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",[],{},{"nodeType":2070,"data":2071,"content":2072},"heading-2",{},[2073],{"nodeType":146,"value":2074,"marks":2075,"data":2076},"中華未來主義的幽靈騷音",[],{},{"nodeType":147,"data":2078,"content":2079},{},[2080],{"nodeType":146,"value":327,"marks":2081,"data":2082},[],{},{"nodeType":147,"data":2084,"content":2085},{},[2086],{"nodeType":146,"value":2087,"marks":2088,"data":2089},"2020 年，藝術家李爽離開了上海——她藝術生涯起步的地方，充滿夜生活記憶的城市。當時，她赴柏林舉辦個展，恰逢疫情爆發之初，於是便一直滯留歐洲未歸。四年後，她帶著《 月球的距離 》回到故地，在 Prada 榮宅——一幢裝飾藝術風的百年名邸——舉辦她在中國的首個個展。展覽標題取自作家卡爾維諾 ( Italo Calvino ) 的一則宇宙寓言——故事中，月亮曾經離地球如此接近，人們可以輕易援梯攀月，直到兩顆天體漸行漸遠，伴隨故事主角未竟的愛意，最終化為永恆的別離。穿行於整幢榮宅的三層樓之間，可以感受到李爽重情緒鋪陳而非文字敘述——她以聲音、光綫與建築的氛圍，編織出情感的迴路。例如她的裝置作品用時鐘、吊燈，以及牆面作品中的若干童年物件——它們自然融入榮宅場景，甚至彷彿讓你感覺有位孤單的女孩仍住在此處。展覽名稱所揭示的行星級疏離感，在她 2022 年的作品《似曾相識 》中被具象化: 錄像交錯呈現兩組視角——一組來自日內瓦動物救援中心，由鴨子視角拍攝園區畫面 ; 另一組則記錄她遠距策劃的表演，二十位演出者頭戴攝像機，代替她向上海的朋友道別、擁抱。這種幽靈般的距離感，也延伸到造型宛如塔特林塔的吊燈裝置《 也帶著一箱徒勞 》與《 末日愛人 》( 均為 2024 年)。兩件作品的聲音都由 Hyph11E 駕馭——她曾是李爽在上海璀璨夜色裡的舞伴。",[],{},{"nodeType":2091,"data":2092,"content":2140},"embedded-entry-block",{"target":2093},{"metadata":2094,"sys":2097,"fields":2107},{"tags":2095,"concepts":2096},[],[],{"space":2098,"id":2100,"type":18,"createdAt":2101,"updatedAt":2101,"environment":2102,"publishedVersion":51,"revision":611,"contentType":2104,"locale":31},{"sys":2099},{"type":14,"linkType":15,"id":16},"jftKjGxqu82JkYBorklgn","2025-12-16T00:10:45.919Z",{"sys":2103},{"id":23,"type":14,"linkType":24},{"sys":2105},{"type":14,"linkType":29,"id":2106},"componentGallery",{"name":2108,"images":2109,"visibility":2133,"galleryFormat":2134,"gallerySize":2135,"gridColumns":2136,"gridSpacing":2137,"scrollImageSize":2135,"imageOptions":2138},"Sonice Ghost",[2110],{"metadata":2111,"sys":2114,"fields":2122},{"tags":2112,"concepts":2113},[],[],{"space":2115,"id":2117,"type":606,"createdAt":2118,"updatedAt":2119,"environment":2120,"publishedVersion":25,"revision":51,"locale":31},{"sys":2116},{"type":14,"linkType":15,"id":16},"5CFRDuwVp7TP6ED1tLgIZX","2025-12-15T22:02:56.105Z","2025-12-19T11:21:13.416Z",{"sys":2121},{"id":23,"type":14,"linkType":24},{"title":2123,"description":2124,"file":2125},"images-181","Shuang Li, _Distance of the Moon_, exhibition view, Prada Rong Zhai, Shanghai, 2024 ( photography: Alessandro Wang )\n\n李爽，《月球的距離》，展覽現場，上海Prada榮宅，2024 ( 攝影 : Alessandro Wang )",{"url":2126,"details":2127,"fileName":2132,"contentType":1903},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5CFRDuwVp7TP6ED1tLgIZX\u002F9cdfcde5836b954c2fa4a55d7affe126\u002Fimages-181.png",{"size":2128,"image":2129},5088508,{"width":2130,"height":2131},2558,1821,"images-181.png","Mobile and desktop","grid","large","1","small",[2139],"show image 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李爽和他們的合作，其實可以追溯到那段時期，其蓬勃的跨界互動不限於聲音、影像、表演。如今，那股浪潮早已滑出城市軌道，就像卡爾維諾故事結尾中分離的戀人，以及遠去的月球。",[],{},{"nodeType":147,"data":2167,"content":2168},{},[2169,2173,2178],{"nodeType":146,"value":2170,"marks":2171,"data":2172},"在聽過這些背景後，不難在吊燈裝置如幽靈騒音的閃爍中，捕捉到一絲中華未來主義的餘韻。最早提出這個概念的，正是一位高度愛好理論的音樂製作人 Steve Goodman ( Kode9 )，後來，這一說法又與高速崛起的中國俱樂部場景共軌，因此也層層交織了幾波的理論與聲音實踐。",[],{},{"nodeType":146,"value":2174,"marks":2175,"data":2177},"3",[2176],{"type":2151},{},{"nodeType":146,"value":2179,"marks":2180,"data":2181}," 在 2010 年代，中華未來主義伴隨其內涵的激烈爭論迅速走紅，其核心反映人們試圖回應一種美學與政治氛圍 : 2008 年金融危機後中國的快速崛起，同時也折射出向多極化世界秩序轉向的徵兆。它從未形成正式運動，而是一個提供技術文化想像的鬆散場域——透過這個概念，人們在音樂、視覺文化、數字媒體與文學文本中尋找投射想像的可能。雖然許多本地藝術家對這類標籤心存戒慎 (我稍後會回到這點)，看著李爽那件其視覺剪輯語法宛如電子樂 VJ 的錄像作品——座落在大型 Art Deco 彩繪穹頂下——再加上展覽對聲光的編排，隱約喚起了走進電子樂俱樂部的感受，也與這座復古未來主義宅邸本身的奢華宴會過往形成微妙呼應。",[],{},{"nodeType":2091,"data":2183,"content":2227},{"target":2184},{"metadata":2185,"sys":2188,"fields":2198},{"tags":2186,"concepts":2187},[],[],{"space":2189,"id":2191,"type":18,"createdAt":2192,"updatedAt":2193,"environment":2194,"publishedVersion":26,"revision":610,"contentType":2196,"locale":31},{"sys":2190},{"type":14,"linkType":15,"id":16},"6GtGacu22ErVZqrz2UJ05X","2025-12-16T00:09:44.278Z","2025-12-16T00:09:48.042Z",{"sys":2195},{"id":23,"type":14,"linkType":24},{"sys":2197},{"type":14,"linkType":29,"id":2106},{"name":2199,"images":2200,"visibility":2133,"galleryFormat":2134,"gallerySize":2225,"gridColumns":2136,"gridSpacing":2137,"scrollImageSize":2135,"imageOptions":2226},"Sonice Ghost image 11",[2201],{"metadata":2202,"sys":2205,"fields":2214},{"tags":2203,"concepts":2204},[],[],{"space":2206,"id":2208,"type":606,"createdAt":2209,"updatedAt":2210,"environment":2211,"publishedVersion":2213,"revision":51,"locale":31},{"sys":2207},{"type":14,"linkType":15,"id":16},"1KceiKB6CdSR6fMwoZT7Ye","2025-12-15T22:02:56.091Z","2025-12-19T11:22:24.425Z",{"sys":2212},{"id":23,"type":14,"linkType":24},18,{"title":2215,"description":2216,"file":2217},"images-182","Shuang Li, _In Translation_, a special project in collaboration with Miuccia Prada for Miu Miu SS 2023 show, Palais d’Iéna, Paris, 2022 ( photography : Agostino Osio )\n\n李爽 ，《 In Translation 》， 與 Miuccia Prada 合作的 Miu Miu 2023 春夏系列秀場特別項目，巴黎耶拿宮，2022年 (攝影 : Agostino Osio)",{"url":2218,"details":2219,"fileName":2224,"contentType":1903},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1KceiKB6CdSR6fMwoZT7Ye\u002Fc1f12f937c264470b26dce4e6eee0524\u002Fimages-182.png",{"size":2220,"image":2221},7781733,{"width":2222,"height":2223},3452,2291,"images-182.png","full",[2139],[],{"nodeType":147,"data":2229,"content":2230},{},[2231],{"nodeType":146,"value":2232,"marks":2233,"data":2234},"《 也帶著一箱徒勞 》位於榮宅入口上方的一個小閣樓——像是低調的開場作品。這段聲音散文由藝術家本人以合成器加工的機械音色娓娓道來，聲響逐漸融入夢幻般的 60 年代未來主義音景，最終收束於 KTV 風格的曲子。另一件視聽裝置《 末日愛人 》則由一對吊燈構成，懸掛在寬敞閣樓的天花板上。它們的光影與聲響互動，如同兩位 DJ 同場較勁，在不斷變化的空間氛圍中漂移。樂曲的 BPM 偶爾短暫上揚，輕輕撥動觀眾的身體節奏，但從未真正推向可以在舞池中舞動的節奏。",[],{},{"nodeType":147,"data":2236,"content":2237},{},[2238,2242],{"nodeType":146,"value":2239,"marks":2240,"data":2241},"雖然展覽附註說明了聲音作品取材自李爽與母親在疫情期間的文字魚雁往返，但實際聆聽時，這兩段抽象聲景中，針對家的思念和懷舊感反而不那麼明顯。在《 也帶著一箱徒勞 》中，多數語句經過剪接與混音——家人之間的訊息更像是被吸收進俱樂部的脈動之中。總而言之，展覽句句不提俱樂部，但在我看來，幾乎是句句不離俱樂部。在混音的縫隙裡，可以捕捉到對 2010 年代俱樂部處於「 全球當代頂端 」的樂觀主義時期的念想。而中華未來主義的餘韻，也以一種已然消失的形式出現，以有距離的方式再度被折射出來。",[],{},{"nodeType":146,"value":2243,"marks":2244,"data":2246},"4",[2245],{"type":2151},{},{"nodeType":147,"data":2248,"content":2249},{},[2250],{"nodeType":146,"value":2251,"marks":2252,"data":2253},"對仍在上海的人而言，《 月球的距離 》與其說是呈現了李爽從遠方回歸，更像是關於從過去傳來的回聲。關於中華未來主義崛起的討論多如牛毛，但鮮少有人觸及它如何淪為過氣明星，以及它如何透支了人們對城市未來的想像。追溯這個概念語彙的社會生命歷程，我試圖呈現中華未來主義在舞池上的實踐與在書寫中的表述。將這兩種面貌並置，其生產力讓我們看到這則聲音文化的思想史、從它在英國的萌牙到最終與 2010 年代中國場景的纏結。這背後揭示出一種時間經濟:表面看似持續前進，實則受困在一種控制論的反饋迴路之中。從中華未來主義與費沙 ( Mark Fisher ) 的幽靈論的比較中，我們可以對這背後的趨力一窺一二。儘管兩者的時間感表面上似是大相逕庭，實際上卻共享對超越性奇點 ( singularity ) 的執念——一個顛覆系統、加速未來的臨界時刻——同時也暴露了它們共同的局限。",[],{},{"nodeType":2070,"data":2255,"content":2256},{},[2257],{"nodeType":146,"value":2258,"marks":2259,"data":2260},"作為概念的中華未來主義",[],{},{"nodeType":147,"data":2262,"content":2263},{},[2264,2268,2273,2277,2282,2286,2291],{"nodeType":146,"value":2265,"marks":2266,"data":2267},"北京招待所俱樂部的共同創辦人李卡門 ( Carmen Herold ) 在其2020年發表的文章〈 中國的音浪小說:音樂、科技與中國化未來的幻象 〉中，描繪出中華未來主義的思想譜系。儘管這一概念自流行以來，常被拿來與非洲未來主義進行比較討論，但鮮有論者會像她那樣，將其源頭回溯至英籍迦納裔理論家 Kodwo Eshun 的系譜中。這位著名的樂評認為，非洲未來主義的力量在於如何以未來的視野將當下進行調頻，將離散非裔社群的時間感運用在聲音與思辨創作之中。",[],{},{"nodeType":146,"value":2269,"marks":2270,"data":2272},"5",[2271],{"type":2151},{},{"nodeType":146,"value":2274,"marks":2275,"data":2276}," 李卡門將中華未來主義的開端定在 Eshun 在 1996 年的「虛擬未來」論壇上發表了介紹非洲未來主義的講座。這一概念隨即撼動了「虛擬未來」的組織方成員——華威大學的邊緣哲學團體控制論文化研究中心 ( CCRU )。儘管其哲學影響深遠，不得不說該團體創辦人之一的 Nick Land 後來參與極右派思潮而備受爭議。",[],{},{"nodeType":146,"value":2278,"marks":2279,"data":2281},"6",[2280],{"type":2151},{},{"nodeType":146,"value":2283,"marks":2284,"data":2285}," CCRU 較為著名的影響在於他們當時透過德勒茲的架構重新解讀技術奇點，但此處關鍵在於他們結合鋭舞樂曲來推動哲學概念的發展。而 Eshun 作為概念電子樂的重要人物，也催生了 Kode9 在 1998 年發表一篇思辨性的宣言〈 飛錢炸場 : 中華未來主義的暗流貨幣 〉。文本將黑幫組織三合會比作德勒茲的戰爭機器",[],{},{"nodeType":146,"value":2287,"marks":2288,"data":2290},"7",[2289],{"type":2151},{},{"nodeType":146,"value":2292,"marks":2293,"data":2294},"，並將易經與萊布尼茲二進制做比較，飛錢則被構思為一種去中心化加密系統的早期版本，從而將東西方的技術文化敘事看作為非綫性的平行宇宙，而非階層性的上下等級結構。",[],{},{"nodeType":147,"data":2296,"content":2297},{},[2298,2302],{"nodeType":146,"value":2299,"marks":2300,"data":2301},"李卡門一針見血地指出，飛錢的概念帶有將中國視為恆久神秘對象進行迷戀的嫌疑。她也警告，這種東方主義視角容易使理論變得張冠李戴——她認為這種傾向也延續到 Kode9 在 2005 年將傳統中國調式融入倫敦地下電子樂的選輯《 SinoGrime 》。然而，如果考慮到 Kode9 的東方風源自非裔 Grime 樂手 Jammer 的《 中國佬 》和 Wiley 的《 上海 》( 皆為2003 年 )，我們或可進一步以《 中國佬 》為例展開分析 : 取樣自李連杰電影《 太極張三豐 》( 1993 ) 的二胡旋律，取其鼻音與滑奏，《 中國佬 》 置入黑人對亞裔武術的歷史情感聯結 ; 當 Kode9 在《 SinoGrime 》中進一步命名這個亞非文化語彙，並隨後與 Hyph11E 和 ChaCha 等多位中國音樂人展開合作——李卡門也對此表達肯定——上述事件應被視為同一條連結帝國的非洲離散未來至中國的跨文化動覺迴路。簡言之，那些原先在單件作品中看似異國風情的挪用，若置於更長的動態脈絡中，便可被重新理解為扎克瑞普賴斯 ( Zachary F. Price ) 所提出的亞非「 聲波動覺 」 ( sonic kinesthesia ) ——一種透過聲音與動態所傳遞的跨文化感覺經驗。 ",[],{},{"nodeType":146,"value":2303,"marks":2304,"data":2306},"8",[2305],{"type":2151},{},{"nodeType":147,"data":2308,"content":2309},{},[2310,2314,2319],{"nodeType":146,"value":2311,"marks":2312,"data":2313},"話雖如此，2010 年代中國的場景幾乎沒有做出多少與亞非另類未來有關的建樹。跨文化動覺的許諾也從未真正落實成為任何形式的殖民文物返還或者政治抗爭。要觀察這時期的中國如何被視為未來的目的地，更清晰的切入點或許是它在流行文化中的現身。 2012 年荷里活科幻片《 時凶獵殺 》( Looper ) 原本計劃將故事場景設於巴黎，卻在拍攝途中臨時決定以上海取而代之。片中，主角依然為準備巴黎的退休生活而學法語，成為原設定所遺留的唯一痕跡。在他後來倉皇逃亡的片段中，我們瞥見了黃浦江的貨輪，映著陸家嘴金融區的天際綫。自此，上海首次成為荷里活鏡頭下的未來場景。",[],{},{"nodeType":146,"value":2315,"marks":2316,"data":2318},"9",[2317],{"type":2151},{},{"nodeType":146,"value":2320,"marks":2321,"data":2322}," 緊接著，同年上映的占士邦電影《 新鐵金剛 : 智破天凶城 》( Skyfall ) 則透過後製，將關鍵的摩天樓頂決鬥場景置於東方明珠的夜色之下，電信及光纖等中文 LED 廣告則映射在近景中。到了 2013 年，科幻片《 她 》更將這種幻想推向極致——影片大量在上海拍攝，以其新興的天際綫取代洛杉磯，成為人與人工智能之間孤寂愛戀的城市背景。",[],{},{"nodeType":147,"data":2324,"content":2325},{},[2326],{"nodeType":146,"value":2327,"marks":2328,"data":2329},"與此同一時期，在專輯《 SinoGrime 》之後，Kode9 開始頻繁走訪上海，成了庇護所 ( 2007–2016 ) 的演出常客——這家座落在居民區防空洞的電子樂俱樂部，也是最早引介各種新興音樂類型的據點，包括 Grime ( 生猛而高轉速的倫敦電子饒舌 )、Footwork ( 源於芝加哥競舞用的高速切分音節 )與 Dubstep ( 曲風以低頻晃動、稀疏切分和掉拍為特徵 )。通過培養新興音樂品味和樂於嘗鮮的觀眾群，庇護所除了吸引到國際明星如 Kode9 和 Shackleton，也培養出一批本地創作者——Tzusing、Swimful、Hyph11E、Osheyack——後來也將這些上海本土製作人推向國際舞台;這股勢能亦由庇護所的繼任者 Club All 延續下去。",[],{},{"nodeType":2091,"data":2331,"content":2372},{"target":2332},{"metadata":2333,"sys":2336,"fields":2345},{"tags":2334,"concepts":2335},[],[],{"space":2337,"id":2339,"type":18,"createdAt":2340,"updatedAt":2340,"environment":2341,"publishedVersion":91,"revision":611,"contentType":2343,"locale":31},{"sys":2338},{"type":14,"linkType":15,"id":16},"3WO5jfwDp0S3HPj4LojRlx","2025-12-16T00:07:48.676Z",{"sys":2342},{"id":23,"type":14,"linkType":24},{"sys":2344},{"type":14,"linkType":29,"id":2106},{"name":2346,"images":2347,"visibility":2133,"galleryFormat":2134,"gallerySize":2135,"gridColumns":2136,"gridSpacing":2137,"scrollImageSize":2135,"imageOptions":2371},"Sonice Ghost image 10",[2348],{"metadata":2349,"sys":2352,"fields":2360},{"tags":2350,"concepts":2351},[],[],{"space":2353,"id":2355,"type":606,"createdAt":2356,"updatedAt":2357,"environment":2358,"publishedVersion":50,"revision":26,"locale":31},{"sys":2354},{"type":14,"linkType":15,"id":16},"5HSb1M6xhagRUxucYt1tQN","2025-12-15T22:02:56.102Z","2025-12-19T11:22:47.847Z",{"sys":2359},{"id":23,"type":14,"linkType":24},{"title":2361,"description":2362,"file":2363},"images-183","Liu Shuwei, _Shadows Returned_ series, photography, 2015–16. 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的常駐樂手Warmchainss則將其表演視為全球資本主義與科技專制下生活的思辨回應。",[],{},{"nodeType":146,"value":2381,"marks":2382,"data":2384},"11",[2383],{"type":2151},{},{"nodeType":2070,"data":2386,"content":2387},{},[2388],{"nodeType":146,"value":2389,"marks":2390,"data":2391},"舞池中的中華未來主義",[],{},{"nodeType":147,"data":2393,"content":2394},{},[2395,2399,2404],{"nodeType":146,"value":2396,"marks":2397,"data":2398},"儘管李卡門以身分政治的視角提出了尖銳批評，若將中華未來主義視為一種從文化本體論出發，對科技奇點的追求，那麼它最清晰的表述或許就出現在 2010 年代中國各個城市迅速開設的俱樂部。 2015 年至 2020 年曾旅居北京的音樂製作人 Tom Mouna 在形容中國場景與典型俱樂部文化的鮮明差異時，以「 美術館舞池生態系 」稱之。",[],{},{"nodeType":146,"value":2400,"marks":2401,"data":2403},"12",[2402],{"type":2151},{},{"nodeType":146,"value":2405,"marks":2406,"data":2407}," 對於白天在北京藝術圈上班的 Mouna 而言，這一新興現象的特點在於各個俱樂部對設備升級的熱衷。他追溯至 2016 年 : 當時上海正式一躍成為全球俱樂部關注的熱點，本地廠牌紛紛崛起，培養出兼容並蓄的樂手譜系，本土製作人也成為全球網絡中的關鍵節點。",[],{},{"nodeType":147,"data":2409,"content":2410},{},[2411,2415,2420],{"nodeType":146,"value":2412,"marks":2413,"data":2414},"到了 2017 年，由視覺藝術家金勞頓 ( Kim Laughton ) 設計的 Club All 問世，為上海夜生活開啟了新時代，設備升級後的「 聲光體驗 」成為焦點。舞台上高聳的 LED 螢幕放映音樂人與視覺藝術家合作的沉浸式影像——通常是遊戲引擎製作的影像——入口處的螢幕則不斷輪播活動預告，其中一則標語寫著 :「 優待你的眼睛，與耳朵享受同等重要 」。",[],{},{"nodeType":146,"value":2416,"marks":2417,"data":2419},"13",[2418],{"type":2151},{},{"nodeType":146,"value":2421,"marks":2422,"data":2423}," 俱樂部內部金屬質感的表面、鏡面牆與極簡家具，與 Club All 的前身庇護所本身簡陋卻令人著迷的地下氛圍形成鮮明對比。 Club All 也代表了當時中國各地陸續湧現、強調高科技與室內設計升級的新一代俱樂部——一種以多媒體與視覺奇觀為核心的夜生活樣貌。",[],{},{"nodeType":2091,"data":2425,"content":2466},{"target":2426},{"metadata":2427,"sys":2430,"fields":2439},{"tags":2428,"concepts":2429},[],[],{"space":2431,"id":2433,"type":18,"createdAt":2434,"updatedAt":2434,"environment":2435,"publishedVersion":51,"revision":611,"contentType":2437,"locale":31},{"sys":2432},{"type":14,"linkType":15,"id":16},"5sedRYceqlP31kPMXhS6qZ","2025-12-16T00:07:08.606Z",{"sys":2436},{"id":23,"type":14,"linkType":24},{"sys":2438},{"type":14,"linkType":29,"id":2106},{"name":2440,"images":2441,"visibility":2133,"galleryFormat":2134,"gallerySize":2225,"gridColumns":2136,"gridSpacing":2137,"scrollImageSize":2135,"imageOptions":2465},"Sonice Ghost image 9",[2442],{"metadata":2443,"sys":2446,"fields":2454},{"tags":2444,"concepts":2445},[],[],{"space":2447,"id":2449,"type":606,"createdAt":2450,"updatedAt":2451,"environment":2452,"publishedVersion":50,"revision":26,"locale":31},{"sys":2448},{"type":14,"linkType":15,"id":16},"5DSEdFqgTWZtcC0YcEh5h0","2025-12-15T22:02:56.097Z","2025-12-19T11:23:29.477Z",{"sys":2453},{"id":23,"type":14,"linkType":24},{"title":2455,"description":2456,"file":2457},"images-184","Tianzhuo Chen, _Trance_, 2019, performance view, M Woods, Beijing, 31 October 2019 (photography: Peiyu Shen)\n\n陳天灼，《入迷》，2019，表演現場，北京木木美術館，2019年10月31日。(攝影: 申佩玉)",{"url":2458,"details":2459,"fileName":2464,"contentType":1903},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5DSEdFqgTWZtcC0YcEh5h0\u002F7336f69540fe859321c075a7ebd41b69\u002Fimages-184.png",{"size":2460,"image":2461},3631271,{"width":2462,"height":2463},1772,1176,"images-184.png",[2139],[],{"nodeType":147,"data":2468,"content":2469},{},[2470],{"nodeType":146,"value":2471,"marks":2472,"data":2473},"就在上海的俱樂部以硬件升級和視覺奇觀主導，意外地呼應著 2010 年代中國藝術界的美術館熱潮，北京的藝術空間亦敏銳意識到這種跨界混合的潛力 : 2017 年，多個藝術組織在首都共同發起「夜生活駐地項目」，邀請音樂人與視覺藝術家探索電子樂與當代藝術的交界。翌年，北京木木美術館成立了跨領域的 guī 空間，以促進聲響與視覺的創新對話。 2019  年，藝術家陳天灼的個展《 入迷 》便是此種匯流的縮影——兩天不間斷的高強度沉浸式演出，讓木木美術館瞬間化身為舞池與展演空間的交錯地帶，模糊了俱樂部文化與當代藝術之間的界綫。",[],{},{"nodeType":147,"data":2475,"content":2476},{},[2477,2481,2486],{"nodeType":146,"value":2478,"marks":2479,"data":2480},"不過，真正與中華未來主義背後的樂觀主義本身最為契合的一點，或許是這一文化變異背後的敘事轉向——一種將中國看作甚麼都有可能的敘事。 Mouna 指出，與歐美各個城市的俱樂部各有風格的模式不同，中國的俱樂部文化兼容並蓄地吸納了全球的聲音文化，對於音樂人而言這正是一個充滿可能性的沃土，從而抵抗並重塑既定的視聽文化秩序——直到疫情的到來，使一切戛然而止。",[],{},{"nodeType":146,"value":2482,"marks":2483,"data":2485},"14",[2484],{"type":2151},{},{"nodeType":146,"value":2487,"marks":2488,"data":2489}," 2020 年 5 月，李佳桓在第一波新冠疫情初次封控下解封的 Club All 策劃了為期兩晚的展演《 流連 》，邀請了他的舞池同伴李爽與劉樹偉，以及來自其他地區的藝術家。李佳桓在新聞稿中引用了「 俱樂部之死」( Clubsterben ) 以描述疫情對夜生活生態的衝擊。展覽既是為了協助面臨倒閉危機的俱樂部渡過難關，也試圖反思俱樂部文化的本體、共同體生命與跨國團結的可能性。",[],{},{"nodeType":147,"data":2491,"content":2492},{},[2493],{"nodeType":146,"value":2494,"marks":2495,"data":2496},"《 流連 》讓單純走進俱樂部的平凡舉動轉化為一種集體實踐。藝術家慷慨分享影像作品，觀展本身變成塑造團結的行動。展覽設想了俱樂部在未來不久很可能要關門的場景，從而把握這個契機，將舞池化作對於這個社群群體進行反思的場域。譚勁軒 ( Kenneth Tan ) 的作品《 M 的全部 》( 2019 ) 探討舞蹈文化如何形塑性別認同; 李爽的《 T 》( 2017–18 ) 則與 Osheyack 合作聲音，追溯中國女性的雙足作為慾望對象的歷史——從淘寶襪子銷售的客服頁面到纏足的血腥過往; 與此同時，劉樹偉以一系列幻覺般的人像重現庇護所全盛時期的氛圍，追憶已消逝的空間，並將其轉化為對正在消失之事物的紀念。在一篇隨附著這些庇護所攝影圖像的文字書寫中，劉樹偉以多物種、多重感官的想像來揚棄疫情本身的沉重，讓人彷彿再次感受到那個地下的庇護所——其潮濕的空氣、馬賽克牆面與幽暗的通道，彷彿仍在城市的濕潤氣息中盤旋:",[],{},{"nodeType":2498,"data":2499,"content":2500},"blockquote",{},[2501],{"nodeType":147,"data":2502,"content":2503},{},[2504,2508],{"nodeType":146,"value":2505,"marks":2506,"data":2507},"也許此刻的庇護所已經有雨水灌進去，也許那些拱形上，馬賽克的磁磚縫隙之間已經長滿了蘑菇，那些蘑菇或許本來就是比人類更懂音樂的存在。曾經的音樂也被某些物質紀錄下來，以我們尚且無法察覺的方式——仍然有迴響在波動，在播放。蘑菇理應比人類更懂音樂，你看它們的身體，再看看我們自己的。 ",[],{},{"nodeType":146,"value":2509,"marks":2510,"data":2512},"15",[2511],{"type":2151},{},{"nodeType":147,"data":2514,"content":2515},{},[2516],{"nodeType":146,"value":2517,"marks":2518,"data":2519},"透過這樣的想像，劉樹偉召喚出「 幽靈騒音 」的形態——將真菌視為俱樂部聲音的在場見證，是人類記憶的物質延伸。那些訪客——包括曾經來跳舞的客人，以及如今是這些真菌機體——促進了感知的激進變革，提供一種更全面地體察這個空間、其逝去的節奏，以及餘音縈繞的幽靈回聲。\n",[],{},{"nodeType":2070,"data":2521,"content":2522},{},[2523],{"nodeType":146,"value":2524,"marks":2525,"data":2526},"中華未來主義的幽靈騷音(迴響)",[],{},{"nodeType":147,"data":2528,"content":2529},{},[2530],{"nodeType":146,"value":327,"marks":2531,"data":2532},[],{},{"nodeType":147,"data":2534,"content":2535},{},[2536,2540,2545],{"nodeType":146,"value":2537,"marks":2538,"data":2539},"到了 2022 年，長期清零政策的壓力引發了這個不斷提供中華未來主義音樂養份的社群大舉離散，其中包括 SVBKVLT 廠牌社群的多數成員，以及李卡門於 2020 年訪談過的創作者們。許多曾批評中華未來主義帶有科技東方主義投射的嫌疑，對此感到不喜的本地製作人，如今自己也進入了一種離散狀態，使得「 中國 」對他們而言不再是一種具身經驗，而是流通的符號。矛盾的是，當他們離開中國之際，這個詞彙的流通也隨之停滯。隨著上海與北京俱樂部紛紛面臨票房下滑經營困難而關閉，中國的電子樂逐漸轉向地下空間或臨時聚會的形式;",[],{},{"nodeType":146,"value":2541,"marks":2542,"data":2544},"16",[2543],{"type":2151},{},{"nodeType":146,"value":2546,"marks":2547,"data":2548}," 這種轉變與全國性美術館觀眾數銳減、當代藝術家從都市中心遷往地方的趨勢並行。昔日被推崇的美術館舞池生態系如今似乎早已消逝。",[],{},{"nodeType":147,"data":2550,"content":2551},{},[2552,2556,2561],{"nodeType":146,"value":2553,"marks":2554,"data":2555},"中華未來主義的屍檢簡報: 一首由 Osheyack 創作的曲子，配上帶有末日氣息的影像——或許拍攝於長江口外海的風電場。這幾乎符合所有未來主義的特徵，卻在命名時已不再被稱作中華未來主義。上述場景出自李爽於 2022 年受 Miu Miu 委託、與 AMO 合作為巴黎 2023 春夏時裝秀打造的現場裝置。李爽以海底電纜製作成螺旋狀的長凳，綴以熒光綠環，構築出一座整體藝術式的水底伸展台。據報導，這個沉浸式空間「讓人想起過去與當下」，而我也相信，它能讓任何曾出入上海俱樂部的人瞬間回到 Tom Mouna 筆下的景象。不過，媒體報導僅以「復古未來主義」來概括這場充滿千禧年初校服風格的時裝秀。",[],{},{"nodeType":146,"value":2557,"marks":2558,"data":2560},"17",[2559],{"type":2151},{},{"nodeType":146,"value":2562,"marks":2563,"data":2564}," 但這個名號已然死亡。",[],{},{"nodeType":2091,"data":2566,"content":2608},{"target":2567},{"metadata":2568,"sys":2571,"fields":2580},{"tags":2569,"concepts":2570},[],[],{"space":2572,"id":2574,"type":18,"createdAt":2575,"updatedAt":2575,"environment":2576,"publishedVersion":91,"revision":611,"contentType":2578,"locale":31},{"sys":2573},{"type":14,"linkType":15,"id":16},"6AUJkGB9yUmr7DKcYtl80B","2025-12-16T00:06:08.795Z",{"sys":2577},{"id":23,"type":14,"linkType":24},{"sys":2579},{"type":14,"linkType":29,"id":2106},{"name":2581,"images":2582,"visibility":2133,"galleryFormat":2134,"gallerySize":2606,"gridColumns":2136,"gridSpacing":2137,"scrollImageSize":2135,"imageOptions":2607},"Sonic Ghost image 8",[2583],{"metadata":2584,"sys":2587,"fields":2595},{"tags":2585,"concepts":2586},[],[],{"space":2588,"id":2590,"type":606,"createdAt":2591,"updatedAt":2592,"environment":2593,"publishedVersion":51,"revision":610,"locale":31},{"sys":2589},{"type":14,"linkType":15,"id":16},"62mF4oFfS9BzxjA687xSrS","2025-12-15T22:02:56.099Z","2025-12-16T00:06:04.600Z",{"sys":2594},{"id":23,"type":14,"linkType":24},{"title":2596,"description":2597,"file":2598},"images-185","Hyph11E, Elevator, Shanghai",{"url":2599,"details":2600,"fileName":2605,"contentType":1903},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F62mF4oFfS9BzxjA687xSrS\u002Ff7c071cd373072a207a1127192a7c53f\u002Fimages-185.png",{"size":2601,"image":2602},1559988,{"width":2603,"height":2604},1503,980,"images-185.png","fit",[2139],[],{"nodeType":147,"data":2610,"content":2611},{},[2612,2616,2621,2625,2630,2634,2639,2643,2648,2652,2657],{"nodeType":146,"value":2613,"marks":2614,"data":2615},"近期，上海的藝評人賴非借用北方獨立搖滾樂團的歌詞，形容中國藝術界在美術館熱潮崩解後，無數機構悄然停止運作，卻未正式宣告閉館的境況。",[],{},{"nodeType":146,"value":2617,"marks":2618,"data":2620},"18",[2619],{"type":2151},{},{"nodeType":146,"value":2622,"marks":2623,"data":2624}," 耐人尋味的是，這一「美術館之死」( Museumssterben ) 正如中華未來主義的消逝，其消亡比從未存在更難以被承認。更奇怪的是，後疫情時期的西方科幻片再也不以中國城市作為未來的想像場景，除了 2023 年巴塞爾藝術展香港展會上的一場講座〈 中華未來主義之後會迎來甚麼? 〉，也沒有任何一篇文章明確宣告它的終結。然而，即便是對「之後會是甚麼」的追問，它本身似乎成了一種對終結的迴避——彷彿下一個版本的到來始終是理所當然的。於是，中華未來主義的消逝反而抗拒著被完全理解。有人可能會說，或許是因為其時間邏輯中內在的矛盾，人們才會遲疑於正視中華未來主義的幽靈論維度:因為幽靈論強調過去會在當下之中不斷持續現身，而中華未來主義總是在重塑過去以投射未來。我們可以從理論家費沙 ( Mark Fisher ) 最鍾愛的比喻——電子樂團 Kraftwerk ——來理解他所提出的幽靈論。他寫道 :「比起他們用科技來創造新的美學形式，當代的懷舊風音樂將科技淪為舊形式的再包裝工具，從而遮蔽了『未來維度的消失』這一現實。」",[],{},{"nodeType":146,"value":2626,"marks":2627,"data":2629},"19",[2628],{"type":2151},{},{"nodeType":146,"value":2631,"marks":2632,"data":2633}," 乍看之下，幽靈論強調批評「 未來維度的消失 」看似是與中華未來主義背道而馳。然而，在更仔細的閱讀下，兩者在時間邏輯上卻殊途同歸——它們皆環繞著對變革性奇點 ( singularity ) 的追求: 一種脫離當下停滯泥沼的渴望，推動了對系統進行創造性破壞變革時刻的狂妄想像。對費沙而言，幽靈論中的這股渴望體現在對真正美學創造的憧憬——試圖從晚期資本主義束縛下的現行社會結構中，奪回那個永遠不會到達的未來。而在中華未來主義的論點中，他們對於「奇點」的追求可以透過向東方凝視的視角來實現，就像是 Tom Mouna 說的，全球 DJ 對於中國俱樂部場景的生態突變曾經如此趨之若鶩。如果考慮到費沙與 Kode9 早期在 CCRU 結識與合作的理論工作背景，你會發現幽靈論和中華未來主義有著共同的火花。",[],{},{"nodeType":146,"value":2635,"marks":2636,"data":2638},"20",[2637],{"type":2151},{},{"nodeType":146,"value":2640,"marks":2641,"data":2642}," CCRU稱之為「超信」 ( hyperstition )，以創造新詞作理論實驗的工具。「超信」( hyperstition ) 這個詞結合了「 hyper 」( 超驗 ) 與「 superstition 」( 迷信)，指的是一種正向的反饋機制——當新的概念被不斷講述、傳播與相信時，它最終會在現實中生成自身。換句話說，思想可以透過敘事與信念的流通而成真。他們當時也是有意讓「 幽靈論 」與「 中華未來主義 」這兩個「超信」概念，在俱樂部與藝術圈之間高速流通，使理論在文化場域中自我實現。",[],{},{"nodeType":146,"value":2644,"marks":2645,"data":2647},"21",[2646],{"type":2151},{},{"nodeType":146,"value":2649,"marks":2650,"data":2651}," 然而，這樣的「 超信 」機制本身並不是沒有收到批判。對此，我們可以關注李卡門訪談 Warmchains 的例子 :「自從深圳被市政府強加上『 高科技城市 』的身份之後，她便完全放棄了對未來主義的任何想像。」",[],{},{"nodeType":146,"value":2653,"marks":2654,"data":2656},"22",[2655],{"type":2151},{},{"nodeType":146,"value":2658,"marks":2659,"data":2660}," 在這次的分享中，中華未來主義也是作為「 超信 」的實驗在被推行，只是它被重新引導到官僚控制的負反饋迴路中，從而背離了 CCRU 原先想像的創造性譫妄。",[],{},{"nodeType":147,"data":2662,"content":2663},{},[2664],{"nodeType":146,"value":2665,"marks":2666,"data":2667},"如今，隨著不再有人流通中華未來主義這一詞語，特別是連科幻片中都不再能見到中國作為未來目的地的身影，身處那個曾被想像為未來之地的上海，我感到一絲釋然 : 一部分的我終於脫離那個時光迴路，走出了以變革性奇點與新的可能性之衝動所構築的空中樓閣。我發現自己開始質疑人們對奇點追求的渴望——無論它披著幽靈論還是未來主義的外衣——這種衝動往往推遲了我們對不同時間敘事和多樣答案的探索。確實，唯有擺脫那些偽裝成出路的正回饋迴路，我們才真正面對過渡期的現實——一個舊世界正在消亡而新世界尚未誕生的空檔 ; 一個沒有逃脫幻象、沒有宏大理論的時刻——也許，對於中國的樂觀論調在將來某天或許仍會以另一種形態再現。但至少我們從這次的終結中明白 : 過去的文化經驗無法再提供現成的答案，未來的預言也不再從既有的歷史中浮現。",[],{},{"nodeType":147,"data":2669,"content":2670},{},[2671],{"nodeType":146,"value":327,"marks":2672,"data":2673},[],{},{"nodeType":2675,"data":2676,"content":2677},"hr",{},[],{"nodeType":147,"data":2679,"content":2680},{},[2681],{"nodeType":146,"value":327,"marks":2682,"data":2683},[],{},{"nodeType":2685,"data":2686,"content":2687},"heading-6",{},[2688,2692,2697,2701,2708],{"nodeType":146,"value":2689,"marks":2690,"data":2691},"1 與此類似的觀察參見: Chal Ravens, ‘The radical noise of Shanghai’s underground’, ",[],{},{"nodeType":146,"value":2693,"marks":2694,"data":2696},"DJ Mag",[2695],{"type":268},{},{"nodeType":146,"value":2698,"marks":2699,"data":2700},", November 26, 2019. ",[],{},{"nodeType":318,"data":2702,"content":2704},{"uri":2703},"https:\u002F\u002Fdjmag.com\u002Flongreads\u002Fradical-noise-shanghais-underground",[2705],{"nodeType":146,"value":2703,"marks":2706,"data":2707},[],{},{"nodeType":146,"value":2709,"marks":2710,"data":2711}," ",[],{},{"nodeType":147,"data":2713,"content":2714},{},[2715],{"nodeType":146,"value":327,"marks":2716,"data":2717},[],{},{"nodeType":2685,"data":2719,"content":2720},{},[2721,2725,2730,2734,2741],{"nodeType":146,"value":2722,"marks":2723,"data":2724},"2 Travis Jeppesen, ‘Public Record: Travis Jeppesen on Osheyack’s Intimate Publics’, ",[],{},{"nodeType":146,"value":2726,"marks":2727,"data":2729},"Artforum",[2728],{"type":268},{},{"nodeType":146,"value":2731,"marks":2732,"data":2733},", Summer 2022, vol. 60, no. 10. ",[],{},{"nodeType":318,"data":2735,"content":2737},{"uri":2736},"https:\u002F\u002Fwww.artforum.com\u002Fcolumns\u002Ftravis-jeppesen-on-osheyacks-intimate-publics-251845\u002F",[2738],{"nodeType":146,"value":2736,"marks":2739,"data":2740},[],{},{"nodeType":146,"value":2709,"marks":2742,"data":2743},[],{},{"nodeType":147,"data":2745,"content":2746},{},[2747],{"nodeType":146,"value":327,"marks":2748,"data":2749},[],{},{"nodeType":2685,"data":2751,"content":2752},{},[2753,2757,2762],{"nodeType":146,"value":2754,"marks":2755,"data":2756},"3 有趣的參考閱讀: Guglielmo Bottin, ‘EDM Theory and Fiction : The Conceptual Dimension of Musical Waves. A Conversation with Steve Goodman\u002FKode9’, ",[],{},{"nodeType":146,"value":2758,"marks":2759,"data":2761},"Sound Stage Screen 3",[2760],{"type":268},{},{"nodeType":146,"value":2763,"marks":2764,"data":2765},", no. 2 (July 2024): 131–56. ",[],{},{"nodeType":147,"data":2767,"content":2768},{},[2769],{"nodeType":146,"value":327,"marks":2770,"data":2771},[],{},{"nodeType":2685,"data":2773,"content":2774},{},[2775],{"nodeType":146,"value":2776,"marks":2777,"data":2778},"4 這句話出自李爽的舞池同伴李佳桓之口:「如果說，SVBKVLT的一位音樂人在這週五發佈了一首新歌，你很有可能一周後就能在柏林、倫敦甚至東京的俱樂部裡聽到。」見:李佳桓，〈今晚我要出門〉，《艾默格林與德拉塞特:拂曉》，柏林: Holzwarth 出版社。2023。",[],{},{"nodeType":147,"data":2780,"content":2781},{},[2782],{"nodeType":146,"value":327,"marks":2783,"data":2784},[],{},{"nodeType":2685,"data":2786,"content":2787},{},[2788,2792,2797],{"nodeType":146,"value":2789,"marks":2790,"data":2791},"5 Eshun的非洲未來主義堅持一種前瞻性的視角，抗拒懷舊。例如他並不將碎拍 (Breakbeat) 視為非洲鼓樂的回歸，而是一種在數字工具出現之前就在黑膠唱片上實現的「動作捕捉裝置」。這種創造性的時間邏輯，正如早期底特律電子樂調用歐洲合成器那樣，來自黑人離散群體對起源神話的重新詮釋。這裡的低科技、高概念，與中華未來主義及各種民族未來主義的形式形成鮮明對比。Kodwo Eshun, ‘Motion Capture’, ",[],{},{"nodeType":146,"value":2793,"marks":2794,"data":2796},"More Brilliant than the Sun: Adventures in Sonic Fiction",[2795],{"type":268},{},{"nodeType":146,"value":2798,"marks":2799,"data":2800},", London: Quartet Books, 1998. 175–193. ",[],{},{"nodeType":147,"data":2802,"content":2803},{},[2804],{"nodeType":146,"value":327,"marks":2805,"data":2806},[],{},{"nodeType":2685,"data":2808,"content":2809},{},[2810,2814,2819],{"nodeType":146,"value":2811,"marks":2812,"data":2813},"6 Nick Land後來從2012年起參與新反動主義運動，將民主視為科技和社會進步的障礙。關於新反動主義隨著全球化的崛起，與其當時的知識分子網絡的分析，見: Yuk Hui, ‘On the Unhappy Consciousness of Neoreactionaries’, ",[],{},{"nodeType":146,"value":2815,"marks":2816,"data":2818},"e-flux journal",[2817],{"type":268},{},{"nodeType":146,"value":2820,"marks":2821,"data":2822},", no. 81 (April 2017).",[],{},{"nodeType":147,"data":2824,"content":2825},{},[2826],{"nodeType":146,"value":327,"marks":2827,"data":2828},[],{},{"nodeType":2685,"data":2830,"content":2831},{},[2832],{"nodeType":146,"value":2833,"marks":2834,"data":2835},"7 德勒茲與瓜塔里的戰爭機器探討國家與戰士之間的關係:國家發動戰爭，而戰士不必然隸屬於國家，而是外在於國家的遊牧者。戰爭機器作為隱喻，探討存在於國家控制之外的社會、政治或創作組織模式。 ",[],{},{"nodeType":147,"data":2837,"content":2838},{},[2839],{"nodeType":146,"value":327,"marks":2840,"data":2841},[],{},{"nodeType":2685,"data":2843,"content":2844},{},[2845,2849],{"nodeType":146,"value":2846,"marks":2847,"data":2848},"8 「聲波動覺」一詞用以描述超越文化界限、具身化且情感性的聲音體驗。普賴斯的案例包括將爵士、京劇與武術哲學融合的侯维翰 (Fred Ho)，以及將嘻哈與武術結合的團體武當幫 (Wu-Tang Clan)。見: Zachary F. Price, ",[],{},{"nodeType":146,"value":2850,"marks":2851,"data":2853},"Black Dragon: Afro-Asian Performance and the Martial Arts Imagination. ",[2852],{"type":268},{},{"nodeType":147,"data":2855,"content":2856},{},[2857],{"nodeType":146,"value":327,"marks":2858,"data":2859},[],{},{"nodeType":2685,"data":2861,"content":2862},{},[2863,2867,2872],{"nodeType":146,"value":2864,"marks":2865,"data":2866},"9 Nick Land, ",[],{},{"nodeType":146,"value":2868,"marks":2869,"data":2871},"Templexity: Disordered Loops through Shanghai Time",[2870],{"type":268},{},{"nodeType":146,"value":2873,"marks":2874,"data":2875},", Urbanatomy, 2014. ",[],{},{"nodeType":147,"data":2877,"content":2878},{},[2879],{"nodeType":146,"value":327,"marks":2880,"data":2881},[],{},{"nodeType":2685,"data":2883,"content":2884},{},[2885,2889,2894],{"nodeType":146,"value":2886,"marks":2887,"data":2888},"10 有關當代藝術的案例，見: Gary Zhexi Zhang, ‘Sinofuturism and Its Uses: Contemporary Art and Diasporic Desire’, ",[],{},{"nodeType":146,"value":2890,"marks":2891,"data":2893},"Verge: Studies in Global Asias",[2892],{"type":268},{},{"nodeType":146,"value":2895,"marks":2896,"data":2897},", Fall 2021, Vol. 7, No. 2, pp. 86- 92. ",[],{},{"nodeType":147,"data":2899,"content":2900},{},[2901],{"nodeType":146,"value":327,"marks":2902,"data":2903},[],{},{"nodeType":2685,"data":2905,"content":2906},{},[2907,2911,2916],{"nodeType":146,"value":2908,"marks":2909,"data":2910},"11 Carmen Herold, ‘China’s Sonic Fictions: Music, Technology, and the Phantasm of a Sinicized Future’, ",[],{},{"nodeType":146,"value":2912,"marks":2913,"data":2915},"SFRA Review",[2914],{"type":268},{},{"nodeType":146,"value":2917,"marks":2918,"data":2919},", vol. 50, no. 2-3 (2020).",[],{},{"nodeType":147,"data":2921,"content":2922},{},[2923],{"nodeType":146,"value":327,"marks":2924,"data":2925},[],{},{"nodeType":2685,"data":2927,"content":2928},{},[2929,2933,2940],{"nodeType":146,"value":2930,"marks":2931,"data":2932},"12 Tom Mouna，〈美術館舞池生態系的中國漫步〉，《黑齒》雜誌，2020年12月24日。",[],{},{"nodeType":318,"data":2934,"content":2936},{"uri":2935},"https:\u002F\u002Fwww. heichimagazine.org\u002Fzh\u002Farticles\u002F345\u002Fjourneys-in-the-chinese-club-museum-ecosystem",[2937],{"nodeType":146,"value":2935,"marks":2938,"data":2939},[],{},{"nodeType":146,"value":2709,"marks":2941,"data":2942},[],{},{"nodeType":147,"data":2944,"content":2945},{},[2946],{"nodeType":146,"value":327,"marks":2947,"data":2948},[],{},{"nodeType":2685,"data":2950,"content":2951},{},[2952],{"nodeType":146,"value":2953,"marks":2954,"data":2955},"13 Tom Mouna，〈美術館舞池生態系的中國漫步〉。 ",[],{},{"nodeType":147,"data":2957,"content":2958},{},[2959],{"nodeType":146,"value":327,"marks":2960,"data":2961},[],{},{"nodeType":2685,"data":2963,"content":2964},{},[2965,2969,2973,2976,2982],{"nodeType":146,"value":2966,"marks":2967,"data":2968},"14 除了 Mouna，碧仙桃的樂手 Mun Sing 也評論到 :「上海最好的優點就是不用一直用四拍踢鼓。在歐洲，很多時候舞曲都是以 這個為基礎⸺純是電子樂，不跟隨就會被視為離經叛道」。見 : Chal Ravens, ‘The radical noise of Shanghai’s underground’, ",[],{},{"nodeType":146,"value":2693,"marks":2970,"data":2972},[2971],{"type":268},{},{"nodeType":146,"value":2698,"marks":2974,"data":2975},[],{},{"nodeType":318,"data":2977,"content":2978},{"uri":2703},[2979],{"nodeType":146,"value":2703,"marks":2980,"data":2981},[],{},{"nodeType":146,"value":2709,"marks":2983,"data":2984},[],{},{"nodeType":147,"data":2986,"content":2987},{},[2988],{"nodeType":146,"value":327,"marks":2989,"data":2990},[],{},{"nodeType":2685,"data":2992,"content":2993},{},[2994],{"nodeType":146,"value":2995,"marks":2996,"data":2997},"15 劉樹偉，〈泳洞〉，未出版，2022年7月。 ",[],{},{"nodeType":147,"data":2999,"content":3000},{},[3001],{"nodeType":146,"value":327,"marks":3002,"data":3003},[],{},{"nodeType":2685,"data":3005,"content":3006},{},[3007,3011,3016,3020,3027,3031,3036,3040,3047],{"nodeType":146,"value":3008,"marks":3009,"data":3010},"16 Bryan Grogan, ‘This Festival on the Beach is Redefining How to Experience Club Music in China’, ",[],{},{"nodeType":146,"value":3012,"marks":3013,"data":3015},"RADII",[3014],{"type":268},{},{"nodeType":146,"value":3017,"marks":3018,"data":3019},", 25 May 2021. ",[],{},{"nodeType":318,"data":3021,"content":3023},{"uri":3022},"https:\u002F\u002Fradii.co\u002Farticle\u002Fzhao-dai",[3024],{"nodeType":146,"value":3022,"marks":3025,"data":3026},[],{},{"nodeType":146,"value":3028,"marks":3029,"data":3030},", The New Mike, ‘Does the Chinese Electronic Music Market Still Matter to the World?’, ",[],{},{"nodeType":146,"value":3032,"marks":3033,"data":3035},"Sonicdom",[3034],{"type":268},{},{"nodeType":146,"value":3037,"marks":3038,"data":3039},", 14 May 2025. ",[],{},{"nodeType":318,"data":3041,"content":3043},{"uri":3042},"https:\u002F\u002Fsonicdomrecords.com\u002Fchina-electronic-music-market-2025.html",[3044],{"nodeType":146,"value":3042,"marks":3045,"data":3046},[],{},{"nodeType":146,"value":327,"marks":3048,"data":3049},[],{},{"nodeType":147,"data":3051,"content":3052},{},[3053],{"nodeType":146,"value":327,"marks":3054,"data":3055},[],{},{"nodeType":2685,"data":3057,"content":3058},{},[3059,3063,3068,3072,3079],{"nodeType":146,"value":3060,"marks":3061,"data":3062},"17 Kristen Bateman, ‘Miu Miu Leans All the Way Into Minimal Uniform Dressing’, ",[],{},{"nodeType":146,"value":3064,"marks":3065,"data":3067},"WMagazine",[3066],{"type":268},{},{"nodeType":146,"value":3069,"marks":3070,"data":3071},", 5 October 2022. ",[],{},{"nodeType":318,"data":3073,"content":3075},{"uri":3074},"https:\u002F\u002Fwww.wmagazine.com\u002Ffashion\u002Fmiu-miu-spring-2023-paris-fashion-week-review",[3076],{"nodeType":146,"value":3074,"marks":3077,"data":3078},[],{},{"nodeType":146,"value":2709,"marks":3080,"data":3081},[],{},{"nodeType":147,"data":3083,"content":3084},{},[3085],{"nodeType":146,"value":327,"marks":3086,"data":3087},[],{},{"nodeType":2685,"data":3089,"content":3090},{},[3091],{"nodeType":146,"value":3092,"marks":3093,"data":3094},"18 賴非，〈直到大廈崩塌:中國民營美術館熱潮之後〉，《 Art Review 》中文版， 2025 年 7 月 3 日。 https:\u002F\u002Fmp.weixin.qq.com\u002Fs\u002Fiw8OQ6WDqUazYc6CoPzSsA ",[],{},{"nodeType":147,"data":3096,"content":3097},{},[3098],{"nodeType":146,"value":327,"marks":3099,"data":3100},[],{},{"nodeType":2685,"data":3102,"content":3103},{},[3104,3108,3113],{"nodeType":146,"value":3105,"marks":3106,"data":3107},"19 費沙的幽靈論概念描述當代文化狀態中，縈繞著未來維度的消失。透過分析體現過去幽靈痕跡的音樂、電影和文學，批判懷舊和文化停滯的現象。See: Mark Fisher, ",[],{},{"nodeType":146,"value":3109,"marks":3110,"data":3112},"Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures",[3111],{"type":268},{},{"nodeType":146,"value":3114,"marks":3115,"data":3116}," (Win-chester: Zero Books, 2014).",[],{},{"nodeType":147,"data":3118,"content":3119},{},[3120],{"nodeType":146,"value":327,"marks":3121,"data":3122},[],{},{"nodeType":2685,"data":3124,"content":3125},{},[3126,3130,3135],{"nodeType":146,"value":3127,"marks":3128,"data":3129},"20 費沙本人也曾經從另一個角度將幽靈論與未來主義相提並論。參見: Mark Fisher, ‘The Metaphysics of Crackle: Afrofu- turism and Hauntology’, ",[],{},{"nodeType":146,"value":3131,"marks":3132,"data":3134},"Dancecult: Journal of Electronic Dance Music Culture",[3133],{"type":268},{},{"nodeType":146,"value":3136,"marks":3137,"data":3138}," 5(2): 42–55. (2013).",[],{},{"nodeType":147,"data":3140,"content":3141},{},[3142],{"nodeType":146,"value":327,"marks":3143,"data":3144},[],{},{"nodeType":2685,"data":3146,"content":3147},{},[3148,3152,3157],{"nodeType":146,"value":3149,"marks":3150,"data":3151},"21 即使是Kode9的廠牌名稱Hyperdub也借鑑了「超信」的概念，反映出理論與音樂互相塑造的願景。然而，最容易解釋的例子或 許要屬費沙的幽靈論本身。德里達最初提出這一術語指的是馬克思的幽靈如何縈繞晚期資本主義，費沙則將其延伸至流行文化。自 2005年他的個人博客k-punk開始提出這個詞彙以來，他的寫作不僅僅是解釋了新興音樂潮流，更放大了這種情緒感染藝術家、唱片 品牌和聽眾，從而形成正反饋循環。參見: Merlin Coverley, ",[],{},{"nodeType":146,"value":3153,"marks":3154,"data":3156},"Hauntology: Ghosts of Futures Past",[3155],{"type":268},{},{"nodeType":146,"value":3158,"marks":3159,"data":3160},", Oldcastle Books, 2020. ",[],{},{"nodeType":147,"data":3162,"content":3163},{},[3164],{"nodeType":146,"value":327,"marks":3165,"data":3166},[],{},{"nodeType":2685,"data":3168,"content":3169},{},[3170],{"nodeType":146,"value":3171,"marks":3172,"data":3173},"22 Carmen Herold, ‘China’s Sonic Fictions: Music, Technology, and the Phantasm of a Sinicized Future’. ",[],{},{"nodeType":147,"data":3175,"content":3176},{},[3177],{"nodeType":146,"value":327,"marks":3178,"data":3180},[3179],{"type":178},{},{"metadata":3182,"sys":3185,"fields":3194},{"tags":3183,"concepts":3184},[],[],{"space":3186,"id":3188,"type":606,"createdAt":3189,"updatedAt":3190,"environment":3191,"publishedVersion":3193,"revision":91,"locale":31},{"sys":3187},{"type":14,"linkType":15,"id":16},"2Znx5iP8K73sQp6aiWaQnu","2025-12-15T21:54:49.345Z","2025-12-15T21:56:49.868Z",{"sys":3192},{"id":23,"type":14,"linkType":24},12,{"title":3195,"description":3196,"file":3197},"cong 2 page-083-left","Sinofuturism (1839–2046 AD), 2016, exhibition view, at the exhibition Ø, Corsica Studios, London, 2017. Courtesy of the artist and Sadie Coles HQ\n\n陸明龍，《中華未來主義(1839–2046 AD)》，2016。展覽現場:《Ø》，倫敦Corsica Studios，2017。\n圖片致謝藝術家和Sadie Coles HQ",{"url":3198,"details":3199,"fileName":2015,"contentType":1903},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F2Znx5iP8K73sQp6aiWaQnu\u002F2de4345d4c7d699cf24b1b1d08e02da8\u002Fimages-180.png",{"size":2011,"image":3200},{"width":2013,"height":2014},1783635609016]