重構烏託邦,走向本體論時代
ReconstructingUtopia, Toward an Era of Ontology
本文為野城於2018年在深圳華美術館策展的《重構烏託邦》建築藝術展的展覽前言中英文完整版，並授權發表於Domus雜誌2018年5月刊。
烏託邦的歷史
History of Utopia
從《聖經》的伊甸園到但丁《神曲》的地獄，從柏拉圖的《理想國》到託馬斯•莫爾的《烏託邦》，人類在建構現實世界的同時一直在平行地虛構著另一個想像的世界。對於理想中的烏託邦，或出於對完美時空的追求，或源自對遠景藍圖的展望，或表達對現實的諷刺和批判，甚至執著於反叛，而遁入反烏託邦的境地。
Whileconstructing the real world, humans always fancy a parallel imaginary world,which is exemplified by the Garden of Eden in the Bible, the Inferno in theDivine Comedy by Dante, the Republic by Plato and the Utopia by Thomas More.The construction of Utopia usually comes out of the pursuit for a perfectworld, or the expectation of the blueprint for the future, or the criticism andsatire for the reality, or at last even clinging to rebellion and receding intothe dystopia.
從古希臘一直到19世紀末，西方的烏託邦思想主要體現在社會烏託邦對城市烏託邦的促進，柏拉圖和亞里斯多德在他們的論述中都有對理想城市的構想。古希臘是烏託邦思想的發源和根基，而雅典衛城和帕提農神廟可以說是人類將神話烏託邦以城市和建築的方式展現出來的最早案例。中世紀的宗教統治讓烏託邦思想跌入低谷，而文藝復興時期人文主義思潮的回流，又促使了新的社會烏託邦思想再度產生。但在相當長的歷史時期裡，城市烏託邦仍舊在維特魯威的幾何城市控制之下難以突破。或許我們可以在達文西的手稿所構築的古典科幻烏託邦裡找到一點超前的現代性，儘管達文西繪製的飛行器、潛水艇或巨型橋梁的紙上發明，對於剛剛擺脫黑暗中世紀的文藝復興時代來說無疑是瘋狂的臆想。
Fromancient Greece to the end of 19th century, western Utopia mainly centered onthe promotion of urban Utopia by social Utopia. The idea of constructing anideal city was inscribed in the works of Plato and Aristotle. With ancientGreece as the originated location and basis for utopian ideas, Acropolis ofAthens and Parthenon Temple served as the earliest examples of showcasingmythological utopia in the form of cities and architecture. The religiousruling in the Middle Ages sank Utopia thoughts into a valley while therecurrence of humanism in Renaissance period generated catalyzed theregeneration of new Utopia thoughts. However, in a long historical period,urban Utopia made no breakthrough under the control of Geometric City raised byVitruvius. It's likely that we can find a clue of modernity ahead of time inthe classic and sci-fi Utopia constructed in the scripts of Leonardo da Vinci,even if the sketched invention of the aircraft, the submarine or the giantbridge in his works were whimsies in the Renaissances period when people justgot out of the dark Middle Ages.
近代科技的飛速發展再一次激發了人們對「城市」這一巨大人造物的想像。西方文化中的烏託邦傳統，在工業文明與自然的衝突下，又通過一系列現代城市烏託邦的構想集中顯現出來。早在19世紀初，傅立葉就已經提出了可容納1500-1600人的巨型建築「法蘭斯泰爾」（Phalanstère），主張廢除家庭小生產,減少家務勞動，並藉此推行他的空想社會主義理念。這個集體主義建築已經有了現代集合住宅的雛形。而集合居住的模式後來在現代主義建築先驅柯布西耶的馬賽公寓（Unité d'Habitation deMarseilles）中得以實現。作為現代主義建築的典範，這棟建築已初具「立體城市」的特徵。這一集體主義的生活形態決定了馬賽公寓的建築形式，並為之後出現的大型綜合體建築奠定了有力的現實基礎。
Therapid development of modern technologies again stimulated people's imaginationtowards the huge artifacts, our cities. The utopia tradition in westerncivilization appeared under the conflict between industrial civilization andnature in the construction of a series of modern urban utopia. As early as thebeginning of 19th century, Fourier has raised the idea of Phalanstère, amammoth building which was able to contain 1500 to 1600 people. He proposed toabolish small family production workshops, and to reduce household duties inorder to promote his Utopian socialism. The collective built structure showedthe early form of modern amalgamated dwelling and the model of congregatedliving was later realized in the idea of Marseille Apartments（Unité d'Habitation deMarseilles） raised by Le Corbusier, the pioneer of modern architecture.Serving as a model of modern architecture, the building had been possessed withsome features of a three-dimensional city. The collectivism lifestyledetermined the architectural form of Marseille Apartments and laid a solid andrealistic foundation for large scale complexes appearing later.
進入20 世紀，建造技術的突飛猛進讓大跨度結構和高層建築迅速成為現實，建築在水平和垂直方向上都有很大拓展。這一時期烏託邦城市構想的興起正是對高密度大城市的發展需求作出的回應，這也是現代城市發展必然會經歷的階段。一戰後歐洲對城市住房的需求更刺激了建築師們的想像力。現代建築先驅們為我們示範了一系列未來城市的構想：如20世紀初霍華德提出的「田園城市」（GardenCity），20-30年代柯布西耶提出的「光輝城市」（Ville Radieuse），40年代賴特的「廣畝城市」（Broadacre City）。而在泛濫的國際主義建築浪潮下，法國建築師克勞德•巴夯獨樹一幟，堅持他的「地域烏託邦主義者」（Utopiste du Territoire）身份，提出「傾斜功能」（Fonction Oblique）的建築理論。
Enteringthe 20th century, breakthroughs in construction technologies brought long spanstructure and high rise buildings into reality, with buildings extended bothhorizontally and vertically. The emergence of Utopian cities at this time was arecall to the development demand of high-dense metropolitans and also anecessary stage for the development of modern cities. The demand for urbandwellings in Europe after World War I aroused the imagination of architects.Modern pioneers demonstrated a series of concepts for future cities: the GardenCity brought up by Howard at the beginning of 20th century, the Radiant City byLe Corbusier from 1920s to 1930s, and the Broadacre City raised by Wright inthe 1940s. With the flood of architecture internationalism, French architectClaude Parent, persisting in being a Utopianist of the territory (Utopiste duTerritoire), developed an idea of his own and proposed a theory of obliquefunction (Fonction Oblique).
上世紀60年代，二戰後的城市復甦又催生了新一輪開創性的烏託邦城市和建築的思潮。法國建築師尤納•弗裡德曼提出的「空間城市」（Ville Spatiale)把城市的疆域延伸到城市上空 ；日本「新陳代謝」（Metabolism）派提出「巨構」（Megastructure）建築，這是由巨型結構體系建構的可容納城市整體或部分功能的大型框架綜合體，大跨度結構、空中流線貫通、功能高度集中、系統運作高效集約化成為巨構建築的主要特徵；英國的「建築電訊」（Archigram）實驗建築小組提出了更加科幻的「插座城市」（Plug-in City)、「行走城市」（WalkingCity），對建築移動性的重視和對領土地權的傳統政治框架的掙脫，讓城市建築具有一種遊牧式的自由和非永久性。70年代庫哈斯、扎哈•哈迪德等建築師針對曼哈頓的一系列反烏託邦實驗建築構想，更是通過建築師的視角對現實城市進行著反思和批判。在這之後，全球先鋒建築師們闖進了又一個轟轟烈烈的大建設時代。
Inthe 1960s, city recovery after the World War II hastened a new round of ideasabout Utopian cities and architecture. French architect Yona Friedman wished toextend the urban territory up to the sky in his Spatial City theory. Themetabolism school from Japan raised the idea of Mega-structure structure whichis a large scale frame complex containing all or part of the functions of acity, featuring long-span structure, sky streamline connection, highlyintensive functions and highly efficient and intensive system. Archigram, aBritish experimental architecture group, brought up more sci-fi Plug-in Cityand Walking City, putting emphasis on the mobility of building and strugglingto be free from traditional political frame on territory rights, imposing nomadfreedom and non-permanence on building. In the 1970s, Rem Koolhaas, Zaha Hadidand other architects constructed their own ideas on a series of dystopianexperimental architecture in Manhattan and reflected on and criticized citiesin the real world from the perspective of architects. After that, theavant-guard architects of the world entered another era of vigorousconstruction.
卡爾•曼海姆 (Karl Mannheim) 說過：「今天的烏託邦很可能變成明天的現實，各種烏託邦都經常只不過是早產的真理而已。」這是對烏託邦存在價值的肯定。
KarlMannheim said:" Today's Utopia is likely to be tomorrow’s reality. Allsorts of Utopian thoughts are merely truth of premature delivery." It is aconfirmation of the value of utopia being exists.
批判過去，批判未來
Criticizingthe past, Criticizing the future
這是一個物質膨脹、技術狂熱的時代，這同時又是一個想像力匱乏的時代。技術的蓬勃發展與時代想像力的衰退造成巨大反差。上世紀初現代主義建築的雄心壯志早已灰飛煙滅，淪為被海量複製的商品房。而那些烏託邦思潮也成為了歷史。我們的城市已經詞窮，千城一面。我們在過度信息化與物質化的日常生活中變得越來越焦慮、孤獨和迷失自我。
This is an era of materialexpansion and technological enthusiasm. It’s also an era of poverty ofimagination. A large disparity occurs between the vigorous development oftechnology and the decline of the imagination. The ambitions of modernistarchitecture at the beginning of the last century have long since vanished andbeen replaced by massively-copied commercial houses. Utopia trends have thusbecome history. Our cities have the same expression without any individuality.With everyday life becoming over-informationized and materialized, people aregetting increasingly anxious, lonely and lost.
柯布西耶說「住宅是居住的機器」。人類從手工勞作到使用機器花了一萬年，而從讚美機器到恐懼機器只用了一百年。我們的一切都在快速的機械化。從硬資本主義時代的狹義機器（蒸汽機、發電機、升降機）到軟資本主義時代的廣義機器（人工智慧、虛擬實境、基因改造）的進化，人類越來越感到力不從心，將要更徹底地被機器取代。在權力與資本操控的科技壟斷物質主義文明進程中，唯有烏託邦是超脫於殘酷現實的港灣。
"A house is a machine forliving in," wrote Le Corbusier. It took ten thousand years for humanworkforce to transform from manual work to the use of machines, but only takesus 100 years from praising machines to fearing for machines. Everything aroundus is rapidly mechanized, from the narrowly defined machines (steam engines,generators, elevators) in the era of hard capitalism to the generalizedmachines (artificial intelligence, virtual reality, genetic modification) inthe era of soft capitalism. People feel increasingly powerless, fearing thatmachines are making human workers obsolete. Over the course of technologicalmonopolistic and materialistic civilizations dominated by power and capital,only utopia can be conceived as a harbor detached from the cruel reality.
中國近二十年的快速城市化進程中湧現出一批先鋒建築師，他們推動了中國的「實驗建築」。在這場城市大躍進背景下的建造，往往剛一實驗，就實現了。以至於「實驗」的實驗性還未確立，就被現實主義洪流所淹沒。這同時是一個反理論的時代。像中國這樣的發展中國家，它的建設體量和發展速度都是空前的。過去西方的城市理論和社會理論已經不適用於超尺度超密度的中國城市。中國無疑是全球最大的建築實驗場，龐大的建設量讓國內外的建築師空前忙碌，以至於我們無暇思考中國城市的未來。物質和技術都在成幾何級增長，但表面的繁榮卻掩飾不了這個時代精神的匱乏。
Last two decades witnessed anemergence of a group of avant-garde architects, who promoted China's"experimental architecture" in the rapid urbanization of China.Against the context of the urban 「Great Leap Forward」, experiments were soeasily realized that it has been overwhelmed by the flood of realism, while theexperimental nature of the "experiment" has not yet been established.This is also an era of anti-theory. China is a developing country withunprecedented construction volume and development speed. Therefore, westernurban theory and social theory in the past are no longer applicable toultra-scale and ultra-dense Chinese cities. China is also the largestconstruction experimentation site around the globe. Here, the huge amount ofconstruction keeps both domestic and foreign architects so busy that we have notime to think about the future of Chinese cities. While our physicalpossessions and technology are growing at a geometric level, the prosperityappeared could not conceal the spiritual impoverishment of the times.
2016年9月我在上海喜瑪拉雅美術館策划過一場年輕建築師藝術家的烏託邦未來城市建築展，以紀念託馬斯·莫爾發表《烏託邦》一書500周年。2018年3月在深圳華·美術館舉辦的這場「重構烏託邦」建築藝術展邀請了21組有著大膽創想和深度實踐的中國建築師和藝術家。在這個歷史的轉折，我想以烏託邦為線索來重新梳理他們的想像脈絡。這些探索者就是在這樣的時代背景下成長起來，並見證了這個時代的巨變。他們有的著眼於對未來城市形態的探索，有的對城市系統提出新的模式，有的對建築的建構提出新的方法，有的對社區和人居生活提出新的暢想，有的通過影像和繪畫展現了烏託邦或反烏託邦的未來圖景，有的對建築、藝術甚至我們這個世界的本體進行探尋。在喧囂的大建設背景之下，這樣的思考難能可貴。
In September 2016, I curated a Utopia FutureUrban Architecture Exhibition by young architects and artists at the HimalayaArt Museum in Shanghai, commemorating the 500th anniversary of the publicationof Utopia written by Thomas Moore. In March 2018, 「ReconstructingUtopia」 will be exhibited at OCT Art & Design Gallery in Shenzhen. Weinvited 21 groups of Chinese architects and artists who are talented with boldideas and in-depth practice. At this historical turning point, Utopia can beconceived as a clue to re-examine their imagination. These explorers grew up inthis era and witnessed the great changes of the times. Some of them focused onthe sought of future urban form. Some proposed new models for urban systems.Some explored new methods for the construction of buildings. Some envisaged newideas for communities and living habits. Some showcased the future ofutopianism or anti-utopia through images and paintings, and some explored theontology of architecture, art and even the reality of our world. These ways ofthinking are all valued against the backdrop of urban great construction.
展覽本身就是探討本體論的一種有效方式。建築師和藝術家兩個領域的作品在同一語境下，相互映照，相互對話，以差異化來凸顯建築和藝術的本體。不同創作者意識能量的碰撞和交融，產生出奇妙的效果。作品與展覽主題、展覽環境的相應度也產生出一種巧妙性和豐富性。
The exhibition is actually an effective way toexplore ontology. Under the same context, the works of architects and artistsreflect on each other and communicate with each other, highlighting theontology of the two fields with differentiation. The collision and blending ofenergy of different creators' consciousness exert magical results. A subtletyand richness are also produced due to the degree of correspondence between theworks and the theme and the environment of the exhibition.
我希望把這些具有烏託邦精神的實踐與構想集中展現出來，並從三個角度引出批判。一、反思過去：反思以中國為代表的快速城市化的歷史；二、批判未來：批判過度智能化和大數據壟斷的科智未來；三、從當下出發：以烏託邦精神超越物質與信息對人的奴役，激發人們自由的想像，共同走向更高的文明態。
By showcasing these Utopianpractices and ideas, I hope to draw criticism from following threeperspectives: 1. Reviewing the past: reflecting on the history of rapidurbanization represented by China’s cities; 2. Criticizing the future:criticizing the technology-dominated future featuring with over-intelligenceand big data monopoly; 3. Starting from the present: transcending the enslavementof humans by material and information, stimulating people's free imaginationand moving toward a higher civilization.
重構烏託邦
Reconstructing Utopia
烏託邦是人類集體想像力的結晶，無數未建成的烏託邦恰恰是已建成的現實世界的基礎，而這樣的基礎卻變得越來越匱乏。重構烏託邦，不是對傳統烏託邦的復闢，不是去搞空想社會主義、理想城或者天國樂園那樣的終極概念。重構烏託邦脫離於任何主義，不追隨主義和流派的更替。重構烏託邦試圖構築一個想像共同體，尋找通往未來的全新路徑。
Utopia is coined as the result of human collectiveimagination. The countless utopias uncompleted are precisely the foundations ofthe established real world, which are becoming increasingly scarce.Reconstructing Utopia does not mean the restoration of a traditional Utopia,nor does it the pursuit of ultimate concepts such as building utopian socialism,an ideal city, or a paradise of heaven. This reconstruction is free from anydoctrine, not by following any strings of doctrines or schools. ReconstructingUtopia is attempting to build a common community of imagination and to seekfor a new path to the future.
重構烏託邦，是一場實驗，一場永無止境的純粹的精神化實驗。它不能夠被功利化，不屈從於現實。它保有理想主義的色彩和敢於為理想獻身的無畏精神。所謂獻身，就是敢於投身到這樣一場實驗運動中來。
Reconstructing Utopia is an experiment, anever-ended purely spiritual experiment. It should not be utilitarian and doesnot surrender to reality. It retains the color of idealism and the fearlessspirit of dedication to the ideal. By stating fearless, we mean the bravery toplunge into such an experimental movement.
重構烏託邦試圖達到一種去中心化的臨界態。臨界是系統的間隙，超越舊有的可能性就在這裡。它同時是對邊界的解構和對共同體的建構，這是非常本質的存在的革命。烏託邦意味著理想的共同體，而區塊鏈最重要的部分就是共識，所有的點都同時確認，即時互聯。區塊鏈遠不止於電子貨幣，非洲的獅子山（Sierra Leone)已經率先把區塊鏈技術用到總統選舉的投票系統。區塊鏈就是一種未來的烏託邦。它類似於佛家講的「無我」「空性」（Emptiness)。不否定任何的存在，但任何存在都是相互關聯，不可分割的，並在任意點達成交匯和共識。沒有完全獨立、永恆不變的存在，沒有中心，沒有壟斷，沒有階級，沒有造物主。一切都是在因緣和合之中達到一種極其複雜而又不可描述的即時同步和動態互聯。這也是「眾生平等」觀念的一種數位化呈現。
ReconstructingUtopia is intentupon achieving a decentralized state close to the boundary, namely the gapsamong systems, where the possibility of transcending the old will be found. Itis the deconstruction of the boundary and the construction of the community atthe same time, which is a revolution of fundamental existence. Utopia means anideal community, and consensus constitutes the most important part of theblockchain, with all the points being confirmed simultaneously and connectedinstantly. Blockchain is far more than an electronic currency. For the firsttime ever, blockchain technology was used in the presidential vote in theAfrican nation of Sierra Leone. It is rather a future utopia. Pertinent to theconcept of emptiness in Buddhism, blockchain never denies any existence, butbelieves that any existence is interrelated, inseparable, and can reachtransaction and consensus at any point. There is no complete independence, noimmutable existence, no center, no monopoly, no classes and no creator. Everythingis instantly synchronized and dynamically interconnected in an extremelycomplex and ad-hoc state, which can be considered a digital representation ofthe idea 「Equality of All Sentient Beings」 proposed by Buddhists.
未來的社會很有可能發展成為一種區塊鏈社會。國與國，城與城，建築與建築，人與人，物與物，信息與信息，存在與存在的關係都將被顛覆，轉而成為無邊界、去中心化的區塊鏈構成。這是在本體論層面的社會變革。未來城市如果按照區塊鏈思想來構築，那將比擺脫重力環境帶來的城市變革更加天翻地覆。
Thefuture society is likely to develop into a blockchain society. The relationsamong countries, cities, architecture, people, things, information, andexistence will all be subverted, constructing borderless and decentralizedblockchains. This is a social change at the ontological level. If the city ofthe future is constructed in accordance with the blockchain theory, the changeit brings about will be even more profound than the urban transformationbrought by the gravity environment.
共識機制決定了烏託邦在未來世界的必然性。它試圖打破國界，打破觀念，打破意識形態的束縛，打破不同領域的界限，重構一個無限遼闊的疆域。
The consensus mechanism determines the inevitability ofUtopia in the future world. It attempts to break national boundaries, break theconcept, break the shackles of ideology and break the boundaries of differentfields, in order to reconstruct an infinitely large territory.
走向本體論時代
Toward an era of ontology
人類文明經歷了幾千年的發展，從對本體認知的確立，深化，到消解，我們現在離本體越來越遠。尤其這一個多世紀科技的迅猛發展，一切都被知識化、信息化和技術化。伴隨著對知識和信息的饕餮，本體認識的缺失導致了想像力的動力匱乏。我們不斷用知識和技術來填補想像的空洞。而在宇宙大爆炸、量子糾纏、測不準原理、人工智慧、深度學習、人腦接口、意識存儲、人機合體等等這些科學科幻知識越來越普及的今天，這個時代又有著重新認知自我，認識世界本質的緊迫性。
Inthousands of years of human civilization development, the knowledge of ontologyexperienced being established, deepened and dissolved, from which humans arenow straying away. In particular, the explosion of science and technology forthe last century is making everything knowledgeable, informative, andtechnological. Lack of ontological awareness, we can only gorge on knowledgeand information to fill in the void of imagination. In this era, while thescience and sci-fi knowledge, such as the Big Bang, quantum entanglement,uncertainty principle, artificial intelligence, deep learning, human braininterface, consciousness storage, and human-machine integration, is becomingmore and more popular, it is high time to re-recognize the self and tounderstand the nature of the world.
當下這個時代恰恰是走向本體論的時代。如果僅僅從認識論出發，還停留在現象學層面，不能夠對本體予以追問，那也不太可能做出真正有預見性、有劃時代意義的事情。近幾十年，技術迭代的速度越來越快。我們當下的時代特徵甚至與十年前都大不相同。到底什麼是存在？什麼是變革？什麼是本體？這些抽象的哲學問題反而越來越逼近現實生活。我們必須確立「存在」的問題，對存在的探究也就是對本體的追問。
Thepresent era is nothing other than an era towards ontology. If we start fromepistemology but only stay at the phenomenological level and do not pose anyquestion about ontology, it is unlikely that we will make differences in trulypredictable and epoch-making sense. With the speedy technological changes, thecurrent era features great changes compared with ten years ago. What exactly isthe existence? What is change? What is the ontology? We are approaching theseabstract philosophical issues closely related to our everyday life. The issueof 「existence」 must be explicitly discussed. The inquiry about existence is alsothe inquiry about ontology.
在這個變革期提出重構烏託邦，就是對本體的回歸。借烏託邦這個引子對建築、藝術等領域的本體進行深入探討。當然，討論本體的困難性在於本體是向內的，但討論本體又離不開外部語境。康德的「物自體」指出了在現象層面趨入本體是不可能的，並且早已給知識劃了界。人們總是習慣性地用問答或證明的方式來探究知識，但對本體並不能像解讀知識那樣給出確定性的定義。
Theproposal of Reconstructing Utopia also demonstrates a return toontology, with utopia as a lead to examine the ontology of architecture andart. Of course, the difficulty of examining ontology lies in that the ontologyis an inner concept, but its discussion is inseparable from the externalcontext. Kant's "things in itself" pointed out that it is impossibleto communicate the ontology at phenomenal level, and thus the worlds ofknowledge are divided accordingly. People adopt the method of giving answers orusing proof to explore knowledge. But unlike knowledge interpreting, it isimpossible to provide a certain definition in the examination of the ontology.
佛教用「真如」Tathata（Suchness)來說本體論。「如」Tathata被視為事物的內在本質。但如不是一個可以客觀觀察的靜止狀態，也不是一個超越世界的遙遠彼岸，也非內在於世界之中，而是描述這世界作為緣起的動態化整體過程。《中觀論》Madhyamakakarika（The Fundamental Wisdom of the Middle Way)云：「不生亦不滅，不常亦不斷，不一亦不異，不來亦不去」。我們可以如《中觀論》的方法通過對外部進行排查，來逼近那個本體，而不是直接給出定義。藝術是什麼？就是它自身。藝術的本體就是指向它自身，它就是以藝術自身的方式存在。它不是宗教的方式，不是科學的方式，不是文學的方式，它就是藝術獨一的方式。
Buddhismadopts "Tathata (Suchness)" to examine ontology, as the inner essenceof things. It is not a static state that can be observed objectively, nor is ita distant land beyond the world, nor is it inherent within the world. Instead,it is a dynamic and holistic process describing the world as the origin. 「There is neither cessation nor origination, neither annihilation northe eternal, neither singularity nor plurality, neither the coming nor thegoing.」 wrote in Madhyamakakarika（The Fundamental Wisdom of theMiddle Way). We can approach the ontology by examining the outside world usingthe methodology of the Madhyamakakarika, rather than giving a directdefinition. What is art? It is itself. The ontology of art refers to itself,and it exists in the manner of art itself. It is not in a religious way, nor ina scientific way, nor in a literary way. It is the very only form of art.
本體是在的確發生、如其所示當中的顯現。對本體的追問不是要找一個上帝那樣的所依處，那又陷入了一種主觀化的概念；也不是要找一個純粹客觀的對象來進行自我關照，那又陷入一種二元論的尷尬。《中觀論》又云：「法若無自性，云何有他性，自性於他性，亦名為他性，離自性他性，何得更有法，若有自他性，諸法則得成」。有了這個本體，科學和藝術才有不同，也才有相通。有了這個本體，一切形式風格主義都是它的不同屬性，萬變不離其宗。
Theontology is manifested in the fact that it does appear. To pursuit ontology, itis not to find a place to rely upon like God, which would lead to a subjectiveconcept; nor is it to seek an embodiment of substantial object for self-care,which may cause an impasse of dualism. Madhyamakakarika also wrote: 「If there is no essence, How can there be difference in entities? Theessence of difference in entities. Is what is called the entity of difference. Withouthaving essence or otherness-essence, How can there be entities? If there areessences and entities. Entities are established.」 It is with the ontology can wedifferentiate as well as communicate science and arts. It is with thisontology, all forms of formalism and stylism have their distinctive attributes,while remaining the same in various guises.
那麼建築的本體又是什麼？在前太空時代的人類歷史，建築的本體可以說就是人的構造物。但建築還是依於地球重力的構造物，並且要符合重力環境下的各種功能。而在今天這個登陸月球探測火星的太空時代，外部環境和構造的根本方式都發生了巨變。像航空站這樣的太空構造物不再按照地球重力來設計，上下左右的重力系統空間觀也變得沒有意義。無論在什麼時代，建築中如教堂廟宇這種神的「精神性居住」和一般建築的人的「物質性居住」，它們對本體的逼近程度也是不一樣的。這兩者都是建築本體的不同顯現。人對建築空間的直觀體驗有助於逼近建築本體。不過要給出一個絕對通行永恆不變的建築本體的定義也是不現實的，但這不代表建築本體就不存在。我們往往把本體抽象成一個絕對客觀的存在，一種觀念性的東西。當我們在說建築的時候，其實已經不是在說那個真正的本體，當說建築物的時候，就更不是在說那個本體了。探究本體的方式，不是證明，也不是說明，而是指向自身。存在本身就是自明的，就是那樣的存在。
So, whatis the ontology of architecture? In the pre-space era of human history, theontology of architecture could be considered a structure constructing forhuman. It was also a built structure that depends on the gravity of the earth,and must serve various functions in the gravity environment. By contrast, intoday's space era, when human being has the ability to land on the moon andMars, the fundamental ways of external environment and construction haveundergone tremendous changes. Built structures such as air stations are nolonger designed according to Earth's gravity. The view of the space dominatedby gravity system therefore is losing its relevance. To address the ontology ofarchitecture, the two purposes of buildings, namely "spiritual residence"for gods such as churches or temples and the "material residence" forsentient people in general architecture should be considered separately, bothof which have different manifestations of the construction ontology. People'sintuitive experience of the architectural space can help understand theontology of architecture. However, it is still unrealistic to give anunambiguous definition for it, which does not deny its existence. People mayeasily look to an absolute objective existence or a conceptual thing for theontology. Actually, when we are talking about architecture, we are not talkingabout the real ontology, not to mention the discussion on buildings. Theexamination of ontology is not to prove or to illustrate, but to turn toitself. Existence itself is self-explanatory, and it is actually the existence.
本體超越現象，超越知識層面，但又確實能夠被人感知。那麼我們如何感知本體？人類從現實中通過腦力進行學習，並對現實世界進行外部功能的提升。人工智慧以運算力從數據化的超級現實中進行深度學習，以達到比人類更高效更精準的超級功能。而重構烏託邦就要通過深度冥想來訓練心力。心力與腦力不同，它不是理性思維層面。心力與人工智慧更不同，它不能夠被數據化，也不可能被算法取代。心力不會被現實所束縛，它超越一切功能，一切形式，一切概念。它是一種飽含信念的覺知力和創造力。它是不能被人工智慧超越的人類核心競爭力，也是人類獨有的能夠探知本體的超凡能力。
Theontology transcends the phenomenon as well as knowledge, but it can beperceived by people. Then how do we perceive ontology? Humans learn from thereality through our brains and raise the level of external functions in thereal world. Artificial intelligence learns deeply from data-based hyper-realityusing computing power to achieve more efficient and accurate super functionsthan humans. In contrast, Reconstructing Utopia requires mind-forcetraining through deep meditation. Different from brain power, mind-force is notabout rational thinking. Being more distinctive from artificial intelligence,it cannot be digitized or replaced by algorithms. Without bound by reality, themind-force exceeds all functions, all forms, and all concepts. It is a sense ofawareness and creativity fueled with conviction. It is a human core competencethat cannot be surpassed by artificial intelligence. It is also the uniqueability of human that can be adopted to detect the ontology.
對本體的究竟認知只有通過自身這個途徑。書本、知識和信息其實都是如同佛經一般，假言施設。如果不去親證，本體是沒有辦法顯現的。建築師藝術家詩人這樣的創作者在大量創作實踐的積累中駕輕就熟，獲得了一種自在，這種自在就是無限的自由。當心力達到自在的層面，所經驗到的才是本體。這種達到本覺的狀態，如同天人合一，就是完全回到自身的那種狀態。那是一種內在性的要求，如果只通過外部是沒辦法達到本體的。從這個意義上說，「人人都是藝術家」是對藝術家的誤導，也是對大眾的欺騙。拋開任何的世俗觀念，道德和政治正確，從現實中出離，獲得自在，才能有本覺，才能認識到本體。
The onlyway to understand ontology is through the 「self」. Like Buddhist scriptures, books,knowledge and information are all hypothetical proposition. Without proof byoneself, the ontology will never be revealed. Creators, such as architects,artists and poets, are well-versed with the accumulation of a large number ofcreative practices, thus have obtained a sense of inner easiness, an infinitefreedom. When they reach the level of freedom in mind force, their experiencecan be seen as the ontology. The state of pure awareness they obtained, withmankind and nature intersecting with each other, is a state of complete returnto oneself. It requires a closer look inward at oneself, instead of justlooking to the outside to seek for the ontology. In this sense, the idea of「everyone is an artist」 is a misleading understanding of artists, also a deceitto the public. Aside from any secular ideas, morality and politicalcorrectness, leaving the reality, and gaining freedom, you can have a sense ofnature before you can understand ontology.
對本體的認知並不是為了尋求外部的一致性。如果所有人都達到認識本體的境界，那經驗到的本體就是同樣的。正如所有人都達到「不執著」的狀態，那我的不執著和你的不執著也沒有分別，統統都是不執著。當你有所執著，那就有所差別。正因為不同個體對本體認識的有限性導致了個體的差異性和分別念。而這種有限性在德勒茲 「褶皺」的無限分解與延展中，讓建築或藝術的本體呈現出無限豐富和繁雜的現象世界。
The cognition of ontology is not to seek externalconsistency.If everyone can reach the state of getting ontology,we will have homogeneous ontological experiences. Just as everyone has reacheda state of "non-attachment," then there will be no difference betweenmy state of non-attachment and your state of non-attachment, all of which arethe only 「non-attachment」. However, if you have something attached, there willexist differences. It is precisely the limitations or finiteness of theindividual's understanding of the ontology that leads to individual differencesand disagreements. And this finiteness in the infinite decomposing andextension proposed in Deleuze's 「folds theory」 embodies the ontology ofarchitecture or art in the phenomenal world of infinitely richness andcomplexion.
重構烏託邦，就像一股潛入現象世界的暗流，突破有限性和差異性，並帶領人類走向本體論時代。深度冥想將成為未來人類的本能。而心力的訓練和擴張將推動本體論時代進入超本體主義時代。精神-物質互換將成為超本體主義時代的根本核心技術。
Reconstructing Utopia is like anundercurrent infiltrated into the phenomenal world, breaking boundaries anddifferences, and leading humans to move towards the era of ontology. Deepmeditation will be an instinct of future mankind. The training and expansion oftheir mind-force will drive the era of ontology to enter into the era of hyper-ontologism,during which the mutual transformation of Mind-Matter will become thefundamental and core technology.
讓我們拭目以待，下一個時代的覺醒就要到來。
Let's wait and see. The awakening of a new era is coming.
空性機
Emptiness Machine
2017
空性機系列是野城近十年思考的結果，通過藝術創作的方式來探索物質與精神的深層關係。這是一組探討物質與信息、意識與機器、存在與虛無等終極問題的虛構哲學模型。
Emptiness Machine and its system are the results of Ye Cheng’s contemplation after nearly10 years that displays the relationship between material and spiritual worldsin depth through an artistic creation. This piece of art is born to be a modelof the discussions and exploration for the ultimate questions about matter andinformation, consciousness and machine, existence and nihilism, and so on.
野城策展相關文章：
【野城策展】「重構烏託邦」建築藝術展及論壇回顧集—華・美術館
【野城策展】重構烏託邦：一個時代的覺醒 （上海喜瑪拉雅美術館 2016）
【野城策展】「重構烏託邦」參展作品全集 （上海喜瑪拉雅美術館 2016）
策展實驗：怎麼把一個設計展活活策成現代藝術展？（上）（2015北京國際設計周主場展）
策展實驗：怎麼把一個設計展活活策成現代藝術展？（下）（2015北京國際設計周主場展）
野城未來學相關文章：
【野城設計】2018 歡迎到未來
【野城未來學】人工智慧+物聯網聯合控槍的可行性探討
【野城設計+小說】還有比這更魔幻的設計說明書麼？
【野城策展】重構烏託邦：一個時代的覺醒
【野城評論】大建築1.0：烏託邦的歷史
【野城建築小說/評論/裝置藝術】蟲洞城市 - 擁散文化
【野城評論】虛構的未來
【野城建築】卡夫卡計劃 —— 一個烏託邦的降臨
【野城評論】上個時代的最後一位大神，隕落了
【野城設計+小說】還有比這更魔幻的設計說明書麼？
【野城評論】AI+BIM+參數化，建築師你怎麼還不下崗？
【野城政治科幻小說】朝鮮不存在？
【野城政治預言小說】《蟲洞城市》半年前預言川普當選美國總統
【野城觀察】引力波就是你嗑藥的狀態
【野城觀察】看，又一波精（點擊）子（率）撲面而來
【野城詩歌】野城之城
感謝關注與閱讀，歡迎點擊圖片掃碼打賞
野 城
旅法青年建築師，詩人，藝術家，策展人，評論家
野城建築事務所創始人/主持建築師
畢業於南京大學地球科學系
巴黎專業建築學院 DESA 註冊建築師
巴黎高等裝飾藝術學院 ENSAD 研究員
首位榮獲法蘭西學院（Institut de France）「青年藝術家獎」的中國人
新浪微博：巴黎野城
Email：6932878@qq.com
長按二維碼關注野城公眾號