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2022.05.16
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ajla yi✎
ajla yi艺术家，ta偶尔在泰晤士河南岸和电脑之间选择创作
An artist who occasionally chooses to work between the south bank of the Thames and a computer
[8个，相对独立的句子] 1. 公开的苦刑是权力关系剧场性质的演示。 2. 权力关系不是自上而下的，而是相对的，流通性的，无处不在的。 3. 社会性和制度性的权力关系是相对固定的。 4. 剧场是展示虚构的方式之一。 5. 虚构和创造力息息相关。 6. 剧场指，但不限于：在特定场域下发生的游戏（play）。 7. 苦刑的唯一应存在地是剧场。 8. 创造力是驱使权力关系重新分配的动力之一。
[3个，作者要求你接受的结论] 1. 在虚构中重新演绎的苦刑能赋予权力关系某种流动性。 2. 重新演绎的苦刑是唯一可存在的苦刑。 3. 将重新演绎后的苦刑常态化，是重新分配权力关系的社会性练习
[Eight relatively independent sentences] 1. Public torture is the theatrical demonstration of power relations. 2. Power relations are not top-down, but relative, fluid, all-pervasive. 3. Social and institutional power relations are relatively fixed. 4. Theater is one way of presenting fiction. 5. Fiction and creativity are intimately linked. 6. Theater refers to but is not limited to a game or play that takes place in a specific arena. 7. Torture should exist only in the theater. 8. Creativity is one of the driving forces behind the redistribution of power relations. [Three conclusions the author asks you to accept] 1. Torture reenacted in fiction can imbue power relations with a certain fluidity. 2. Reenactments of torture are the only torture that can exist. 3. Normalizing the reenactment of torture is a social exercise in the redistribution of power relations.