1Michel Foucault, "Lives of Infamous Men", Power: Essential Works of Fouoault 1954-1984, in Vol. 3, series Ed. James D. Faubion, Penguin Books, 2002, p. 158.
2米歇尔-福柯,<无名者的生活>,见李猛译,《社会理论论坛》总第6期,1999年.
3Michel Foucault, "Lives of Infamous Men", in Power: Essential Works of Foucault 1954- 1984, Vol. 3, 2002, p, 161.
4Michel Foucoult, "Lives of Infa- mous Men", p, 161.
5Fear and Loathing in Las Vegas, Dir,, Terry Gllliam, Rhino Films, Summit Entertain- ment, 1998.
6Michel Foucault, "Lives of Infamous Men", p. 172.
7"Art documentation is neither the making present of a past art event nor the promise of a coming artwork but the only possible form of reference to an artistic activily that cannot be represented in other way." Boris Groys, Art in the Age of Blopolitics: From Artwork to Art Docu- mentation, in Katalog Documenta 11, Ed. Ok- wui Enwesor, Hatje Cantz, 2002, pp. 108-114.
8"If life is not longer understood as a natural event, as fate, as Fortuna, but rather as time artificially produced and fashioned, then life is automatically politicized, since the technical and artistic decisions with respect to the shap- ing of the Iifespan are always political decisions as well." Ibid,.
9ibid.
10Roland Barthes, "The Death of the Author~, in The Norton Anthology of Theory and Crifi- olsm, general Ed. Vincent B. Leitch, W.W. Nor- ton& Company, 2000, p. 1467.
