唯物主义的精神病学10

唯物主义的精神病学10 When in the course of our discussion above， we laid down the broad outlines of a parallelism between social production and desiring-production，in order to show that in both cases there is a strong tendency on the part of the forces of antiproduction to operate retroactively on productive forms and appropriate them, this parallelism was in no way meant as an exhaustive description of the relationship between the two systems of production. 在上述讨论的过程中，我们制定了社会生产和欲望—机器之间的平行关系的大致轮廓, 为了展示在两个例子中都存在一种强烈的倾向，在反生产的力量的部分一边，反向地操作生产形式并侵占它们，这种平行的关联决不意味着作为一种对两种生产系统之间的关系的详尽描述。It merely enables us to point to certain phenomena having to do with the difference in regime between them.它仅仅使我们能够指出某种的现象，必须在制度中处理它们之间差异。In the first place, technical machines obviously work only if they are not out of order; they ordinarily stop working not because they break down but because they wear out. 首先，技术机器公开地运作，仅仅当它们没有发生故障；通常情况下，它们停止工作不是因为崩溃而且因为它们磨损了。Marx makes use of this simple principle to show that the regime of technical machines is characterized by a strict distinction between the means of production and the product;马克思利用这个简单的原则展示技术机器的制度的特点是生产方式和产品之间的严格区分。thanks to this distinction, the machine transmits value to the product, but only the value that the machine itself loses as it wears out. 多亏这种区分，机器将价值传输给产品，不过只是机器自身随损耗而遗失的价值。Desiring-machines, on the contrary, continually break down as they run, and in fact run only when they are not functioning properly: 相反，欲望—机器在他们运转时不断崩溃，而且事实上，只当他们不能正常工作的时候才运转。the product is always an offshoot of production, implanting itself upon it like a graft, and at the same time the parts of the machine are the fuel that makes it run.这种产品通常只是生产的衍生物，将它自身种植在它上面，就像一种嫁接，同时，机器的这部分是使它运转的燃料。 Art often takes advantage of this property of desiring-machines by creating veritable group fantasies in which desiring-production is used to short-circuit social production, and to interfere with the reproductive function of technical machines by introducing an element of dysfunction. Arman's charred violins, for instance, or Cesar's compressed car bodies. 他们经常利用欲望—机器的财富，凭借创造货真价实的团体幻想，在其中欲望——生产被用来使社会生产短路，并且通过引入功能紊乱的元素干扰技术机器的再生产性功能。例如，阿曼的烧焦的小提琴，塞萨尔的压缩车身。More generally, Dali's method of critical paranoia assures the explosion of a desiring-machine within an object of social production. 更一般地，达利批判的偏执狂方法确保了一种欲望机器在社会生产的客体中的激增。But even earlier, Ravel preferred to throw his inventions entirely out of gear rather than let them simply run down, and chose to end his compositions with abrupt breaks, hesitations, tremolos, discordant notes, and unresolved chords, rather than allowing them to slowly wind down to a close or gradually die away into silence。但是更早的时候，拉威尔.更喜欢使它的发明物整个地不能工作，而不只是使它变弱，而且选择结束它的创作，随着突然的中断，犹豫，颤音，不协调的音符，以及未解决的和弦，而不是允许它们缓慢减弱至结束或渐渐平息至宁静。The artist is the master of objects; 这个艺术家是客体的主人；he puts before us shattered, burned, broken-down objects, converting them to the regime of desiring-machines, breaking down is part of the very functioning of desiring-machines; 他将破碎的，灼烧的，无用的客体放在我们面前，将它们转变成欲望—机器的体制，故障是欲望机器的功能的一部分。the artist presents paranoiac machines, miraculating-machines, and celibate machines as so many technical machines, so as to cause desiring-machines to undermine technical machines. 艺术家将偏执狂机器，神化机器，和独身机器呈现为众多的技术机器，以便使欲望机器停止损害技术机器。Even more important, the work of art is itself a desiring-machine.更重要的是， 艺术的工作本身就是欲望—机器。The artist stores up his treasures so as to create an immediate explosion, and that is why, to his way of thinking,destructions can never take place as rapidly as they ought to.艺术家收藏它的珍品以便于创造一种即刻的爆发，而且这是为什么，就他的思考的方式而言，毁坏永远不可能像它们应该发生的那样迅速地发生。