Book(Dictionary of Psychoanalysis) Series II  /  一本精神分析辞典 系列之二

 

The true body is the body we feel every moment in this world. It’s neither the body as the sample of psychoanalysis, nor the body as the absolute physical/material object. The former causes a Freudian illusion upon the body, by using white, straight, cis-male as default samples for a psychological construction, to inevitably produce the discrimination and bias towards women, non-white, and queer groups. The latter makes the body a mechanical and dull piece of meat, and aggravates the binary oppositions of “subject/object” and “mind/body.” Thus, in a world that is full of possibilities and uncertainties, our life experience becomes the most precious inspirations.

Maurice Merleau-Ponty once said, that the body is a way for us to own a world. Because our bodies are the Other in the samples of Freud’s experiments, we use white tags to label everything that is sexist, homophobic and racist in Dictionary of Psychoanalysis, to make color-scanned pictures and transfer them onto our skin. Then, our body parts are scanned by a hand scanner. In this way, our bodies cancel his texts’ meaning and authority, and at the same time symbolically bear the content of the dictionary and its theoretical context. The movement of hand scanner resembles a voyeuristic view on our bodies, as well as a pan-perspective image-making process (rather than one-perspective view from a camera) to make flattened, distorted and distinguished looks. These steps are tend to use our bodies to rethink and rectify the dogmatism in Freud’s theory, and to confront the viewers to not only “peeking” at the details of our bodies, but also the damaged content of the dictionary.

《一本精神分析辞典》从弗洛伊德式心理构型的偏颇出发,以身体在观看与被观看中的主客体矛盾身份为线索,试图结合梅洛-庞蒂所说的“生命经验”、“知觉”、海德格尔所坚持的“去视觉中心化”以及东方绘画中的散点透视作为策略,建构起一种新的影像的生成及观看方式。

正如梅洛-庞蒂所说, “身体是我们拥有世界的方式”,[1]是我们知识和经验的最有效的来源。在我们的亚裔身体作为弗氏理论缺失之样本的基础上,我们把《精神分析辞典》[2]里所有性别歧视的、恐同的(及歧视同性恋的)、男权至上的词汇用白色标签标出,然后扫描并制作成能够紧密附着在皮肤之上的影像贴纸。紧接着,我们将这本辞典转换到自己身体皮肤上,让辞典成为了身体的一部分。这时,我们的身体破坏了这本辞典和它的权威性,同时也成为了理论的承受者——并且象征地承载了辞典和它代表的理论语境,这与弗氏理论系统中的研究客体产生了对应和对立。接下来,我们以一种散点透视的扫描方法(而非通常相机所天然包含的单点透视的摄影方法)对身体之上被身体所破坏的书本影像进行仔细的“抚摸”与“感触”(而不是简单的拍摄),从而制造出了这些与寻常观看身体的视角全然不同的、扭曲的但同时又是窥探式的影像。

真正的身体是我们每时每刻体验着的身体,不是作为精神分析样本的身体,也不是作为纯粹物质客体的身体。前者造成了弗洛伊德式的“幻觉”——以白人男性为默认样本的心理构型——并对女性、非白种人、非异性恋群体不可避免的产生歧视和偏颇。后者成为了一具机械而又贫乏的臭皮囊,并进一步加剧主体与客体、精神与物质的二元对立。基于这样的思想之上,《一本精神分析辞典》旨在用我们自己的身体对《精神分析辞典》所代表的“教条主义”进行反思和纠偏,同时也是对传统摄影所涉及的“人-世界”主客体二元对立的观看方式进行尝试性的突破。

[1]:梅洛-庞蒂,《知觉现象学》,194页。
[2]:《精神分析辞典》是根据弗洛伊德的著作而集编成的一本词典,里面有大量弗氏自创的词汇和注解。 但因为其理论将“白人”“男性”作为其默认样本,因此女性、亚洲人等等在这个理论系统中都是缺失的。精神分析理论在当时炙手可热,但同时也声名狼藉、备受批评。

 

 

 

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