欲望生产1

Desiring-Production 欲望生产

It is at work everywhere, functioning smoothly at times, at other times in fits and starts. It breathes, it heats, it eats. It shits and fucks. What a mistake to have ever said the id. Everywhere it is machines—real ones, not figurative ones它在所有地方运作着，有时平稳地运行，有时间歇地工作。它呼吸，它发热，它进食。它排泄和做爱。谈论本我是何等的谬误啊。在任何地方它都是机器——真正的机器，而不是象征的机器: machines driving other machines, machines being driven by other machines, with all the necessary couplings and connections. An organ-machine is plugged into an energy-source-machine: the one produces a flow that the other interrupts. 机器驱动另一部机器，机器被另一部机器驱动，伴随着所有必要的耦合与连接。一器官机器被插入一部能量源发机器：一部生产流，另一部阻断它。The breast is a machine that produces milk, and the mouth i machine coupled to it. The mouth of the anorexic wavers between several functions: its possessor is uncertain as to whether it is an eating-machine, an anal machine, a talking-machine, or a breathing machine (asthma attacks).乳房是产奶机器，嘴—我机器与其耦合。厌食症者的嘴在几种不同功能之间摇摆：它的主人不确定是将其作为进食机器，排泄机器，言说机器还是呼吸机器（哮喘发作）。Hence we are all handymen: each with his little machines. For every organ-machine, an energy-machine: all thetime, flows and interruptions. Judge Schreber* has sunbeams in his ass. 因此，我们都是多面手：每个人都有他的小机器。适合所有的器官机器，一种能量机器：始终是，流与中断。史瑞伯法官的肛门上有太阳光。A solar anus. And rest assured that it works: Judge Schreber feels something, produces something, and is capable of explaining the process theoretically. Something is produced: the effects of a machine, not mere metaphors。一个太阳肛门。而且它确信无疑地运作：法官史瑞伯体验到某些东西，生产了某些东西，而且能够理论地解释这个过程，某物被生产了：机器的结果，不只是比喻。

A schizophrenic out for a walk is a better model than a neurotic lying on the analyst's couch. A breath of fresh air, a relationship with the outside world. Lenz's stroll, for example, as reconstructed by Buchner. 精神分裂症患者出游是比神经症患者躺在分析师躺椅上更好的模型。呼吸新鲜空气，与自然接触，例如，由毕希纳重构的伦茨的漫步。This walk outdoors is different from the moments when Lenz finds himself closeted with his pastor, who forces him to situate himself socially, in relationship to the God of established religion, in relationship to his father, to his mother.这种户外散步不同于如下时刻：当伦茨发现自己与牧师关在一起，后者迫使他社会性地定位它自己，按照与宗教上帝的关系， 按照与他父母的关系。While taking a stroll outdoors, on the other hand, he is in the mountains, amid falling snowfiakes, with other gods or without any gods at all, without a family, without a father or a mother, with nature. "当在户外散步，另一方面，他处于群山中，在漫天雪花中，与其他神灵共处或独自一人，没有家庭，没有父亲，没有母亲，与自然共融。What does my father want? Can he offer me more than that? Impossible. Leave me in peace我父亲想要什么？他能给我更多吗？不可能！让我安心独处吧." Everything is a machine. Celestial machines, the stars or rainbows in the sky, alpine machines— all of them connected to those of his body. The continual whirr of machines. "He thought that it must be a feeling of endless bliss to be in contact with the profound life of every form, to have a soul for rocks, metals, water, and plants, to take into himself, as in a dream, every element of nature, like flowers that breathe with the waxing and waning of the moon."“万物皆是机器，天空机器，星辰流转彩虹高挂，高山机器——它们都都与他的身体连接，这些持续的机器声响。”他认为去与所有形式的深刻生命接触，拥有感受岩石，金属，水以及植物的灵魂，去融入他自己，犹如梦境，每种自然的元素，像随着月亮的盈亏而呼吸的花朵，这定是一种无限的至福感。To be a chlorophyll- or a photosynthesis-machine, or at least slip his body into such machines as one part among the others. Lenz has projected himself back to a time before the man-nature dichotomy, before all the co-ordinates based on this fundamental dichotomy have been laid down. 去成为叶绿素——或光合作用机器，或至少悄悄将他身体接入作为其它机器的一部分机器。伦茨已经将他自己投射回人与自然二元分化之前的时期，投射回所有建立在基本的二元分化上的一致性已被铺设之前的时期。He does not live nature as nature, but as a process of production. There is no such thing as either man or nature now, only a process that produces the one within the other and couples the machines together.他不是按照自然，而是按照生产过程自然地生活。现在没有人或自然这样的东西了，只存在一个过程，这个过程在其他的过程中生产自己并且将机器耦合在一起。 Producing-machines, desiring-machines everywhere, schizophrenic machines, all of species life: the self and the non-self, outside and inside, no longer have any meaning whatsoever.生产机器，欲望机器无处不在，精神分裂的机器，所有种类的生活：自我与非自我，外在与没在，不再有任何意义。

Now that we have had a look at this stroll of a schizo, let us compare what happens when Samuel Beckett's characters decide to venture outdoors. Their various gaits and methods of self-locomotion constitute, in and of themselves, a finely tuned machine.既然我们已经了解精神分裂者的漫步，让我们比较一下塞缪尔.贝克特的角色决定外出冒险时发生的事情。他们各种各样的步态和自身运动形成的方式，他们自身是一个很好地被调节的机器。And then there is the function of the bicycle in Beckett's works: what relationship does the bicycle-horn machine have with the mother-anus machine? "而且在贝克特的作品里存在一种自行车的功用：自行车喇叭机器与母亲的肛门机器有何关联？What a rest to speak of bicycles and horns. Unfortunately it is not of them I have to speak, but of her who brought me into the world, through the hole in her arse if my memory is correct."谈论自行车与喇叭多么多此一举啊。不幸地，不是我非谈它们不可，而是谈论由她屁股上的洞把我带到世界的女人，如果我没记错的话。It is often thought that Oedipus* is an easy subject to deal with, something perfectly obvious, a "given" that is there from the very beginning显而易见，俄狄浦斯经常被认为是一个很容易处理的主题，从一开始就存在的“前提”。But that is not so at all: Oedipus presupposes a fantastic repression of desiring-machines. And why are they repressed? To what end? Is it really necessary or desirable to submit to such repression? And what means are to be used to accomplish this?但根本不是那样：俄狄浦斯预设了一种虚构的欲望机器的压抑。 为什么他们被压抑？导致什么结果？服从这样的压迫是否真正必要或值得想往？用什么手段来完成它？What ought to go inside the Oedipal triangle, what sort of thing is required to construct it? Are a bicycle horn and my mother's arse sufficient to do the job? Aren't there more important questions than these, however?什么东西应该进入俄狄浦斯三角，什么事情被用来构建它？自行车喇叭和母亲的肛门是否足够胜任这个工作？无论如何，不是存在比这些问题更重要的问题？ Given a certain effect, what machine is capable of producing it? And given a certain machine, what can it be used for? Can we possibly guess, for instance, what a knife rest is used for if all we are given is a geometrical description of it? Or yet another example：假定某种结果，何种机器能够生产它？而且假定某种机器，它能被用来做什么？例如，我们能否大概猜到，关键的剩余是用来做什么，假如所有我们被给定的东西是一种关于它的几何学描述？或是另外一个例子： on being confronted with a complete machine made up of six stones in the right-hand pocket of my coat (the pocket that serves as the source of the stones)通过面对一个由我大衣的右手口袋的六个石头组成的完美机器（这个口袋充当这些石头的源头）, five stones in the right-hand pocket of my trousers, and five in the left-hand pocket (transmission pockets)五个石头在我裤子的右边口袋，五个在左边口袋，（传送的口袋）, with the remaining pocket of my coat receiving the stones that have already been handled, as each of the stones moves forward one pocket, how can we determine the effect of this circuit of distribution in which the mouth, too, plays a role as a stone-sucking machine?用我大衣的剩余口袋接收早已被处理的石头，当每个石头都进入了一个口袋，我们如何能决定这种分配的巡回的作用，在其中嘴同样起到石头抽吸机器的作用。Where in this entire circuit do we find the production of sexual pleasure? At the end of Malone Dies, Lady Pedal takes the schizophrenics out for a ride in a van and a rowboat, and on a picnic in the midst of nature: an infernal machine is being assembled. "Under the skin the body is an over-heated factory,/ and outside,/ the invalid shines,/ glows,/ from every burst pore."在这整个巡回的什么地方我们发现了性快感的生产？在《马龙之死》的结尾，佩达女士带精神分裂患者出外兜风，在车厢或在划艇中，在大自然的中心野炊：一个地狱般的机器被装配起来。“皮肤下面是过热的工厂，在外面，病人闪耀，容光焕发，来自每一个喷发的毛孔。”