What do we gain from straining to decipher a language at the edge of our understanding? In struggling to find the right word to say? Continuous Wave (2019), Emily Mast’s project for the RU.in.ART lounge at Frieze Los Angeles — floats these questions like bubbles, offering brief moments of reflection and connection. - 在我们理解的边缘，通过努力去破译一种语言，我们能得到什么？在努力寻找合适的词语时？连续波（2019年），艾米丽·马斯特为洛杉矶中楣的Ru.in.Art酒廊设计的项目——像气泡一样漂浮着这些问题，提供短暂的思考和联系时刻。
Literature
18 篇
I saw my first Robert Morris sculpture eight years ago, around the time I moved to New York. I had recently finished with school and the city was already upending my life. I didn’t know who I was or who I wanted to be. Every object and surface, face and friendship trembled with possibility. Contact with anything or anyone threatened to utterly transform me. This was worrisome. How could I change if I didn’t quite know myself? The Morris sculpture – pinned to a wall in a stranger’s apartment in Chelsea – was grey, velvety, untitled, its date unknown to me; it hung alongside other huge, expensive sculptures and paintings, mostly by artists whose names I recognized from museums. This was not a home where I had ever expected to have dinner, but a friend of a friend was house sitting, so I was invited over for noodles. - 八年前，当我搬到纽约的时候，我看到了我的第一尊罗伯特·莫里斯雕塑。我最近完成了学业，这个城市已经改变了我的生活。我不知道我是谁，也不知道我想成为谁。每一个物体和表面、面孔和友谊都因可能性而颤抖。接触任何威胁要彻底改变我的人或事。这令人担忧。如果我对自己不太了解，我怎么能改变呢？莫里斯雕塑——钉在切尔西一个陌生公寓的墙上——是灰色的、天鹅绒般的、无标题的，它的年代对我来说是未知的；它和其他巨大的、昂贵的雕塑和绘画一起悬挂，大多数是由我从博物馆里认出的艺术家创作的。这不是我原本想吃晚饭的家，但是朋友的一个朋友在家里坐着，所以我被邀请过来吃面条。
Considerations of time and speculative worlds kept coming up this year. Carlo Rovelli’s The Order of Time (Allen Lane) helped in my latest effort to understand entropy, and the meaning of time past, present and future in any story that we may try to tell. With chapter titles like ‘The Inadequacy of Grammar’ and ‘The Scent of Madeleine’, Rovelli presents the science with welcome literary and stylistic clarity. In Richard Powers’ arboreal novel, The Overstory, shortlisted for this year’s Booker Prize, Neelay Mehta dedicates his life to a project of world-building and ‘raising decaying corpses’. Neelay is a computer programmer whose simulations grow into full-blown Earth simulacra that will allow future humans to experience the prelapsarian natural world – before it was so blithely destroyed by our species. - 对时间和投机世界的考虑今年不断出现。卡洛·罗维利的《时间秩序》(艾伦·莱恩)帮助我最近努力理解熵，以及过去时间、现在时间以及未来时间在我们试图讲述的任何故事中的意义。罗维利以“语法的不足”和“玛德琳的气息”这样的章节标题向人们展示了科学，在文学和文体上都非常清晰。在理查德·鲍尔斯（Richard Powers）的《树栖小说》中，今年布克奖（Booker Prize）的入围者，尼尔·梅塔（Neelay Mehta）把他的一生献给了一个建设世界和“养育腐烂的尸体”的项目。Neelay是一个计算机程序员，他的模拟成长为成熟的地球模拟，这将允许未来人类体验先天自然世界——在它被我们物种如此快乐地摧毁之前。
Stan Lee’s comic book universe; Cerith Wyn Evans on complexity; and is the art world really just about the money? - 斯坦李的漫画书《宇宙》；Cerith Wyn Evans论复杂性；艺术世界真的只是钱吗？
In further news: Italian government cracks down on art crime; and screening live arts performances fails to diversify audiences - 另辟蹊径：意大利政府严厉打击艺术犯罪，现场放映艺术表演未能使观众多样化 ；
In the postcolonial study of Asia and the non-Western world, the act of comparison has usually meant using Euro-American standards to judge non-Euro-American cultures. In the academic realm of literary studies, this has translated into questions such as: does China have the epic? Does India or Japan have the novel? Does Korea have science fiction? These enquiries echo earlier European views that cultures in Asia and Africa have no history, philosophy, religion or literature to speak of. We are now at some distance from such ethnocentric views but the longterm effects of their comparative assertions remain influential. - 在亚洲和非西方世界的后殖民研究中，比较行为通常意味着使用欧美标准来评判非欧美文化。在文学研究的学术领域，这一问题转化为：中国有史诗吗？印度或日本有这部小说吗？韩国有科幻小说吗？这些调查反映了早期欧洲人的观点，即亚洲和非洲的文化没有历史、哲学、宗教或文学可言。我们现在与这种以种族为中心的观点相去甚远，但他们比较论断的长期影响仍然存在。
Forty years ago, Edward Said’s Orientalism emerged as a cry in the critical wilderness, an elegant j’accuse skewering the essentialization of the East, from Aeschylus to Karl Marx. Syrupy romantics, military strategists, scholars and gonzo explorers trudged through Said’s thrilling history, all of them implicated in a vast network of interests invested in describing, taming and, finally, bringing into being the very notion of ‘the Orient’ as we know it. ‘The East is a career,’ read one of the book’s epigraphs – the words of the 19th-century British Prime Minister Benjamin Disraeli. - 四十年前，爱德华·赛义德的东方主义在批判的荒野中以一种优雅的控诉歪曲了东方的本质化，从埃斯库罗斯到卡尔·马克思。糖浆般的浪漫主义者、军事战略家、学者和刚俑探险家在赛义德令人激动的历史中跋涉，所有这些都牵涉到一个巨大的兴趣网络中，这个兴趣网络投资于描述、驯服，最后，形成了我们所知道的“东方”的概念。“东方是一个事业，”书中的一段铭文——19世纪英国首相本杰明·迪斯雷利（Benjamin Disraeli）的话中写道。
The origin tale of modern Singapore cultivates the image of a gleaming city rising from the wilderness – most recently rehashed in a certain hit film that makes a glib reference to the island being nothing but ‘jungle and pig farms’ before Chinese immigrants arrived, clearing the landscape and making themselves ‘crazy rich’ in the process. In this story, tigers are the antagonist, a feral threat it was impossible to eliminate completely: Singapore is an island, and tigers are excellent swimmers. As late as 1869, Alfred Russel Wallace wrote, in The Malay Archipelago, that ‘there are always a few tigers roaming about Singapore, and they kill, on average, a Chinaman every day’. - 现代新加坡的起源故事塑造了一个从荒野中崛起的闪闪发光的城市形象——最近在一部热门电影中重新演绎，这部电影巧妙地提到了在中国移民到来之前，这个岛除了“丛林和养猪场”之外别无他物。在这个过程中，让自己变得“疯狂富”。在这个故事中，老虎是敌人，一个无法完全消除的凶猛威胁：新加坡是一个岛屿，老虎是优秀的游泳运动员。早在1869年，阿尔弗雷德·拉塞尔·华莱士（Alfred Russel Wallace）在《马来群岛》（The Malay Archipelago）中就写道：“在新加坡到处游荡的老虎总是不多，平均每天会杀死一个中国人。”
In the Australian art world, ‘decolonization’ has become a buzzword in academia, galleries and museums, yet our Aboriginal and Torres Strait Islander artists have been calling for decolonization and asserting sovereignty for decades. The process of decolonization requires ongoing work and our peoples have created generational legacies of storytelling about surviving colonization through art, theatre, literature and community activism. Sovereignty is central to the identity and well-being of Indigenous peoples in our fight for justice. The arts are an accessible and engaging way of discussing these complex issues in a country where white colonial and patriarchal narratives dominate public spaces. In recent years, a social-media revolution has been mobilized by Indigenous scholars, artists and activists who descend from a lineage of Aboriginal resistance through letter- and petition-writing. There is also an emerging Aboriginal podcast culture: Wild Black Women, for example – hosted by the academic Dr Chelsea Bond and the comedy writer Angelina Hurley – is a sharply funny and politically astute programme that takes racism, whiteness and the patriarchy to task. - 在澳大利亚艺术界，“非殖民化”已经成为学术界、美术馆和博物馆的一个时髦词，然而几十年来，我们的土著和托雷斯海峡岛民艺术家们一直呼吁非殖民化和维护主权。非殖民化进程需要不断努力，我们各国人民通过艺术、戏剧、文学和社区活动创造了一代又一代的传奇故事，讲述殖民地幸存下来的故事。主权是我们争取正义的原住民的身份和福祉的核心。在一个白人殖民主义和父权主义叙事占据公共空间的国家，艺术是讨论这些复杂问题的一种容易接近和吸引人的方式。近年来，土著学者、艺术家和活动家发动了一场社会媒体革命，他们通过写信和请愿书从土著反抗血统中脱颖而出。还有一个正在兴起的原住民播客文化：例如，由学术界切尔西·邦德博士和喜剧作家安吉丽娜·赫利主持的《野生黑人妇女》就是一个非常有趣和政治精明的节目，它以种族主义、白人和父权制为任务。