《Être et temps (存在与时间)》是2010年创作的一组作品。最后确定用这个让人立即想起德国大哲海德格尔名著的名字，也是几番变更后，才最终敲定下来的。海德格尔想通过此书解决和此在的本体论相关的时间问题，只是我并不意图自己的创作是对海德格尔哲学的描红，也没那个雄心去面对西方哲学史的千年难题亦即对本体论的追问，然而，彼时的我非常受尼采美学的影响，也极其陶醉在精神分析的阅读之中，在我看来，每一次的艺术创作，虽然都是一组抛出问题的连续性的生成性行为，只是艺术是永远拒绝答案的，因为答案一经说出，艺术就要逃逸了。不过，艺术有别于通常的提问/解答程序在于，它仍然给出了答案，这答案却是以“前语言”的感知觉来作答，却不是遵循语言逻辑系统的符号排序规则的。 所以，我的艺术创作的出发点的确是为了解决某个问题，然等到那个问题被抛出后，答案却一并给了出来，问题同时也消隐了。
当时这件作品的创作动机是为了解决我的死亡焦虑。从三岁起死亡焦虑就困扰着我，一直到九岁，还会因为意识到必然来临的死亡而时常昏厥。对我来说，死亡问题是关乎人之生命的核心问题，是一个伦理问题也是一个纯粹的形而上学（亦即“本质”）问题，对死亡的态度决定了一个人如何看待和度过她/他的一生。如果死亡必然将至，生命注定是虚无，那么，我们又何必在此徒劳地作为呢？
所以我本科时期的学位论文题目是“l’art de la mort(死亡的艺术）"。只不过一到创作作品阶段就无从下手了。正如德里达所说，死亡是褶皱（pli），是彼端，是他者，是不可被思考也无从抵达的。死亡无法被思考，然而如果以实际的角度来看待死亡，其实它涉及到的只能是它的对立面，也就是欲望。我们无法直接描述虚无，只能描述它的影子，即是生命。同样，如果我们要描述本质，只能通过本质的影子，也就是感知觉来作答。所以，我最后选择以展现欲望的主体和时间的纠缠去表现死亡这个命题。
中文里“存亡”的意思是非常哈姆雷特式的二选一：生存或衰亡。这样的零和思维其实是大多数人日常生活中的主题曲：战或逃？此或彼？我或你？成或败？生或死？…… 这便是语言逻辑的弊端所在，它规定着我们的视野，使我们无法看见超越自我的景外之象。于是，对死亡的思考和体悟，还是不可避免地回到那道怎么答怎么错的问题上来了：什么是生命的本质呢？
《Être et temps (存在与时间)》，装置艺术作品。吴达立 作
多媒体装置艺术作品。
材料：过期巧克力，蜜糖，牛油，水果，蜡，93 x 90 x 171 cm（塔的尺寸），循环影像和声音。
投射在影子里的循环影像和声音
细节
塔尖细节
生成全过程
I did this metaphysical experiment that left me with a lot of learning. About life. About being. About becoming. About time. About the very existence. Join me, as I narrate this. At my home in Limoges at France, this tower was born. It was created out of expired chocolates, honey and butter, fruits and sweet syrups, and of course out of love and interest. Unlike a newly born kid, this tower is as tall as I am. As a pilgrimage, I took this tower in a van to a forest, and I installed this tower in the forest. Then I let it stay there for three months of time. Everyday I visit the tower, and take a picture of it. To archive the metamorphosis. To capture the being, going through the becoming. Becoming something. Alongside I record the environmental sounds in the forest. Then I did garnish the soundtrack with the ticking of the clock. To indicate time, which, otherwise, is phenomenally absent, at-least in a deep forest, when all that is there, is being. The Existence. I interleaved the audio with the video, while I left the tower in the forest for about three months. In the meanwhile, time collaborating with nature, has turned this tower into a large refugee shelter for beautiful ants, snails and at-least ten varieties of insects and various other species. Later I move this tower into the city for display, in a place surrounded by glass walls on all the four sides. A phenomenological aquarium, as I call it. Along with the presence of ants, snails and every other life form that traveled all the way from the forest, the tower along with it's unified environment constitutes aGesamtkunstwerk, a total work of art stimulating all the senses.The putrid odor exhaled from this tower composed of scented syrups, rotten fruits and chocolates, stifles this aquarium, evoking the five senses will subtly hint at the decay or the death.
乘坐卡车旅行的巧克力塔
在树林中安顿
藏匿在自然之中
撤下支架，一旁立警戒网，防小动物跑来吃掉
I use this work to emphasize the notions of desire, sublimation and their limiting case. Freud often speaks about the phallus and the penis envy. I have had my share of such envy, akin to every girl, as he presupposes. But for me it's connected to the societal structure as a whole. I bathed in the shower of stereotypes that everyone can't help but bath in and the psychic reality of phallus continues to live in me. The tower here represents "phallus". Now let's digress and understand how sublimation, desire and the art are embodied and grounded in each other. Building on the work of Freud, very famous french philosopher Jaques Lacan, looked at the penis envy (Penisneid) under a linguistic sense. This resonates more with the aforementioned explanation. For Lacan, penis envy doesn't literally represent the envy for the penis qua biological organ but to a generalized entity "phallus" (He always preferred to use Phallus in place of penis). This linguistic turn, enables Lacan to emphasize on the differences, phallus qua not-a-mother entity. Kids understand the relationship not between father and mother but between penis qua Phallus and Mother qua not-a-phallus-possessing-entity. This hierarchy is encountered as soon as the child is pivoted in learning the symbolic order -- "the world of father". The ontology of objects for Freud on one hand is grounded in the domain of satisfaction-frustration. Objects that exist exterior to us (das Objekt drausen) are not necessarily present in our representation (eines vorgestellten Dinges) of them. Freud believes that our reality finding is all about re-finding the objects as objects seize to exist, the moment they give away the real satisfaction. It is precisely by negating theDas Ding or La chose or The Thing, that our experience accounts for the humdrum encounters with the objects.
This differentiation happens alongside interleaved with the spatio-temporal differentiation in a (hier/heter)archial fashion. It starts off with the first companion or the fellow object, the mother (Nebenmensch). Then it sets ahead a whole stream of psycho-perceptual changes leading to the perception and understanding of society, life and thereby all our intellectual endeavors. Lacan picks up this thread in connection with "the Thing" (primordial) that he explains in the context of the mother, pleasure principle and the ethics. Freud believes that there's no sovereign good, and sovereign good, the mother, is an object of incest and therefore forbidden. But the pleasure principle makes an overhead approach to das Ding. Insofar as man, in order to follow the path of his pleasure, must literally circle around it, maintaining a healthy distance from it, to avoid incest. It is this mutual craving and repulsion that keeps us from and fixates us on the first object of our desire, the Other (Mother) that is also, as Lacan puts it, our "excluded interior". This is the beginnings of the "void" from the excluded interior that Lacan chanced upon. Naked example of das Ding is in the clay pot, one of the earliest markers of the presence of human beings in an area. Potter as Lacan says, has fashioned the pot thereby to embrace and make present a void, at the center, of the real which is called the thing". Paintings on walls of the room is another example, where in such an arrangement void is evident in the center when you take into account the space, illusory and debatable its status may be from a metaphysical or scientific viewpoint. This void is the devoid of desire, which we try to find and re-find again and again, over and over, but which, ironically, never existed in the beginning-or rather, existed as this void in the other (Nebenmensch) and in ourselves. It's this void that instigates the desire, void as das Ding and the problem of sublimation is situated in this disconnect of never imagining it. Lacan, addresses this void, various times as hole, the vagina (Intuiting from romantic novels) etc., and that will result in a lot of gender and sexuality based reflections. Reflecting upon the earlier passages make me delve into a personal example. My relationship with my mother has always been complex. Despite of the presence of my father, my mother always played the role of father in my life, thereby making the "mother" really inaccessible. This is a perfect example of the void, and thereby the La Chose thereby the sublimation, that transformed my personality and my art work.
Lacan points at three ways of marking the sublimation in the context of the void — religion, science, and art — each in its own way circle around the void. Religion (Though I feel, Buddhism and some Hindu religions that embrace "Shunyata" as counterexamples to this) tries to evade the void by displacing the man away from it. Science peculiarly avoids this void altogether by considering reality as given and this makes the concept of the void or empty center obsolete. Abolishing desire and thereby this void, science erects the so called objectivity eliminating the subject at-least to certain extent. Art represses the das Ding via representation that serves to disguise its presence and, in disguising, reveal its cosmological plethora of artistic attributes: Colors, shapes, strokes, emotions etc., But the void is ever present, just in a different form. Wittgenstein, for instance, was a classic philosopher, who despite of changing his views all through his life, dealt with the way of dealing with sublimation and void, that resulted from his upbringing and his homosexual character. In fact the greatest intellectual outbursts he have had in his life that made him famous were due to the dynamics governing void and sublimation. He craved for the purity of logical formqua das Ding.
For some the void is death. All the foods I have used in the artwork are metaphorical and hint at a deeper emotion. Chocolates for carnal desires. I indicate the sublimation via the decay of the things we have craved for. The chocolates, the honey, and so on. Chocolates that are desired, eatable and solemn and sacred, at this stage are rotten and their presence is unbearable, hints at the Oedipus complex (Incest and the object of desire clearly). All of this boils down the very notion of being and nothing. Being and Time. A fusion of Heidegger and Sartre. My work is not based on their work, but derives their philosophy as a conclusion. Time, Being, Becoming, Nothing. We have our fair share of understanding on these topics. This work embodies all of them in one framework. The tower was alive, with the carnal desires qua chocolates, but with passage of time, resulted in a (incestual forbidden) unapproachable void with its rotten smells and appearance. Sublimation is the desire to still crave for the object, that elevates this object to the dignity of das Ding, the phallus, and surprising learning of this work is the elucidation of the following paradox. Here object of craving, the tower with the carnal desires, that's rotten don't form a void, but a phallus, and the void is hinted at a higher level. The nothingness, the impermanence, the timelessness. They may be used differently in language but they do form a unified whole. The Gestalt. It is the timelessness that lets us see the impermanence and thereby the nothingness. The decay of the tower though symbolic of the death is, but, a new beginning of life. With all the ants and life forms on it. It didn't decompose and vanish but continues to exist through these life forms. In the tango of being and time, the inseperable duo, it is not that being is situated in time or time is a result of being, but the reality is an indecipherable amalgamation of being and time. The carnal desires qua chocolate, the expiration qua time. It's not a battle between Being and Time. It's a romantic tango. Being in Time. Time in Being. Romantic Tango...
巧克力塔形成步骤记录照片：
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