如果将摄影也看作是一个具有哲学意义的文本，那么它也存在一个“延异”的话题。
所谓“延异”，是德里达发明的词汇，指的一切文本都是模糊的、未定的，是不明晰的，一切文本的“本原”只是当下的。
视觉的本质是随着时间流逝中的“历时性”活动，但摄影却是一种“间断”时间的活动，把时间变成了空间，而且它是以框型的结构关系重新赋予和规定了我们视觉观看的意义。我们很多年对于摄影的理解是从这一点出发的，并把摄影等同于视觉。其实两者根本就不是一回事。
视觉的历时性特征需要历时性的表达，才能再现视觉和视觉之后的意识活动。这个过程正好和德里达“延异”的意指具有一定的同构性。但摄影作品“在者”的即时性呈现却好像和视觉的历时性存在着不可重合的矛盾。
万夏的摄影展览，是他每一次单元性的视觉过程呈现，那些拼贴的作品正是他曾经在看一个个场景时游移的目光再现。他以这种方式挑战了我们一贯认知的摄影意义，探寻视觉本身和摄影之间的关系。在他的这个挑战（实验）中，瓦解了摄影曾经给我们强加的固定意义。他也从一个角度上告诉我们，我们总爱说“摄影”如何，但实际上“摄影”是不可说的，尤其是我们把摄影等同于视觉的时候。我们不能在摄影之中说摄影，只能说视觉是什么。
万夏还不满足用摄影再现视觉，他还希望洞穿依附在纸上的视觉遗迹影像，寻找视觉后面的意义。那些粗暴地贯穿在“作品”之上的孔洞，就是万夏质疑“视觉”的目光。空洞后面是什么呢？或许，佛可以回答。其实，正如德里达所云，一切都是延异的。
2010.12.22
The Differance of Vision
Dec 22, 2010
BAO Kun
If a work of photograph is regarded as a text with philosophicalmeanings, it can also involve the topic of differance.
Differance, a term coined by Jacques Derrida, points out that alltexts are vague, indefinite and unclear and th‘origin of all textscan only be present.The essence of vision is the diachronic actions that flow away withtime. Photography, on the other hand, is an activity that interrupts the flow of time and thus translates time into space, which, with thestructural relations of frames, re-assigns and re-defines the meaningsof our vision. For decades, we have always understood photography fromthis perspective and equated photography with vision, but they are notthe same at all.
In order to represent vision and the activities of consciousnessbehind vision, the diachronicity of vision requires diachronicexpressions. This process happens to be somewhat isomorphic with theidea of Derrida’s differance. But the punctual representation of aphotographic work as a being seems to pose as an irreconcilablecontradiction to vision’s diachronicity.
This photo exhibition by Wan Xia is a representation of each of hisatomic acts of visual process. These works of photo collages are therepresentations of his moving eyes when he was looking at the scenes.It is in this way that he challenges the meaning of photography thatwe have always perceived. In this experimental challenge he liquefies the fixed meanings which were once imposed upon us by photography. Hetells us from one angle that we always talk about photography but
photography is actually unspeakable, especially when we equatephotography with vision. We cannot talk about photography inphotography, but can only say what vision is all about.
Wan is not satisfied with just representing vision with photographs,but also would like to penetrate the traces of visual images left onthe paper in search of the meanings beyond vision. Those holes thatbrutally penetrate his works are actually his eyes that questionvision. What is behind those holes? Maybe the Buddha has the answer.In fact, just as Derrida put it, everything is differant.
【编辑：李雅】
