"I experience my own body as the power of adopting certain forms of behaviour and a certain world, and I am given to myself merely as a certain hold upon the world; now, it is precisely my body which perceives the body of another, and discovers in that other body a miraculous prolongation of my own intentions, a familiar way of deal-ing with the world. Henceforth, as the parts of my body together compromise a system, so my body and the other’s are one whole, two sides of one and the same phenomenon, and the anonymous existence of which my body is the ever-renewed trace henceforth inhabits both bodies simultaneously."
「我把我的身體感知為某些行為和某個世界的能力，我只是作為對世界的某種把握呈現給自己；然而，是我的身體在感知他人的身體，在他人的身體中看到自己意向的奇妙延伸，看到一種對待世界的熟悉方式；從此以後，由於我的身體的各個部分共同組成了一個系統，所有他人的身體和我的身體是一個單一整體，一個單一現象的反面和正面，我的身體每時每刻是其痕跡的來源不明的生存，從此以後同時寓於這兩個身體中。」
Merleau-Ponty, Maurice. Phenomenology of Perception,1981, p353-354
莫里斯·梅洛-庞蒂 《知覺現象學》，445頁
女人作為存有的本體，並非是一種已完成的東西，也不是同一或靜態的，而是一個不斷在形成的、在經驗中發現著可能性的存有，包括那永遠不會成為一個固定的，自我同一的女人的可能性。
to understand woman to exist on the metaphysical order of being is to understand her as that which is already accomplished, self-identical, static, but to conceive her on the metaphysical order of becoming is to invent possibility into her experience, including the possibility of never becoming a substantive, self-identical ‘‘woman.’’
——Judith Butler, The Judith Butler Reader, p32
articulation
聯結／接合／闡接
resonant space
共 振 空 間
Articulation is the production of identity on top of differences, of unities out of fragments, of structures across practices. Articulation links this practice to that effect, this text to that meaning, this meaning to that reality, this experience to those politics. And these links are themselves articulated into larger structures, etc.
—— Lawrence Grossberg 1992
"Between my consciousness and my body as I experience it, between this phenomenal body of mine and that of another as I see it from the outside, there exists an internal relation which causes the other to appear as the completion of the system. The other can be evident to me because I am not transparent for myself, and because my subjectivity draws its body in its wake."
在我的意識和我體驗到的我的身體之間，在這個現象身體和我從外面看到的他人的現像身體之間有一種使他人顯現為系統的完善的內在性。他人的證明是可能的，因為在我看來，我不是透明的，因為我的主體性後面拖著其他的身體。
Merleau-Ponty, Maurice. Phenomenology of Perception,1981, p353-354
莫里斯·梅洛-庞蒂 《知覺現象學》，445頁
trance
恍 惚
「聯結」：一個聯結(接合)就是可以在一定條件下將兩個不同元素，聯結成一個統合體的接合形式。這種扣環並不是永遠必然的、被決定的、絕對的、本質的。
Articulation is the form of the connection that can make a unity of two different elements, under certain conditions. It is a linkage which is not necessary, determined, absolute and essential for all time.
—— Hall Stuart Cultural Studies: Dialogues with Stuart Hall. 《文化研究:霍爾訪談錄》1998
不同的、獨特的元素沒有被賦予必然的「歸屬」，所以元素之間可以用不同方式接合及變換連結。
“Inside and outside are inseparable. The world is wholly inside and I am wholly outside of myself.”
「內部世界與外部世界是不可分離的。世界就在裡面，我就在我外面。」
Merleau-Ponty, Maurice. Phenomenology of Perception,1981, p407
莫里斯·梅洛-庞蒂 《知覺現象學》，512頁
多元主體中的各個主體建構出的不是一個個間絕於他人的自我（isolate self），而是一個個能夠關注自我與他人關係（I-Thou relation）的主體，一個會去承認他者的主體，那麼這些主體之間就有彼此認識（而非彼此否定）的可能。
身體感
「身體作為經驗的主體以感知體內與體外世界的知覺項目」
——《體物入微：物與身體感的研究》
異質空間heterotopia
——Michel Foucault，1967
介於真實空間和烏托邦之間
in—between real space and utopia
真實又虛幻的所在,具有凝縮異質元素於一處而迸發的擾動潛能
「19世紀最重要的著魔，一如我們所知，就是歷史…而當今的時代或許應該是空間的紀元。我們身處在「同時性」的時代中﹕處在一個並置的年代，近與遠、肩並肩、以及星羅散佈的年代。我確信，我們處在這麼一刻﹕我們對世界的體驗是，在時間過程中成長起來的漫長生命經驗，比不上由連繫各個不同點與交叉間，並與個體自身的錯綜團束連結在一起所形成網絡的經驗。」
The great obsession of the nineteenth century was, as we know, history...The present epoch will perhaps be above all the epoch of space. We are in the epoch of simultaneity:we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. We are at a moment, I believe, when our experience of the world is less that of a long life developing through time than that of a network that connects points and intersects with its own skein.
——米歇爾·傅柯 Michel Foucault
《Text /Context of Other Space》1986
「相」
＝
intersubjective encounter
＝
「悖論式對話」Socratic paradox
=
異質空間 heterotopia
=
闡連的場所 site of articulation
?
不是單一的、純粹的、穩固不變的，而是混雜的、游移、變遷中的狀態和現象
什麼是時間與記憶在身體上做的加減法？Add to or subtract from the body time and memories. What does one get?
「經驗」experience
藝術以其形式所結合的正式做與受，即能量的出與進的關係，這使得一個經驗成為一個經驗。
Art, in its form, unites the very same relation of doing and undergoing, outgoing and incoming energy, that makes an experience to be an experience.
—— John. Dewey， Art as experience 1934
-
環境作用中活的生物所產生的“受undergo"
-
活的生物作用于環境所產生的“做do“
質疑身體和感知，什麼在消失，以及什麼在填充這個失去 Is it sensation that is drifting away from the body? If this loss leaves a void, can it ever be filled?
如何自處，相處，聯結；如何在凌亂中找到井然有序？ How does one find peace with oneself, with another, with the others? Does there exist order amongst chaos?
‘‘we must use ‘we are women’ as an advertisement or slogan for our demands. On a deeper level, however, a woman cannot ‘be’; it is something which does not even belong in the order of being.’’
——Julia Kristeva, New French Feminisms, p137
橡皮筋的魅力之一在於它的彈性、張力、甚至產生的震動之間存在未知、無法預計的——「模糊」。 這種「模糊」的自由或侷限需要身體力行去經歷，以及與其他正在經歷的身體產生對話。
I can only know myself in relationship; the observation of myself takes place only when there is response and reaction in relationship; there is no such thing as isolation.
我只能在關係中了解自己， 只有在關係中才能觀察自己，而在隔絕中是不可能的。
—— Jiddu Krishnamurti
認同，是一種在碎片中不斷作接合的建構過程。
橡皮筋來源於橡膠樹的汁液，一種天然的原材料。由液體到固體，進入日常生活產生不同功能，直到僵硬或者斷裂，一直變化。