【翻译】精神分析技术的基础1.2：自由漂浮注意
"Free-floating Attention" 自由漂浮注意
As soon as anyone deliberately concentrates his attention to a certain degree, he begins to select from the material before him; one point will be fixed in his mind with particular clearness and some other will be correspondingly disregarded, and in making this selection he will be following his expectations or inclinations. This, however, is precisely what must not be done. In making the selection, if he follows his expectations he is in danger of never finding anything but what he already knows. — Freud (i9i2b/i958, p. U2)
任何人只要把他的注意力聚焦到一定的程度，他就开始从他面前的材料中进行挑选；一个要点会在脑海里格外清晰的被固定住，而另一些会相应的被忽略，在做这种挑选的过程中，他会跟随自己的期待或倾向。然而，这恰好是必须不能做的。在做这种挑选的过程中，如果他跟随自己的期待，他就处在永远不会找到除了他已经知道的东西以外的任何东西的危险中。——弗洛伊德
What does the analyst listen for? This question presumes that there is something in particular that the analyst should be listening for, whereas experienced analysts generally agree that no matter what they might expect to come out in any given analysis, they are always surprised by what they find. Freud (1912b/1958, p. 111) rightly recommended that we approach each new case as though it were our first, in the sense that we should presume nothing about what will transpire, employing "evenly-suspended attention," also known as "evenly hovering attention" or "free-floating attention," so that we will be able to hear whatever appears in the analysand's "free associations." "Free-floating attention" is what allows us to hear what is new and different in what the analysand says—as opposed to simply hearing what we want to hear or expect in advance to hear. We cultivate the practice of such attention (which is not at all easy to sustain) as part of our attempt to recognize the otherness of the other, the other's differences from ourselves.13
分析师为什么而倾听？这个问题预设了有某种特别的东西是分析师应该为之倾听的，然而有经验的分析师通常赞同的是，在任何分析中，不管他们会期待有什么会冒出来，他们总是会为自己所发现的东西感到吃惊。弗洛伊德恰当地推荐，我们要以那是我们的第一次一样去处理每个新的案例，我们应该不要假定有什么是会发生的，而是使用“均匀悬浮注意”，也被知晓为“均匀悬停注意”或“自由漂浮注意”，因此我们将能够听到分析者的“自由联想”中出现的任何东西。“自由漂浮注意”允许我们听到在分析者所说的东西里面什么是新的和不同的——这和简单地听我们想要听到或预期要听到的恰好相反。我们练习这种注意（这种注意很不容易维持），作为我们识别他人的他者性，识别他人与我们自己的不同之处的企图的一部分。
But what exactly is "free-floating attention"? lti s not a kind of attentiveness that latches on to one particular statement the analysand makes and—in the attempt to etch it in one's mind, think it through, or connect it to other things— misses the analysand's next statement. lt is rather an attentiveness that floats from point to point, from statement to statement, without necessarily trying to draw any conclusions from them, interpret them, put them all together, or sum them all up. It is an attentiveness that grasps at least one level of meaning and yet hears all the words and the way they are pronounced as well, including speed, volume, tone, affect, stumbling, hesitation, and so on.
但是到底什么是“自由漂浮注意”呢？这不是指专注于抓住分析者做出的陈述中的一个要点，以及——铭记在脑海里，把它想通，或与其他事物相联系的意图——错过分析者的下一个陈述。而是一种专注在从一个点到另一点，从一个陈述到另一个陈述的漂浮，而不用试图抓住由之而来的任何推论、解释、整合或总结。这是一种至少抓住一个水平的意义的专注，再听到所有的话及其被讲出来的方式，包括速度、音量、语气、感情、停顿、犹豫等等
Lacan (2006) ironized about certain analysts' search for a third ear (above all, Theodor Reik),, with which to presumably hear an occult meaning, a meaning beyond the meanings that can already be found in the analysand's speech:
But what need can an analyst have for an extra ear, when it sometimes seems that two are already too many, since he runs headlong into the fundamental misunderstanding brought on by the relationship of understanding? I repeatedly tell my students: "Don't try to understandl" . . . May one of your ears become as deaf as the other one must be acute. And that is the one that you should lend to listen for sounds and phonemes, words, locutions, and sentences, not forgetting pauses, scansions, cuts, periods, and parallelisms. (p. 471)
拉康讽刺某类分析师对第三只耳朵的研究（尤其是Theodor Reik），假定用来听到一个难以理解的意义，一个超出已经能在分析者的言说中被找到的意义的意义：
但是一个分析师对一个额外的耳朵有什么需要呢，当有时似乎是两个耳朵就已经过多了的时候，因为他轻率地奔向由理解关系而产生的根本上的误解？我一再告诉我的学生们：“不要试图理解”……如果你们的一只耳朵变得像另一只一样聋，这肯定是很严重的。那是那个你应该借来倾听声音以及音素、词、惯用语、句子的耳朵，也不要忘掉停顿、韵律、切口、句号和并行。（P471）
Lacan's point here is that when the analyst becomes obsessed with understanding the meaning that the analysand is consciously trying to convey, with following all the intricacies of the story he is telling, she often fails to listen to the way in which the analysand conveys what he says—to the words and expressions he uses and to his slips and slurs. Better to plug up the ear that listens only for meaning, he suggests, than to render the ear that listens to speech itself superfluous by adding a third one. When, for example, the analysand begins a sentence with "on the one hand," we can be pretty sure he has another "hand" in mind; yet by the time the first "hand" is laid out, he may well have forgotten the second "hand," in which case he is likely to say, "Well anyway," and blithely turn to something else. The analyst must not, however, take it so lightly: What, indeed, was that other hand? lts importance derives from the very fact that it has been (at least momentarily) forgotten.
拉康在这儿的观点是，当分析师变得纠缠在理解分析者意识上试图传达的意义，沉迷于跟随他正在讲述的故事的一切错综复杂上，她经常无法倾听分析者传达自己想要说的东西的方式——他使用的词和表情，以及他的口误和连音。他建议，最好堵住只听意义的耳朵，竖起那只听言说本身的耳朵，加上一个第三只耳朵是多余的。例如，当分析者用“一方面”作为句子的开头的时候，我们能非常确信他心里还有另一个“方面”；然而在第一个“方面”讲完了之后，他可能已经忘掉了第二个“方面”，在其中他可能会讲“好，不管怎么说”，就愉快的转向了其他事。然而，分析师一定不要掉以轻心：那另一方面是什么呢？从这个（至少是暂时的）已经被忘掉的事实中可得出的它的重要性。
Getting caught up in the story being told is one of the biggest traps for new analysts and, not surprisingly, they get most easily caught up in the story the closer it seems to their own interests or the more closely it seems to concern or reflect upon them as individuals or clinicians. What is most important to the analysand, especially at the beginning of the analysis, is that the analyst—like anyone else he talks to in other walks of life—grasp his point, the conceptual point he is trying to make. He rarely begins analysis with the explicit hope that the analyst will hear something in what he is saying that is different than the point he is consciously trying to get across. The analyst, on the other hand, must wean herself from listening in the conventional way and realize that it is often of far less importance to understand the story or point than it is to hear the way in which it is delivered.
被正在讲述的故事给缠住对新手分析师来说是最大的陷阱之一，不出意料地，他们最容易被更接近他们自己的兴趣的故事，或更贴近似乎关乎或反射他们作为个体或临床医生的故事给吸引住。对分析者最重要的是，特别是在分析的刚开始，是分析师——像任何他与之交谈的各行各业的人一样——抓住了他的要点－－他正试着作出的概念上的要点。他很少是带着明确的希望来开始分析的——希望分析师会听到他正在说的东西中，有某些不同于他在意识层面上试图得到理解的要点的东西。另一方面，分析师必须让自己放弃以一种传统的方式倾听，并且意识到，理解故事或要点经常远不如比听到它们被传递的方式更重要。
Free-floating attention is a practice—indeed, a discipline—designed to teach us to hear without understanding. Apart from the fact that understanding generally tends to bring the analyst herself front and center, introducing a plethora of imaginary phenomena (for example, comparing herself to the analysand and worrying about her self-image as reflected back by the analysand's speech, as I indicated earlier), there is often precious little that could be understood anyway in the analysand's discourse. Why is that?
自由漂浮注意是一种练习——确实，一种训练——被设计出来教我们不带理解的去听。除了这种事实——理解通常倾向于把分析师自己带到前面和中心，引入一种想象的现象的过剩（例如，把她自己和分析者相比较，担忧由分析者的言说反射回来的她的自我形象，正如我早些时候表明的那样），在分析者的言说中以任何方式能够被理解的东西经常是相当的少的，为什么呢？
注释：
13 Free-floating (or evenly hovering) attention is, as Freud (1912b/1958, p. 112) said and Lacan (2006, p. 471) reiterated, supposed to be the analyst's counterpart to the analysand's "free association." Yet one of the first things one notices as a practitioner is that the analysand's associations seem to be anything but free. The analysand finds himself obliged to dance circles around certain topics rather than go directly toward them, or to veer away from them altogether when the memories and thoughts associated with them are overly charged.
13.自由漂浮（或均匀悬浮）注意，正如弗洛伊德所言以及拉康反复所说的，应该是分析师的与分析者的“自由联想”的相应物。然而作为一个从业者要注意的首要的事情之一是，分析者的联想似乎是除了自由以外的任何东西。分析者发现他自己被迫围绕着某个主题转圈，而不是直接指向它们，或者当与之相联系的回忆和想法负载过度的时候，完全从它们那儿转向别处。
As soon as anyone deliberately concentrates his attention to a certain degree, he begins to select from the material before him; one point will be fixed in his mind with particular clearness and some other will be correspondingly disregarded, and in making this selection he will be following his expectations or inclinations. This, however, is precisely what must not be done. In making the selection, if he follows his expectations he is in danger of never finding anything but what he already knows. — Freud (i9i2b/i958, p. U2)
任何人只要把他的注意力聚焦到一定的程度，他就开始从他面前的材料中进行挑选；一个要点会在脑海里格外清晰的被固定住，而另一些会相应的被忽略，在做这种挑选的过程中，他会跟随自己的期待或倾向。然而，这恰好是必须不能做的。在做这种挑选的过程中，如果他跟随自己的期待，他就处在永远不会找到除了他已经知道的东西以外的任何东西的危险中。——弗洛伊德
What does the analyst listen for? This question presumes that there is something in particular that the analyst should be listening for, whereas experienced analysts generally agree that no matter what they might expect to come out in any given analysis, they are always surprised by what they find. Freud (1912b/1958, p. 111) rightly recommended that we approach each new case as though it were our first, in the sense that we should presume nothing about what will transpire, employing "evenly-suspended attention," also known as "evenly hovering attention" or "free-floating attention," so that we will be able to hear whatever appears in the analysand's "free associations." "Free-floating attention" is what allows us to hear what is new and different in what the analysand says—as opposed to simply hearing what we want to hear or expect in advance to hear. We cultivate the practice of such attention (which is not at all easy to sustain) as part of our attempt to recognize the otherness of the other, the other's differences from ourselves.13
分析师为什么而倾听？这个问题预设了有某种特别的东西是分析师应该为之倾听的，然而有经验的分析师通常赞同的是，在任何分析中，不管他们会期待有什么会冒出来，他们总是会为自己所发现的东西感到吃惊。弗洛伊德恰当地推荐，我们要以那是我们的第一次一样去处理每个新的案例，我们应该不要假定有什么是会发生的，而是使用“均匀悬浮注意”，也被知晓为“均匀悬停注意”或“自由漂浮注意”，因此我们将能够听到分析者的“自由联想”中出现的任何东西。“自由漂浮注意”允许我们听到在分析者所说的东西里面什么是新的和不同的——这和简单地听我们想要听到或预期要听到的恰好相反。我们练习这种注意（这种注意很不容易维持），作为我们识别他人的他者性，识别他人与我们自己的不同之处的企图的一部分。
But what exactly is "free-floating attention"? lti s not a kind of attentiveness that latches on to one particular statement the analysand makes and—in the attempt to etch it in one's mind, think it through, or connect it to other things— misses the analysand's next statement. lt is rather an attentiveness that floats from point to point, from statement to statement, without necessarily trying to draw any conclusions from them, interpret them, put them all together, or sum them all up. It is an attentiveness that grasps at least one level of meaning and yet hears all the words and the way they are pronounced as well, including speed, volume, tone, affect, stumbling, hesitation, and so on.
但是到底什么是“自由漂浮注意”呢？这不是指专注于抓住分析者做出的陈述中的一个要点，以及——铭记在脑海里，把它想通，或与其他事物相联系的意图——错过分析者的下一个陈述。而是一种专注在从一个点到另一点，从一个陈述到另一个陈述的漂浮，而不用试图抓住由之而来的任何推论、解释、整合或总结。这是一种至少抓住一个水平的意义的专注，再听到所有的话及其被讲出来的方式，包括速度、音量、语气、感情、停顿、犹豫等等
Lacan (2006) ironized about certain analysts' search for a third ear (above all, Theodor Reik),, with which to presumably hear an occult meaning, a meaning beyond the meanings that can already be found in the analysand's speech:
But what need can an analyst have for an extra ear, when it sometimes seems that two are already too many, since he runs headlong into the fundamental misunderstanding brought on by the relationship of understanding? I repeatedly tell my students: "Don't try to understandl" . . . May one of your ears become as deaf as the other one must be acute. And that is the one that you should lend to listen for sounds and phonemes, words, locutions, and sentences, not forgetting pauses, scansions, cuts, periods, and parallelisms. (p. 471)
拉康讽刺某类分析师对第三只耳朵的研究（尤其是Theodor Reik），假定用来听到一个难以理解的意义，一个超出已经能在分析者的言说中被找到的意义的意义：
但是一个分析师对一个额外的耳朵有什么需要呢，当有时似乎是两个耳朵就已经过多了的时候，因为他轻率地奔向由理解关系而产生的根本上的误解？我一再告诉我的学生们：“不要试图理解”……如果你们的一只耳朵变得像另一只一样聋，这肯定是很严重的。那是那个你应该借来倾听声音以及音素、词、惯用语、句子的耳朵，也不要忘掉停顿、韵律、切口、句号和并行。（P471）
Lacan's point here is that when the analyst becomes obsessed with understanding the meaning that the analysand is consciously trying to convey, with following all the intricacies of the story he is telling, she often fails to listen to the way in which the analysand conveys what he says—to the words and expressions he uses and to his slips and slurs. Better to plug up the ear that listens only for meaning, he suggests, than to render the ear that listens to speech itself superfluous by adding a third one. When, for example, the analysand begins a sentence with "on the one hand," we can be pretty sure he has another "hand" in mind; yet by the time the first "hand" is laid out, he may well have forgotten the second "hand," in which case he is likely to say, "Well anyway," and blithely turn to something else. The analyst must not, however, take it so lightly: What, indeed, was that other hand? lts importance derives from the very fact that it has been (at least momentarily) forgotten.
拉康在这儿的观点是，当分析师变得纠缠在理解分析者意识上试图传达的意义，沉迷于跟随他正在讲述的故事的一切错综复杂上，她经常无法倾听分析者传达自己想要说的东西的方式——他使用的词和表情，以及他的口误和连音。他建议，最好堵住只听意义的耳朵，竖起那只听言说本身的耳朵，加上一个第三只耳朵是多余的。例如，当分析者用“一方面”作为句子的开头的时候，我们能非常确信他心里还有另一个“方面”；然而在第一个“方面”讲完了之后，他可能已经忘掉了第二个“方面”，在其中他可能会讲“好，不管怎么说”，就愉快的转向了其他事。然而，分析师一定不要掉以轻心：那另一方面是什么呢？从这个（至少是暂时的）已经被忘掉的事实中可得出的它的重要性。
Getting caught up in the story being told is one of the biggest traps for new analysts and, not surprisingly, they get most easily caught up in the story the closer it seems to their own interests or the more closely it seems to concern or reflect upon them as individuals or clinicians. What is most important to the analysand, especially at the beginning of the analysis, is that the analyst—like anyone else he talks to in other walks of life—grasp his point, the conceptual point he is trying to make. He rarely begins analysis with the explicit hope that the analyst will hear something in what he is saying that is different than the point he is consciously trying to get across. The analyst, on the other hand, must wean herself from listening in the conventional way and realize that it is often of far less importance to understand the story or point than it is to hear the way in which it is delivered.
被正在讲述的故事给缠住对新手分析师来说是最大的陷阱之一，不出意料地，他们最容易被更接近他们自己的兴趣的故事，或更贴近似乎关乎或反射他们作为个体或临床医生的故事给吸引住。对分析者最重要的是，特别是在分析的刚开始，是分析师——像任何他与之交谈的各行各业的人一样——抓住了他的要点－－他正试着作出的概念上的要点。他很少是带着明确的希望来开始分析的——希望分析师会听到他正在说的东西中，有某些不同于他在意识层面上试图得到理解的要点的东西。另一方面，分析师必须让自己放弃以一种传统的方式倾听，并且意识到，理解故事或要点经常远不如比听到它们被传递的方式更重要。
Free-floating attention is a practice—indeed, a discipline—designed to teach us to hear without understanding. Apart from the fact that understanding generally tends to bring the analyst herself front and center, introducing a plethora of imaginary phenomena (for example, comparing herself to the analysand and worrying about her self-image as reflected back by the analysand's speech, as I indicated earlier), there is often precious little that could be understood anyway in the analysand's discourse. Why is that?
自由漂浮注意是一种练习——确实，一种训练——被设计出来教我们不带理解的去听。除了这种事实——理解通常倾向于把分析师自己带到前面和中心，引入一种想象的现象的过剩（例如，把她自己和分析者相比较，担忧由分析者的言说反射回来的她的自我形象，正如我早些时候表明的那样），在分析者的言说中以任何方式能够被理解的东西经常是相当的少的，为什么呢？
注释：
13 Free-floating (or evenly hovering) attention is, as Freud (1912b/1958, p. 112) said and Lacan (2006, p. 471) reiterated, supposed to be the analyst's counterpart to the analysand's "free association." Yet one of the first things one notices as a practitioner is that the analysand's associations seem to be anything but free. The analysand finds himself obliged to dance circles around certain topics rather than go directly toward them, or to veer away from them altogether when the memories and thoughts associated with them are overly charged.
13.自由漂浮（或均匀悬浮）注意，正如弗洛伊德所言以及拉康反复所说的，应该是分析师的与分析者的“自由联想”的相应物。然而作为一个从业者要注意的首要的事情之一是，分析者的联想似乎是除了自由以外的任何东西。分析者发现他自己被迫围绕着某个主题转圈，而不是直接指向它们，或者当与之相联系的回忆和想法负载过度的时候，完全从它们那儿转向别处。
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