城市和所看不见的梁思泉

1、城市和所看不見的 梁思泉對倒的天地化成湖泊旁的沙石風乾形成海岸線極力擴充著釐定遊戲規則的視野不需要焦點的距離是流動的土壤演化成一幅又一幅連綿的幕牆讓沈潛的五彩蚚蜴從加塔隆尼亞人都深諳的歷史提示看得見的去角立方及飛邊生活才是生命的無限延續四方八面的流動人群中擴散腐化成以不一姿態呈現的元素讓煙塵昇華成雲朵重疊成遊園內的卡其小丘在迴旋在步向自我中心的地域去編印一塊沒有方向時地指標的虛空一直走上以陳年路檔引導為本的街巷朝向無法傳釋的二樓呻吟聲仍緊緊依靠作用中的聽覺任思想肆意拼貼著失落的中古場景憑藉遊離的方向感慰聊觸不及的安全感讓你的唐吉訶德繼續蹓躂於入黑的對倒天地中/ 巨像的城市她愛在斜陽中思考愛讓深

2、黑的情緒都沒入一片金黃色中暴露了刻意的娓態和冷酷是笛卡兒時代遺傳下來尋真的宗教迷信支撐著一眾太陽下反光的嘴唇和看不見的湖水藍高盧形眼睛點綴了本來就沒有花的她不愛周遊列國愛溜覽超現實博物館將反向的鏡中倒映翻譯成拉丁流的存在式物慾地置以迷惑的速度從零度波心向外推展至遼闊五邊形上有純裝飾用結構裝置有駝俠的鐘樓有不死春天有藝術與自由總站有巴士底下的女中音以不知名語言呢喃著你我都醉心的浪漫和艷紅色的她/ 反射的城市浮泊於早被遊人主導的島城隨橋邊發放嘆息聲以不太靈長的雙手把悶得發紫的感性媒人推至另一個情感高峰呼吸妳似近非遠的背景屬於那棕色臉旁的木馬傲視著不易滿足的空間交疊的森林內你不是妳是貢都拿迴旋的木漿

3、擺動著沒有提示的時間性中猜不中玻璃氫氣球重量是公斤以外的真確度比馬可勃羅跟忽必烈對話要艱難的潛在視覺意象素描不到比妳沈溺得要快的美中滲透著一縷又一縷的巨像的。城市，反射的城市透明的城市/ 透明的城市some notes on “City and the Invisible”(城市和所看不見的)The 3 texts with no punctuation (except for the last line in the 3rd one) are more than poems but series of visual arrays of word phrase. One may start w

4、ith any character and end in any, vertically, horizontally or even stiltedly, from either left to right or right to left, so as to create your own visual labyrinth of the text. Free association of different phrases, words and forms would alter the prescribed images built up at the first look. Also,

5、the idea of rephrasing the texts may lead to changes in the part of speech of different words or vice versa, re-addressing the unique lingual displacing nature of Chinese characters without sacrifying the beauty of their rigid forms through conjugations. There are several routes provided to readers:

6、 one may see the passages as what they look like with reference to the physical meaning of words, or one may want to trace back the signified of words by the signifiers appear among individual words or groups of word, or, the combination of superficial meanings and the signified so as to create diff

7、erent levels of vision and textual network that interacts with each others there is no definite interpretation for each passage.In “the expanded city” (巨像的城市), the text first flows with the visual wandering of the unknown writer. “The inverted world”, “the ever-stretching coastline” and “the flowing

8、 territory” represent the geographical heritage of Barcelona; “the continuing walls and the lizard hidden within”, “the edge-less life” and “the khaki slopes in the garden” was inspired by the character architectures by Gaudi, while “the corner-less cubes” are 360-degree panoramic road junctions one

9、 may see from the air towards the new region of the city. Approaching the end of the passage, the visual sense slowly melts into the audio one; it then further combines with the mental one. With the clue of “Don Quixote”, the “camera” of the text is revealed, yet, it could be just one of the signifi

10、ers of the bygone city or it could be that of your, the reader.“The reflective city” (反射的城市) refers to a city under full exposure to light beams yet naturally repels it, only by tracing back its interface with light could one possibly shape the city out. The light first falls onto thousands and thou

11、sands of landmarks of the city, it is then reflected to the attitude of its citizens and hence our own imaginary reflected city. “The image inversely casted in the mirror” is one of the paintings done by surrealist Ren Magritte, which is here representing the intellectually daring people. “The purel

12、y decorative structure”, “the immortal spring”, “the bell house of the hatchbacks”, “the terminal of art and liberty” and “the sopranos under the bus (Bastille)” are respectively the signifiers of the Eiffel Tower, the Ntre-dame, the students movement / Spring Superstore, the world capital of art an

13、d liberty and the Opera House of Bastille, note that all the elements of the individuals could inter-couple with that of the adjacent ones, it expands the visual possibility of our mental images and stresses the “untouchability” of the city of numberless paths of reflection. “The transparent city” (

14、透明的城市) is a piece of ambiguous passivity of confusing subjects and objects that is contributing to its transparent/vanishing nature. The relationship between different signs is dictatory and involuntary. “The city of islands” is virtually dominated by tourists - help from” the bridge sides” is needed for the city to sigh - “you”(the city or you) are not “you”(you