形塑無以名之的城市故事

……故事已被分化瓦解，我們再也沒有一樁完整的事情可供饒舌的我們講述。我們看不見一樁完整的故事在我們平淡的生活中戲劇性演出，只有我們自己內心尚保留一個過程，這過程於我們是完整的和瞭解的。有時候，我們想去採訪啊，採訪，想獵取別人的內心過程，可是人人守口如瓶，或者謊言層出，到頭來，我們所了解的還是只有我們自己。於是，我們便只有一條出路：走向我們自己，我們只擁有我們個人自己的內心的故事，而城市，無故事。-- 故事的消失，敘事對象的消失。資本主義時代，故事退化為新聞，而新聞的價值只在於它還是「新」的那個時刻，它的時間性被時效所壓縮，因而新聞中的故事被議論和解說所覆蓋；而真正的故事並不會被那樣的消耗，它保留了原有的縱深度，即使在一段長時間之後仍可以被完整的釋放，是具體的可能性褪化為抽象的可能性；也是經歷的消失，所有已發生的事件，都被傳播媒體處理成引不起震驚的「經驗」，《坦白從寬》也暗示了無感的敘事導源於被弄壞了的胃口，因而不能忽略這麼一個無故事的都市所內含經歷的消失對此及對我作品內心精神狀態的投影。

關鍵字

白日夢,經驗,現實

並列摘要

…Stories have been crumbled apart. There is not even a complete thing for our gossiping lips to tattle around. We can’t see a completed story dramatically being put onto the stage in our ordinary daily life, but bear a kind of process in mind that could be perceived and understood only by ourselves alone. Sometimes, we do want to go out interviewing, interview people, and by this means to hunt down others’ inner process. However, everyone keeps their months shut, or they just lie around, and in the end we still could only understand ourselves. It gives us nothing but one way out: we walk toward ourselves, and we own our personal stories, while nothing else is left for the city. The end of story. The end of narrative subjectivity. In the era of capitalism, stories degenerate into news, and the value of news merely survives when they are still “new.” Their durations are due to expire, so news stories are veiled behind debates and explanations; however, a real story could not be consumed in this way. It retains its width and depth, and could be fully released even through a long period of time, abstracting its solid possibilities. It is the disappearing of experiences; all happening events are turned into prosaic “experiences” through the media. Honesty as the Virtue also implies that the dull narratives are resulted from an upset appetite. Therefore, I cannot neglect the projection of such disappearing experiences in the city without stories could have had the impact on the inner psychological status of my work.