生命的自画像

此段摘自《个人与群体事件的本质》

第九章第867节

让我们来回忆一下我以前打过的一个比方，把人间体验的风景比作画家的风景画——它可能黑暗而阴郁，充满了灾难性征兆，却仍不失为一件艺术品。就此而论，每个人以活生生的颜料描绘他的自画像——画的不只是以安静姿态坐在桌旁的人，而是有完全行动能力的人。你们现在活着的人都是在人生的同一班级里。如若环顾同时代的人，看看他们的画像进行得如何，你就会发现有各种各样的自画像：悲剧式的自画像、英雄式的自画像、喜剧式的自画像。所有这些画像都是活的，而他们的互动则形成了你们全球性、群体性的社会与政治事件。

这些画像显然有一种生物的实相。且不妨说，每个人都浸在同一种颜料里，诸如此类——你们的相似性就是来自这一要素。这种画像必定容许很大的创作空间。每个人与他人互动，共同形成了人类心理与物质的实相，因此你们不知怎地参与了很多画像的创作。我只是要你们把这个比喻放在脑子里。不过，这些画像是与生俱来、不可思议的创造力的结果，是被自动创作出来的——一种自动的艺术。

Briefly, remember analogies I have made in the past, comparing the landscape of physical experience to the painter's landscape — which may be dark, gloomy, filled with portents of disaster, and yet still be a work of art. In that regard, every person paints his or her own portrait in living color — a portrait that does not simply sit in a tranquil pose at a table, but one that has the full capacity for action. Those of you now living, say, are in the same life class. You look about to see how your contemporaries are getting along with their portraits, and you find multitudinous varieties: tragic self-portraits, heroic self-portraits, comic self-portraits. And all of these portraits are alive and interacting, and as they interact they form the planetary, mass social and political events of your world.

These portraits obviously have a biological reality. In a manner of speaking, now, each person dips into the same supplies of paint, and so forth — which are the elements out of which your likenesses emerge. There must be great creative leeway allowed for such portraits. Each one interacting with each other one helps form the psychological and physical reality of the species, so you are somehow involved in the formation of a multitudinous number of portraits. I simply want you to keep that analogy in the background. These portraits, however, are the result of creativity so inborn and miraculous that they are created automatically — an automatic art.

编译：Laujenny婷/    美编：周周

《赛斯说●第174期》

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