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| 回复： ★透明性【Transparency】——柯林·罗 [精华] |
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 2002-11-06 19:53 
       第一次发帖子，先做一些事务性个工作。既然呈召的翻译还未能让众人明白柯林·罗的原味，那麽不如将我手上的原文呈上，每个人都可以在这篇晦涩的行文中找到自己的理解： TRANSPARENCY: Literal and Phenomenal Colin Rowe and Robert Slutzky “Transparency", "space-time", "simultaneity", "interpenetration", "superimposition", "ambivalence": in the Literature of contemporary architecture these words, and others like them, are often used as synonyms. We are familiar with their use and rarely seek to analyze their application. To attempt to make efficient critical instruments of such approximate definitions is perhaps pedantic. Nevertheless, in this article pedantry will be risked in an attempt to expose the levels of meaning with which the concept of transparency has become endowed. According to the dictionary definition, the quality, or state, of being transparent is both a material condition-that of being pervious to light and air-and the result of an intellectual imperative, of our inherent demand for that which should be easily detected, perfectly evident, and free of dissimulation. Thus the adjective transparent, by defining a purely physical significance, by functioning as a critical honorific, and in being dignified with far from disagreeable moral overtones, becomes a word which from the first is richly loaded with the possibilities of both meaning and misunderstanding. A further level of interpretation-that of transparency as a condition to be discovered in a work of art-is admirably defined by Gyorgy Kepes in his Language of Vision: "If one sees two or more figures overlapping one ar~other, and each of them claims for itself the common overlapped part, then one is confronted with a contradiction of spatial dimensions. To reso1ve this contradiction one must assume the presence of a new optical quality. The figures are endowed with transparcncy: that is they are able to interpenetrate without an optical destruction of each other. Transparency however irnplies more than an optical characteristic, it implies a broader spatial order. Transparency means a simultaneous perception of different spatial locations. Space not only recedes but fluctuates in a continuous activity. The position of the transparent figures has equivocal meaning as one sees each figure now as the closer now as the further one"1 By this definition, the transparent ceases to be that which is perfectly clear and becomes instead that which is clearly ambiguous. Nor is this meaning an entirely esoteric one; when we read (as we so often do) of "transparent overlapping planes", we constantly sense that rather more than a simple physical transparency is involved. For instance, while Moholy-Nagy in his Vision in Motion continually refers to "transparent cellophane plastic", “transparency and moving light", and "Ruben's radiant transparent shadows",2 a careful reading of the book might suggest that for him such literal transparency is often furnished with certain allegorical qualities. Some superimpositions of form, Moholy tells us, "overcome space and time fixations. They transpose insignificant singularities into meaningful complexities.., transparent quality of the superimpositions often suggest transparency of context as well, revealing unnoticed structural qualities in the object".3 And again, in commenting on what he calls "the manifold word agglutinations" of James Joyce, or the Joyeean pun, Moholy finds that these are "the approach to the practical task of building up a completeness from interlocked units by an ingenious transparency of relationships"4In other words, he seems to have felt that, by a process of destruction, recomposition, and double-entendre, a linguistic transparency-the literary equivalent of Kepes' “interpenetration without optical destruction"-might be effected, and that whoever experiences one of these Joycean “agglutinations" will enjoy the sensation of looking through a first plane of significance to others lying behind it. |
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