CAC夏季讀書營2017
克蘇魯紀， 後生命， 龐大之物
嘉賓主持：薑宇輝
日期：2017年7月29日-30日， 8月5日-6日， 8月12日-13日
時間：下午3點至6點
語言：中文（閱讀材料包含英文與中文）
地點：新時線媒體藝術中心
地址：上海市普陀區莫干山路50號18號樓
主辦機構：新時線媒體藝術中心
CAC夏季讀書營“克蘇魯紀， 後生命， 龐大之物”（Chthulucene, After Life, Hyperobject）， 系CAC當前展覽——芬蘭藝術家特瑞卡·哈波亞（Terike Haapoja）個展“閉合回路， 開放過程”（Closed Circuit, Open Duration）期間的公共項目特別企劃， 以回應藝術家在展覽中提出的“人類紀”（Anthropocene）之種種憂患命題：人類生命活動及其與周遭環境（包含自然-文化、科技等）之間的關係， 尤其是人類應如何重新思考和處理自身與其它非人類物種或物之間的共存關係等。
第三場
8.12 - 8.13 | 15:00 - 18:00
《龐大之物：世界終結後的哲學與生態學》
蒂莫西·莫頓
明尼蘇達大學出版社， 2013年
作者蒂莫西·莫頓系英國萊斯大學英文系麗塔·謝伊·古費榮譽講席教授。 https://en.wikipedia.org/wiki/Timothy_Morton
書籍節選
A Quake in Being
In The Ecological ThoughtI coined the termhyperobjectsto refer to things that are massively distributed in time and space relative to humans. A hyperobject could be a black hole. A hyperobject could be the Lago Agrio oil field in Ecuador, or the Florida Everglades. A hyperobject could be the biosphere, or the Solar System. A hyperobject could be the sum total of all the nuclear materials on Earth; or just the plutonium, or the uranium. A hyperobject could be the very long-lasting product of direct human manufacture, such as Styrofoam or plastic bags, or the sum of all the whirring machinery of capitalism. Hyperobjects, then, are "hyper" in relation to some other entity, whether they are directly manufactured by humans or not.
Hyperobjects have numerous properties in common. They are viscous, which means that they "stick" to beings that are involved with them. They arenonlocal; in other words, any "local manifestation" of a hyperobject is not directly the hyperobject. They involve profoundly different temporalities than the human-scale ones we are used to. In particular, some very large hyperobjects, such as planets, have genuinely Gaussiantemporality: they generate spacetime vortices, due to general relativity. Hyperobjects occupy a high-dimensional phase space that results in their being invisible to humans for stretches of time. And they exhibit their effectsinterobjectively; that is, they can be detected in a space that consists of interrelationships between aesthetic properties of objects. The hyperobject is not a function of our knowledge: it's hyperrelative to worms, lemons, and ultraviolet rays, as well as humans.
Hyperobjects have already had a significant impact on human social and psychic space. Hyperobjects are directly responsible for what I call the end of the world, rendering both denialism and apocalyptic environmentalism obsolete. Hyperobjects have already ushered in a new human phase ofhypocrisy, weakness, and lameness:these terms have a very specific resonance in this study, and I shall explore them in depth.Hypocrisyresults from the conditions of the impossibility of a metalanguage (and as I shall explain, we are now freshly aware of these conditions because of the ecological emergency);weaknessfrom the gap between phenomenon and thing, which the hyperobject makes disturbingly visible; andlamenessfrom the fact that all entities are fragile (as a condition of possibility for their existence), and hyperobjects make this fragility conspicuous. Hyperobjects are also changing human art and experience (the aesthetic dimension). We are now in what I callthe Age of Asymmetry.
Hyperobjects are not just collections, systems, or assemblages of other objects. They are objects in their own right, objects in a special sense that I shall elucidate as we proceed through this book. The special sense of objectderives fromobject-oriented ontology(000), an emerging philosophical movement committed to a unique form of realism and nonanthropocentric thinking. Least of all, then, would it be right to say that hyperobjects are figments of the (human) imagination, whether we think imagination as a bundling of associations in the style of Hume, or as the possibility for synthetic judgments a priori, with Kant. Hyperobjects are real whether or not someone is thinking of them. Indeed, for reasons given in this study, hyperobjects end the possibility of transcendental leaps "outside" physical reality. Hyperobjects force us to acknowledge the immanence of thinking to the physical. But this does not mean that we are "embedded" in a "lifeworld."
Hyperobjects thus present philosophy with a difficult, double task. The first task is to abolish the idea of the possibility of a metalanguage that could account for things while remaining uncontaminated by them. For reasons I shall explore, poststructuralist thinking has failed to do this in some respects, or rather, it didn't complete the job. The second task is to establish what phenomenological "experience" is in the absence of anything meaningfully like a "world" at all: hence the subtitle, "Philosophy and Ecology after the End of the World."
讀書營現場將提供中文翻譯（翻譯僅供參考）
原書插圖
本場特別演出
作為CAC夏季讀書營第三場的延展部分， 來自哥倫比亞大學（Columbia University）跨學科聲音藝術專案（Interdisciplinary Sound Arts program）的藝術家們將在現場創造一個細膩而強烈的聽覺環境， 以此激發出與讀書營討論命題相關的感官體驗。 互動表演、機器學習、現場即興電子/原聲、田野錄音、信號處理、模組合成、資料可聽化及視覺化、現實增強……他們將熟悉的日常世界轉化為變幻的視聽模式。
Dani Dobkin，1992年生於美國，現居紐約。一個建造聲音建築的共振身體。
Ethan Edwards，1992年生於美國，現居紐約。程式師兼藝術家，作品通過交互生成型結構探索傳統的美學主題。
Yingjia Lemon Guo，1993年生於中國福建，現居紐約。歌手、作曲者及聲音藝術家。先後接受了中國民俗音樂、西方古典和實驗音樂的訓練。近期作品常通過引人遐想、細緻入微的人聲表演，創造既私密又疏離的聽覺感受。
Gerónimo Mercado，1977年生於西班牙，現居紐約和波多黎各。在著名的伯克利音樂學院取得了電影配樂和音樂商業管理的雙學位，有豐富的電影配樂經驗。現是哥倫比亞大學聲音藝術的碩士學生。
Chatori Shimizu，1990年生於日本大阪，現居紐約。作曲家、笙（shō）表演者及聲音藝術家，作品涉及多種聲音與空間媒介。
報名細則
本系列活動免費，僅收取閱讀材料印費（10元/份，僅限圓桌成員）；
圓桌成員：限制名額每場10人，需對閱讀材料有一定的瞭解基礎，並在報名時填寫調查問卷；旁觀席：不限人數；
圓桌成員及旁觀席皆可選擇參加三場活動中任意1-3場；
掃描以下二維碼報名，其中圓桌成員報名截止日期：7月20日；
CAC將於7月21日郵件/短信通知圓桌成員報名結果，並與確定參與者建立前期交流。
互動表演、機器學習、現場即興電子/原聲、田野錄音、信號處理、模組合成、資料可聽化及視覺化、現實增強……他們將熟悉的日常世界轉化為變幻的視聽模式。Dani Dobkin，1992年生於美國，現居紐約。一個建造聲音建築的共振身體。
Ethan Edwards，1992年生於美國，現居紐約。程式師兼藝術家，作品通過交互生成型結構探索傳統的美學主題。
Yingjia Lemon Guo，1993年生於中國福建，現居紐約。歌手、作曲者及聲音藝術家。先後接受了中國民俗音樂、西方古典和實驗音樂的訓練。近期作品常通過引人遐想、細緻入微的人聲表演，創造既私密又疏離的聽覺感受。
Gerónimo Mercado，1977年生於西班牙，現居紐約和波多黎各。在著名的伯克利音樂學院取得了電影配樂和音樂商業管理的雙學位，有豐富的電影配樂經驗。現是哥倫比亞大學聲音藝術的碩士學生。
Chatori Shimizu，1990年生於日本大阪，現居紐約。作曲家、笙（shō）表演者及聲音藝術家，作品涉及多種聲音與空間媒介。
報名細則
本系列活動免費，僅收取閱讀材料印費（10元/份，僅限圓桌成員）；
圓桌成員：限制名額每場10人，需對閱讀材料有一定的瞭解基礎，並在報名時填寫調查問卷；旁觀席：不限人數；
圓桌成員及旁觀席皆可選擇參加三場活動中任意1-3場；
掃描以下二維碼報名，其中圓桌成員報名截止日期：7月20日；
CAC將於7月21日郵件/短信通知圓桌成員報名結果，並與確定參與者建立前期交流。