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40多年来，法国哲学家、希腊学学家和汉学家朱利安（François Jullien），运用了中国语言的思想资源，重新审思并拓展欧洲思想。迄今，他出版了40多本论着，这些书已被译成25种语言。他所建构的哲思概念已在法国、欧洲以及欧洲域外产生影响，不仅在思想领域，也在其他领域：艺术创作、企业管理、精神分析等等……引发了众多回响。

　　本书DE-COINCIDENCE《去相合》是他众多哲学思想中的一个关键词。此书含有英文翻译版及法文原版。

　　De-coincidence
　　Where Art and Existence Come From

　　Two edges of the painting, along an oblique line, are unpainted (see the small painting done by a young Picasso in Barcelona). There are works of classical painting with areas left unpainted, but in this case the whole painting seems offset from its medium: it no longer coincides with the medium in the primary—geometric—sense of the term, where lines or surfaces align exactly when superimposed. In this painting we can detect a new possibility—as yet only hinted at—that begins to sap the whole edifice of what had come before in painting. The close-fitting adjunction, familiar and adequated, is undone, and in the undoing something unexpected and unthought-of surreptitiously emerges and comes to be. Such is the power of de-coincidence to unfurl.

　　Artists ever since have been methodically applying themselves to the enterprise of de-coincidence. They have striven to undo the capacity for coincidence that lies at the core of art’s previous apparatus—and specifically of representation (the observance of shapes and proportions as well as the demands of perspective, the reproduction of colors, and anything that produces resemblance), which they denounce as an illusion. The purpose of the enterprise, however, is not merely to establish a rupture with the past, to break free from constraints and norms, to mark out deviance or assert dissent—i.e., to denounce an adequation that smacks of conformity. As a concept de-coincidence goes back further, to the origin of the écart that made modernity and elucidates it in its principle. This while demonstrating that "coinciding" (entering into complete adequation), although it satisfy and perhaps even amount to an exploit, is not viable and, at bottom, lacks exigency: it is at once fake and sterile. Thus de-coinciding
　　returns our attention to, and legitimizes, the other meaning of coincidence: that of the purely adventitious encounter ("sheer coincidence"), the encounter with no apparent justification. In the play (jeu) of this single term’s opposite meanings—the fortuitous or the adequated, the accidental or the adapted—can we not discern the very possibility, the more primal possibility, from which art and existence come to us?

　　De-coincidence undoes the enterprise of coincidence on which classical art rests (did perhaps the great painters of the past not have a secret sense of such a de-coincidence and its exigencies?), but a parallel de-coincidence just as thoroughly undoes the ontological enterprise that establishes truth as adequation (between "thing" and "mind"). Or, indeed, undoes the moral of wisdom: living "in conformity with nature." Modernity founds itself on this new suspicion that there is no "nature" or Being to serve as possible substructure and foundational order anymore. To de-coincide, however, is to open an écart with respect to a congruity that brooks no further latitude or initiative; it is to extricate oneself from an order that, in its fulfillment, inhibits its possibles and sterilizes. Coincidence is death. To coincide is to bog down, whereas to de-coincide is to promouvoir (elevate and valorize) and dégager (extricate, extend, and develop).

　　What elevated (s’est promu) as "man" had already de-coincided with previous animal forms (with other "hominids") by introducing an écart with respect to their preceding adaptation (by "ex-aptation," one might say). Whereas coinciding buries the possibility of consciousness, it is, on the contrary, by de-coinciding that consciousness can, by dis-adhering, break free and unfurl its capacity. (Zen too makes use of this effect.) Or, in still other words, the subject elevates by de-coinciding with its integration in a world. If to ex-ist is precisely to "opt to remain outside," then what one remains outside of is, first of all, the coincidence that constitutes the world. It is because they have been exiled from the perfect coincidence of terrestrial paradise that Adam and Eve can begin to exist as subjects and gain access to a History. If "man alone ex-ists," he does so insofar as he can de-coincide with the world and thereby introduce a margin of initiative or liberty. This de-coincidence is something art is duty-bound not so much to express as to activate.

　　「去相合」艺术与畅活从何而来

　　在两边上，随着一条不明显的线，这张图并没画（请看年轻的毕卡索在巴塞隆纳所画的那张小图）。在欧洲以前的绘画当中已经有画家留下没画的部分。然而这一次，整幅图画相较于它的画布，显得有落差：因为按照相合最初的——几何——定义，线条或者表面是完全恰合的，但是这图画不再与画布相合了（ne coïncide plus）。此处就还相当含蓄地透露了一种新的可能性，使之前的整座绘画建筑物开始衰弱：期待中的合宜衔接被拆解了，某种没构想的意料之外的东西含蓄地涌现而存在。这就是「去相合」（dé-coïncidence）要开展的大能。

　　艺术家自此之后就坚持地实践「去相合」。他们致力拆解「相合」力（coïncidence），这种相合力之前是艺术构作的核心，而首先就拆解「再现」的构作之相合力，揭发「再现」的构作是幻象：尊重形式和比例﹑透视法的要求﹑色彩之再造和一切产生相似的。然而，那不只是导入一个断裂，从限制和规范里自我解放出来，做出偏航或者确认某种异议；就是说，那不在于揭发某种因被怀疑是循规蹈矩的「相等」（adéquation）。「去相合」确实是一种上溯到更靠近制造了现代性的「涌距」（l’écart）出发之处的概念，并且在「涌距」的原则上照明了「涌距」。那凸显出进入完美相等的「相合」是令人满意的，甚至可以是一项英雄伟蹟；但是行不通的并且究竟是缺乏严谨要求的，「相合」既是矫作的也是毫无孕育力的。由此，「去相合」让人重新听见「coïncidence」的另一个意思，并且给予它合理性：纯偶然的巧遇（「纯偶遇」）而且没有任何事物似乎可证明其合理性。在「coïncidence」那两种相反的意思──偶遇或符合，偶然的或调整顺应的──所打开的「间游」（le jeu）当中，我们难道没侦察出那产生艺术与畅活（existence）的更原初的可能性吗？

　　正如「去相合」拆解了欧洲以前的艺术赖以建立（并且憩于其上）的「相合」（不过，伟大的画家们倒是暗地里感觉到「去相合」及其严谨要求，不是吗？），「去相合」也同样地拆解了那把真理看作（「物」与「心」）相等的本体论的工作。「去相合」还拆解了「顺从大自然而生活」这种圣人之道的道德。现代性的确就安营在这个新起的怀疑之上，就是不再有「大自然」或「存有」作为可能载体和根本秩序。与之不同的，「去相合」乃针对一个不再具有「间游」和「主动性」的合宜性，打开「涌距」；这是从一种井然有序当中抽身出来，该井然有序因填满自己而阻挡了多种可能性并且造成贫瘠。相合就是死亡：相合是沈溺萎缩（enlisement），「去相合」反倒是推动（promotion）与脱展（dégagement）。

　　那提升为「人」者，早已与人的动物性（「人科」hominidés）从前的种种表现形式有了「去相合」，而且在面对他们之前的调适时（我们也许可以说通过「脱除调适」« ex-aptation »）导入了「涌距」。相合埋藏了人有意识的可能性，与之相反的，人的意识乃因「去相合」而能够通过除掉附着去开拓它的能力──「禅」也运用这种作用。或者换个说法，那是经由与他所整合入的世界「去相合」来自我推动的主体。如果「ex-ister」正表示「挺身于……之外」（« se tenir hors »），它首先就表示挺身于形成世界的相合之外，亚当和夏娃正是因为被放逐而走出了地上乐园那完美相合的秩序，才开始以作为主体存在并且才可能进入一个历史过程。如果「只有人可以畅活」，这是只要人可以与世界「去相合」，为了在世界里面导入主动性或自由的余地。艺术的任务，不是表达而是实现「去相合」。

作者简介

朱利安（François Jullien）

　　朱利安是哲学家、希腊学学家暨汉学家，是巴黎迪特罗大学特级教授，也是巴黎人文之家基金会世界学研究院他者性讲座教授。他是最常被翻译成外文的当代思想家之一，其论着已经被译成二十五种语文。

　　François JULLIEN, philosopher, hellenist, and sinologist, is professor and chair of the Department of Oriental studies at Université Paris-Diderot and chair of alterity at the Fondation Maison des sciences de l’homme. He is one of contemporary philosophy’s most widely translated thinkers.

译者简介

佩德罗 罗狄力兹（Pedro Rodríguez）

　　佩德罗 罗狄力兹，专职作家与译者。
　　出生并成长于迈阿密。短暂待过纽约，现与妻儿定居于巴黎。
　　他享受音乐 各种故事 科学 绘画 城市 荒野 锻鍊或仅单纯地步行

　　Pedro Rodríguez is a writer and translator. He was born and raised in Miami, lived for a while in New York City, and now lives in Paris with his wife and son. He likes music, stories, science, drawing, cities, wilderness, training, and walking.

 

Foreword
I. Unsealing
II. The fortuitous or the adapted
III. To live is to de‐coincide
IV. In the beginning was de‐coincidence
V. From de‐coincidence springs awareness
VI. How the negative promotes existence
VII. For an ethics of de‐coincidence
VIII. The tomb of coincidence
IX. Modernity
 

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