[關(guān)于藝術(shù)、運(yùn)動(dòng)、與時(shí)代的 元現(xiàn)代主義者的宣言。] 翻譯及原文如下：

1. 我們認(rèn)識(shí)到振蕩是世界的自然秩序。

2. 我們必須解放自己，擺脫由整整一個(gè)世紀(jì)以來現(xiàn)代主義意識(shí)形態(tài)的幼稚無知以及與其對(duì)立的雜種后代的憤世嫉俗和虛偽所造成的慣性。

3. 通過在立場(chǎng)之間的振蕩，運(yùn)動(dòng)將從此成為可能。對(duì)立的觀念就像巨大電動(dòng)機(jī)的兩極電脈沖一樣運(yùn)作，推動(dòng)世界進(jìn)入行動(dòng)。

4. 我們承認(rèn)所有運(yùn)動(dòng)和經(jīng)驗(yàn)的固有局限性，以及試圖超越其既定界限的任何企圖的徒勞。系統(tǒng)的本質(zhì)上不完整應(yīng)促使我們遵守：不是為了達(dá)到一個(gè)給定的目標(biāo)或成為其路線的奴隸，而是為了或許通過替代能窺見某些隱藏的外部。如果我們像那些界限可能被超越一樣著手我們的任務(wù)，這將使存在本身變得豐富多彩，因?yàn)?span id="5tt3ttt3t" class="font-size-12">這樣的行動(dòng)揭示世界。

5. 所有事物都被困在向最大熵失真狀態(tài)的不可逆轉(zhuǎn)滑動(dòng)中。藝術(shù)創(chuàng)作出發(fā)于其中的差異的起源或揭示。影響的頂峰是對(duì)差異其本身的無中介體驗(yàn)。藝術(shù)的角色必須是探索藝術(shù)本身自相矛盾的雄心壯志，通過將“過?！?span id="5tt3ttt3t" class="font-size-20">引導(dǎo)向“展現(xiàn)”。

6. 當(dāng)下是即時(shí)性和過時(shí)性這對(duì)雙胞胎同時(shí)降生的癥狀。今天，我們既是懷舊主義者，也是未來主義者。新技術(shù)使我們能夠從多個(gè)立場(chǎng)同時(shí)體驗(yàn)和實(shí)施事件。這些新興網(wǎng)絡(luò)不僅不會(huì)標(biāo)志著歷史的消亡，反而促進(jìn)了歷史的民主化，揭示了其宏大敘事可能在此時(shí)此刻通向的分叉路徑。

7. 就像科學(xué)追求詩意的優(yōu)雅一樣，藝術(shù)家也可以追求真理。所有信息都是知識(shí)的基礎(chǔ)，無論是經(jīng)驗(yàn)性的還是警句式的，無論它的真實(shí)度如何。我們應(yīng)該擁抱科學(xué)-詩意的綜合，也擁抱魔幻現(xiàn)實(shí)主義的知情后的愚昧。錯(cuò)誤孕育見識(shí)。

8. 我們提出一種不受意識(shí)形態(tài)桎梏的實(shí)用浪漫主義。因此，元現(xiàn)代主義應(yīng)該被定義為處于諷刺和真誠(chéng)之間、幼稚和熟知之間、相對(duì)主義和絕對(duì)真理之間、樂觀和懷疑之間的流動(dòng)狀態(tài)，追逐各種不同和難以捉摸的許多地平線。我們必須前進(jìn)并振蕩！

?by?Luke Turner, 2011

1.We recognise oscillation to be the natural order of the world.

2.We must liberate ourselves from the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child.

3.Movement shall henceforth be enabled by way of an oscillation between positions, with diametrically opposed ideas operating like the pulsating polarities of a colossal electric machine, propelling the world into action.

4.We acknowledge the limitations inherent to all movement and experience, and the futility of any attempt to transcend the boundaries set forth therein. The essential incompleteness of a system should necessitate an adherence, not in order to achieve a given end or be slaves to its course, but rather perchance to glimpse by proxy some hidden exteriority. Existence is enriched if we set about our task?as if?those limits might be exceeded, for such action unfolds the world.

5.All things are caught within the irrevocable slide towards a state of maximum entropic dissemblance. Artistic creation is contingent upon the origination or revelation of difference therein. Affect at its zenith is the unmediated experience of difference?in itself. It must be art’s role to explore the promise of its own paradoxical ambition by coaxing excess towards presence.

6.The present is a symptom of the twin birth of immediacy and obsolescence. Today, we are nostalgists as much as we are futurists. The new technology enables the simultaneous experience and enactment of events from a multiplicity of positions. Far from signalling its demise, these emergent networks facilitate the democratisation of history, illuminating the forking paths along which its grand narratives may navigate the here and now.

7.Just as science strives for poetic elegance, artists might assume a quest for truth. All information is grounds for knowledge, whether empirical or aphoristic, no matter its truth-value. We should embrace the scientific-poetic synthesis and informed naivety of a magical realism. Error breeds sense.

8.We propose a pragmatic romanticism unhindered by ideological anchorage. Thus,?metamodernism?shall be defined as the mercurial condition between and beyond irony and sincerity, naivety and knowingness, relativism and truth, optimism and doubt, in pursuit of a plurality of disparate and elusive horizons. We must go forth and oscillate!

by?Luke Turner,?2011