Masks are devices and symbols. In the first instance, they are artifacts that allow opposite poles to take each other’s place. They split the world into appearance and reality, manifest and repressed, sacred and profane. In this sense, they are dualistic. But by so doing they invert these terms. In this sense, they are dialectical. In the second instance, they exemplify doubt about people’s identities and the veracity of their words; they denote duplicity, inauthenticity, and hypocrisy. The conjunction of these two senses resides in the fact that masks are at the threshold between reality and fiction. Such a threshold makes possible the emergence of a space of play which asserts that the world does not express a determinate and final order but is infinitely open to the emergence of new, yet transient, forms of self-organization and open new spatiotemporal worlds.

中文翻译：

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面具和游戏空间

面具是装置和符号。首先，它们是允许对立的两极取代彼此位置的人工制品。他们将世界分为表象与现实、显化与压抑、神圣与世俗。从这个意义上说，它们是二元的。但是通过这样做，他们颠倒了这些术语。从这个意义上说，它们是辩证的。在第二个例子中，他们举例说明了对人们的身份和他们所说的话的真实性的怀疑；它们表示口是心非、不真实和虚伪。这两种意义的结合在于，面具位于现实与虚构之间的门槛上。这样的门槛使得一个游戏空间的出现成为可能，它断言世界并不表达一个确定的和最终的秩序，而是无限地开放给新的，但短暂的出现，