This work is an argument initiated with Wendy Brown’s article Resisting Left Melancholy. She applied Walter Benjamin’s notion of “Left Melancholia” to see the political thoughts and the norms in the left-wing movement/ theory traditions as the notion of melancholia. There is the thingness of the thoughts that can see as the lost object. Extends this idea, the thingness of thoughts, come from one’s personal or collective memories could become the pathological fixation.

The passionate political manifestos or the small scale manifestos/ manifestations in our everyday lives, can be consider as the compulsory desire to maintain, to repeat, and to reproduce the manifestos, aiming to achieve an unachievable substance. Melancholia in the Freudian context is defined as the subject tries to maintain the lost object even more then the subject itself, and this causes the notion of disorder. The act of manifestation is to rupture with the present world and the compulsion to change it. Here comes the paradox between outward-looking and inward-looking perspectives of the notion of revolution, which is the initiation of this project, manifestations as the infectious psychosis.

This work was composed in a pseudo-automatic writing manner, collaged with the fragments of various forms and contents, of images and words. I trim them with juxtaposition, bad translation, and misreading the different visual, audio or textual references in a machinery speaking… forming the work with heterogeneous qualities with in. The work builds itself towards the anarchistic conditions of the inner scenes, can also be seem as a wrong-manifesto.

總想「顯示為」某種狀態，恨不得自己就成為一個表情符號，在此狀態中，我們不思考，我們就是想法本身。私人日常中不斷發表的小宣言和慷慨激昂的政治宣言，也許都可被視為病理性的強制重複、勉力維持、一種不斷再製造自身的執念。發表宣言是試圖斬斷當下，對世界發動政變的衝動，發動革命的同時對內外施力，這裡產生一個悖論：人無法停止將自己定義為一個句點。本作藉由異質性影像與文本的拼貼，發表一篇關於此精神窠臼的(誤)宣言。

溫蒂布朗(Wendy Brown)在<抗拒左派憂鬱>中使用班雅明(Walter Benjamin)的概念，連接精神分析理論中對憂鬱症的分析，檢視政治思想的樣本與典範，革命的意圖或思想有某種物性(thingness)的固著，可視為不斷內耗掏空主體的「失落的對象物」。在大寫的政治之外，這種情感政治與人的認同共構，人形塑認同的方式透過記憶的誤寫在社會敘事與個人經驗間往返，強調獨立自我的同時又重複現成的認同，累積精神的資產如同取用拾得物(Found Object)，不斷成為自我，然後失敗。個人記憶的固著或集體記憶的樣版戲，都是我們想法的物性。佛洛依德的脈絡裡憂鬱症是主體試圖保存失落的對象的慾望超過於自我保存的慾望，導致精神機制失控。延伸此概念，我們日常生活中的發表的小宣言、微革命，與世界決裂的衝動，也許亦可視為一種病理性的強制重複、勉力維持和不斷再製造某種微小宣言的執念(fixation)。本作將此概念視為有傳染性的精神疾病，一種現代性精神機制的模型，想法的物性不斷取代了我們自身，發表的宣言中語言內容被取消了，只剩下重複模擬的強迫慾念。在此反覆過程中，人試圖抵達某種抵達不了的存在，欲劃地為王卻又被想法所役，如同新年新希望，永遠測不準而落空。

本作品以一種（偽）自動書寫方式譜成，打碎並拼接多種形式和內容的影像與語言。使用多種數位影像材質：HD高清影像、模擬 Super 8mm 質感的玩具相機錄影、webcam 螢幕翻拍、偶動畫、和Apple Photo booth軟體粗糙的去背景功能……。並錯置樣板戲形式的家庭偶動畫；記錄式的都市生活影像：如櫥窗人偶與交通流動的機械節奏及旅行影片的片段；和劇場式的諧擬影像如對Delacroix的自由領導人民和Manet的奧林匹雅的諧擬。亦混和多種誤讀、錯譯過的文本，和機械化的旁白敘述，如：安潔拉卡特(Angela Carter)小說赤紅之宅中關於記憶與自我敘事的片斷；將三島由紀夫的最後演說錄音，消除內容而只保留一個空的聖像畫(icon)的諧擬；幕勒（Heiner Müller）的哈姆雷特機器（Die Hamletmachine），經由google自動翻譯粗暴地處理後，同時用中英兩種語言彼此打擾。我試圖用異質材料的互相拒斥與消融，想貼近在每次發動世界革命的瞬間，那種迷魅的混沌，一種內心景象的無政府狀態。

Tzu-An Wu works between experimental film and its expansions. He makes collages with analogue films, through mixing heterogeneous images, audio, and texts in an attempt to inquire about the constructs of (cinematic) narratives and the selves.

He holds an MA in Media Studies from The New School, New York, and a BA in Gender and Cultural Studies from NTHU, Taiwan. His works have been shown internationally, including BFI Flare (London), IFFR (Netherland), CROSSROADS (San Francisco), Golden Horse Film Festival (Taiwan), TIDF(Taiwan). Exhibitions include Taipei Art Awards, Taiwan Biennial, Metropolitan Museum of Manila, and Taipei Artist Village, etc. He also does programming of experimental cinema.