要參觀博物館就可以專心于藝術的感知和沉思。我們可以走出前門,集中注意力,感知和感受自己。

  The discipline of walking as it relates to art should not be mistaken for a leisure activity.Take,for example,walking as a flâneur or as a pilgrim,or going out for a promenade,for in each of these pursuits there are goals:the flâneur sets out into the city streets to investigate or procrastinate;the pilgrim ambles toward the holy land for the sake of a blessing;an evening stroller seeks digestive benefits as well as social interaction,whether walking with a companion or encountering neighbours along the road.In all cases,there are ends to be gained.

  與藝術有關的行走規則不應被誤認為是一種休閑活動。舉個例子,作為一個信徒或朝圣者行走,或是出去散步,因為在每一個追求中都有一個目標:信徒走到城市街道去調查或拖延;朝圣者為了祝福而向圣地邁步;無論是和同伴一起散步,還是在路上遇到鄰居,晚上的嬰兒車在尋求消化和社交方面的好處。在任何情況下,都有收獲。

  藝術家允許我們通過他們的眼睛窺視世界

  Artists allow us to peer into the world through their eyes.Walking as an artist gives us this rare opportunity too.We might be detached while at the same time fully engaged as we move along.The mind is no longer in a state of intention–gathering facts or supplies or blessings,burning calories,being seen–but is instead in a state of attention.The activity becomes a temporary renunciation of purpose and is its own reward,like a form of art:that which Kant referred to as a good in-itself.There is a certain beauty in the awareness of being fully alive while striding through a given space in a given time.

  藝術家允許我們通過他們的眼睛窺視世界。作為藝術家,走路也能給我們這個難得的機會。當我們繼續前進時,我們可能會在完全投入的同時被分離。大腦不再處于一種意圖狀態——收集事實、補給或祝福、燃燒卡路里、被人看到——而是處于一種注意力狀態。這種活動變成短暫的目的放棄,是它自己的回報,就像一種藝術形式:康德稱之為善的東西。在一個特定的時間里,當你跨國一個給定的空間時,你的意識中產生了美。

  This cannot be gotten at through a page or a screen,but only through ears and eyes and nose and skin:the sensation of sky and light,of a building's grace or immensity,of waves and wind,rocks and leaves,a boundless horizon.When we peer through a screen,we cut off these sensations,limiting too the promenade of thoughts going by–our own insights and visions,not someone else's.

  這不能通過一頁或一個屏幕,而只能通過耳朵、眼睛、鼻子和皮膚:天空和光線的感覺,建筑物的優雅或無邊際的感覺,波浪和風的感覺,巖石和樹葉的感覺,無邊無際的地平線。當我們透過屏幕觀看時,我們切斷了這些感覺,也限制了思想的傳播——我們自己的洞察力和視野,而不是別人的。

  Walking with disinterest requires a little effort in the beginning,and it comes with practice.Take,for example,a route that we normally walk on our way to work.Our goal is to get there safely and on time,as efficiently as possible,maybe checking email midstride or stuffing earbuds into ears to drown out the traffic or the street life.

  開始的時候,無目的行走需要一點用心,而這需要練習。以我們通常在上班的路線為例。我們的目標是盡可能安全、及時、高效地到達目的地,也許中途查看電子郵件,或者在耳朵里塞上耳塞,來淹沒交通或街頭生活。

  We move purposefully,with a practical interest in mind.But let's say,instead,we walk the same path on a day when we don't need to be at work.We opt to leave the smartphone at home.We decide to slow down and let the mind wander in the open expanse before us.We use the time afoot as Woolf would do,as an opportunity and space in which‘to spread[the]mind out'.

  我們有目的地行走,同時考慮實際利益。但讓我們說,相反,我們在不需要工作的一天走同樣的路。我們選擇把智能手機留在家里。我們決定放慢腳步,讓思想在我們面前的廣闊天地里游蕩。我們像伍爾夫一樣,把這段時間當做一個“傳播思想”的機會和空間。

  簡單的漫步有什么意義?

  Still,someone might say,what is the point of simply meandering?This would be like asking what the point of watching a sunset is,or asking the value of gazing at a Rembrandt,or smelling a rose.The answer is simple:for the experience alone.The point is to perceive.Nothing more and nothing less than this.A genuinely aesthetic experience of beauty is aimless.Only when we cultivate an attitude of disinterest are we able to fully apprehend the experience.

  但是,有些人會說,簡單的漫步有什么意義?這就好比問看日落的意義是什么,或問看倫勃朗的價值,或者問到玫瑰的味道。答案其實很簡單:僅憑經驗。關鍵在于感知。沒什么比這個更重要。真正的審美體驗是漫無目的的。只有當我們培養出一種漠不關心的態度,我們才可充分理解這種經歷。

  This might seem confusing,since sunsets and paintings and roses are captivating.But they don't seize our minds with the iron grip that daily life typically exerts.Watching a golden ball dissolving into the horizon is not going to add to our bank accounts or social status.Our instrumental ends usually force us to see and understand the world in parts,in fragments that fit our particular purposes.In art we are returned to a more expansive world.Happily,we can travel through this world by walking,with an attitude of detachment,in a state of awareness,attention.We can behold,rather than be held.

  這似乎有點不好理解,因為日落和繪畫還有玫瑰都是令人著迷的。但它們沒有像日常生活那樣牢牢抓住我們的心靈??粗栂г诘仄骄€上不會增加我們的銀行賬戶或社會地位。我們那起作用的目的通常迫使我們看到和理解世界的一部分,碎片化地,符合我們的特定目的。在藝術中,我們回到了一個更廣闊的的世界。令人高興的是,我們可以以超然的態度,在意識和注意力的狀態下,通過步行穿越這個世界。我們可以看到,而不是被捕捉。

  When we give ourselves over to the art of walking,we exist in the moment for no reason or purpose other than that of the experience alone,for the appreciation and apprehension of beauty.There is no purpose in this occurrence,only the immeasurable effect it has on our nerves,our body,our being.Woe the society that sees little or no value in this.

  當我們給我們自己為了藝術而行走的目的時,在某瞬間我們是毫無目的地生存,而不單單是對欣賞和美的理解經驗。在這種情況下沒有任何目的,只有我們人,我們的自我,我們的神經上的不可估量的作用??杀氖?,這個社會幾乎看不到或根本看不到這方面的價值。
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