本文主旨在於從謝德慶作品在評論中呈現的概念不確定性之旅程出發，檢視「評論」工作本身與謝德慶作品之間的平行交錯關係：對於謝德慶的作品，新聞式的報導無法完整企及其概念內核，美學理論的套用也無法闡明其概念的運動游移狀態。透過翻譯與抽象機器（la machine abstraite）的曲折構成路徑，也就是透過檢視國內與國外新概念的介入歷程、新的評論詮釋路徑的轉譯歷程，或者說，一種新的評論倫理關係的轉譯、實踐與構造過程，亦即透過這些機器性配置，我們才得以漸次逼近謝德慶作品創造性的評論與翻譯。本文並未預設對於謝德慶作品的評論與翻譯已臻完成，但求對於其作品評論的歷史與相關機制進行反思，透過筆者的實踐歷程，以翻譯與評論行動歷程研究的方式，做出一種反身性的批判，描繪出某種新的評論倫理關係的浮現，並提出新的評論觀點。
評論、翻譯、抽象機器、機器性配置、謝德慶
The main point of this essay is, taking the indeterminate ideas that appear in criticisms of Tehching Hsieh's art works as a point of departure, to examine the interrelation between Hsieh's work and criticism itself. In looking at Hsieh's work, journalistic reports have been unable to completely come to grips with his core concepts, while aesthetic theory has been unable to illuminate the variable nature of these concepts as they are put into action. Taking a circuitous path constituted by translation and the abstract machine (la machine abstraite), which is also to examine route created by new intervening concepts from Taiwan and elsewhere and the route transcribed by new critical interpretations – or in other words, a new relationship between criticism and ethics defined by the process of translation, the act of critique and conceptual structure – are we able to gradually apprehend the creative critiques and translations engendered by Hsieh's works. This essay does not assume that criticisms and transcriptions of Hsieh's works have been finalized in any way, but rather reflects on the history of the critique of his works and the institutions to which they are related. Through the author's engagement with, reflection on and study of the active processes of critique and translation, this essay offers a kind of reflexive critique, describing the emergence of a new relation between criticism and ethics and a new approach to criticism itself.
critique, translation, abstract machine, machinic assemblage, Tehching Hsieh
