Similar to the best-selling "The Way Tsai Kangyong Speaks" series, this emotional intelligence book is also familiar with the recipe and taste. At the beginning of almost every article in this new book, there is a fixed sentence: I have a friend who is a star. Celebrity friends who did not give their real names were put into the book by Cai Kangyong as a case, and he would also throw out some of the less common claims in the emotional intelligence books on the market, such as Cai Kangyong saying that he did not write the words "accept yourself" and "reconcile with yourself" that frequently appear in general emotional intelligence books from beginning to end.
"Cai Kangyong's Emotional Intelligence Lesson", author: Cai Kangyong, version: Boji Tianjuan| Hunan Literature and Art Publishing House, November 2018
"I don't have these two concepts, I don't feel like I have to accept myself, I can't live with myself all the time, it's fine." If you can't live with yourself, you will always have something to do. And I don't understand what reconciliation is, do we have to reconcile with our appetites? Does this mean that you will be full after eating this meal, and you will not eat it again in this lifetime? Being beaten up by someone else, and then forgiving the other person, and then this is called reconciliation? I don't understand these concepts at all, I think you have to raise the bar with yourself, and then you will be endless, always uneasy, always dissatisfied, I think that is the motivation to live, that is the emotional intelligence I believe. ”
Cai Kangyong also said that he does not think that no emotion is high emotional intelligence, he thinks it is a zombie, a robot. "I usually encounter emotionless people myself, and my first reaction is to be gloomy, not that the emotional intelligence is so high." I also don't like to be friends with someone who has no emotions and you will feel insecure. ”
If Mu Xin had started a class next door, I probably wouldn't have listened
Beijing News: I want to talk to you about literature, you have met Mu Xin in Wuzhen, I don't know what you talked about?
Cai Kangyong: Actually, I didn't talk for a long time, that was the one time I had the most special feeling of one session. I went to Wuzhen to attend a ceremony, Wuzhen had not yet become a tourist attraction, so the roadside shops were opened every three times. I saw a gentleman in a robe sitting next to the bridge, and I wanted to say that it couldn't be (him).
When I saw that it was Mu Xin, I felt that this was someone who designed to create this scene, how could it be him? I was pleasantly surprised and went up to introduce myself.
Beijing News: Does he know who you are?
Cai Kangyong: I don't know if he recognizes me, because I don't have the face to ask the other party if they know who I am, which is too rude, so I said I was glad to see you. Our conversation is so simple, I said, Teacher Mu Xin, do you want to take a picture? Then Mu Xin said that when I finished the art museum next year, we would take pictures again.
I said yes, but I knew very well in my heart that there would be no such picture. I don't know why I said this, but I was surprised because I'm not someone who would ask to be photographed with someone else, and I must have felt like I had to take the opportunity when I made this request. Then I thought to myself, this is really the so-called one session and one meeting.
Mu Xin ,( February 14, 1927 – December 21, 2011), real name Sun Pu, a native of Wuzhen, Zhejiang, was a famous painter, writer and poet. He lived in the United States for many years, and returned to his hometown wuzhen in his later years, which now has a wooden heart art museum. Representative works include "Joan Mecca Caprice", "Three Trees of Spain", "Literary Memoirs" and so on.
Beijing News: From the perspective of the mainland, there is a saying that the context has been broken for decades, so the wooden heart will catch fire, but from a Taiwanese point of view, when you read his works, what attracts you? I feel that in Taiwan, there should be many such people, right?
Tsai: No. Mu Xin's foreign spirit did not come from where his hometown was. I talked about a very strange situation, that is, when I listened to Song Dongye's "Guo Yuanchao", what came to my mind was a wooden heart.
When I first chatted with you, although I didn't have a clear basis, I thought of saying that this song is about "you and I didn't meet before the mountain, don't meet after the mountain." Yes, Mu Xin is very much like the person in "Guo Yuanchao", that is, such a person who does not know where to come and does not know where to end. So when I heard that Mu Xin passed away, I was not sad.
I think he just disappeared, appeared out of thin air, disappeared out of thin air. At that time, when I first read Mu Xin, I thought how could there be such a number one person? And then when he talked about Flaubert, Shakespeare, and Ibsen, I didn't think I needed to know where he came from, and he was a tricky reader. I wonder if I would be willing to listen to him if his class was next door to me, because the sense of distance in reading can maintain a space for imagination, just like others watching my show may not necessarily come to be my neighbor, which is how I feel about him.
And I'll be honest, I like to read people whose cultural backgrounds are more distant from mine, and I feel like I've been living in Chinese culture for a long time. When I read, I try to read something else. If you ask me to read a novel by a Chinese writer and a Spanish writer, I will definitely give priority to Spanish writers. I am very unwilling, I have spent so many years living in Chinese culture, and you are still soaking there when you read.
Beijing News: Among the current mainland or Taiwanese writers, are there any ones that make you more eye-catching?
Cai Kangyong: I don't think there is such a piece in my reading range. I've just talked about the atmosphere in which I live, and sometimes I want to deliberately slip away from reading. I think Mu Xin is almost the closest I've ever read to the present. Of course, I have read jia pingwa, Su Tong and other works of them. Amazingly, the most common quoteS I quote are zhang Ailing or Mu Xin, and I rarely quote Wang Anyi or Su Tong. In "Strange Story", when I see the contestants repeatedly quoting Jin Yong, I will ask, are everyone no longer reading? Why are they all quoting Jin Yong? But Jin Yong is really the best to quote, he has created the most character models.
You see everyone is now quoting the black whirlwind Li Kui, all are Jia Baoyu, all are Ling Huchong, that is, we are all in the classical novel, we quote Zhang Ailing's "Red Rose and White Rose" at most, and then there is no after. There are often camel Shoko, often Ah Q, all of whom are characters in the literature of the 30s. What about the authors of the later novels? Their characters do not enter the vocabulary of everyone's daily life.
I couldn't do anything too rough, but I was enlightened by those rough people
Beijing News: I have seen an article about the famous German director Reiner Werner Fassbinder, who works as a male prostitute while making movies, and I wonder if it were not for such a talented person, would you look at him with a moral eye?
Cai Kangyong: I think the most attractive thing about him is of course these things, he has a very professional identity, but he lives in such a rough way, and he is not bound by this professional identity at all. Therefore, man is a wonderful person, but the movie, as the years have passed, when I re-watch it now, I may have thought that there were ten films that were particularly good before, and now there may be two left that can definitely stand the test of time. I've been reading a lot of this lately, and I've found that people are still willing to put Fear Devouring Souls on the list, and then others like The Merchant of Seasons or Bertina's Tears will go up and down, no longer so sure of their status.
Stills from Fear Eats Soul (1974).
I happened to be frantically watching this kind of classic three times a day this week, and quite a few of them were the ones I read while watching that movie, whether it was Bresson or Godard's, and I think they have played a shocking role in the history of cinema and inspired countless filmmakers. That era has passed, and now after watching a lot of people who were inspired by them, such as after you watch "The Godfather", and then go to see Melville, you will feel that it is good, but there is still a lot of space in the middle, you can pour coffee, you can read books, you can't make you so focused.
So my feelings for Fassbinder are the same, he is one of my initiation teachers, but I don't always feel that I still need him.
Beijing News: I especially like the word you just said, "live roughly", do you think that in this era, there are fewer and fewer people like Fassbinder who live roughly?
Cai Kangyong: I guess there is, but it is not within my scope, because no matter what, it seems to be classified as a more popular part, that is, I did not do anything underground.
Beijing News: I have seen you write about "Evil Son" and say that the underground gay world of the new park written in it is completely foreign to you, I think this is related to your family background, right?
Cai Kangyong: Yes, there is no chance to meet it. I had fantasized that if I lived in that underground world, I would live quite well, and I had the quality to survive. However, living in this world with good and bad work, and then unfortunately, the programs are broadcast on normal media, which is in line with the normal scale, slightly off-track, but not excessively. We can't do anything too rough, but we are enlightened by those who are rough, or (will ask) where is the power of such a rough? So when I read Tang poems, I felt that the Tang Dynasty must have had very rough poets who didn't care about rhyme, didn't care about confrontation, and didn't have a literary mood, (but) couldn't stay at that time. There must have been a Tang Dynasty poet of the heavy metal rock school at that time, and at that time there may have been a niche, red, and then gone. So, yeah, like you said, they're out of our sight, but I try to touch them.
But to be honest, when I watch movies these days, some of the films are the winners of the Sundance Independent Film Festival, and in theory, you think the awards of the Independent Film Festival should be very rough, right? As a result, running out of some small freshness, small sweetness, will be impatient, I thought is this worth it? So they're more powerful than Fassbinder, Godard, Herzog, and Russ von Trier is sometimes crazy enough.
Beijing News: You took Zhang Guorong to Taipei New Park, do you think he felt the rough power of that underground gay world?
Cai Kangyong: I don't know, at that time, just like getting along with Mu Xin, it was a very distant relationship, and that distance may be what I am willing to keep. I don't think you should want to get more when the other person has already formed an image, you should cherish that image, so you were in that kind of seemingly non-existent situation. Then they all expressed as if they wanted that sense of distance, and I respected that sense of distance, and I didn't feel the need to figure out what he was thinking, and there was no regret.
Contemporary art is less needed by the public
Beijing News: In the personal introduction of the new book, did you specifically mention that you did performance art with Cai Guoqiang, and you two did a work called "Zhao Cai Ping An Charm" together, can you briefly talk about the original intention?
Cai Kangyong: One of the things that Cai Guoqiang is very similar to me is that he is not willing to stay within the professional scope he is familiar with, so he made a plan called "exchange", that is, he wanted to exchange identities with others, and then the English language exchange he used also included transactions, so I wanted to say that I helped him make a proposal, taking care of both exchange and transaction, and I said that we would blow up the invalid banknotes, and we wanted to damage the value of this banknote. But it is necessary to increase its value by harming it. To put it bluntly, it is the same as recently Banksy cut his paintings, and the result is even more severe. He took it, thought it was funny, and then we went on the TV shopping channel to sell this thing, which is not going to happen again for him in a lifetime, and I have never been on the shopping channel to sell things. We follow the rules, and the shopping channel asks us to do whatever we want.
In 2005, Cai Kangyong cooperated with Cai Guoqiang in the "TV Purchase Painting" project, and the name of the work was "Zhao Cai Ping An Charm".
Then it was launched at a very low price, and later the case had a little regret, as if the insider knew the news, so a lot of telephone lines were arranged. Many of the 300 homes we sold at the time probably fell into the hands of insiders, rather than the consumers we wanted to snap up hairy crabs or underwear on the shopping channel. So at the end of the sale, I don't think I have the feeling of folk life, but on the side where we buy and sell, we have what we want to achieve.
Beijing News: I think one of the most important points of contemporary art is that it can promote the generation of new ideas, so do you think the Taiwanese public cares about contemporary art?
Cai Kangyong: I don't think the public needs this stuff very much. This question is very interesting, I had dinner with a friend, he is an expert in Chang yu (painter - reporter's note), he said to me, I think there are about hundreds of thousands of people who know Chang Yu now, I said I think there are only a few thousand, he said are you crazy? How can there be only a few thousand people?
I said let's do the test now, he said I definitely beat you, he immediately rushed to the department store escalator to intercept, to ask customers have you heard of Chang Yu? Asked 20 people, all failed, no one heard. Then I said, don't talk about Chang Yu, even Zhang Daqian no one knows, he said fart. The service staff brought coffee over, and I asked, have you heard of Zhang Daqian? The service staff said, I immediately went to the Internet to check it, and then the friend collapsed. I said that Zhang Daqian, Qi Baishi, and Picasso were never part of everyone's life, let alone contemporary art.
author:
Beijing News reporter Shen Hexi
edit:
Go away, Kou Huaiyu
proofread:
Zhai Yongjun