Minima Moralia（选译）
选择几篇，开坑慢慢填
18 无家可归的归处
私人生活的竞技场展示了其如今尴尬境遇。恰当地说，现如今居住(dwelling)是不可能的。我们所成长的传统居所(residences)已经是难以忍受了：每个舒适的特征都以背叛知识为代价，每个庇护所的残余都有关于利益的腐朽家规。没有设计先例的现代功能型住房(habitation)，要么是设计师为庸俗者制造的生存盒子(living-cases)，要么是失足消费圈的工业用地，和住户(occupant)毫无关系：在其中，甚至对不复存在的独立生活的情怀也被送去组装。现代人希望和动物一样席地而睡，放弃床铺这醒与梦之间的门槛，一份在希特勒上台前就被定为施虐狂的德国杂志如是写道。失眠者(sleepless，或许“被夺去睡眠的人”更好？)在任何时候都随叫随到，无抵抗地准备做任何事，警醒的同时又是无意识的。任何想要在一个真正的，却是购买得到的，具有时代风格的房子(house)中寻找庇护的人，都是在为自己做防腐处理。搬入功能一应俱全的旅馆房间以企图逃避居住的责任，则迫使移民条款成为一份谨慎制定的规范。在所有地方，最可悲的是那些没有选择的人。他们即便不是在平民窟生活，也是在第二天可能会被茅草棚，拖车，汽车，营地，或者露天所取代的平房里。家已是过去。欧洲城市遭受的轰炸，劳动集中营，只是作为科技内在发展中早已决定的家的命运的先行者。这些最好现在就当过期食品罐头丢了。社会主义社会的生存方式摧毁了居住(residence)的可能性，而错过这个过程，又要削弱中产阶级生活的根基。一个人在无伦怎样锱铢必较，坚定地反对手工艺运动(arts-and-crafts)，只要对家居设计或者内部装潢有兴趣，就是在培植对手工艺作品的收集癖的鉴赏力。从长远看，维亚纳工坊和包豪斯之间的区别也不是那么明显了。已脱离本意的线条沦为纯功能性的，现在正成为和立体主义(Cubism)的基本结构一样的装饰。面对如此种种，最佳的处理模式仍看起来是未执行的，悬置的：私人生活，能够承受的就只是社会秩序以及个人需求，容不得社交上仍旧是实质性的，个体上仍旧是恰当的东西。“没成为有家的人(house-owner)甚至是我好运的一部分。”尼采在快乐的科学中如是说。现在我们要添上一笔：不在自己家是道德的一部分。只要一个人还拥有那么些财产，这就暗示了个体与其财产间的紧张关系。诀窍在于留心并表达私有财产不再属于个人这个事实，因为消费者的财产已经如此潜在地丰裕，以至于没人有权执着于限制它们的原则；而是说如果不想陷入对财产的依求——这依求服务于财产关系的永久化——人无论如何都必须拥有财产。不过这悖论也导致了毁灭，对事物必然反对人类这一状况的漠视；还有其不再能被说出的对立面，是愧疚地希望持有他们所拥有的意识形态。错的人生不能好好过（Wrong life cannot be lived rightly)。
19 不要敲门
技术让表意简单粗暴，随之人也变得如此。技术剔除行动中的犹豫，思索，与礼节。它让这些陷于矛盾冲突中，像是物质不合历史发展的强求。所以一些能力丧失了，比如静穆地轻关上门。车门和冰箱门必须砰然关上，其他的则喜欢啪得一声自动合上，那些不留心身后的人猝不及防，就被强行纳入屋内。要准确理解新人类，就要意识到他周遭的与其相关的事物，甚至是他隐秘的神经分布。对主体来说，不是平开窗，而是滑动窗，不是亲切的门闩，而是可转动的把手，没有前院，临街没台阶，花园没围墙到底意味着什么？何况有哪个司机不是仅仅被引擎的马力所诱惑，逐走诸如行人，孩子还有骑自行车的人这些所谓街道的害虫？机器的运作要求使用者已经能如法西斯般暴虐，强硬，不安地抽搐运作着。不去责备经验的消亡是因为实际上处于纯功能法则统摄下的事物，呈现出一种仅限于操作的姿态，且不能承担剩余价值，无论是在执行的自由中还是在因为尚未被消费，本可作为核心经验（神髓？）留住的自治中(autonomy)。
读后感：Adorno应该也有研究过现象学，否则他不会那么在意这些。可以拿Juhani Pallasmaa的The Eyes of the Skin做对比，你就发现建筑的现象学所挽留的正是这剩余价值，或者说事物本身的姿态，或许只有在和物恰当而和谐的共处中，人才能不遭受异化。
原文：
Do not knock.-Technology is making gestures precise and brutal, and with them men. It expels from movements all hesitation, deliberation, civility. It subjects them to the implacable, as it were ahistorical demands of objects. Thus the ability is lost, for example, to close a door quietly and discreetly, yet firmly. Those of cars and refrigerators have to be slammed, others have the tendency to snap shut by themselves, imposing on those entering the bad manners of not looking behind them, not shielding the interior of the house which receives them. The new human type cannot be properly understood without awareness of what he is continuously exposed to from the world of things about him, even in his most secret innervations. What does it mean for the subject that there are no more casement windows to open, but only sliding frames to shove, no gentle latches but turnable handles, no forecourt, no doorstep before the street, no wall around the garden? And which driver is not tempted, merely by the power of his engine, to wipe out the vermin of the street, pedestrians, children and cyclists? The movements machines demand of their users already have the violent, hard-hitting, unresting jerkiness of Fascist maltreatment. Not least to blame for the withering of experience is the fact that things, under the law of pure functionality, assume a form that limits contact with them to mere operation, and tolerates no surplus, either in freedom of conduct or in autonomy of things, which would survive as the core of experience, because it is not consumed by the moment of action.
28 景观
美国风景少有瑕疵，正如浪漫的幻想让历史性记忆缺席，正如风景本身尚未有雕琢的痕迹。这不仅是说没多少耕地，未开垦的森林常和灌木一般高，也首先是说马路。它们一向直接插入风景中，而且越是顺畅宽阔，在蛮荒葳蕤的环境中，闪耀的轨迹显得越是突兀与尖锐。它们毫无表现力。正如它们不知足迹与车辙，不知沿着它们边缘作为向植被过度的柔和小径，不知拐入幽谷的岔路，也因此它们没有那些感受过双手或趁手工具打磨后的事物适度，舒心，圆润的特质。这就像从未有人用手拂过风景的秀发。它是不安而简陋的。而且这是以一种相应的方式感受到的。在车上匆遽的目光所捕捉的不会驻留，而前后的风景皆消失得不留痕迹。
原文：
Paysage.-The shortcoming of the American landscape is not so much, as romantic illusion would have it, the absence of historical memories, as that it bears no traces of the human hand. This applies not only to the lack of arable land, the uncultivated woods often no higher than scrub, but above all to the roads. These are always inserted directly in the landscape, and the more impressively smooth and broad they are, the more unrelated and violent their gleaming track appears against its wild, overgrown surroundings. They are expressionless. Just as they know no marks of foot or wheel, no soft paths along their edges as a transition to the vegetation, no trails leading off into the valley, so they are without the mild, soothing, un-angular quality of things that have felt the touch of hands or their immediate implements. It is as if no-one had ever passed their hand over the landscape's hair. It is uncomforted and comfortless. And it is perceived in a corresponding way. For what the hurrying eye has seen merely from the car it cannot retain, and the vanishing landscape leaves no more traces behind than it bears upon itself.
译自Minima Moralia: Reflections on a Damaged Life（http://book.douban.com/subject/1449483/）
18 无家可归的归处
私人生活的竞技场展示了其如今尴尬境遇。恰当地说，现如今居住(dwelling)是不可能的。我们所成长的传统居所(residences)已经是难以忍受了：每个舒适的特征都以背叛知识为代价，每个庇护所的残余都有关于利益的腐朽家规。没有设计先例的现代功能型住房(habitation)，要么是设计师为庸俗者制造的生存盒子(living-cases)，要么是失足消费圈的工业用地，和住户(occupant)毫无关系：在其中，甚至对不复存在的独立生活的情怀也被送去组装。现代人希望和动物一样席地而睡，放弃床铺这醒与梦之间的门槛，一份在希特勒上台前就被定为施虐狂的德国杂志如是写道。失眠者(sleepless，或许“被夺去睡眠的人”更好？)在任何时候都随叫随到，无抵抗地准备做任何事，警醒的同时又是无意识的。任何想要在一个真正的，却是购买得到的，具有时代风格的房子(house)中寻找庇护的人，都是在为自己做防腐处理。搬入功能一应俱全的旅馆房间以企图逃避居住的责任，则迫使移民条款成为一份谨慎制定的规范。在所有地方，最可悲的是那些没有选择的人。他们即便不是在平民窟生活，也是在第二天可能会被茅草棚，拖车，汽车，营地，或者露天所取代的平房里。家已是过去。欧洲城市遭受的轰炸，劳动集中营，只是作为科技内在发展中早已决定的家的命运的先行者。这些最好现在就当过期食品罐头丢了。社会主义社会的生存方式摧毁了居住(residence)的可能性，而错过这个过程，又要削弱中产阶级生活的根基。一个人在无伦怎样锱铢必较，坚定地反对手工艺运动(arts-and-crafts)，只要对家居设计或者内部装潢有兴趣，就是在培植对手工艺作品的收集癖的鉴赏力。从长远看，维亚纳工坊和包豪斯之间的区别也不是那么明显了。已脱离本意的线条沦为纯功能性的，现在正成为和立体主义(Cubism)的基本结构一样的装饰。面对如此种种，最佳的处理模式仍看起来是未执行的，悬置的：私人生活，能够承受的就只是社会秩序以及个人需求，容不得社交上仍旧是实质性的，个体上仍旧是恰当的东西。“没成为有家的人(house-owner)甚至是我好运的一部分。”尼采在快乐的科学中如是说。现在我们要添上一笔：不在自己家是道德的一部分。只要一个人还拥有那么些财产，这就暗示了个体与其财产间的紧张关系。诀窍在于留心并表达私有财产不再属于个人这个事实，因为消费者的财产已经如此潜在地丰裕，以至于没人有权执着于限制它们的原则；而是说如果不想陷入对财产的依求——这依求服务于财产关系的永久化——人无论如何都必须拥有财产。不过这悖论也导致了毁灭，对事物必然反对人类这一状况的漠视；还有其不再能被说出的对立面，是愧疚地希望持有他们所拥有的意识形态。错的人生不能好好过（Wrong life cannot be lived rightly)。
19 不要敲门
技术让表意简单粗暴，随之人也变得如此。技术剔除行动中的犹豫，思索，与礼节。它让这些陷于矛盾冲突中，像是物质不合历史发展的强求。所以一些能力丧失了，比如静穆地轻关上门。车门和冰箱门必须砰然关上，其他的则喜欢啪得一声自动合上，那些不留心身后的人猝不及防，就被强行纳入屋内。要准确理解新人类，就要意识到他周遭的与其相关的事物，甚至是他隐秘的神经分布。对主体来说，不是平开窗，而是滑动窗，不是亲切的门闩，而是可转动的把手，没有前院，临街没台阶，花园没围墙到底意味着什么？何况有哪个司机不是仅仅被引擎的马力所诱惑，逐走诸如行人，孩子还有骑自行车的人这些所谓街道的害虫？机器的运作要求使用者已经能如法西斯般暴虐，强硬，不安地抽搐运作着。不去责备经验的消亡是因为实际上处于纯功能法则统摄下的事物，呈现出一种仅限于操作的姿态，且不能承担剩余价值，无论是在执行的自由中还是在因为尚未被消费，本可作为核心经验（神髓？）留住的自治中(autonomy)。
读后感：Adorno应该也有研究过现象学，否则他不会那么在意这些。可以拿Juhani Pallasmaa的The Eyes of the Skin做对比，你就发现建筑的现象学所挽留的正是这剩余价值，或者说事物本身的姿态，或许只有在和物恰当而和谐的共处中，人才能不遭受异化。
原文：
Do not knock.-Technology is making gestures precise and brutal, and with them men. It expels from movements all hesitation, deliberation, civility. It subjects them to the implacable, as it were ahistorical demands of objects. Thus the ability is lost, for example, to close a door quietly and discreetly, yet firmly. Those of cars and refrigerators have to be slammed, others have the tendency to snap shut by themselves, imposing on those entering the bad manners of not looking behind them, not shielding the interior of the house which receives them. The new human type cannot be properly understood without awareness of what he is continuously exposed to from the world of things about him, even in his most secret innervations. What does it mean for the subject that there are no more casement windows to open, but only sliding frames to shove, no gentle latches but turnable handles, no forecourt, no doorstep before the street, no wall around the garden? And which driver is not tempted, merely by the power of his engine, to wipe out the vermin of the street, pedestrians, children and cyclists? The movements machines demand of their users already have the violent, hard-hitting, unresting jerkiness of Fascist maltreatment. Not least to blame for the withering of experience is the fact that things, under the law of pure functionality, assume a form that limits contact with them to mere operation, and tolerates no surplus, either in freedom of conduct or in autonomy of things, which would survive as the core of experience, because it is not consumed by the moment of action.
28 景观
美国风景少有瑕疵，正如浪漫的幻想让历史性记忆缺席，正如风景本身尚未有雕琢的痕迹。这不仅是说没多少耕地，未开垦的森林常和灌木一般高，也首先是说马路。它们一向直接插入风景中，而且越是顺畅宽阔，在蛮荒葳蕤的环境中，闪耀的轨迹显得越是突兀与尖锐。它们毫无表现力。正如它们不知足迹与车辙，不知沿着它们边缘作为向植被过度的柔和小径，不知拐入幽谷的岔路，也因此它们没有那些感受过双手或趁手工具打磨后的事物适度，舒心，圆润的特质。这就像从未有人用手拂过风景的秀发。它是不安而简陋的。而且这是以一种相应的方式感受到的。在车上匆遽的目光所捕捉的不会驻留，而前后的风景皆消失得不留痕迹。
原文：
Paysage.-The shortcoming of the American landscape is not so much, as romantic illusion would have it, the absence of historical memories, as that it bears no traces of the human hand. This applies not only to the lack of arable land, the uncultivated woods often no higher than scrub, but above all to the roads. These are always inserted directly in the landscape, and the more impressively smooth and broad they are, the more unrelated and violent their gleaming track appears against its wild, overgrown surroundings. They are expressionless. Just as they know no marks of foot or wheel, no soft paths along their edges as a transition to the vegetation, no trails leading off into the valley, so they are without the mild, soothing, un-angular quality of things that have felt the touch of hands or their immediate implements. It is as if no-one had ever passed their hand over the landscape's hair. It is uncomforted and comfortless. And it is perceived in a corresponding way. For what the hurrying eye has seen merely from the car it cannot retain, and the vanishing landscape leaves no more traces behind than it bears upon itself.
译自Minima Moralia: Reflections on a Damaged Life（http://book.douban.com/subject/1449483/）
