Published in Dec 2005

偶然拾起一年半前北影摄影学院院长随手送给我的他们出的一本影集“城市节奏/人的节奏”，记得当时翻了翻没觉得出奇，现在看看竟然看到了多处闪光点，也不知是我的审美提高了还是后退了，当然我向来对城市和人的题材特别敏感是一贯的。该画册作品由中法9名在校（师？）学生创作，其中包括了“鼎鼎大名”的busoni (而且是排在了头阵）。 巴黎第八大学摄影系美学教授Jean-Claude Moineau写的序言，先搬一搬。(翻译：Simon Welsh，王晶，刘芳，唐圆媛，吴沁沁）

。。。节奏不仅拥有组织形成稳定与静止的能力，而且也有形成运动和变迁的权威。它是形成过程中的形态，而非已经完成的形态。但是它确实表现出一种独有的特征，使它更加背逆而非符合一般的变革，因此，很矛盾的是，它虽然受一定的规律引导，但却更多的表现出来杂乱而非有序。所有这些都表明，节奏并不一定要与质疑这一断言不一致，从而才各种媒体的许多艺术实践似乎都着迷与杂乱本身，而不寻求建立任何一种秩序时，通过拒绝所有“形式”的构图，拒绝重点的选取，在“原始的混沌”（或者是古老的“创造性火花”）中寻找秩序和有形。

...Rhythm has the power to organise not only stability and stasis but also movement and flux). Form in the process of forming rather than fully formed and finished form. But it does show a neguentropic character, therefore it is more contrary to than conforming to the general evolution, directed as it is by laws which, in a pardoxical way, tend to dictate disorder rather than order. All this suggests that it would not necessarily be incongruous to question this determination to summon up order and form from "primordial chaos" (or else the old "creative spark") at a time when many artistic practices, in all types of media, seem to be more fascinated by chaos as such, without seeking to impose any sort of order on it, by rejecting all "forms" of composition, a priori or a posteriori.

米歇尔·福柯更是如此认为，节奏在保证身体的顺从和个体的征服时，是一个主要的纪律手段（即使对那些服从现有权力结构和允许自己被主体重建的人具有双重意义）。机制又一次开始在各种各样领域里发生作用：修道院、兵营、学校、健身房、监狱、诊所、工厂、车间等等，日程表也逐渐进入工作进度和学校校历。这对规划设计视听产业是有帮助的，因为它们可以为所谓的自由时间建立一种节奏，尽管这种自由只是名义上的，其本身就出于工作和休闲之间井然有序的节奏中。而正是城市化本身才要求我们不仅要对自我空间进行防卫（这些空间不仅仅属于城市），也要对自我时间进行防卫，要求我们掌握网络波动起伏。

All the more so as, according to Michel Foucault, the rhythmic has been one of the main disciplinary operators in assuring the docility of bodies and the subjugation of individuals (even though it is in a double sense concerning those who subordinate individuals to the existing power structure and those who allow themselves to be constructed effectively as subjects). Mechanisms acting, once again, in the most varied fields of activity: monastery, barracks, school, gymnasium, prison, clinic, workshop, factory, etc. Timetables, marching in step, working pace, school calendars, etc. To which it would be helpful to add the programming of the audiovisual industry which gives a rhythm to so-called free time which is only free in name and itself proceeds from the well-regulated rhythmic alternating between working time and leisure time. And it is urbanisation itself that requires the squaring-off not only of space (all space and not only that of the city) but equally of time. Mastering the fluctuations circulating in the networks.

因此，节奏已经被降为一种调子，一种量尺，因为莽撞无礼而收敛、而精疲力尽。所有这些都在节奏--尤其是艺术中的节奏--及时到来以躲避那些掌控生理与社会韵律，节拍时间与其它预先设定好的节奏时出现。节奏既不受可观察性实验规则的决定，也不受法定规则的影响。节奏很容易在音乐或在爱情里，通过紧张-放松、收缩-舒展的独特循环，变为不规则也不受限制的东西。就像基尔斯·蒂鲁思和费利柯斯·瓜德瑞曾经指出的那样，节奏本身是不可估量的。“真正有节奏的是差异，重复不能产生节奏。不过，这种生产性重复与复制手段毫无联系。”

Thus has rhythm been reduced to cadence, metre, and keeping time, and so quietened down and emptied of its impertinence. And all this when rhythm-particularly in art-is "in time" to escape cadences which supervise biological and social cadences, metronomic time and other pre-programmed rhythms. Rhythm is neither determined by empirically observable regularities nor subject to any prescriptive rules. Rhythm can easily be irregular, not being limited, in music as in love, by the unique cycle of tension-relaxation, systole-diastole. As Gilles Deleuze and Felix Guattari have pointed out, rhythm is immeasurable as such. "It is difference which is rhythmic, and not repetition which produces it, however; but, all at once, this productive repetition had nothing to do with a reproductive measure".

与时间作为一种给定的目标，或作为感性的优先（就像康德看到的那样）不同的是，节奏是产生有生命的、而非精密计算的时间的。节奏使我们每个人的生命得以搏动。节奏是脉动，是韵律分析，是生命的拍节和振颤。

Rather than time being an objective given, or else, an a priori form of sensibility (as Kant saw it), rhythm is what generate lived, non chronometric time. Rhythm is what pulsates life in each one of us. Rhythm is pulsation, scansion, beating and trembling.

恍惚中的节奏是脱离于任何一种征服之外的，它超越了本身，是主体从他的生存环境中暂时超越自己，解放自己的方式。节奏不是静止的，是由喜悦和暂时的着迷传递的。

Rhythm, in trance phenomena, is disengaged from all subjugation, exceeding itself, and is the means by which the subject exceeds himself, liberating himself-for a time-from his environment and from himself. Not static, but transported by delight and temporal ecstasy.