{"title":"Editor's Choice","description":"","products":[{"product_id":"especes-d-espaces","title":"Space species","description":"\u003cp\u003e The Tongdi team selects and places items, but we care about space. Why?\u003cbr\u003e These obvious, self-evident, and real living spaces are the starting point for our touch and dreams. Everything is the result of our gradual creation, and we can continue to create. Space is not a cage, but a starting point. To begin, consciousness must first enter any \"carrier.\" When we think in this way, objects become space.\u003cbr\u003e We use our whole bodies to experience a space, but we rarely realize that objects can also serve as keys to open new areas, provided we can enter. So, how do we enter the inner world of an object?\u003cbr\u003e \"I will not let you in,\" said the stone.\u003cbr\u003e “You lack a sense of engagement.\u003cbr\u003e No other sense can make up for the loss of participation.\u003cbr\u003e Even if your eyesight is improved to the point where you can see everything,\u003cbr\u003e It's of no use to you if you don't feel involved.\u003cbr\u003e I will not let you in, you only have a glimpse of what this feeling is,\u003cbr\u003e Only the seeds are left, imagination.\" \u003cbr\u003ePolish poet Wislawa Szymborska, through her intellectual depths, sensed that mysterious forces slumber within all things. Narratives reveal their inner being, while dialogue conveys each step of this forward movement. Objects, as carriers of information, become space, and around them, space continues to expand, becoming new spaces, leading us to consider the aesthetic logic of continuity.\u003cbr\u003e Everything is connected, so that we can constantly reach new places through dialogue with one species.\u003c\/p\u003e","brand":"麥田出版","offers":[{"title":"Default Title","offer_id":46901400633582,"sku":null,"price":320.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_42.png?v=1758721308"},{"product_id":"nobody-hurts","title":"Zine 'Nobody Hurt(s)'","description":"\u003cp\u003e One day, the devil captured the princess, and the princess kept screaming.\u003cbr\u003e \nThe devil said: \"You can scream as loud as you want, but no one will come to save you.\" The princess screamed: \"Scream my throat, scream my throat!\" No one: \"Princess, I'm here to save you!\" The devil said: \"Speak of the devil, and he will appear.\" The devil said: \"Devil, why are you calling me?\" The devil said: \"Wow, I see a ghost!\" The ghost said: \"Shit! Can you see me?\" Me: \"Me? I've always been here.\" Who called me? Who: \"No one called you?\" No one: \"I didn't call you. Are you looking for trouble?\" Trouble: \"Who's looking for me?\" Who: \"Looking for you?\" No one: \"No, no one's looking for trouble!\" No one wants trouble, no one wants to get hurt, so no one gets hurt.\u003c\/p\u003e","brand":"獨立出版","offers":[{"title":"Default Title","offer_id":46982657048814,"sku":null,"price":450.0,"currency_code":"TWD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/book_3.png?v=1776275384"},{"product_id":"形式的起源-萬物形式演變之謎-自然物和人造物的設計美學-科學探索","title":"Origins of Form","description":"\u003cp\u003eWe can capture changes through reading materials to train and reproduce individual language systems and expressions.\u003cbr\u003eFirst and foremost, beauty. The pursuit of beauty, year after year, becomes a contemplation and refinement of aesthetic sense. When faced with something, \"Is it beautiful?\" if we don't find a definitive answer through some method, or if we can't verify it through further questioning, it means that there's still a murky area in our minds, a vast expanse of beauty that needs to be cultivated and sorted out.\u003cbr\u003eIn fact, most of the time, the above process is largely triggered by emotions.\u003cbr\u003eThis book, The Origin of Form, fundamentally organizes the form database.\u003cbr\u003eThe Tongdi team's background in industrial design has guided our focus on the user experience, while our interest in and passion for art has guided our thinking in cutting-edge and avant-garde areas. Graphic design strikes a narrative balance between expressing effective communication and exploring avant-garde aesthetics. Furthermore, our literary background, or rather, our general enjoyment of literature, has enabled us to internalize the logic underlying different types of information into a \"language system\" when considering and arranging information.\u003cbr\u003eAt every moment of our actions, the natural and man-made objects in our surroundings are helping us complete our tasks.\u003cbr\u003eFrom a linguistic perspective, this is a dialogue between people and objects. Sometimes, our goal is to create, and sometimes, to convey—to convey inner feelings, to convey images, and to create external images—when a dialogue triggers objects that resonate with our inner selves. Because this process of adapting to objects and expressing through them is ongoing, from the perspective of a \"language system,\" we can understand it as gradually absorbing information and adjusting vocabulary at the definitional level, aiming to achieve optimal results in expression and communication in the foreseeable future.\u003cbr\u003eThis has led to a near-science fictional tone and self-understanding: encompassing the absorption of science and technology, as well as the capacity for perception and imagination. We believe that \"sensation\" can be honed. By actively strengthening our understanding of form and material, as in the reading experience of this book, we systematically understand the fundamental settings of material vocabulary on this planet, effectively helping us understand why we perceive and see the things around us. It also leads us to begin to explain how we understand the world from the initial information we acquire. Everyone has access to a similar database, but through the objects we acquire, we still develop a distinct sense of ourselves and our differences from others. Finally, we wanted to explore connecting with consumers through the language of objects, interacting and communicating with them.\u003cbr\u003eThere are also some reflections on why we tend to own objects to express ourselves, but may not always have the motivation to transform space.\u003cbr\u003eIn places like art museums, the space and scale remain constant, but the interior constantly changes to accommodate new exhibits, with movement routes and equipment shifting positions. The book also notes that spatial conditions are often more constant than we imagine, such as a place's gravity and climate. However, the living things within it, especially animals, are subject to change through manipulation and manipulation. We can use these natural objects or creations as tools to create scenes, but scenes are not spaces; they are situations created by the interaction between people and objects.\u003cbr\u003eWe will also deeply consider the refinement of tools. As we delve deeper into the vocabulary of materials, we also have a need to create and shape. The most fundamental form of creation is to shape ourselves. Thoughts express themselves not only through words but also through clothing. Therefore, our experiences and sensations have the opportunity to be interconnected and savored, just like exhibits and movement paths.\u003cbr\u003eFinally, this book offers a powerful experience of dimensional scaling: we can observe tiny objects through instruments, or gaze upon the vastness of the universe. Discussions of structure and materials, even clothing sizes, inevitably involve relative size. In between, the relationship between large and small is divided by an undeniable, insurmountable boundary. Within the gaps lie a closed world we cannot reach, a world that encompasses the very fabric of who we are, yet beyond our control. \"Size not only dictates form, but also reveals the entirety of life.\" Ultimately, what we attempt to create and express through our brand is inevitably humanity's understanding of itself at this point in time.\u003c\/p\u003e","brand":"臉譜出版","offers":[{"title":"Default Title","offer_id":47004713517294,"sku":null,"price":420.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame36_d37e8eee-b9d5-4d19-bd71-ddaf8fa82c63.png?v=1758616562"},{"product_id":"物體系","title":"The System of Objects","description":"\u003cp\u003eThe core aspiration of the Commonplace brand remains avant-garde, aspirations that consciously subvert the aesthetic narrative and requirements of \"objects being fixed in their place,\" replacing them with the ever-shifting \"functionality.\" Therefore, like Kuafu chasing the sun, we cannot stop pursuing—behind the organization of things, there is always a purpose for connecting everything.\u003cbr\u003eIt's like the kite string we need to carry as we enter the labyrinth of modern materiality. In \"The System of Objects,\" we discuss the \"character of technological civilization.\" Similarly, by combing through and examining the history of modern objects, we aim to establish the character of Tongdi Distribution as a brand of creation: a focus on the path of movement itself. Furthermore, every object we encounter in the maze is a material language we aim to transform, acquiring more materials within the space. Through limited materials, even through bartering, we expand and create a new level of conscious engagement.\u003cbr\u003eToday I brew, today I bake\u003cbr\u003eTomorrow the Queen's own child I take\u003cbr\u003eThis guessing-game she'll never win\u003cbr\u003eFor my name is Rumpelstiltskin\u003cbr\u003eIn the folktale \"Rumplestilskin,\" a girl is tasked with spinning rice straw into gold to become queen. However, only a dwarf elf can help her accomplish this. The elf's name is \"Rumpelstiltskin,\" which means the creaking sound of a wooden floor in German. Tongdi also seeks to reimagine various non-silk and non-thread materials in new aesthetic forms, imbuing them with new meaning and creating a new foothold. We often forget that the floor space that supports us needs something to make a sound with every step, a reminder of its existence. There's no other way. By using the yarns we've already simulated, you can weave a richer vocabulary of conversation, life, and action, moving step by step to new places.\u003c\/p\u003e","brand":"麥田出版","offers":[{"title":"Default Title","offer_id":47007521669358,"sku":null,"price":460.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_33.png?v=1758721307"},{"product_id":"噢-法蘭克連狗也沒有","title":"Oh! Frank doesn't even have a dog","description":"\u003cp\u003eTo remove the back means using our gaze as a pair of scissors to isolate a silhouette from the entire world. This is an ambiguous cancellation, a loving gaze that cannot be rejected by others, an independence that exists because of the observer. Once out of the sight of love, it loses its shape, becoming a vague, neither living nor dead, as unique as everything else, and therefore without any special state.\u003cbr\u003e\n Collage means that we need to address not just spatial issues, but perspective. From my perspective, I look towards you, shifting until I see a complete composition, a vision, that includes you. Within that image, there are many objects that appear to be framed with you, seemingly accidentally attached to you. This is all from my perspective. In reality, if you change your position, there's still a lot of distance between you, between you and all the objects. Perhaps you're blocked by certain objects, but behind this obstruction, hidden by the objects and space, lies the object that truly connects you.\u003cbr\u003e \nThe juxtaposition of image and text is about the interweaving of narratives. Interpreting and engaging in dialogue with the collage creates a new path, a three-dimensional shadow separating the reverse side of the collage. Though standing at a designated position, a sharp gaze follows the contours of the edge, cutting out the object of attention once again. The narrative language is both a pair of scissors, yet it also circles around to the reverse side, becoming a smear of glue.\u003cbr\u003e\n The dictionary's definition of pictorial symbols, and the narratives derived from these definitions, creates a new system for all collages. After guiding the viewer through the creation process, the remaining energy can be repurposed for power generation: \"fear\" finds a container, desire finds an outlet, and \"shyness\" becomes a result that can be revealed, frame by frame. As a product, whether in its manufacture or selection, it is inevitably drawn from the past. In this present moment, without evidence, I can take a deep breath in the gap between expression and reception. At the same time, we will also learn that an inorganic, two-dimensional medium can also become an organic, three-dimensional stage for emotion.\u003cbr\u003e\n Then, then we finally felt that we could love each other well.\u003c\/p\u003e","brand":"伊日美學 YIRI ARTS","offers":[{"title":"Default Title","offer_id":47007668207854,"sku":null,"price":1500.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_37_bdc4828e-d865-4a42-8e75-e6ed659a256d.png?v=1758721309"},{"product_id":"蟲子書","title":"Bug Book (蟲子書)","description":"\u003cp\u003e Stare at a leaf. Pick up a stone. A drop of rain hits the car window. The trash on the roadside might be a cigarette butt.\u003cbr\u003e\n Our attention shifts from the material we're constantly exposed to, and suddenly changes the entire system that surrounds you.\u003cbr\u003e \nThere always comes a serendipitous moment: on a particular material, you discover a different semantic code, a message that seems to be completely different from any previous channel. Then, a near-revelation arrives, a message that serves as a small platform, carrying your imagination to a different world of language. In an instant, you leave behind all cultural codes, commercial vehicles, consumer information, the words and sounds on signs, house numbers, and banners, traffic signs, menus, slogans printed on clothing, graffiti, and stickers on the street... Everything either guides or resists, each one centered around similar core values, unfolding different strategies in all directions.\u003cbr\u003e\n When we put aside the reading and thinking that are purely human, above that, there are the textures of the leaves, the angle of light projected on any object, and the interactive relationship they produce, telling the relationship between climbing curved surfaces, touching time and temperature.\u003cbr\u003e \nAt this point, our attention returns to the material, and we gradually find that we are fully capable of realizing that beyond life, there is another layer of different life, located on the surface, a layer of coating, which is about texture, about traces of bites, and a shallow path forward.\u003cbr\u003e\n Insects have no concept of home or furniture, only habitat. Their bodies are contained by the dimensions of the room, but our consciousness should also have a place where it can live. Its footsteps are light and slender, able to fall into the gaps that insects can climb, and in the many holes, it searches for a resting moment that is similar to sleep. It gently hooks, turns over, turns into liquid, and temporarily fills the tiny holes until the body moves again.\u003c\/p\u003e","brand":"雄獅美術","offers":[{"title":"Default Title","offer_id":47008978698478,"sku":null,"price":650.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_38.png?v=1758721310"},{"product_id":"chroma","title":"Chroma","description":"\u003cp data-start=\"87\" data-end=\"395\"\u003e\u003cstrong data-start=\"87\" data-end=\"109\"\u003eWhen form appears,\u003c\/strong\u003e\u003cbr data-start=\"109\" data-end=\"112\"\u003eour awareness of things dispels the darkness.\u003cbr data-start=\"157\" data-end=\"160\"\u003eYet the moment light arrives,\u003cbr data-start=\"189\" data-end=\"192\"\u003ethe meanings of color, encoded and disciplined by cultural symbols,\u003cbr data-start=\"258\" data-end=\"261\"\u003ebecome hazy, entrapping us once again.\u003cbr data-start=\"299\" data-end=\"302\"\u003eUnless we reclaim power by granting it:\u003cbr data-start=\"341\" data-end=\"344\"\u003eonly through giving can we gain our own strength.\u003c\/p\u003e\n\u003cp data-start=\"397\" data-end=\"903\"\u003eHow do we become aware of whether our choices of color\u003cbr data-start=\"451\" data-end=\"454\"\u003ehave been denied by culture itself?\u003cbr data-start=\"489\" data-end=\"492\"\u003eWhen we unconsciously retreat into black and white, or into shades of pink,\u003cbr data-start=\"567\" data-end=\"570\"\u003eit may be a kind of moral timidity,\u003cbr data-start=\"605\" data-end=\"608\"\u003ea fear of confronting courage.\u003cbr data-start=\"638\" data-end=\"641\"\u003eBy declaring that we \u003cem data-start=\"662\" data-end=\"670\"\u003ebelong\u003c\/em\u003e to a color,\u003cbr data-start=\"682\" data-end=\"685\" data-is-only-node=\"\"\u003eor that we \u003cem data-start=\"696\" data-end=\"711\"\u003elove only one\u003c\/em\u003e color,\u003cbr data-start=\"718\" data-end=\"721\"\u003ewe simply reinforce the stereotype that comforts us,\u003cbr data-start=\"773\" data-end=\"776\"\u003eas if each hue had already been assigned\u003cbr data-start=\"816\" data-end=\"819\"\u003eby certain events, by social roles,\u003cbr data-start=\"854\" data-end=\"857\"\u003eor by the materials to which it seems bound.\u003c\/p\u003e\n\u003cp data-start=\"905\" data-end=\"1173\"\u003eBut now that we have mastered the making of every color,\u003cbr data-start=\"961\" data-end=\"964\"\u003ewe can release its true power:\u003cbr data-start=\"994\" data-end=\"997\"\u003ecolor that speaks with things,\u003cbr data-start=\"1027\" data-end=\"1030\"\u003ethat contains all variations within its dialogue.\u003cbr data-start=\"1079\" data-end=\"1082\"\u003eOur strength lies in forming our own perception,\u003cbr data-start=\"1130\" data-end=\"1133\"\u003eour own response to every calculation.\u003c\/p\u003e\n\u003cp data-start=\"1175\" data-end=\"1354\"\u003eTo construct an abstract, synchronous structure of color\u003cbr data-start=\"1231\" data-end=\"1234\"\u003eis to let it exist beyond any single object,\u003cbr data-start=\"1278\" data-end=\"1281\"\u003eto make it a bridge between consciousnesses,\u003cbr data-start=\"1325\" data-end=\"1328\"\u003ea medium of description:\u003c\/p\u003e\n\u003cp data-start=\"1356\" data-end=\"1582\"\u003eDid the Big Bang create white?\u003cbr data-start=\"1386\" data-end=\"1389\"\u003eThe red-eye test.\u003cbr data-start=\"1406\" data-end=\"1409\"\u003eLove was once green.\u003cbr data-start=\"1429\" data-end=\"1432\"\u003e“Blue makes other colors tremble.”\u003cbr data-start=\"1466\" data-end=\"1469\"\u003eWhen did violet first appear in poetry?\u003cbr data-start=\"1508\" data-end=\"1511\"\u003eGray in life. Gray in the everyday.\u003cbr data-start=\"1546\" data-end=\"1549\"\u003eWere their undergarments black?\u003c\/p\u003e\n\u003cp data-start=\"1584\" data-end=\"1881\"\u003eTo observe color not merely as a surface attribute,\u003cbr data-start=\"1635\" data-end=\"1638\"\u003ebut as a subject with its own voice,\u003cbr data-start=\"1674\" data-end=\"1677\"\u003eit is a name, a narrative, an answer.\u003cbr data-start=\"1714\" data-end=\"1717\"\u003eColor can become a thing;\u003cbr data-start=\"1742\" data-end=\"1745\"\u003eand by moving upon it, we trace paths and destinations.\u003cbr data-start=\"1800\" data-end=\"1803\"\u003eBy delving into it,\u003cbr data-start=\"1822\" data-end=\"1825\"\u003ewe open an inner space where the self may freely wander.\u003c\/p\u003e","brand":"臉譜出版","offers":[{"title":"Default Title","offer_id":47023188705518,"sku":"FCP-BPK001-25A1","price":450.0,"currency_code":"TWD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_41.png?v=1758721308"},{"product_id":"manifestedusurrealisme","title":"Manifesto of Surrealism - Manifeste du Surréalisme","description":"\u003cdiv class=\"relative basis-auto flex-col -mb-(--composer-overlap-px) pb-(--composer-overlap-px) [--composer-overlap-px:28px] grow flex\"\u003e\n\u003cdiv class=\"flex flex-col text-sm pb-25\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-(--header-height)\" dir=\"auto\" data-turn-id=\"d7b072e7-d2cf-4a72-9cea-c3892b3a196c\" data-testid=\"conversation-turn-43\" data-scroll-anchor=\"false\" data-turn=\"user\"\u003e\u003c\/section\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:ef90f668-aaa3-489d-8fe1-6e5d90954f2d-29\" data-testid=\"conversation-turn-44\" data-scroll-anchor=\"true\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"9ca4e92a-b713-4f41-b457-d3dcf1ae40d4\" dir=\"auto\" data-message-model-slug=\"gpt-5-3\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" data-turn-start-message=\"true\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling\"\u003e\n\u003cp data-start=\"0\" data-end=\"366\"\u003eImagination is an indispensable source of joy. Many vivid sensory pleasures arise from illusion or fantasy, and absolute freedom implies withdrawing, deep within oneself, from any supreme notion of justice. In other words, only imagination allows me to become aware of everything that could possibly happen, and only the fear of madness makes us hold back from it.\u003c\/p\u003e\n\u003cp data-start=\"368\" data-end=\"936\"\u003eWe still live in an age dominated by logic, this, of course, is precisely what I wish to address. For now, logic is mostly used to solve secondary problems. Absolute rationalism has not disappeared, but it confines us to considering only what is closely tied to our lived experience. In doing so, we neglect the true purpose of logic. … If within the depths of our thinking there exists a kind of magical force, one that can amplify or even overcome the surface, then we should first capture this force, and only afterward, if necessary, allow reason to regulate it.\u003c\/p\u003e\n\u003cp data-start=\"938\" data-end=\"1056\"\u003eIn the 1924 \u003cem data-start=\"950\" data-end=\"975\"\u003eManifesto of Surrealism\u003c\/em\u003e, André Breton emphasized the importance of “not hesitating before conception.”\u003c\/p\u003e\n\u003cp data-start=\"1058\" data-end=\"1458\"\u003eIn the process of conception and experimentation, like dreaming, we embrace, without reservation, a series of strange episodes. Through this, entirely new connections and forms of description emerge. Even if reality does not yet reflect them, it is only due to certain constraints. And once we can identify and name these constraints, we gain the possibility of waiting for the day they are lifted.\u003c\/p\u003e\n\u003cp data-start=\"1460\" data-end=\"1583\"\u003eIf things do not go as desired, what, then, can one still do? I would like to place the key to this passage in his hands.\u003c\/p\u003e\n\u003cp data-start=\"1585\" data-end=\"1618\"\u003eTo you, reality may seem fixed.\u003c\/p\u003e\n\u003cp data-start=\"1620\" data-end=\"2040\"\u003eBut you forget the many futures that have yet to appear, the branching paths that once nearly took shape but were abandoned. You have lost interest in tracing them. But why let reality limit your desire to pursue these paths? If we have the ability to move toward a new place, it means that as long as you can imagine a better elsewhere, all you need is a different method, one that allows you to carve out a new path.\u003c\/p\u003e\n\u003cp data-start=\"2042\" data-end=\"2493\"\u003eAs a method of revolutionary thought, the 1930 \u003cem data-start=\"2089\" data-end=\"2121\"\u003eSecond Manifesto of Surrealism\u003c\/em\u003e further explains the misunderstandings, classifications, and oppositions encountered during its development. Breton calls on us to value inspiration and creation. At certain moments, passion acts like a short circuit, stimulating a unique form of inspiration that compels expression, almost involuntarily. Surrealism, then, is the deliberate recreation of such moments.\u003c\/p\u003e\n\u003cp data-start=\"2495\" data-end=\"2819\"\u003eIf we adopt surrealism as a method, if we unhesitatingly abandon the assumption that all things must “exist,” and if, through a path that does exist in the world, we can not only prove its existence but also help others walk it, then we declare that it is entirely possible to enter what is called the “non existent” path.\u003c\/p\u003e\n\u003cp data-start=\"2821\" data-end=\"3427\"\u003eAt the end of this book is Breton’s 1924 surrealist work \u003cem data-start=\"2878\" data-end=\"2892\"\u003eSoluble Fish\u003c\/em\u003e, following the manifesto that can also be read as a preface. Reading his work makes you believe in the potential of the body… to extend a third hand, to take a comb and brush the sun, feeling its warmth… or to push the limits of sensory perception, to feel blood flowing through the veins of stone… to touch, even twist, the boundaries of space, folding the ground of reality like paper, aligning the slanted edges of a street corner convenience store, arranging traffic signals and parking lines like lines of copy, reshaping them…\u003c\/p\u003e\n\u003cp data-start=\"3429\" data-end=\"3589\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eSurrealism seeks to summon the vitality of consciousness, inviting us, in the fullness of that vitality, to dissolve into our own thoughts, like a soluble fish.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"mt-3 w-full empty:hidden\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"麥田出版","offers":[{"title":"Default Title","offer_id":47552260604142,"sku":null,"price":360.0,"currency_code":"TWD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/book_2-5-1.png?v=1769435443"},{"product_id":"falling-angel","title":"Zine 'Falling Angel'","description":"\u003cp data-start=\"78\" data-end=\"163\"\u003e\u003cem data-start=\"78\" data-end=\"93\"\u003eFalling Angel\u003c\/em\u003e is not about angels,\u003cbr data-start=\"114\" data-end=\"117\"\u003ebut about the state that comes after the fall.\u003c\/p\u003e\n\u003cp data-start=\"165\" data-end=\"346\"\u003eMoments of deviation, distortion, and suspension in mid-air\u003cbr data-start=\"224\" data-end=\"227\"\u003eare preserved, page by page.\u003cbr data-start=\"255\" data-end=\"258\"\u003eThe figures appear to be falling,\u003cbr data-start=\"291\" data-end=\"294\"\u003eyet they also seem to be adjusting to new positions.\u003c\/p\u003e\n\u003cp data-start=\"348\" data-end=\"487\"\u003eThis zine revolves around a simple idea:\u003cbr data-start=\"388\" data-end=\"391\"\u003ewe share the same sense of weightlessness,\u003cbr data-start=\"433\" data-end=\"436\"\u003eeven though each of us grows into a different form.\u003c\/p\u003e\n\u003cp data-start=\"489\" data-end=\"718\"\u003eThere are no standard answers between the images.\u003cbr data-start=\"538\" data-end=\"541\"\u003eLines loosen, proportions drift.\u003cbr data-start=\"573\" data-end=\"576\"\u003eBodies are stretched, rearranged, enlarged, or reduced within their scenes—\u003cbr data-start=\"651\" data-end=\"654\"\u003enot to clarify a narrative,\u003cbr data-start=\"681\" data-end=\"684\"\u003ebut to retain a state of becoming.\u003c\/p\u003e\n\u003cp data-start=\"720\" data-end=\"828\"\u003eYou are invited to take a look—\u003cbr data-start=\"751\" data-end=\"754\"\u003eat bodies and identities gradually taking shape\u003cbr data-start=\"801\" data-end=\"804\"\u003ein the midst of falling.\u003c\/p\u003e","brand":"獨立出版","offers":[{"title":"Default Title","offer_id":47598426620142,"sku":null,"price":980.0,"currency_code":"TWD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/book_2-12-1.png?v=1776353137"},{"product_id":"fragments-dun-discours-amoureux","title":"Fragments d'un discours amoureux","description":"\u003cp data-start=\"125\" data-end=\"204\"\u003eI want to ask you to become my lover, but not in order to fulfill a love story.\u003c\/p\u003e\n\u003cp data-start=\"206\" data-end=\"597\"\u003e“To govern love and make it entirely conform to my will is impossible.” And yet, we have arrived at such a time: nearly every form of emotion we have ever encountered has been carefully documented, dissected, and discussed. We can compare the many love stories we have heard, situate ourselves within certain narrative structures, and speculate endlessly about what our future might become.\u003c\/p\u003e\n\u003cp data-start=\"599\" data-end=\"715\"\u003eAnd still, this is nothing more than a kind of self deception. When it comes to love, how futile all preparation is.\u003c\/p\u003e\n\u003cp data-start=\"717\" data-end=\"1206\"\u003eIn Roland Barthes’s work, the lover is simply “the one who is in love.” Film criticism and reading groups, as practices that have existed for over a century, are only rarely preserved in the form of books. Through reading a classic of love such as \u003cem data-start=\"965\" data-end=\"995\"\u003eThe Sorrows of Young Werther\u003c\/em\u003e, fragments of love are gathered and scattered at once. To collect them, to create randomness. In this moment, perhaps you need to hear these words, and yet the very same words may become irrelevant in the next.\u003c\/p\u003e\n\u003cp data-start=\"1208\" data-end=\"1567\"\u003eBeyond love, there are always passing whispers. They brush against us, yet fail to stir the heart in the way that love does. Between these passing winds and our constant inner thoughts, which is more real? Do they exist at all? The evidence of feeling has the most elusive body. Each fleeting scene is like a single note that has slipped away from the melody.\u003c\/p\u003e\n\u003cp data-start=\"1569\" data-end=\"1975\"\u003eTo reach you where you are now, to provoke your inner dialogue and offer some measure of comfort, these fragments may intertwine with your own experiences. They become the basis through which you try to understand your present situation. Sometimes they work. More often, they do not. Occasionally, roles reverse, and you come to understand the other person’s state. That, too, can be a kind of consolation.\u003c\/p\u003e\n\u003cp data-start=\"1977\" data-end=\"2053\"\u003e❝“Cuteness” is the trace left behind by exhaustion, a mark of helplessness.❞\u003c\/p\u003e\n\u003cp data-start=\"2055\" data-end=\"2460\"\u003eAny moment in love can be given meaning. Its beginning, its development, its ending. From these causal links, intentions are inferred, and people construct love stories. But love stories belong to narration. They “submit to public opinion, and public opinion always diminishes excessive forces, compelling the lover to suppress their chaotic, aimless imagination, which runs free like an unbridled horse.”\u003c\/p\u003e\n\u003cp data-start=\"2462\" data-end=\"2745\"\u003eSo let us become lovers, without attempting to become the protagonists of a love story, and without trying to remain outside of it. Let us taste what it means to desire in this time: to truly experience the onset, the intensification, to feel both pain and joy, and then let it pass.\u003c\/p\u003e\n\u003cp data-start=\"2747\" data-end=\"2784\"\u003eNow, I know what I once did not know.\u003c\/p\u003e","brand":"商周出版","offers":[{"title":"Default Title","offer_id":47846646972654,"sku":null,"price":420.0,"currency_code":"TWD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/book2-7-2-2.png?v=1775144816"},{"product_id":"formosa-heat","title":"Formosa Heat 猛暑 ","description":"\u003cp data-start=\"131\" data-end=\"432\"\u003e❝Objects often outlive people, if you care for them. So if an owner lives long enough, they will eventually understand that they are merely keeping the object for its next owner. Owner? That might be the wrong word. Servant to the object is more fitting. In that sense, the object is the true master.❞\u003c\/p\u003e\n\u003cp data-start=\"434\" data-end=\"1007\"\u003eWhen we speak of “the most ornate writing of the last century,” we are referring to a once popular literary style. Through this technique, authors deliberately rendered a sensibility of Taiwan, a landscape of Taiwan that once existed within their consciousness. Beneath it lay a premonition of fear born from attachment to objects: a fear that those scenes, casually encountered at street corners, would one day disappear. They had to be preserved through a surrogate aesthetic of language, wrapped in intricate filters. Because the filter was, in fact, the eye of the era.\u003c\/p\u003e\n\u003cp data-start=\"1009\" data-end=\"1647\"\u003eAt the time, people believed that writing possessed a magical power to preserve what had never been seen. It was not about representation, but about recreation. The force of narrative driven by market demand had not yet emerged. Prose unfolded in a flowing, almost diaristic manner, like silkworms spinning threads across a flat surface. The reader, gathering those threads, relied entirely on intellectual appetite to move forward, to construct meaning. It was the era of flat composition in Taiwanese fiction. Every corner of the canvas competed for attention, striving to be seen. Yet what, ultimately, was the subject of the painting?\u003c\/p\u003e\n\u003cp data-start=\"1649\" data-end=\"2161\"\u003eBecause of this attachment to objects, works of science fiction did not derive their essence from science itself. Instead, they imagined futures where treasures were still salvaged from ruins. Because of this attachment, time in these stories did not alter one’s love for objects, but rather transformed the very form of the museum. Because of this attachment, yet not quite an attachment to people, these works ventured into experimental territory, envisioning a life designed for “those who have been cut off.”\u003c\/p\u003e\n\u003cp data-start=\"2163\" data-end=\"2286\"\u003eThere is always a period in life when, under a certain kind of anxiety, we begin to wonder whether we might spend it alone.\u003c\/p\u003e\n\u003cp data-start=\"2288\" data-end=\"2679\"\u003eIn the process of believing this may not be the case, while searching for a way out of seeming dead ends, we begin to ask what possibilities remain for those who, for various reasons, did not choose the path of family. It is a rare form of empathy. In such moments, we are able to imagine that the “homeless” might one day be ourselves. If that were true, would we be capable of living well?\u003c\/p\u003e\n\u003cp data-start=\"2681\" data-end=\"2844\"\u003eThus, the story omits the reasons why the protagonist chose to cryogenically freeze himself, and speaks only of the world he awakens to, and the life that follows.\u003c\/p\u003e\n\u003cp data-start=\"2846\" data-end=\"3289\"\u003eAt this point, he is entirely alone. He must attempt to understand this brave new world using the language of the previous century, and learn to live alongside strangers he encounters by chance. It is as if he has traveled to a distant land and must begin again. A body that has not aged, paired with a mind that no longer fits its time, finds its rightful place in literature. We live in the present, and yet we do not have to live within it.\u003c\/p\u003e\n\u003cp data-start=\"3291\" data-end=\"3780\"\u003eLike all science fiction, which invites us into a parallel future, we come to realize this: we should preserve ourselves the way we preserve the things we love. Because just as we possess an object, we also temporarily possess ourselves. This world, this entire city, is becoming a museum in which I am placed. The author curates this exhibition, casting it in the tones of “scorching heat,” and poses a question: can the burning warmth of the sun withstand what seems like eternal sorrow?\u003c\/p\u003e\n\u003cp data-start=\"3782\" data-end=\"3964\"\u003e❝These are fragments of the emotional ground tone of your love and resentment toward my city. In your lifetime, you will never again have the time to live this long in another city.❞\u003c\/p\u003e","brand":"麥田出版","offers":[{"title":"Default Title","offer_id":47846655033582,"sku":null,"price":340.0,"currency_code":"TWD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/book2-4-1.png?v=1775145742"},{"product_id":"letranger","title":"異鄉人 L'Étranger","description":"\u003cp\u003e❝我控訴這個人以罪犯的心，埋葬他的母親。❞\u003c\/p\u003e\n\u003cp\u003e這並不是一個在回憶或印象裡，曾經被警告過的那種故事模稜兩可、曖昧難懂的小說，一切都是清楚明白、昭然若揭的。但是，我們忍不住會撇開作品，開始想：保持沈默的確不利人們面對這個充滿自我揭露的世界，而自我揭露也同樣無關於引導人們適切理解真正的事實。這一切都導致，面對世界的時候，不是過度用力，就是無言以對。這些都是可以想見的，但是，一切的後果，則是不可預見的。\u003c\/p\u003e\n\u003cp\u003e❝我還記得那一天，終於，我們前去偵訊最後一個證人：大海。❞\u003c\/p\u003e\n\u003cp\u003e而上面這一句，不是來自異鄉人，而是來自《異鄉人—翻案調查》。\u003c\/p\u003e\n\u003cp\u003e一切昭然若揭，一切也是被反覆摩挲的。我們是前往踏查真相的一代——我們的時代已經是「好久以後，那個故事變成一本名著」的世界——於是，延伸閱讀紛紛出現，例如，《異鄉人—翻案調查》（從另一個視角出發的小說創作）、《尋找異鄉人》（小說本身的傳記）就是這樣的作品。然而，在你第一手閱讀的時候，可曾想過，故事裡其實有兩個人以非自然的方式死去，其中之一，始終沒有機會被以同等的篇幅提及？很可能沒有，因為太陽和鹽讓你投注太多心力，你在一種中暑的昏聵中沒有意識到，這畢竟是一個從特定角度敘述的故事，來自一個「華麗的漫不經心」的敘事者。\u003c\/p\u003e\n\u003cp\u003e那個著名作家把關於一個阿拉伯人的死亡故事，以兇手的視角，寫成一本有震撼力的書，「像是在盒子裡的太陽」，《異鄉人—翻案調查》裡的研究生，她對著讀者從沒有想過存在的死者家屬，說了這個比方。盒子之外，還有另一輪真正的太陽，海灘上，有人正死去。\u003c\/p\u003e\n\u003cp\u003e兇手和死者，盒子的裡與外，這個意象相當重要。因為曾經，我們歌詠生命，直覺卻想著囤積與體驗——如果（突然）失去自由，你的庫存有多少？那些庫存就是生命的意義嗎？生命是關於物的奪目，為無意義賦予意義的戀物目光和記憶嗎？我們將這些庫存在身體裡、腦子裡，結果，在戀物之外，還有那無物可戀的世界，有單純而毀壞的生命，身受詛咒、近乎禁慾，同時極致飽滿與極度匱乏的精神狀態，那裡，墳墓裡沒有屍體、紙張上沒有名字，母親以傾訴故事填滿空的墳墓，少年以自身身體，撐起一具不存在的屍體，背負死亡、持續在心中殺死逃脫者，學習語言、理解世界，只為了不斷賦予同樣的段落以新的詮釋。那裡，少即是多。\u003c\/p\u003e\n\u003cp\u003e❝有時候我努力回想我的房間，於是想像，從房間的一頭，來回走一趟，在心裡默想所經之處有哪些東西。開始的時候，很快就想完了，但每一次重新做，想的時間就更長了。因為我記得每一件傢俱，也記得每一件傢俱中放些什麼。每一件東西的所有細節，包括鑲嵌裝飾、裂痕或缺口，它們的顏色和紋理。我努力不讓這份清單斷線，要為它們做一個完整的編號。幾個星期之後，我可以花上幾個小時，來數我房間裡存放的東西。就這樣，我越努力回想，就越能想出更多原先不知道和已經遺忘的東西。這下我才明白，一個人哪怕在世上只活了一天，也可以毫無困難地在監獄裡待上一百年。他會有足夠的回憶使獄中的日子不無聊。這麼說來，這倒是個好處。❞\u003c\/p\u003e\n\u003cp\u003e一個人哪怕在世上只活了一天，也會在其他人的生命中，創造足夠的回憶。無碖是哪一方，他們以完全不同的方式，在肉身尚未死亡的前提，抵達了面對死亡的心境——謀殺，讓我們意識到不論何時、何處，人因為何種原因而死，都是有可能的。\u003c\/p\u003e\n\u003cp\u003e❝一個人生命的最後一天是不存在的。沒有講故事的書，就沒有救贖，有的只是會破滅的肥皂泡泡。對我們荒謬處境最好的證明，好朋友，就是這個：沒有人有最後一天的權利，有的只是生命意外的終止。❞\u003c\/p\u003e\n\u003cp\u003e❝在這個充滿徵兆和星辰的夜晚，我第一次向這世界溫柔的冷漠敞開我自己。我感覺它跟我如此相似，又如此友善。我深覺我一直是幸福的，而且依然如此。❞\u003c\/p\u003e\n\u003cp\u003e他們——不同的異鄉人——跨越時代、被困在各自的故事裡面，因為作品本身的生命持續發展，以致新的角色誕生，能夠和舊的角色完成遠端對話，成為「\u003cstrong\u003e可見與不可見\u003c\/strong\u003e」之間的生命對話，甚至再也分不出誰是誰，震動、鳴響如同合唱，帶我們通往一處潛藏於內在的他方——意義匯聚、存在的本質迴環復沓的隱秘風景。\u003c\/p\u003e\n\u003cp\u003e\u003c!-- 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