40多年來，法國哲學家、希臘學學家和漢學家朱利安（François Jullien），運用了中國語言的思想資源，重新審思並拓展歐洲思想。迄今，他出版了40多本論著，這些書已被譯成25種語言。他所建構的哲思概念已在法國、歐洲以及歐洲域外產生影響，不僅在思想領域，也在其他領域：藝術創作、企業管理、精神分析等等……引發了眾多迴響。
本書DE-COINCIDENCE《去相合》是他眾多哲學思想中的一個關鍵詞。此書含有英文翻譯版及法文原版。
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 pas; &# 1 1 6 ; &# 3 2 ; &# 1 1 0 ; &# 1 1 1 ; &# 1 1 6 ; &# 3 2 ; &# 1 0 4 ; &# 9 7 ; &# 1 1 8 ; &# 1 0 1 ; &# 3 2 ; &# 9 7 ; &# 3 2 ; &# 1 1 5 ; &# 1 0 1 ; &# 9 9 ; &# 1 1 4 ; &# 1 0 1 ; &# 1 1 6 ; &# 3 2 ; &# 1 1 5 ; &# 1 0 1 ; &# 1 1 0 ; &# 1 1 5 ; &# 1 0 1 ; &# 3 2 ; &# 1 1 1 ; &# 1 0 2 ; &# 3 2 ; &# 1 1 5 ; &# 1 1 7 ; &# 9 9 ; &# 1 0 4 ; &# 3 2 ; &# 9 7 ; &# 3 2 ; &# 1 0 0 ; &# 1 0 1 ; &# 4 5 ; &# 9 9 ; &# 1 1 1 ; &# 1 0 5 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 5 ; &# 1 0 0 ; &# 1 0 1 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 1 ; &# 3 2 ; &# 9 7 ; &# 1 1 0 ; &# 1 0 0 ; &# 3 2 ; &# 1 0 5 ; &# 1 1 6 ; &# 1 1 5 ; &# 3 2 ; &# 1 0 1 ; &# 1 2 0 ; &# 1 0 5 ; &# 1 0 3 ; &# 1 0 1 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 5 ; &# 1 0 1 ; &# 1 1 5 ; &# 6 3 ; &# 4 1 ; &# 4 4 ; &# 3 2 ; &# 9 8 ; &# 1 1 7 ; &# 1 1 6 ; &# 3 2 ; &# 9 7 ; &# 3 2 ; &# 1 1 2 ; &# 9 7 ; &# 1 1 4 ; &# 9 7 ; &# 1 0 8 ; &# 1 0 8 ; &# 1 0 1 ; &# 1 0 8 ; &# 3 2 ; &# 1 0 0 ; &# 1 0 1 ; &# 4 5 ; &# 9 9 ; &# 1 1 1 ; &# 1 0 5 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 5 ; &# 1 0 0 ; &# 1 0 1 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 1 ; &# 3 2 ; &# 1 0 6 ; &# 1 1 7 ; &# 1 1 5 ; &# 1 1 6 ; &# 3 2 ; &# 9 7 ; &# 1 1 5 ; &# 3 2 ; &# 1 1 6 ; &# 1 0 4 ; &# 1 1 1 ; &# 1 1 4 ; &# 1 1 1 ; &# 1 1 7 ; &# 1 0 3 ; &# 1 0 4 ; &# 1 0 8 ; &# 1 2 1 ; &# 3 2 ; &# 1 1 7 ; &# 1 1 0 ; &# 1 0 0 ; &# 1 1 1 ; &# 1 0 1 ; &# 1 1 5 ; &# 3 2 ; &# 1 1 6 ; &# 1 0 4 ; &# 1 0 1 ; &# 3 2 ; &# 1 1 1 ; &# 1 1 0 ; &# 1 1 6 ; &# 1 1 1 ; &# 1 0 8 ; &# 1 1 1 ; &# 1 0 3 ; &# 1 0 5 ; &# 9 9 ; &# 9 7 ; &# 1 0 8 ; &# 3 2 ; &# 1 0 1 ; &# 1 1 0 ; &# 1 1 6 ; &# 1 0 1 ; &# 1 1 4 ; &# 1 1 2 ; &# 1 1 4 ; &# 1 0 5 ; &# 1 1 5 ; &# 1 0 1 ; &# 3 2 ; &# 1 1 6 ; &# 1 0 4 ; &# 9 7 ; &# 1 1 6 ; &# 3 2 ; &# 1 0 1 ; &# 1 1 5 ; &# 1 1 6 ; &# 9 7 ; &# 9 8 ; &# 1 0 8 ; &# 1 0 5 ; &# 1 1 5 ; &# 1 0 4 ; &# 1 0 1 ; &# 1 1 5 ; &# 3 2 ; &# 1 1 6 ; &# 1 1 4 ; &# 1 1 7 ; &# 1 1 6 ; &# 1 0 4 ; &# 3 2 ; &# 9 7 ; &# 1 1 5 ; &# 3 2 ; &# 9 7 ; &# 1 0 0 ; &# 1 0 1 ; &# 1 1 3 ; &# 1 1 7 ; &# 9 7 ; &# 1 1 6 ; &am
本書DE-COINCIDENCE《去相合》是他眾多哲學思想中的一個關鍵詞。此書含有英文翻譯版及法文原版。
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 pas; &# 1 1 6 ; &# 3 2 ; &# 1 1 0 ; &# 1 1 1 ; &# 1 1 6 ; &# 3 2 ; &# 1 0 4 ; &# 9 7 ; &# 1 1 8 ; &# 1 0 1 ; &# 3 2 ; &# 9 7 ; &# 3 2 ; &# 1 1 5 ; &# 1 0 1 ; &# 9 9 ; &# 1 1 4 ; &# 1 0 1 ; &# 1 1 6 ; &# 3 2 ; &# 1 1 5 ; &# 1 0 1 ; &# 1 1 0 ; &# 1 1 5 ; &# 1 0 1 ; &# 3 2 ; &# 1 1 1 ; &# 1 0 2 ; &# 3 2 ; &# 1 1 5 ; &# 1 1 7 ; &# 9 9 ; &# 1 0 4 ; &# 3 2 ; &# 9 7 ; &# 3 2 ; &# 1 0 0 ; &# 1 0 1 ; &# 4 5 ; &# 9 9 ; &# 1 1 1 ; &# 1 0 5 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 5 ; &# 1 0 0 ; &# 1 0 1 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 1 ; &# 3 2 ; &# 9 7 ; &# 1 1 0 ; &# 1 0 0 ; &# 3 2 ; &# 1 0 5 ; &# 1 1 6 ; &# 1 1 5 ; &# 3 2 ; &# 1 0 1 ; &# 1 2 0 ; &# 1 0 5 ; &# 1 0 3 ; &# 1 0 1 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 5 ; &# 1 0 1 ; &# 1 1 5 ; &# 6 3 ; &# 4 1 ; &# 4 4 ; &# 3 2 ; &# 9 8 ; &# 1 1 7 ; &# 1 1 6 ; &# 3 2 ; &# 9 7 ; &# 3 2 ; &# 1 1 2 ; &# 9 7 ; &# 1 1 4 ; &# 9 7 ; &# 1 0 8 ; &# 1 0 8 ; &# 1 0 1 ; &# 1 0 8 ; &# 3 2 ; &# 1 0 0 ; &# 1 0 1 ; &# 4 5 ; &# 9 9 ; &# 1 1 1 ; &# 1 0 5 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 5 ; &# 1 0 0 ; &# 1 0 1 ; &# 1 1 0 ; &# 9 9 ; &# 1 0 1 ; &# 3 2 ; &# 1 0 6 ; &# 1 1 7 ; &# 1 1 5 ; &# 1 1 6 ; &# 3 2 ; &# 9 7 ; &# 1 1 5 ; &# 3 2 ; &# 1 1 6 ; &# 1 0 4 ; &# 1 1 1 ; &# 1 1 4 ; &# 1 1 1 ; &# 1 1 7 ; &# 1 0 3 ; &# 1 0 4 ; &# 1 0 8 ; &# 1 2 1 ; &# 3 2 ; &# 1 1 7 ; &# 1 1 0 ; &# 1 0 0 ; &# 1 1 1 ; &# 1 0 1 ; &# 1 1 5 ; &# 3 2 ; &# 1 1 6 ; &# 1 0 4 ; &# 1 0 1 ; &# 3 2 ; &# 1 1 1 ; &# 1 1 0 ; &# 1 1 6 ; &# 1 1 1 ; &# 1 0 8 ; &# 1 1 1 ; &# 1 0 3 ; &# 1 0 5 ; &# 9 9 ; &# 9 7 ; &# 1 0 8 ; &# 3 2 ; &# 1 0 1 ; &# 1 1 0 ; &# 1 1 6 ; &# 1 0 1 ; &# 1 1 4 ; &# 1 1 2 ; &# 1 1 4 ; &# 1 0 5 ; &# 1 1 5 ; &# 1 0 1 ; &# 3 2 ; &# 1 1 6 ; &# 1 0 4 ; &# 9 7 ; &# 1 1 6 ; &# 3 2 ; &# 1 0 1 ; &# 1 1 5 ; &# 1 1 6 ; &# 9 7 ; &# 9 8 ; &# 1 0 8 ; &# 1 0 5 ; &# 1 1 5 ; &# 1 0 4 ; &# 1 0 1 ; &# 1 1 5 ; &# 3 2 ; &# 1 1 6 ; &# 1 1 4 ; &# 1 1 7 ; &# 1 1 6 ; &# 1 0 4 ; &# 3 2 ; &# 9 7 ; &# 1 1 5 ; &# 3 2 ; &# 9 7 ; &# 1 0 0 ; &# 1 0 1 ; &# 1 1 3 ; &# 1 1 7 ; &# 9 7 ; &# 1 1 6 ; &am