△ Cello Suite No. 1 in G Major, BWV 1007 : I. Prélude 马友友演奏巴赫传世之作《G 大调第一无伴奏大提琴组曲》。

他在访谈里说“巴赫写的是生命的模版，你可以把自己的任何故事放进去。这是马友友从 4 岁那年花了 42 天就学会这首曲子却用了 58 年才得出的感悟。”（马友友，WeLens 访谈，2018 年）。

Cello Suite No. 1 in G Major, BWV 1007: I. Prelude. Yo-yo Ma playing Bach’s masterpiece Cello Suite No. 1 in G Major. “What Bach composed was actually a template of life, and you can put almost any story you want into it. It took me only 42 days at the age of four to learn the étude, but 58 years to understand this.” He said in an interview. (Yo-Yo Ma, WeLens Interview, 2018).

意形

回溯

Meaning Backtracking

趋势正反的两极性，当空间回归物性本质，且同时空间向观念展开。空间通过思想潜在的对话流动，实现叙事转向段落华彩起伏的交响性，填补了阵营对立的缝隙。当趋势审美单一走向同一统合，意义便逐渐消亡。

Subject to the principle of polarity, i.e., the positive and negative trends of all things, when space returns to its physical nature, its conceptual construction starts. Through invisible dialogues with the mind, space flows and narrates, like playing a magnificent symphony that soothes resistance between the opposites. But once the monotonous aesthetic trends start to converge and unity, the meaning will gradually die away.

意义的产生不只是一个线性的、内在的、必然的进程，不单一特定指向自某个初始内核逐渐展开。意义是对惯性安稳和潜存颠覆的双重期待，这被看成了某种意义上的反抗和自我重建，即意义的回溯性：实现意图与意识相交，使隐微义的层次，向诗学式的意义展开。