# 异端钢琴家的启示 / In light of Glenn Gould

「Even though every pianist necessarily has the potential to play and the potential to not-play, Glenn Gould is, however, the only one who can not not-play, and, directing his potential not only the to the act but to his own impotence, he plays, so to speak, with his potential to not-play.」

『虽说每个钢琴家都一定有弹琴与不弹琴两种潜势，但古尔德是唯一一个能做到「无为」的钢琴家；并且，他能够控制自己的潜势，不仅是弹琴这一动作的潜势，而且是他自身「无能」的潜势。这样说来，他弹琴时，运用的是无弹琴的潜势。』

注1 // 此无为非道家之无为。

注2 // 亚里士多德认为人的视觉作为一种能力，其自身包含了「不为」（“not-being”）的潜势（potential）。若人类生活的纪元持续浸泡在不死的日光里，万物从没有遮蔽，视觉能力将不成为我们拥有的一种能力。而实际上，正因为它有「未实现」的时候，我们无法眼见的时刻和境况，我们在黑暗的经验里意识到视觉的缺席。这是亚里士多德理解的潜势，蕴含事物本可以是另一副样子（things could have been different）之可能。正如我的怪人艺术课教授嚷嚷的「You would not have felt the existence of your funking pencil before it broke during the exam. You didn’t care about it until it changed its state of existence.」

### 作为异端的钢琴家

32 岁以后他甚至不再现场演奏了。他自己主导自己的唱片录制，甚至发售。

注4 // 他的椅子也是个非常之有趣的考古话题，随后我会专门写一篇「古尔德的椅子说明书。」

He “escape the power structure at play” “to be ‘inoperative’, it would seem, would be to refuse to be an operative part of the state’s machinery” —Agamben

注5 // 李如一这样称呼古尔德：「异端钢琴家」之一。

注 // quote Bartleby the Scrivener

Between the idea
And the reality
Between the motion
And the act

—T.S. Eliot