成都峨眉青城三峡及香港开会归来，正好赶上世界杯每日两场，于是倒着时差看爽了。 看到西班牙的第一场，就隐隐觉得这支队伍要赢。后来当然看到德国对英国的冲击力，不免有些担忧。直到半决赛德国西班牙对抗，前者冲锋之势被后者一一化解，才生发出了“道解”西班牙的念头。 上半场西着重控球，悠哉回传，推想教练用心不可不说是消磨德国的斗志体力。下半场，近乎卡紧了在中间偏后关头入球，使得德国反击战无法一心一意。穆勒如果在场，或许进攻是会有所改观。但是西班牙总体配合柔化对方的能量，无与伦比。 决赛对阵荷兰，又是一般的不紧不慢，不过橙队比之白队，多了近身肉搏。于是红队也来大摔特摔，但章法却是不乱，最后也可算是稳中取胜。险是险了些，但偶然中亦有必然。 不禁想到前日facebook上多位男士推崇德国，早在半决赛前就预测德荷二强，又有多位男士对白队败去大感失望，转为支持荷兰（包括莫可）。而女士们则一一欢呼红队之胜。虽然一方面是祖先的原因（男士中有几位是德裔荷裔，女士也有多位是西班牙语系的南美人），但是中国朋友中，这一性别区分仍然存在。胆敢做个假设，除了西班牙队里明星脸蛋熠熠之外，不能不说和其风格有关。其实说穿了，《少林足球》里早就用过的，太极大力化小，小力化无的意思，西班牙队似乎就是整体形成的一个气场，不在爆发性的攻击力，而在耐心安分，层层推进。队员身在其位，却又不是固执坚守，而在动中呈现流质状态－水无形，却能聚力，亦能攻心矣。 如果说道家是较为阴性的哲学，用我这三角猫的道学理解说来，倒是可以想见女士为何更爱红队（dissolving the opponent's thrust with a fluid containment, not force), 更“色”一点的说法，也就是Irigaray所说的女性多样的性体验与雄性单一突进的不同。 这么说来，足球为何能赢得世界男女球迷如此钟爱，或许还和这一多元、”多体位“的快感有关？虽然都是男士在踢球（女足从未正经看过，总觉得不在劲），似显阳刚，却有它呈现阴柔的可能性。西班牙队受女士青睐，不妨说有此一节吧？ 想到2000年初看欧洲球，还是“伪球迷”阶段，就已朦胧迷上西班牙的阿方索，到底为何却也不记得了。红队现在最出色的，出了门将，当推xavi。从来都是看人送球，不懈不怠，角球更是妙发无数。不免要腻腻地说，真是无他无我之境了！ 以此文纪念看球十年（也不过是2000，2004， 2008三届欧洲杯和2002，2006，2010三届世界杯而已）。不知2012会在哪里？

To risk sounding banally nationalistic, i'm really not buying the "humanistic Canada" and "anti-human China" dichotomy that seems to be circulating in the reception of last night's Winter Olympics ceremony. Let's be honest, what else can one say about Canada besides "they are nice and laid-back," hence the fun and light-hearted spirit conveyed through modern/tap dancing? What else can one say about China besides it is a land of "oppression," hence the synchronized aesthetics made possible by "fascist-style" training? These regulated ways of speaking (gosh, do I really have to repeat Foucault) are so predictable as to obscure again the power of the Western/modern/human-subjectitivy/rights (read individualist) discourse, which renders any other forms of imaginaries (such as the collectivist one perhaps discernible in the Chinese ceremony) unintelligible. Surely the appeal to ancient philosophies and the complete erasure of revolutionary history (likely a planned tactic to avoid the "Red China" scare) in the latter were indicative of the whole-sale commodification and disregard for the disenfranchised in the present. But an interesting scenario to consider is, if everything else being equal (even history), what kinds of visual culture may we observe at these ceremonies if we swap the population/land ratio of the two nations? There, my Year of the Tiger slant! Happy New Year!

魁北克归来，时时想念的是Robert Lepage 的 Le Moulin a Image （The Image Mill)。 40分钟的片子，在古城旧港口的巨大建筑（据说从前是放粮的仓库）上投影，作为“庆祝”北美第一个殖民地的创建，距今400年。（40分钟的片长或许也有这个联系）。 从前看过Lepage的一个有关Frida的制作，对视觉大师影像的冲击力有所准备，却没有想到“400盛典庆祝”这么世俗商业的spectacle production可以有这样宏大回顾视觉文化近现代历史的能量。四个章节，水、陆、铁、空（气），涵盖了殖民的血腥历程，宗教的神性形象制造，二次大战及其他战争的摧残力，传媒技术对人类沟通的渗透，都不是太令人费解的东西，却奇妙地万花筒似地展现出来。几根巨大的柱形结构，时而成为鳞次栉比的楼房，时而成为无线电的调律格子，时而成为钢琴键盘，时而成为万千如一的机场大厅侧图，时而成为发达国家城市现今常见的涂鸦。莫可说，他在扬声器下也是一番享受，因为各种原创或取材的音乐配的天衣无缝，以至在几千人聚集的大概几里的港口空间里音质仍如用耳机听到的一般干净利落。 最让我感叹的可能是导演能纵观现代历史，批判地呈现视觉影像的生产（甚至他自己的这份也被批判了，有片尾很长的万人欢呼场面为证）。魁北克要独立，我们在蒙特利尔住的Bread and Breakfast 老板口上说着，街道上也有“Quebec, Un Nouveau Pays Pour Le Monde"这样的标语飘着，到了 Lepage这里却丝毫看不出什么民族情绪，有的却是对现代性和景观等人类自身的所作所为非常谨慎的思考。想起Sontag最后一本书里说的，景观之为景观，就是要让人们看到他们自己能干出什么样的事来，看到了，也许就会有了批评的距离，有了审视自身的可能性。 不知奥运会是否能提供这种可能？

(holy sh....two for germany already?..a really fast game so far...) anyway, what was i gonna blog about? oh yeah, the dance show: So you think you can dance? - or the dance version of the american idols... my first viewing last night. don't know if it has to do with my reading jacque ranciere at the moment, on the notion of spectators' emancipation..the show, with all its racializing, gendering tendencies, offers such (the germany goal keeper is amazing!...ah...gomes just scored) an aesthetically (read critical, ethical, etc.) meaningful experience that it is hard to critique it as a product of the self-repetitive cultural industry. or at least, it is one thing to understand its standardized features and another to see its political possibilities on the same ground as those traditionally identified as "high arts." here are some notes/questions: 1. the idea of judgment. how can one conceptualize the kinds of activities in the living room in front of this kind of judgment-based shows? how can we go beyond the passive/active dichotomy in thinking of the specatorship of this particular nature? 2. the participants are all paired up via gendered binaries...too obvious a target for poststructuralist-geminist critique.. 3. there is an obsession with the black and white dyad... guess we have to start questioning the pre-set categories (black:jazz, hiphop/krump,; white: waltz, foxtrot, contemporary; brown: salsa, argentine tango...) part of me also don't wanna go there, however. can't we argue that it is precisely at these moments of boundary crossing that these reified categories get reinscribed, or delegitimized...or both? (portugal is now engaged in 机关枪乱射...a mere continuation of the general mode of this game, unfortunately...） 4. the question of the economics...the show, as many others, conceals "class" so well that it is almost impossible to discern...we are unlikely to discover the social-historical origins of krumping, just as we are led to believe the youngsters in the show are all equally happy postmodern subjects of self expression... (feeling sorry for the Portuguese coach...) 5. the format is quite different from american idol in that it is more about saving sb than eliminating...what is the significance of that? it seems to require more reasoning on the part of the voters, at least... (a nice one for the portugal...4 minutes left!)

watching the france v italy game...second half already..looks like 法国没戏。于是写博。(oops, second goal for italy) as far as life goes, lots happened...great experience at the mlg meeting...csa conference in nyc...fpc in dc (what an experience!)...saw the musical theatre Monkey:Journey to the West at charleston (first time to the South, took a trip to Middleton Place, the great French-style plantation and pondered on the relation between power hierarchy and visual display)... can't even begin to recount what went thru my head... Monkey was fantastic...and i meant that literally. dumbed down, banal, hodgepodge for sure, yet crazy,fresh, lively...i remember being excited by the animated imageries, esp. the reference to "globalization" (wukong went around the globe, not "china" for his eternity pills)...and the erotika of the 盘丝洞 scene, beautifully choreographed...loved the swordplay as well....maybe i was just in the mood for spectacle and nothing more? or maybe given the musical-ization to which this kind of production limits itself, this one is hardly the worst possible? the music was very interesting...just when you think it's going completely cheesy, it tweaks into some sort of atonal resemblance mixed with peking-opera-ish elements... it was also fun to hear the behind-the-scene labor conditions...the acrobat troupes were the lowest rank, with no access to their own per diems...the singers and actors are individually contracted (but the kinds of the work they had to do, to my view, required so much less work, and certainly did not impress the audience as much). (italy is going crazy now)...