1 The human hand cannot draw a straight line, John Ruskin claimed. No matter how well trained, it will inevitably produce curvature or a variety of direction. A century later, his claim seemed to underpin La Monte Young’s musically waywardComposition 1960 #10, which simply consists of the instruction “Draw a straight line and follow it.”Young’s earliest performances of this work in 1961 show his awareness of a straight line’s implicit challenge for human bodies. Like a good construction worker, he used plumb lines and yardsticks to make the lines, which he drew with chalk directly on the floor, as straight as possible, repeating the exacting and timeconsuming procedure over and over again. If the work called for drawing, his own hand was clearly not up to the task. The recourse to technical aids may of course also have served to indicate that “drawing” here was associated less with the work of the hand than with technomathematical operations, represented by the electronic media that were invading artistic practice around 1960. In fact, a number of the new technologies foregrounded the question of nonhuman drawing skills: the 1968 Cybernetic Serendipity exhibition in London sums up a decade’s development of computer-driven drawing machines. There was IvanMoscovich’s PendulumHarmonograph, which produced stunning Lissajous figures, or Desmond Paul Henry’s Drawing Computer, a nonpro-

中文翻译：

---

“并遵循它”：直线和基础设施敏感性

1 人手不能画直线，约翰拉斯金声称。无论训练得多么好，它都不可避免地会产生曲率或各种方向。一个世纪后，他的主张似乎支持了 La Monte Young 音乐上任性的 Composition 1960 #10，它只是由“画一条直线并跟随它”的指令组成。Young 在 1961 年对这部作品的最早表演表明他意识到直线的隐含性对人体的挑战。像一个优秀的建筑工人一样，他用铅垂线和尺子使他直接在地板上用粉笔画的线尽可能笔直，一遍又一遍地重复严格而耗时的程序。如果工作需要绘画，他自己的手显然不能胜任这项任务。对技术辅助工具的求助当然也可能表明，这里的“绘画”与手工作业的联系较少，而与技术数学运算的联系较少，以 1960 年左右侵入艺术实践的电子媒体为代表。 事实上，许多新技术突出了非人类绘图技​​能的问题：1968 年在伦敦举行的 Cyber​​netic Serendipity 展览总结了计算机驱动绘图机的十年发展。有 IvanMoscovich 的 PendulumHarmonograph，它产生了令人惊叹的 Lissajous 人物，或者 Desmond Paul Henry 的绘图计算机，一个非专业的 许多新技术突出了非人类绘图技​​能的问题：1968 年在伦敦举行的 Cyber​​netic Serendipity 展览总结了计算机驱动绘图机的十年发展。有 IvanMoscovich 的 PendulumHarmonograph，它产生了令人惊叹的 Lissajous 人物，或者 Desmond Paul Henry 的绘图计算机，一个非专业的 许多新技术突出了非人类绘图技​​能的问题：1968 年在伦敦举行的 Cyber​​netic Serendipity 展览总结了计算机驱动绘图机的十年发展。有 IvanMoscovich 的 PendulumHarmonograph，它产生了令人惊叹的 Lissajous 人物，或者 Desmond Paul Henry 的绘图计算机，一个非专业的