我做的“ballsy大力丸“。My homemade 有种 high-energy pills.

在中国，“有种”这个词似乎生来就是想表达一种对男性 优势的崇拜。它第一次正式出现在文献上是描写秦末陈胜吴广农民起义时的一句豪言壮语：“王侯将相宁有种乎？” “有种”在这一霎那被定义为拥有天生的权利。而伴随着这富有创造性的历史上第一次农民起义，人们开始习惯于把任何一个有勇气公开对当时社会的统治阶级发起 诸如“有种”质问的人，定义为是“有种”的。于是，“有种”便从原始的男性崇拜到天生权利再逐渐上升为英雄主义。我们把“有种”的烙印打在随后每一个叱咤 风云的英雄人物身上，从项羽到毛泽东，人们都认为他们是非常有种的。当然人们也意识到他们需要在性别认识上改变自己的观点，因为无论英雄是多么伟大与强 势，也无法湮没从花木兰到刘胡兰这些女性英雄角色在历史上不断出现的事实，人们越来越清楚的认识到“有种”是不分性别的，它早已超越了自己的来源进而转换 成更加进步与积极的意义。

在当今，我们大都会用“有种”来形容一些有胆量和气魄的人。而伴随中国网络文化的发展，人们也会将一些有趣崭新的含义附着在“有种”这个词 上。随着网络信息资源的丰富和庞大，资源共享成为了人们的普遍需要，人们亲切的称想要共享的资源为“种子”，而有没有“种子”决定了能否成功的分享到资 源，当人们迫切的需要某些资源时会到处询问谁有种子？如果此时某人声称“我有种”，人们便热情的投以崇拜的目光和祈“种”的眼神，一句“我有种”充满了自 豪，仿佛自己成为了救世的英雄，能够轻易的解救“万民”于水火之中，被人顶礼膜拜，羡慕期待。于是“有种”一词便触动了网民的神经，继而衍生出一种“拥 有”的意思。

我们认同人思想的进步能够推动社会向前发展，正是因为我们不停的在赋予一些古老的东西以新的内涵，这个社会才会不断的革新变化，正如这有着 悠久历史根源的“有种”，探究它内涵意义的发展会令我们感到惊讶，如果我们更进一步的探讨挖掘，也许还能发现什么我们不知道的或者更有趣的全新含义。

One finds oneself laughably excusing oneself before the Security Guard wearing baggy pleated shorts. At the same moment as the question emerges from the tip of my tongue (was that indignation or hesitation): Isn’t this a public space?——those wry twinges at the back of the head (very pertinent?) know all too well that a shopping mall is not a public space. What are you doing here? she asks.

Oh, hmm…uhh…I guess standing around the square and accosting people to take their pictures are not allowed. Security Guard very easily narrates her rehearsed consumer edification statement on the nature of such a “public space” as 三里屯 Sanlitun Village in East Beijing: This is the property of 太古 Taigu (Swire), and while visitors are free to regard this as a public space we do retain certain regulations and have the right to enforce them. Also inflected: consumers must be defended at all costs from anything that deters from a total shopping/dining experience, especially annoying ones like you.

Can I take your photo?

It is the perfect balance of civilised courtesy and the scenario of firm, surveyed control. We can reach the pinnacle of sophistication in an environment where we are surrounded by bourgeouis goods (I hung around to photograph one very fashionable trio, but they stayed inside Izzue for over an hour) and earphone/walkie-talkie donning young guards wearing baggy pleated shorts. It would be easy to walk away then and continue to accost Sanlitun visitors around the corner, on the other side of the square, maybe in front of the American Apparel instead of the Nike store. But you’ve been booted already, no balls, and it’s easy to begin seeing suspicious glares in all the other baggy-pleated short wearing guards that you pass every 50 meters. Go ahead and try to make friends now!

I go to an American-Italian-esque café to have a cappuccino instead. Sigh. Like my mother when she was younger, I can sit for hours on end watching people, though I wonder if my mother ever had as much longing after strangers as I do on a day like today, when I’ve been shamed for my feeble attempts at public engagement. Back then, my mother would visit the old Kai Tak airport in Kowloon Bay, and I guess I grew up in the shopping malls. It’s introductory Augé on repeat. But if these are not public spaces, perhaps we are not publics either, and I can only justifiably play fashion police as a marketing study for what trends and consumer groups should be regarded as the main influencers. To be an influencer would only then be a question of who best shines under a control scenario, under the influence of terms like ‘regime’ and ‘privatisation’ and ‘surveillance’. Is that what I like so much about the hutong still then, where life still happens under the cuff as much as it is committee-surveyed and organized for behavioural control (i.e., “文明北京人 civilised Beijinger”) as any of our more cosmopolitan world alternatives?

Maybe things are not tested as much as they could be. It felt sheepish to receive in an e-mail today: keep pushing the threshold. Playing ballsy? What does that mean, exactly? I would have liked to have written a treatise on ballsy-ness by now, but I sit instead at an American-Italian-esque café thinking too much about people who could care less. “Beyond” could be like a Badiou-ian truth, but vectorless possibilities and ballsy-ness require some form of immanence to be pushed. And where does interior exist in a control society? Are these the parameters of ‘post-privacy‘? We are all influenced. All captured and captivated and de-humanised.

德国艺术家Ulrike JOHANNSEN8月份访问家作坊的时候跟Emi UEMURA（植村絵美）合拍了一部“口袋短片”关于城市园艺。这个月底她们将在维也纳播放她们的DIY“种子炸弹”教育短片，但你可以先在这里看看我们的迷你模糊版本～

Liebe Freunde, Freundinnen und Interessierte, Vienna-based artist Ulrike JOHANNSEN made a short video with buddy Emi UEMURA during her stay at HomeShop, taking off as the first contribution to the CAPITAL archive (stay tuned for more details…). Their pocket film on seed bombing in Beijing will be shown at the upcoming mini-fest “Urban Gardening & Pocket Films” in Vienna, but here’s the blurry mini version for you first.

STADTPFLANZEN UND TASCHENFILME
FR 24.9 – SO 3.10
Wienstation, Lerchenfelder Gürtel Bogen 28, 1080 Wien

Seed bombing has been used for alternative urban gardening techniques here and there. Idea is originated “Nendo Dango” of Masanobu Fukuoka who propose natural farming since the late 40’s, and also Green Guerrillas activist-gardeners in NYC are playing important role to spread the techniques around. Mud balls made with clay, organic fertilizer and mixed seed of flower and vegetables are tossed around the hutongs in Gulou area of Beijing. This time, we bombed !!! seeds carefully into some people’s flower pots (including flower sales guy) and crack of concrete with soil. Hope to sprouting some greens, but we’ll see… next time we will combine the hutong tour and seed bombing together. Peace out.

より大きな地図で 種団子 seed bomb を表示。Here is the link to our seed bombing route map.

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If you want to see what we did, these are useful sources….Video can be fun!
– Seed Bombing wiki: http://en.wikipedia.org/wiki/Seed_bombing
– Guerrilla Gardening wiki: http://en.wikipedia.org/wiki/Guerrilla_gardening
– how-to-make video: http://www.guardian.co.uk/environment/video/2008/apr/25/seedbombing

“有种”练习第四：“有种”儿童电影节
BALLSY exercise number four: “A BALLSY Kid’s Movie Night”

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张硕，天天和Woody是家作坊的卓越遴选委员会。从五布“有种”的片子他们最后选了《少林足球》。
With a distinguished jury comprised of Bobby, Woody and Tiantian, HomeShop’s movie night gives due respect to the film Shaolin Soccer, which actually came in second runner-up to a Japanese animé called A Brave Boy, but was inaccessible due to the lack of Chinese language dubbing. Other short-listed BALLSY films: BBC’s Planet Earth, Sky Captain and the World of Tomorrow and Yasujirô Ozu’s I Was Born, But…

欧阳潇的“有种”思想。Further thoughts on BALLSY, by OUYANG Xiao.

艺术家吴丽克·哟韩森刚在家作坊落了脚！欢迎我们夏季的进驻艺术家！
Visual artist Ulrike Johannsen has just put her feet up! We welcome her for summer residency at HomeShop.

“有种”的练习第三：农夫植村絵美和她邦助理新鲜制作的“种子炸弹”现在可以免费要来自己试试城市游击园艺！如果你感兴趣，请跟絵美或者家作坊联系。
BALLSY exercise number three: Freshly made seed bombs created by farmer Emi UEMURA and her assistants are now available for hitting the city. Please contact Emi or HomeShop if you are interested to get some for free.

《穿》杂志将在这周某的东京艺术书市销售！有时间过去玩～
WEAR journal will be featured at the Tokyo Art Book Fair this weekend. Thank you to Futoshi MIYAGI, whom we recently rediscovered after our days in New York, now back in Japan and working with the fair.

布告：两个大箱子《穿》杂志从北京到柏林和北京到洛杉矶的路上消失了！如果您见到它们或者有相关的信息请跟我们联系。
There are two large shipments of WEAR journal that have been reported missing between the Beijing- Berlin and Beijing-Los Angeles routes! If you happen to see them or have any pertinent information about their whereabouts, please let us know.

不过，我们还是很开心通知你一些其它成功的路线。《穿》最近在这些书店可以买：
In the meantime, we are happy to report the most recent stockists of WEAR worldwide:

• 西排艺术书房 CPAI Arthouse, 广州 Guangzhou
• Domy Books, 得州休斯敦 Houston TX
• 哈佛大学书店 Harvard Bookstore, 波士顿 Boston MA
• 黑蓝空间 Heilan Space, 上海 Shanghai
• 麦田书店 Wheatfield Bookstore, 昆明 Kunming
• World Food Books, 墨尔本 Melbourne
• Worm.shop, 鹿特丹 Rotterdam

吴以楠（右边）和植村絵美（左边）在家作坊门口制作“种子炸弹”，老二（中间）过来帮忙做质量控制。WU Yinan (at right) and Emi UEMURA (left) make seed bombs in front of HomeShop, Brother ZHENG (center) drops by to do quality control.

___

下面的文章是由一个在胡同长大的女孩儿写的。她是家作坊的邻居和朋友，叫吴以楠。她在小经厂胡同6号(家作坊旁边！）出生并成长，后来她又搬到菊儿胡同居住了几年，之后便像大多数胡同里的老北京人一样搬到了楼房。在从淮北师范大学毕业以后她回到了北京，今年初她装修了小经厂胡同的老房子并跟她男朋友搬回来住。最近我们偶然发现了她在写博客，而且写的很不错，因此我们将在家作坊的博客分享一些她的感想和经历。

The following text is written by friend and neighbour of HomeShop WU Yinan. She was born and raised at Xiaojingchang Hutong number 6, then went away for a period to Ju’er Hutong before finally joining the great number of old Beijingers to move out of the hutongs and into a multi-story flat. After graduating from university in Huaibei she moved back to Beijing, and at the beginning of this year she renovated the old family home and came back to live there with her boyfriend. We recently found out that she maintains a blog, from which we will co-feature some of her thoughts and writings here.

In light of all the recent gossip, foreign media and NGO hype about pending demolition of parts of the Gulou area to make way for subway lines, a time museum and shopping centres galore, perhaps what we should remember is that a lot of this area is already relatively new making way for the even newer. This is of course not a form of tacit consent, but these makeovers have been happening all along. Yinan’s post is titled “First make a ruin of Houhai and then of Nanluoguxiang, Let me see what else you all will make a ruin of next”, and expresses a lot of her anger about the reek of ‘xiaozi‘ (kind of like a youthful, big-spending hipster type) that has blown into Beijing since the days of her childhood spent around Gulou and Houhai.

怒了，真的怒了，自从我搬回鼓楼住以后，身边的一切似乎早已不是儿时的回忆了，我自然不是抵制发展进步的人，但是忽然觉得全国文化味儿最浓的地方，突然全变了味儿,而且都变成了一个味儿!

我出生在鼓楼东大街的一个小院儿里，童年的记忆离不开后海的轻风，地安门的繁华，钟鼓楼的端庄，锣鼓巷的素朴，后来搬到了簋街旁边，眼睁睁的看着这个地方 从一个狭窄拥挤的大排档一条街变成了一个更为拥挤油腻的饭馆街。可以说，我从小就围绕着这些现在被炒作的一塌糊涂的地方生活，深知其中变化无穷。

小时候的后海很安静，微风轻抚着柳树带来阵阵凉爽，微波粼粼的湖面让人心旷神怡，早上有老人在湖边练太极，舞剑，一群老头老太太在湖里游泳，春夏秋冬，四 季从不中断。我夏天的记忆悠闲地漂浮在后海的鸭子船里，冬天的记忆则穿着冰鞋徜徉在厚厚的什刹海冰面上，最后一个记忆的碎片就是和我最好的知心朋友坐在湖 边的石头上，一边吹着风欣赏湖面上美丽的景色，一边在柳条声的伴奏下吃着后面超市里买的凉面，那惬意劲就别提了……在外地上了四年大学回来后竟然发现后海 再也不是我儿时的那个天堂了，伴随着叮咣震耳的音乐，四射至天空的霓虹和激光束，后海貌似忽然化作一个黄头发蓝眼睛白皮肤的顽皮小孩对我说“骨德儿白”。 虽然曾经和住在这里的朋友一起寻觅过童年的印记，但是无论如何我似乎已不再认识你了……

行至今日，我搬回了鼓楼的老房子居住，很少有去逛后海的冲动，后海已经变成了城市人，外地人，外国人的后花园，可以任意的放肆，交友，娱乐，我不反对清静 之地变得喧闹不堪，只是经常可怜住在附近院子里的老头老太太们，他们再也没有清静自在的日子过了，真怕他们因此而折寿；也怕那些无耻的商人窥视着这些在此 过了一辈子的老头老太太们毕生守护的房子，想用来投机投资而让他们离开他们钟爱了一辈子的老地方。

从后海出来一定要走烟袋斜街，烟袋斜街在我小时候的印象里就是个澡堂子，里面有个华清池，每次去都很喜欢那里休息的小房间，用木板隔断，有两个床位，中间 有个桌子，桌子上还有茶杯和袋泡茶。晚上的时候澡堂会出租给住宿的人，我见过很多人涌进来搭床铺的场面，可能是挺便宜吧，住宿的人那么多……

现在早已不见了华清池这个澡堂子，卖纪念品的，特色服装饰品，还有饭馆和酒吧，喧闹的小巷到处弥漫着浓烈的香水气息，混合着酒精和饭菜的味道，就一路来到拆的乱七八糟，早已不再繁华的地安门。

地安门的没落让我黯然神伤了好久，曾经最喜欢一路从地安门百货商场逛过各种琳琅满目的小店，直到平安大街，现在也没什么可看的了，拆的拆，关的关，是要建地铁吧，将来这里我希望会更繁华，但是千万别建成纪念品一条街……

之后来到我暴怒的一条街——南锣鼓巷！

因为曾经在菊儿胡同住过好多年，每次放学回家都会走南锣鼓巷，所以我有发言权！！

现在南锣鼓巷可是大名鼎鼎，饭馆林立，酒吧扎堆儿。打着文化牌，做着商业化的事，甚至为此不惜重金的让电视台让主持人念叨念叨，再拍个电视剧什么的，弄得大家都认为南锣鼓巷是北京最后一块没有被污染的净土，纷纷跑去污染。

对了，北京怎么能有净土呢？不能，一定不能够！力争发现一块污染一块，争取全都污染完。

南锣鼓巷乃是北京城平常的不能再平常，普通的不能再普通的一条胡同，只因为他串起来周边许多纵向的胡同，而这些纵向的胡同里有个把官宦和名人的府邸，就突 然这么炒热起来了……北京东西城的胡同名人官宦的府邸多了去了，这对我这个从小长在北京的人已经是稀松平常的事，那会北京城就到二环路，而且东富西贵，除 去紫禁城不能住，可不都住东西城的胡同里么！我常常怀疑，是不是这些什刹海后花园的人发现光逛个后花园不过瘾，才在旁边又弄出个南锣鼓巷来消遣。

我不反对南锣鼓巷作为一个文化和历史遗迹的标的而得以繁荣，恶心就恶心在，压根南锣鼓巷的繁华就和老北京的文化不搭界！你到酒吧里说来瓶小二，人家说我们 这里只有科罗娜，你说来碗炸酱面，人家说我们这只有三明治……等等等，还有新疆烤串，四川风味，意大利披萨，水果沙拉，青海酸奶，印度首饰，总而言之就是 没老北京味儿！文化没看到，光看到酒吧了。三五成群的老外混搭着满嘴洋文的中国小资，喝着啤酒调侃着人生。问老外你敢不敢跟我来个二窝头，老外就“no no”，就算不知道要入乡随俗，也不能让乡随了老外，临了走到尽头还建了个“贞节牌坊”上书“南锣鼓巷”，形状与“国子监”一般，一看就是个新玩意儿，什 么时候南锣鼓巷需要牌坊了，搞笑！

想起前两年去云南旅游的时候丽江古城的杯具，在北京小资心里那是个神圣的去处，如此忧愁多情之流，到了才发现城的建筑很美，但是说白了就是个酒吧纪念品饭 馆之城，同行的假小资们煞有介事的在酒吧里忧郁的品尝着美酒咖啡，表情既享受又有几分沉醉，有的还付费点一段唱走掉的音乐来彰显自己的品味，全部都是繁华 的浮躁，几乎淹没了丽江古城原始的素朴，就快要找不到曾经痕迹了，而如今的南锣鼓巷，后海，颇有步丽江后尘的意味，逐步走向小资心目中的忧愁多情交友品味 之地，外国人心目中的第二个“故乡”。

糟践吧，继续糟践，我们伟大的历史遗迹和文化精魄马上就要在内有崇洋小资，外有寻欢老外的联合攻势下蒸发的看不到痕迹了。

有的时候和一些真心寻找北京文化的老外聊天，他们对这些地方都有鄙夷之神色，宁可在其他不繁华的胡同里徜徉，寻觅，也不愿踏足那个已经变味儿的温柔乡。

—–

— 转载自《人生就像绕口令》，转载于2010年6月1日 ／ First published 1 June 2010 by WU Yinan at Life is Like a Tongue Twister.

The modest question of what isn’t a ball.
Heads, made from avocado pits. Toast, made from eggshells. (2005)

The protracted last few weeks have been pinpointed by gradually diminishing sets of binaries wrought with tension, spectacle and amazing footwork. Of course, for the less than fanatic, it may be easy to toss it all off to them and let them deal with their own battles. It’s not on our turf, where the West’s enormous chatter of the postcolonial “have not planted roots in the deep soil of Chinese culture (没有在中国文化的深厚土壤中扎下根).” But Brother GAO still loves football, and he broadcasts every game he can, live from his home simultaneous to his daily stereo sounds of Teresa TENG at Xiaojingchang number 6. Chinese football may not show as much signs of promise as its art world, yet both are intertwined with “an unprecedentedly complex cultural atmosphere flooded with paradoxes (一个空前复杂、充斥着悖论的文化境遇)” and conflict. Binaries, perhaps? Is it the East vs. West question that critics such as 许江 XU Jiang and 高士明 GAO Shiming are tired of, or simply the West? Who wears the jersey of the “monotonous cultural other (一个单调的文化他者)”?

Tonight is an exception of the third option. Old man ZHANG says it’s too late to party, but our longitude outside of prime time means that the spectacle must find other subjectivities. The third place is runner up in the exceptional case, when winners are unable to fulfill their duties. To play this role is a flailing response to the call of face, unavoidable obligation whether anybody cares or not. Spectacle unseen, it can only be personal. QU says that desire is the necessary first step that he can admire due to his own lack, but inefficacy mated with desire is a flailing third place, one can do no other.

Documentation is a justification for the things that do not appear, or do not appear to be so. We may enter the space of the event, but what takes place? Is this personal or public (her questions explode artistic catharsis as a question of an indifferent socius)? I watched the third place game of the World Cup alone in the street in the middle of the night as a sort of subjective gesture of out-of-placeness. What Pelin TAN calls this “un-relation to space” is still a question of relation, however, albeit one with increasing suspicion of its rupture. “…what needs to be accomplished can fail. Micropolitics, affective politics, seeks the degrees of openness of any situation, in hopes of priming an alter-accomplishment.” (Brian Massumi)

Is the third place an alter-accomplishment? Is being out of context a monotonous cultural alterity? Are you really happy about that?

——

(in mind, and thank you: 安静 Lee, 曲一箴 QU and sportsbabel)