■■■ Art Power 1st Edition ■■■·■■■■

(Boris Groys)
Visit to download the full and correct content document:
https://ebookstep.com/download/ebook-43076784/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

■■■ Art Power 1st Edition ■■■·■■■■ (Boris Groys)

https://ebookstep.com/download/ebook-43076784/

Bioquímica de Laguna y Piña 8a ed 8th Edition Federico

Martínez Montes Juan Pablo Pardo Vázquez Héctor Riveros
Rosas

https://ebookstep.com/product/bioquimica-de-laguna-y-
pina-8a-ed-8th-edition-federico-martinez-montes-juan-pablo-pardo-
vazquez-hector-riveros-rosas/

Grammaire progressive du français niveau

perfectionnement B2 C2 1st Edition Cle International

https://ebookstep.com/product/grammaire-progressive-du-francais-
niveau-perfectionnement-b2-c2-1st-edition-cle-international/

Wortschatzübungen für Fortgeschrittene UNI SICHER 3 B2

C1 C2 1st Edition Anja Mathes

https://ebookstep.com/product/wortschatzubungen-fur-
fortgeschrittene-uni-sicher-3-b2-c1-c2-1st-edition-anja-mathes/
Power Negara Syarifurohmat Pratama Santoso S Ip
Christine Anggi Sidjabat Ba Ir M Han

https://ebookstep.com/product/power-negara-syarifurohmat-pratama-
santoso-s-ip-christine-anggi-sidjabat-ba-ir-m-han/

La nuova prova orale 2 B2 C2 1st Edition Telis Marin

Francesco Di Paolo

https://ebookstep.com/product/la-nuova-prova-orale-2-b2-c2-1st-
edition-telis-marin-francesco-di-paolo/

Training Hörverstehen UNI SICHER 2 B2 C1 C2 1st Edition

Petra Drenkert Anna Gryunefeld Gerhard Pinzhoffer
Rafael Kluczynski

https://ebookstep.com/product/training-horverstehen-uni-
sicher-2-b2-c1-c2-1st-edition-petra-drenkert-anna-gryunefeld-
gerhard-pinzhoffer-rafael-kluczynski/

Notos Say■ 97 1st Edition Kolektif

https://ebookstep.com/product/notos-sayi-97-1st-edition-kolektif/

Orgia dos loucos 1st Edition Ungulani Ba Ka Khosa

https://ebookstep.com/product/orgia-dos-loucos-1st-edition-
ungulani-ba-ka-khosa/
 J05-53
50 前言

艺术力
剑的第

Art Power 术都特

［德］鲍里斯•格洛伊斯 艺术当
(Boris Groys)著 代艺术
杜可柯胡新宇译
文艺复
何也不

艺术的
所以，

£注点

写术家

至一总

L所

1—
—
【自己

场上

所谓

③吉林出版集团股份有限公司 变得
 ，Art Power
© 2008 MIT' Press/Cambridge
All rights reserved
吉林省版权局著作权合同登记图字：07-2016-4644号

图书在版编目（CIP ）数据

艺术力/ （德）格洛伊斯著；杜可柯，胡新宇译
.一长春：吉林出版集团股份有限公司，2016. 3
（当代艺术书系）
书名原文：Art Power
ISBN 978-7-5581-0722-1

I.①艺…II.①格… ②杜…③胡…III.①艺术评
论一文集IV.①J05-53

中国版本图书馆CIP数据核字（2016 ）第037124号

艺术力
U~者［德］鲍里斯•格洛伊斯.
译 者杜可柯胡新宇
总策划张业宏
责任编辑齐琳王昌凤
特约编辑周凌
封面设计王国栋
开 本 720mmX 960mm 1/32
印 张7.625
版 次2016年4月第1版
印 次2016年4月第1次印刷
5 版 吉林出版集团股份有限公司 ~
电 话总编办：010-63109269
发行部；010-89513493
印 刷北京市十月印刷有限公司
ISBN 978-7-5581-0722-1 定价：49. 80元

版权所有侵权必究
 前言

读过大部分有关现当代艺术的论述后 ，我们得到的第

一条教训是：现代艺术（在更大程度上）和当代艺术都特
别多元化。在这一事实之下，我们就不可能把现代艺术当
做一个具体现象来写，不可能把现代艺术写成是几代艺术
家、策展人、理论家集体工作的结晶—
—比如像写文艺复
兴或巴洛克时期艺术那样写现当代艺术。同时，我们也不
可能把某件具体的现当代艺术作品写成整个现当代艺术的

典型代表。只要你这么做了，就有人立刻举出反证。所以，
艺术理论家从一开始似乎就只能缩小兴趣范围,把关注点
放在某个具体的艺术运动、流派、潮流，甚至单个艺术家

的作品上。到目前为止，我们能对现当代艺术做的唯一总
缱理它避开了所有总结。目光所及之处，唯有差异。所
以，理论豪必须做出选择，必须站队，必须支持某一边 一

同时接受不可避免的指责：观点片面，只不过是在为自己
喜欢的艺术家打广告，为了推动这些艺术家在艺术市场上
获得商业成功，而对其他类型视而不见。换句话说：所谓

现当代艺术的多元主义使得任何有关它的话语最终都变得
II I艺术力

无效，而且让人沮丧。单凭这一点，就足以使我们对多元

主义的教条提出质疑。
当然，每场现代艺术运动都会引发一场反运动 ，每次
对艺术进行理论定义的尝试都会刺激艺术家创作一些超出

这一定义之外的作品，如此种种都是事实。当一些艺术家

和批评家在单个艺术家的主观自我表达中找到真正的艺术
源泉时，另一些艺术家和批评家就要求艺术以其生产和流
通的客观物质条件为创作主题。当一些艺术家坚持艺术的
独立自主性时，另一些则选择进行政治介入。如果放到一

个更微观的层面上:当一些艺术家开始做抽象艺术时，另

一些艺术家则开始尝试高度写实的创作。所以，我们可以

说，折有现代艺术作品都是为了以这样或那样的方式反对
其他现代艺术作品而做。但这一点当然并不意味着现代艺

术就因此而多元了，因为那些不跟其他作品较劲的艺术品
就得不到承认，被认为是无意义或并非真正现代的。现代
艺术像一台巨大的机器，不仅把过去不是艺术的所有东西

吸收进来，也把那些对既存艺术模式幼稚、非反思性、无
问题意识的简单模仿以及所有不具备争议性、挑衅性的东

西排除在外。但这就意味着：现代艺术远非一个多元化领

域，而是一个严格按照对抗逻辑建立起来的结构体系。在
这个体系里，每个观点都应该有一个反观点与之对应。理
想情况下，观点和反观点的代表应势均力敌，最后加起来
 Art Power | III

总和为零。现代艺术是启蒙运动的产物，是经过启蒙的无
神论和人文主义的产物。上帝已死意味着这世上再没有一

种力量能够无限大于其他力量。因此,经过启蒙的无神论、
人文主义现代世界相信力量的平衡一现代艺术就是对该

信仰的表达。这种对力量平衡的信仰具有规制的特点一
因此现代艺术具备其自身的力量和地位：它偏好任何建立
或维持力量平衡的东西,倾向于排除或试图压倒任何破坏
这种平衡的东西。

实际上，艺术总是试图表现可能范围内最大的力量，
表现从整体上统治这个世界的力量一无论是神力还是自

然力。因此，作为这种力量的表征，艺术在传统上总是从

该力量中获取自身权威。就此而言，艺术从来就直接或间
—因为它退使有限的、政治的力量直面
接地具有批判性—
无限的上帝、自然、命运、生命、死亡之力。如今，现

代国家也把力量制衡宣布为自己的终极目标一但当然从
来没有真正实现过。所以，我们可以说，对国家这种不
完美的力量平衡，现代艺术从整体上希望提供一种能够

超越它的乌托邦式的平衡图像。黑格尔(Georg Wilhelm
Friedrich Hegel)是第一个站出来为现代国家所代表的力
量平衡叫好的人，他认为，，在现代性当中，艺术已成明日
黄花。也就是说，他无法想象图像能够呈现并展示力量的
平衡。他相信，真正总和为零的力量平衡只能存在于思想
IV I艺术力

中，而非视觉上。但现代艺术已经表明，将这种零度，这

种完美的力量平衡视觉化也是有可能的。

如果没有哪个图像能够代表一种无限的力量，那么所
、亘囹建都是光等的。一的确,当代艺术就是以阴看图像的平

等为自身目的。但所有图像的平等超越了审美趣味的多元、

民主平等。总有无限多的可能性图像作为剩余物 ，无法对
—无论是个人趣味、“高雅“趣味,
应到任何具体趣味上—

边缘趣味还是大众趣味。因此，我们也总是可以指涉这种

—而这正是当代艺术始终在
无人需要和喜欢的剩余图像—

做的工作。卡西米尔,马列维奇(Kasimir Malevich )已经

说过，他在与艺术家的真诚性做斗争。而马塞尔,布达埃

尔(Marcel Broodthaers )刚开始做艺术的时候也说，他

想干点儿不真诚的事。在这种背景下，丕真诚意味着创作
—甚至超出艺术家自身单趣味。(当
超出所有趣味的艺术—
代吾系就惠画新包括多元化趣味)的剩余物 。)从这个急

义上讲，它也是多元化民主和民主性平等的剩余物。这种

剩余同时巩固和颠覆了趣味与权利的民主化平衡。这一矛
盾实际上标志着当代艺术的整体特征。
而且能被视为矛盾化身的不光是艺术领域之整体。在

经典现代性框架下，多其是当代艺术语境内，单件艺术作
品开始容纳垂表现这种矛庖」也就是说,同时包含了命题

及其反命题。因此，杜尚(Duchamp)的《泉)(Fountain )
 Art Power | V

既是艺术品，也是非艺术品。同样，马列维奇的《黑色方

块》(Black Square )既是一个单纯的几何图形，又是一幅

画。但自我抵消、自相矛盾的艺术表现到二战以后才开始

在当代艺术领域内大批涌现。举例来说，这个时候，我
们看到既写实又抽象的绘画［格哈德•里希特(Gerhard
Richter)］,既是传统雕塑又是现成物的物品 ［彼得•费茨

利(Peter Fischli)和大卫•威斯(David Weiss ) ］B 我们也

看到，一些艺术作品既是纪实文献，也是虚构创作；一些
—
艺术介入希望超越艺术系统的界线，变身为政治行动—

同时把动作保持在界线以内。这种矛盾以及表现并实际化
身为这种矛盾的当代艺术作品似乎可以想要多少就有多
少。这些作品也许能创造出一种幻觉：它们邀请观众进入

一个无限多样化的阐释空间，在意义上始终是开放的，绝
ii-z—-~J— ■ “
不强加任何具体意识形态、理论或信仰给你。

但是,这种看似如此的无限多样性当然只是一种幻觉。
实际上，它们交给观众的正解只有一个：作为矛盾物，这
些作品要求得到一种完美的矛盾反应。在这种情况下，任
何不矛盾或不够矛盾的反击都应被视为还原论, ''实际上也
就是，错误的反应。［对一个矛盾来说，唯一充分的解读就

是充满矛盾的解读^因此，为什么现代艺术总是让人感觉

手足无措，其深层原因就在于我们不愿接受自相矛盾的解
读也可以真实而且充分这一事实。但液衍虚该克服这种不
VI I艺术力

情愿一这样才能从本质上认识现当代艺术，即：这一场

域的主要功能就是向我们揭示支配权力制衡的矛盾。实际
上，成为一种矛盾物是对任何当代艺术作品的潜在规范性

要求。一件当代艺术作品只要是矛盾的，只要能够代表最

为激进的自我抵触，能够为建立并维持论题与反论题之间
完美的力量平衡做贡献，就是好的。从这个意义上讲，就
连那些最一边倒的艺术作品，只要有助于矫正艺术界整体

上的力量失衡，也能算好作品。
当然，一边倒和攻击性策略至少和低调谦逊、努力维
持力量平衡的做法一样现代。现代革命或者（可以说）全
权主义运动和国家也希望达到某种力量平衡，但他们相
信，实现此目标离不开斗争、冲突和战争。艺术如果被用

于这种动态、革命的权力制衡关系，就不可避免地会以政

治宣传的面目示人。这种艺术不把自己缩减为权力的表

—它亲身参与权力斗争，因为它认为只有这样，才能
征—

使真正的力量平衡现身。现在，我必须承认，本书收录的
文章也是受到下述愿望驱动:我希望为今日艺术界的力量
—也就是说，希望为那些作为政治宣
平衡贡献一份力量—
传的艺术谋求更多空间。
在现代性的境况下，艺术品可以以两种方式生产并呈
现给公众:作为商品的艺术和作为政御宣传工具的艺术。
两种方式下生产的艺术品在数量上大致相等 。但在当代艺
 Art Power | VII

术界内部来看，大部分对历史的关注都投向了作为商品的

艺术，而鲜有人论及作为政治宣传工具的艺术。苏联以及
其他前社会主义国家的官方和非官方艺术在当代艺术史和
博物馆系统中几乎完全看不到。除此以外，被排除在外的
还有西方共产党(尤其是法国共产党)曾经支持并宣传过

的艺术。唯一的例外是20世纪20年代苏联新经济政策时
期的俄国建构主义艺术。当然，大面积忽视这种诞生于艺

术市场标准环境以外、带有政治目的的艺术并非毫无缘
由：第二次世界大战以后,特别是东欧社会主义国家政局
变动以后，艺术生产和流通的商业体系盖过了政治体系。
艺术这一概念几乎与艺术市场划上了等号，所以凡是在非
市场条件下生产的艺术品都基本被排除在体制承认范围之
外。这一持续进行的排除常常以道德评判的方式表达:一

个人如果要谈20世纪的“全权主义”(totalitarian )艺术，
就好像在伦理道德上以身犯险，因为这些艺术标志着乌托
邦艺术“真正的”政治理想之“堕落”。当然，把“堕落

的艺术(perverted art)和“真正的艺术”(genuine art )

对立起来的做法本身就很有问题—
—所谓堕落，一旦放入
其他语境，部分作者会毫不犹豫地对其展开攻击 ，但奇怪
的是，同样这些人，在涉及“全权主义”艺术时，便频频
讨论起“堕落”来。更有意思的是，就连那些在道德层面
上对自由市场最严厉的评判也没有导致谁最后主张把那些
VIII I艺术力

在市场条件下制作的艺术品排除在批评和历史考量范围之
外。上述思维的另一个特点是，不仅社会主义国家的官方

艺术被忽视，就连非官方的异见艺术也往往无法进入主流

艺术理论的考察视野。
但实际上，此处的问题并不在于你对非市场“全权主
义”艺术的道德维度到底怎么看。这种受到政治驱动的艺

术在艺术界内部是否有代表跟你是否认为它在道德上，甚
—就好
至审美上能算作好艺术，二者之间没有任何联系—
比没人会问杜尚的《泉》在道德或审美上是好作品还是坏
作品一样。作为现成物,商品可以在艺术界畅行无阻—
—
但政治宣传就不能。从这方面讲，艺术经济与瑚希之间的

力量平御旦箜被打破。我们忍不住怀疑，排斥不是在标准
艺术市场条件下诞生的艺术只有一个理由:主流艺术话语
把艺术与艺术市场等同起来,进而把任何在市场以外的机

制下生产与传播的艺术拒之门外。
意味深长的是，对艺术的这种理解也见于大部分以批
评艺术商业化为主要目标的艺术家和艺术理论家身上 —
—

他们希望艺术对自身商业化进行自我批判。但是，把批判

商业化当成主要的当代艺术，甚至是特有目标就等于再度
肯定了艺术市场的总体力量—
—即便这种肯定是以批判的

形式进行。这种观点下的艺术丧失了任何力量，既没有内
在选择标准，也没有内在发展逻辑。根据此类分析，艺术
 Art Power | IX

界完全被各式各样的商业利益占据,这些利益“归根到底”
决定了影响整个艺术界的接纳与排除标准。从这个角度看

去的艺术品将自身呈现为一种不快乐、受尽折磨的商品，
完全臣服于市场力量，只能通过批判和自我批判的能力与
其他商品区别开来。当然，旦我批判的商品这一概念是彻
底矛盾的。（自我）批判的艺术品作为一个矛盾物，完美
丽谷了现当代艺术的主流范式。因此，从该范式内部来

看，这种（自我）批判的艺术是无可指摘的—
—但如果要

问这样的艺术能否被理解为真正的政治艺术，问题就出

来了。
当然了，无论参与何种艺术实践或批评的人都对下述
问题感兴趣：到底谁有权决定什么是艺术，什么不是艺

术？又是谁决定了什么是好的艺术，什么是坏的艺术？是
艺术家？策展人？批评家？收藏家？整个艺术系统？艺术
市场？还是大众？但在我看来,这些问题尽管听起来诱人,

其实方向错了。无论谁对艺术握有决定权，他都有可能犯

错；民主大众也可能犯错一一实际这样的错误在历史上已
经出现过多次。我们不应忘记，所有狙田芟术者喙为反对

K众趣味而作—
—甚至，而且尤其，当它以大众趣味的名
义创作m更是如此。这就意味着:艺术观众民主化不能解

决问题。同样，对大众的教育也不能解决问题，因为所有
好的艺术始终反对任何由教育提出的规则 。当然，对现存
X |艺术力

艺术市场规则和艺术机构的批判是合法而且必要的，但只
有当其目标是把我们的注意力引向被这些机构所忽略的令
人感兴趣的有重大意义的艺术时，这种批判才说得通。而
众所周知，如果此类批判取得成功，最后结果就是此前受
到忽视的艺术进入这些机构—
—因此实际上进一步巩固了

这些机构。针对艺术市场的内部批判能够从某种程度上改
—但无法从根本上改变它。
进这个体系—

只有当创作超越了市场或在市场之外进行（即在直接
的政治宣传语境下进行）时，艺术才能在政治上变得有效。
前苏联国家的艺术就是这样。目前的例子包括国际反全球

化运动背景下的伊斯兰主义的录像或海报。当然，这类艺

术从国家或各类政治、宗教运动中获得经济支持。但它的
生产、评价和流通并不遵循市场逻辑。这类艺术不是商品。
尤其是在苏联式的社会主义经济体系统治下，艺术品绝不

是商品，因为根本没有市场可言。这些艺术品不是为了作
为潜在买家的单个消费者而做，而是为了应该吸收并接受

其意识形态信息的大众所制。
当然，你可以很容易地反驳说这类政治宣传艺术只不
过是政治设计和图像制作。也就是说，艺术在政治宣传的

语境下和在艺术市场中一样无力。从某种意义上讲，这_

判断既对又不对。当然，在宣传型艺术模式下工作的艺术
—按照当代管理术语说—
家— —不是内容提供方。他们是
 Art Power | X!

在为某个意识形态目标打广告，使自己的艺术从属于此目
标。但这个目标实际到底是什么？所有意识形态都以某个

未来的图像为基础一一无论这个图像是天堂也好，共产主
义社会也好，还是永久革命也好。市场经济商品与政治宣

传之间的根本区别就在这里。市场由一只“看不见的手”

操控，它只是一团晦暗的疑云；图像在里面流通，但市场

本身并没有自己的图像。相反，意识形态的力量总是可以

归结为一种远景图像的力量。这就意味着，艺术家通过服
务政治或宗教意识形态最终服务了艺术。这也是为什么艺
术家对一个建立在意识形态远景图像上的体制之挑战比他

对艺术市场的挑战要有效得多。艺术家工作的领域和意识
形态发挥作用的领域是一样的。因此，艺术肯定与批判的
潜能在政治语境下能够比它在市场语境下表现得更加有
力，更有建设性。
与此同时，意识形态体制下的艺术作品仍然是一种

矛盾物。每种意识形态的远景目标都只是一9承诺的图
像，标志着某种即将来临的未来。这种意识形态远景目标
—直至末0
的任扁实体化或者最终达成都必须无限延期—

降临，历史终结或未来的社区建立。所以一切受意识形态

.驱剪嬖:术必然会与这种延缓的政治决裂，因为艺术总是
创作于此时此地。当然，受意识形态驱动的艺术总是可

以解读为一种先兆，一种对真实未来的现先呈.现。但我们
XII I艺术力

也可以将此类艺术视为一种对该远景的戏仿、批判和诋
—它证明了即使意识形态目标成为现实 ，世界也不会
毁—

有所改变。艺术品对意识形态远景图像的取代相当于用文
献库和历史记忆的俗时间替换了代表无限希望的神圣时

间。当人们不再信仰承诺过的远景图像时，艺术仍然留存
下藁。这就意味着，所有受意识形态驱动的艺术都始终

同时具备肯定性和批判性。每一次对某项事业的物化实

现一宗教的也好，意识形态的也好，技术的也一都
同时是对这项事业的否定和终结。艺术品对指导某种宗教

或政治意识形态的远景目标每做一次呈现，都相当于使该

远景目标世俗化一因此成为一种矛盾物。
如今，受意识形态驱动的艺术不再只存在于过去或边

缘化的朝形态及政治运动电9今天的西方主流艺术也越
来越疆邮态宣传模式靠拢「这类艺术的制作和展示也

是为壬大众，为了那些不一定想买艺术品的普通观众一
的确，从著名的国际双年展、三年展等展览上可以看出，
非买家在观众中所占比重越来越大。我们不应错以为这些

展览只是在显示和称颂艺术市场的价值 。相反，它们不断
尝试创作并展示不同艺术潮流、审美态度、表现策略之间
的力量平衡，为这种平衡制造一种经过策划的理骅篓匕
从传统来看，反对意识形态力量的讳1荏赢反对

图像力量的形式展开。反意识形态的批判启蒙思想总是努
 Art Power | XIII

力摆脱图像的控制，消灭或至少是解构图像，以便用不可

见的纯粹理性思考代替图堡巳愚格尔宣称艺术已成过往，
我们这个时代已经变成观念的时代C也就是在宣布偶像破
------- - ---------------------------------------- . .
坏的启萋举动对基督教偶像狂热的胜利。当然，黑盛用i

一判断在当时是正确的，但他忽略了观念艺术的可能性。

现代艺术一次次向我们表明，它有能力借助反对自己的这
种偶像破坏姿态，将其转化为新的艺术生产模式。现代艺
术将自身定位为一种矛盾物也是从这个更深层的意义上来

说的—
—它参一种图像，也是一种对图像的批判。
这一点扇厅艺术在赴端&詹化和去意识形态化环境

下的幸一一使其能够超越仅作为艺术市场上的商品的命
运。我们这个所谓痘巍|悉商时代也有自身的图像:著

名国际大展作为完美力量平衡的图像。去掉所有图像的愿
望只能通过创造新图像来实现 种批判图像本身的图

像。这一根本形象—艺术借助偶像破坏姿查创造出的所
—就是本书各篇文章直接或间接的讨论
谓现代艺术作品—

主题。

杜可柯译
目录

001第一部分

002平等审美权利的逻辑

016论新事物

047论策展

061生命政治时代的艺术：从艺术品到艺术文献

081作为艺术手段的偶像破坏：电影中的偶像破坏策略

104从图像到图像文件并再返回：数字化时代的艺术

116多重作者

128旅游复制时代的城市

142批判反思
155第二部分

156战争中的艺术

169 "英雄"的身体：阿道夫-希特勒的艺术理论

184教育大众：社会主义现实主义艺术

197私有化，或后共产主义的人造天堂

207欧洲及其他者

222出版后记
第一部分
平等审美权利的逻辑

如果我们要谈论艺术抵抗外部压力的能力 ，必须首先

回答下面的问题：艺术是否拥有一个值得保护的自属领
地？近来很多艺术理论的讨论都否定了艺术的独立性。如

果这些说法是正确的话,那么艺术就不能成为任何抵抗资
源。按最好的情况讲，艺术只能对业已存在的对抗、解放

—也就是说，艺术最
性政治运动进行设计和审美化处理 —
多只是政治的附属品。对我而言，这似乎是个关键问题:

艺术是否拥有自己的力量，还是仅能为外部力量（无论是

压迫性还是解放性的）提供装饰？因此，在我看来，艺术
的独立性就成为任何关于艺术与抵抗之关系的讨论中必须
解决的核心问题。我对这个问题的答案是肯定的：我们可
以说艺术拥有独立性；而且艺术也的确拥有独立的抵抗

力量。

* "The Logic of Equal Aesthetic Rightsoriginally published as "La politica

de la igualdad de derechos esteticos/The Politics of Aesthetic Equal Rights," in

Resisien以屈/Resistance, pp. 48-58, 201-210. Edicion de la Memoria, SITAC,

Mexico, 2004. Translated by Steven Lindberg.
 Art Power | 003

当然，艺术具有独立性并不意味着现有艺术机构、艺

术系统或艺术市场具有任何重大的独立性。因为艺术系统
的运转建立在某些审美价值判断、某些标准以及包含和排

除规则等一系列因素之上。所有这些价值判断、标准和规

则当然不是独立存在的。相反，它们反映了占主导地位的
社会规范和权力结构。我们可以肯定地说：不存在能够从
整体上规范艺术界的纯粹审美、内在于艺术、独立的价值
体系。这一洞见让很多艺术家和理论家下结论说，如此这
般的艺术不是独立的，因为艺术的独立性曾经并仍然被认
为是依赖于审美价值判断的独立。但我认为，正因为没有

所谓内在的、纯粹审美的价值判断，艺术的独立性才能得
以保障。艺术领域是围绕审美判断的缺失，甚至是对任何

审美判断的拒绝而组织建立起来的。因此，艺术的独立性

并不暗示某个独立的趣味等级系统，而是指取消所有等级,
建立所有艺术作品平等审美价值的体制。艺术界应该被视

为经过社会编码表明了一切视觉形式、物品和媒介根本上
的平等地位。只有在假设所有艺术作品从根本上具有审美
平等地位的情况下，一切价值判断、排除和包含才能被潜
在地认识为外部对艺术独立领域的侵入以及外部力量带来

的压力效果。正是这种认识打开了以艺术独立性之名 （即
以所有艺术形式和媒介平等之名）进行抵抗的可能性。但

当然，我所说的“艺术”是指整个现代性进程中，为取得
004 |艺术力

承认而进行的漫长斗争之结果。
艺术和政治起初在一个非常根本的层面上是相通的：

在两个领域内都进行着为取得承认而爆发的斗争 。正如亚

历山大,科耶夫(Alexander Kojeve )在对黑格尔的评述中

所说，这种为取得承认展开的斗争并不是普通意义上的争

夺物质产品的斗争，到了现代，物质财富总体上已交予市
场调配。此处至关重要的不仅仅是某种欲望的满足，而星
得到认可，获取社会合法性。田古往今来，在政治的舞台
上，不同群体的利益尿在努力争取这种承认;而经典前卫

派的艺术家们大多为那些之前不具合法性的个体形式和艺
术程序争取认可。经典的前卫艺术努力想要公众承认所有

符号、形式和物品都可以成为艺术欲望的合法客体，因而

也是艺术表现的合法对象。两种形式的斗争从本质上互相

交缠在一起，两者都有同一个目标：不同利益的所有人以
及所有艺术形式和程序最终都将获得平等权利°
经典前卫艺术已经为所有可能的图画形式开拓了无限
的空间，这些形式以平等灼权利并列在一起。从所谓的原
始艺术、抽象形式到日常星活里面商箪物品，它们已经得

到的承认曾经一度只属于历史上被赋予特权地位的大师级

艺术作品。这种芝术实■的平等化趋势在20世纪一百年
间变得越来越明显，大众文化、娱乐产业和艳俗图像都在
传统高雅艺术语境下被赋予平等地位。同时，这场平等审
 Art Power \ 005

美权利的斗争，这场现代艺术为争取所有视觉形式和媒介

—至今仍是一一被人批评为
审美平等而进行的斗争曾经—
犬儒主义的表现以及（非常矛盾的）精英主义姿态。针对

现代艺术发出这种批评的左派人士和右派人士都有，他们

认为此类做法缺少对艺术真正的爱，也缺少真正的政治参
与性。但事实上，这种审美层面、审美价值层面上平等权

利的政治是任何政治参与的必要前提。的确，当代解放政
治是一种接纳的政治，反对从政治和经济上排除少数群体。

但只有当被排除在外的少数族群从_开始就能不被任何一
种以更高美学价值为名而进行的审美审查干扰，自由地表

达欲望时，上述为接纳展开的斗争才会变得可能。只有当
前提变成所有审美层面的视觉形式和媒介一律平等时，我

们才有可能反抗从外部强加给图像的事实上的不平等，进

而反映文化、社会、政治或经济上的不平等。
正如科耶夫指出的，当争取承认的单个斗争总体上的

平等逻辑变得明显时，就会给人造成一种印象，好像这些
斗争已经放弃了它们真正的严肃性和爆发力。［2］这也是为

什么早在第二次世界大战之前，科耶夫就已经谈到历史的
终结，即政治作为一种为获取承认而进行的斗争已走到尽

头。从那时起，这一有关历史终结的话语就开始盛行，尤
其是在艺术界。人们不断提起艺术史的终结，意思就是如
今所有形式和事物“从原则上”都能成为艺术品。在这种
006 |艺术力

情况下，为争取承认和艺术平等权利而展开的斗争便已达
到其逻辑终点，因此是过时而且浮浅的。因为既然我们已

经承认所有图像都具有平等价值，艺术家似乎也就不可能

再去打破什么禁忌，造成谁的震惊，或拓展任何接受度的
边界。相反，当历史走到尽头时，每个艺术家都有可能

只是在生产无数主观图像中的又一种而已 。事实真的如此
吗？我们真的必须认定所有图像权利平等的机制就是现代
艺术史所遵循的逻辑目标，而且是对其的终结否定吗？
与之相应的是不断出现的怀旧论调，不断有人遥想当
年，那时某件单独的艺术品还有可能被尊崇为宝贵、独特
的大师之作。另一方面，现在艺术界许多主要人物相信,

艺术史终结之后，衡量单件艺术品好坏的唯一标准就是在
艺术市场上的成功度。当然，艺术家仍然可以用艺术作为
政治工具，参与到不同语境下的各种政治斗争中去。但这
类政治承诺大多被视为与艺术无关 ，意在把艺术工具化,

为了外部政治利益和目标利用艺术。更糟糕的评价则是,
此类举动纯粹是打着政治旗号为艺术家本人博取名声。哪

怕你对艺术政治化抱有天大的雄心，如果人人怀疑你所做
的一切其实是借助政治承诺,为了商业利益吸引媒体眼球

的话，我想很少有人能毫不动摇。
但一切视觉形式和媒介在审美价值上的平等并不意味
着好艺术和坏艺术之间的差别就此消失。恰恰相反，好艺
 Art Power | 007

术正是指那些以肯定这种平等性为目标的实践。这种肯定
之所以必要是因为形式上的审美平等并不能保证所有艺术
形式和媒介在生产和分配上获得实际平等。我们也许可以

说，今天的艺术是在所有艺术形式的形式平等与实际上的
不平等之间工作。这也是为仟么“好艺术”能够而且的确

存在的原因一一即便所有艺术作品拥有平等的审美权利。
好的艺术作品在实际不平等的条件下肯定并强调所有图像
形式上的平等。这一姿态总是要依据具体语境和历史条件
而定，但它也具备范式上的重要意义，可以作为未来重复

该姿态的一种模型。因此，以艺术之名进行的社会或政治
批判有其积极肯定的一面，足以超越它眼下存在的历史背
景。通过批判社会、文化、政治或经济上强加的价值等级
系统，艺术明确将审美平等树立为自身真正独立的保障。

古代体制下的艺术家致力于创作一件大师级作品，一

个能够独立存在的图像，一种对真理和美等抽象理念的终
极视觉化。而到了现代，艺术家倾向于从无限的图像序

列里提取二三加以呈现，比如康定斯基(Kandinsky)的
抽象构图，杜尚的现成品，安迪•沃霍尔(Andy Warhol)
的大众文化偶像。这些图像对后续艺术创作产生的影响并
不在于其独到性和排他性，而在于它们能够仅以范例的面

目示人，提示我们存在着某个无穷尽的图像序列。它们不
仅呈现自身，更作为平等地位的代表，指向那取之不尽用
008 |艺术力

之不竭的图像海洋。正因为上述单件作品能够指涉无穷多
被排斥在外的图像，它们才能在政治、艺术表现的有限语
境下具备魅力和意义。
因此，当今艺术家指涉的并不是神圣真理的“垂直”
无限性，而是审美上平等同存的图像“水平”的无限性。
毫无疑问，要想在具体表现语境中奏效，每次对这种无限
性的指涉都需要经过检验，并策略性地使用。部分艺术家
放入国际艺术界大环境的图像代表了各自具体的民族或文
化出身。这些图像旨在抵抗目前大众传媒避开一切地域性
的规范审美控制。同时，另有一部分艺术家将大众传媒里

产生的图像移植到自身所在的地域文化中，希望借此摆脱

地域性和民族风的局限。乍看这两种艺术策略似乎彼此对
立:前者强调象征民族文化身份的图像，后者喜欢把一切

都做得国际化、全球化并与媒体相关。但双方矛盾只是表
面上的:两者都指向在某个具体文化环境下被排除的东西。

就前者而言，排斥对象是地域性图像；在后者看来，不被

接受的是大众传媒图像。但两者关注的图像都只是些具有

代表性的实例，它们背后是审美平等广阔无垠的“乌托邦”
领域。上述例子可能会误导我们得出一个错误的结论，即

当代艺术总是从否定的方面在起作用，把它放到任何一个
场景下，它都会像条件反射一样为了批判而采取批判的立
场。但实际并非如此：批判立场的所有实例最终都指向一
 Art Power | 009

个完全积极、肯定、带有解放性的乌托邦理想，一个所有

囹像都被赋予予等更美冬利的无限换域。

这种以审美平等之名进行的批判在今天尤为必要。如

今,大众传媒已经成为到目前为止最大、最强劲的图像生
产机器，其强度和效率都远远高于我们的当代艺术系统。
我们不断接收到各种战争、恐怖、灾难的图像，就生产层

面而言，凭手艺干活儿的艺术家根本无法与之较量。同时，
政治也开始向媒体形象制造转移。现在，几乎所有重要的

政治家都通过公关宣传制造了成千上万的形象。与之相应,

我们对政治家表现的评判也越来越偏重审美层面。不少人
常常哀叹上述事实说明“内容”和“实际问题”已经被“媒
体表象”遮蔽。但政治审美化倾向加剧也给了我们一个从

艺术角度分析和批判政治表现的机会。即受媒体驱动的政
治在艺术领域运作。第一眼看去，媒体图像的多样性似乎

是无穷无尽的。如果把政治和战争图像跟广告、商业电影、
娱乐图像加到一起，艺术家—
—当今现代性中硕果仅存的

—似乎绝无可能战胜这些超级图像制造机器。但
手艺人—

事实上，媒体图像的种类非常有限。为了在商业大众媒体
上有效繁殖和发挥作用,图像必须易于被广大目标受众辨
识，这就使大众传媒几乎充满同义反复 。大众传媒里的图
像种类远远不及美术馆或当代艺术创作产生并保存的图像

种类丰富。因此有必要保留美术馆以及更广义上的艺术机
010 |芝术力

构，在那里，我们可以在当代大众传媒的视觉语言和以往
时代的艺术传统之间进行批判性比较，进而重新发现那些
指向审美平等的艺术理想和事业。

今天，无论是艺术圈内人士还是普通公众，都对美术
馆抱有一种怀疑和不信任的态度。各方都不断有人主张美

术馆的机构界线应该被逾越、拆解或完全消除，以便给予
当代艺术在真实生活中表达自我的全面自由 。这种呼吁和

要求已变得非常普遍，甚至可被认为是当代艺术的主要特
征。取消美术馆的呼声似乎遵循了早期前卫艺术的策略线

索，因此得到当代艺术圈的全心拥护。但表象是具有欺骗
性的。对于这些取消美术馆系统的呼声来说，其语境、意

义和功能和早年前卫艺术运动时期相比都已发生了根本

性改变，哪怕所用语言和方式让人感觉非常熟悉。19世
纪和20世纪上半叶，美术馆决定并代表了社会主流趣味 。
在这种情况下，针对美术馆的抗议就是针对艺术创作主

导规范的抗议一同理，也是具有突破性意义的新艺术诞
生和发展的基础。但在如今这个时代，美术馆已被确凿无
疑地剥夺了规范作用。现在公众对艺术的认识来自广告 、

MTV、电子游戏和好莱坞大片。在社会主流趣味由媒体
催生并引导的当代语境下，废除美术馆机构体制的要求自
然带上了和前卫艺术运动时期迥然相异的含义。今人说到
“真实生活”，往往是指全球媒体市场。这就意味着:目前
 Art Power | 01 ]

针对美术馆的抗议已经不再是为了争取审美平等而反抗
规范性趣味的斗争，而变成维护并巩固当前主流趣味的
行动。
然而，艺术机构在媒体的描述中仍然是一个筛选的场

所，是少数专家和内部人士行使裁判权的地方 ，由他们进

行第一步判断，决定什么东西是艺术，什么东西是“好”
艺术。按照这种假设，上述选择过程对一般观众而言必定

是难以理解、难以参透的，最后当然也就跟他们没有任何
关系。相应地，你忍不住会想为什么需要别人帮你裁定什

么是艺术，什么不是。为什么不能自己选择自己希望认可
或欣赏的东西为艺术，而无须借助中介或听从来自策展人
和艺评家高高在上的专家意见？从大众传媒的视角来看,
美术馆的传统使命似乎已经与时代脱节而且不真诚，甚至

有点儿让人觉得匪夷所思了。而当代艺术本身也不时表现
出某种跟随大众传媒时代诱导的倾向，自愿放弃美术馆，
转而追求通过媒体渠道的传播扩散。当然，我们可以理解

为什么很多艺术家愿意参与媒体活动，参与更广泛的公共

交流和政治，换句话说，参与美术馆界线之外的“真实生
活”。这种开放使艺术家可以面向并吸引更多观众，也是
一种比较体面的挣钱方式（过去，艺术家必须从国家或赞

助人讨来这笔钱），艺术家由此获得一种新的力量感、社

会参与度和公共知名度，而不用好像媒体的穷亲戚一样过
012 |艺术力

着勉强糊口的生活。所以，脱离美术馆束缚的要求实际等

同于把艺术打包并商业化，具体做法就是让艺术适应由大

众媒体制造出来的审美规范。
在过去，抛弃“博物馆化“的这种做法还常常被赞颂
为对当下的大胆开放。可是当艺术家对艺术系统封闭空间

之外的广大世界打开大门以后，某种盲目随之而生:对当
代以及当下的盲目。全球媒体市场最缺乏的就是历史记忆,)

观众无法通过它来对比当下与过去，因而也无从分辨究竟
什么是真正的新和真正的当代。媒体市场的产品种类不断

被新的商品取代，让人根本不可能在今天手里有的东西和
过去有的东西之间做比较。结果，所谓新和当下性的讨论
完全在时尚层面进行。但什么是时髦的这个问题本身并非

不言自明或不可辩驳的。说到大众传媒时代，我们的生活

总体上由时尚规定，就此达成一致意见很容易，但如果要
问目前这一刻究竟什么正处于时尚当中，大部分人都会突

然哑口无言。有谁能确实断言任意特定时刻正在流行的是

什么？比如，如果某个东西目前在柏林大行其道，我们可

以很快指出，这一潮流在东京或洛杉矶早已过时。可是谁
又能保证，同一个柏林风尚不会在下一刻突然登陆洛杉矶
或东京呢？ 一旦涉及评估市场，我们实际上完全处于市场
领袖以及所谓国际时尚专家意见的任意摆布之下。但这些

意见是单个消费者无力验证的，因为大家都知道，全球市
 Art Power | 013

场那么大，岂是某一个人能够参透的？因此，人们在媒体
市场里得到的印象是，一方面每天面临新东西的狂轰滥炸，
另一方面都不断看到同样的东西反复回归。我们听了无数
—艺术里不存在任何新东西和艺术总在追求新
遍的抱怨—
—其实来自同一个根源。只要媒体还是唯一的参照
东西—

点，观众就得不到任何进行比较的背景 ，因而也无法有效
区分新和旧，同一和差异。
实际上，只有美术馆为观察者提供了区分新与旧、过
去与当前的机会。因为美术馆是历史记忆的储藏间，这里
保存并展示那些已经过时、成为陈迹的图像和物品。从这
方面讲，只有美术馆是进行系统性历史比较的场所，使我
们能够亲见到底什么是真正不同的、新的和当代的。同样

的道理也可用于媒体每日鼓吹的文化差异或文化身份言

论。为了对这些言论提出批判性的挑战，我们也需要某种
形式的比较框架。如果没有这种比较，任何有关差异和身
份的说法都是毫无根据而且空洞无物的。的确，即使没有
做得很直接，_座美术馆里每个重要的展览都为我们提供
了这种比较，因为每个美术馆的展览都将自身写入了艺术

系统内部记录的展览史。
当然，我们也可以反过来对单不策展人或批评家追求

的比较策略进行批判，但这种批判只有放到艺术记忆内部，

参照之前已有的策展策略才能实行。换句话说，放弃、甚
014 |艺术力

至取消美术馆的想法将关闭对今日媒体反复提出的创新和

差异论做出批判性考量的所有可能性。这也解释了为什么
当代策展项目表现出的甄选标准经常与大众媒体上盛行的

标准有很大出入。此处的问题不在于策展人有什么和大众
喜好完全不同的精英趣味，而是美术馆提供了一种拿当下

与过去做比较的手段，从而得出和媒体暗含判断不同的结
论。单个观众如果只依靠媒体获取信息，那么他不一定能

做出这种比较。所以媒体最终会接受美术馆对何谓当代做
出的诊断也毫不奇怪，因为它们自身是没有能力独立完成

这一判断的。
因此，如今美术馆的目的不仅是收集过去，还包括通
过新旧对比生产当下。此处的新并非仅指不同之物，更多
是指茬二个既定的历史语境下对所有图像基本审美平等的

重新肯定。大众传媒不断对观众推出不同的，具有突破性
和挑衅性、真正真实的艺术。与之相反，艺术系统保守了
审美平等的承诺，借此动摇了上述媒体言论。美术馆最主
要的功能就是提醒观众过去曾经存在的平等主义事业 ，让
我们学会如何抵抗当代趣味的独裁统治。

杜可柯译
 Art Power | 015

注释
[1 ] Alexandre Koj&ve, Introduction to the Reading of Hegel, assembled by

Raymond Queneau (Ithaca: Cornell University Press, 1980), pp. 5ff.

[2 ] Ibid., pp. 258ff.

Another random document with
no related content on Scribd:
 CHAPTER 7
Our Offensive Running Game

The number one objective of offensive football is to score. If we

cannot score, then the only alternative is to kick. We never want to
surrender the ball to our opposition outside of the 4-down zone other
than by kicking it to them. We cannot possibly win the tough football
games if we lose the football by fumbles, interceptions, blocked
kicks, or anything else other than by kicking the ball to our
opponents.

BASIC PRINCIPLES AND REQUIREMENTS OF

OFFENSIVE FOOTBALL
Offense is based on two primary principles, running with and/or
passing the football. They go hand in hand and complement each
other in all respects. A team must pass sufficiently in order to keep
the opposition from putting all of its strength on or relatively close to
the line of scrimmage. A team also must be able to advance the
football with its ground game so the opposition does not have to
defend against only one phase of the game, the passing attack.
The main requirements for playing offensive football are: (1)
explosive speed, and (2) a real desire to carry out the specific
assignment, whether it be to block, run or fake. Offense is a game of
skill and perfection, and many hours must be spent working on it.

A Sound Offense

A sound offense is one in which each play is designed to gain

ground, and if executed perfectly there is a good possibility for a long
gain and/or scoring a touchdown. If the offense is going to operate at
maximum efficiency, the bad play must be eliminated completely.
The bad play is one that does not gain yardage. If the offense is
based on the 4-yard per play or short thrust offense, such as
Oklahoma has used so successfully in the past under Bud Wilkinson,
it is clear to see how a bad play can stymie the offensive attack.
The sound attack also utilizes the best personnel available, such
as the best ball carriers carrying the ball, the best blockers for
blocking, and so on. If you will analyze your offensive attack, you are
likely to learn this does not always occur. The best blocker might be
carrying the ball more often than your best ball carrier, who in turn
might not be a strong blocker.
We had a fine team at Texas A & M in 1956, but when I look back
over the season I now realize I did not utilize my backs to maximum
efficiency. Our quarterback, Roddie Osborne, was a very fine football
player, and like the great ones he enjoyed running with the football.
Roddie did a terrific job of running with the ball, but we had other
outstanding backs, such as All-American John Crow, All-American
Jack Pardee, and Lloyd Taylor, a great competitor. When the season
was over and we tabulated our final statistics, we found Roddie had
carried the ball nearly as many times as the combined carries of
Crow, Pardee, and Taylor.
In order to maintain maximum results with the offense, it must be
presented to the squad so they all have a complete understanding of
what you are trying to accomplish and how it is going to be done.
Unless the players have a thorough picture and understand the
reasoning behind your offensive attack, maximum efficiency is
impossible.
I firmly believe that the simpler the offense, the better. The fewer
things a boy has to do and remember, the better he will execute the
fundamentals you have taught him. If executed well, the player will
have more confidence in what he is doing and his own ability.
Consequently the greater the chance the offensive attack has of
being successful.

OUR OFFENSIVE TERMINOLOGY

 To be sure that we are all talking the same “language” and can
understand each other readily, we have adopted the following
offensive terminology:

Flow—Direction in which most of the backs start.

On-Side—Lineman on side of point of attack.
Off-Side—Lineman on side away from point of attack.
Near Back—Halfback on side of flow.
Far Back—Halfback away from side of flow.
On-Back—Of the two remaining backs in the backfield, the
back toward call.
Off-Back—Of the two remaining backs in the backfield, the
back away from call.
Point of Attack—Spot where ball crosses the line of
scrimmage.
Over—Defensive man over any part of the offensive man.
Cut Off—Shoot the head and shoulder past the defensive
man, destroying his correct pursuit angle to the football.
Set—Fake pass protection block.
Slam—Entertain defensive man with shoulder and forearm.
N/T—No one there.
Position Lateral—Getting self in position to receive lateral
from the man with the football.
Covered—Designates offensive man with a defensive man
over him on L.O.S.
L.B.—Linebacker.
M.L.B.—Middle linebacker.
L.O.S.—Line of scrimmage.
 Man on L.O.S.—Defensive man down in 3- or 4-point
stance on the line of scrimmage.
“6”—Right end.
“7”—Left end.
Club—A vicious running head and shoulder block attacking
the defensive man’s upper extremities from the blind side.
This block is used in the area approaching the point of attack.
Color—First man approached with different color jersey.
Motion—Back leaving before snap of the ball.
Ice—Receiver going to outside or inside and becoming a
possible receiver after making his block or when no one
shows. Yell “Ice” when open.
Trail Junction Blocker—Ball carrier straddling the outside
leg of junction blocker. Stay close to him.
Pursuer—Defensive man pursuing the ball carrier.
Gap—Space between two offensive men.
Flare—Call to tell a back to run a flare route.
Drive Man—Man who does the driving on a two-on-one
block.
Post Man—Man who stops the progress of the defensive
man on a two-on-one block.
Odd Defense—Offensive guards not covered.
Even Defense—Offensive guards are covered.
Box Defense—Only two deep men in the secondary.
3-Deep Defense—Three deep men in the defensive
secondary.
9-Man Front—Box defense.
8-Man Front—Three deep defense.
 Position Ball—Bring ball immediately into belly, elbows in,
ball in fingers.
Drive Block—A vicious head and shoulders block and turn
opponent.
Climb Block—A brutal drive block.
Chop Block—Open field block on men in the secondary by
throwing your body (extended) at his throat.
Crack Back—A vicious low reverse body block.
Groin Block—A low drive block with upward action aimed at
defensive man’s groin.
Fill—Protect the area to your inside.
Shoot Out—Springing from your original stance, hitting on
your hands and feet running (used to get downfield).
Against the Grain—Direction in the secondary opposite the
flow.
On Linebacker—Denotes (on-side L.B. N/T M.L.B.).
Position—Getting to a spot between the man you are to
block and the ball carrier.
Roll Back—Position and block defensive man from blind
side.
Eagle—Call to tackle and guard to switch assignments.
Head On—Man nose on nose.

We want all of our players and coaches to understand and use our
offensive terminology. One or two words either explains the
descriptive action we want or identifies some segment of the offense
or the opposition’s defense. The terms are simple, meaningful and
descriptive.

OUR OFFENSIVE STANCE

 The offensive stance is very important. It is difficult enough trying
to attain maximum results when they are lined up in their proper
stance, but it puts your players at a distinct disadvantage and
handicaps them greatly if you permit them to assume a stance that is
improper and incorrect. Therefore, we put first things first, and try to
coach our players always to take the proper stance.

Offensive Stance for Linemen

The stance for the linemen, with the exception of the center, is
basically the same, with allowances being made for various physical
characteristics, which vary from individual to individual. The inside
foot is forward, the feet staggered in an arch to toe relationship. The
tackles and ends exaggerate the stagger from heel to toe since they
are further removed from the center and quarterback.
The feet should not be spread wider than the individual’s
shoulders, with the weight of the body concentrated on the balls of
the feet. The heels should be slightly in, with the cleats on the heel of
the forward foot almost touching the ground. The ankles should be
bent slightly. The knees should be bent slightly more than 90
degrees, and turned slightly in. The tail is even or a little higher than
the shoulders, and splitting the forward and rear heels. The back is
straight, shoulders square, neck relaxed, and eyes open keeping the
defensive linebacker in line of sight. The hands are placed down
slightly outside of the feet, elbows relaxed, and thumbs in and
slightly forward of the shoulders.

Offensive Stance for Center

The center lines up in a left-handed stance with the feet even and
slightly wider than the shoulders. The weight is on the balls of the
feet, heels turned slightly in, with the cleats on the heels of the shoes
almost touching the ground. The knees are slightly in and bent a little
more than 90 degrees. The tail is slightly higher than the shoulders
and about two inches in front of the heels. The center places his left
hand inside his legs down from between his eye and ear almost
directly under the forehead, with the fingers spread and the thumb
turned slightly in. The shoulders are square, the back is straight, the
neck is relaxed, and the eyes looking upward. His right hand grasps
the football like a passer. He should reach out as far as possible
without changing his stance. The center is coached to place the ball
on his tail as quickly as possible with a natural turn of the arm. He
should drive out over the ball with his head coming up and tail down,
keeping his shoulders square as he makes his hand-back to the
quarterback.

Quarterback’s Stance

The quarterback is coached to get into a football position with the

feet slightly wider than the shoulders, weight on the balls of the feet,
heels and knees turned slightly in, knees bent slightly, and a natural
bend at the waist in order to be in a good position to receive the ball
from the center as he snaps the ball on the hand-back. The elbows
must be bent and in close to the body.
The quarterback’s right hand goes up in the center’s crotch. He
turns it slightly to the right. At this spot he applies pressure with the
hand to his center’s tail. The left hand must be in a comfortable
position, making slight contact with the right hand, and it is used to
trap the ball and to assist the right hand in taking the football from
the center.

Halfback’s Stance

The feet of the halfback should not be wider than the shoulders,
and staggered in a heel to toe relationship with each other. The
weight should be on the balls of the feet, but will vary slightly
depending upon the direction the halfback must move in carrying out
his particular assignment. With the snap of the ball he should throw
himself in the direction he is going, and he should not use a cross-
over step.
His knees should be bent a little beyond 90 degrees, with the
knees and heels turned slightly in, and the tail a little higher than the
shoulders. The halfback’s shoulders should be square, with his head
and eyes in a position to see the defensive linebacker on the
opposite side from him. The inside hand should be down, slightly
forward and inside of the knee with the thumb turned a little to the
inside. The body weight should be forward slightly.

Fullback’s Stance

The fullback lines up with the feet even and a little wider than his
shoulders. The cleats on the heels of his shoes should touch the
ground. The heels and knees are turned slightly in with the weight on
the balls of the feet. The head and eyes are in a relaxed position, but
where they can see the second man standing outside of the
offensive end. The hands are directly in front of each foot with the
thumbs turned in. The shoulders are square, the back is straight, the
tail is directly above the heels, with the weight slightly forward, but
not to such an extent he cannot start quickly in a lateral direction to
either side.

OFFENSIVE LINE SPLITS

The use of intelligent line splits by the offensive guards, tackles
and ends must be mastered in order to realize the full potential of our
basic offensive attack. Without proper line splits, it is impossible for
the offense to function at 100% efficiency. Therefore, we must
present line split theory and coach our linemen in such a way they
will have a clear understanding of why and when we want to move
in, out or remain stationary. Mastering the intelligent use of line splits
is one of the most important single duties of the offensive linemen.
(The other is a quick offensive charge together on the starting
count.)

The Pre-Shift Position

When the linemen leave the huddle and come up to the line of
scrimmage in a pre-shift position (hands on knees in a semi-upright
stance), the basic split rule for the guards is to split one full man. The
tackles and ends will split slightly more than one full man. As the
linemen go down into their offensive stance, each man (except the
center) will move in, out or remain stationary, depending upon the
particular defensive alignment and the individual’s split rules.

Our Basic Split Rules

Our offensive basic split rules are as follows:

Even Defense:

1. Guards—full man; don’t move.

2. Tackles—man over you, split one-half man. If no one is there,
use a common sense split which would be to cut the split down on a
wide play and take a maximum split on an inside play.
3. Ends—Line up a little over a full man split, and use the common
sense split rule which would depend upon the play. Never move
more than one-half man either way.

Odd Defense:

1. Guards—Take a full man split, but never so wide that if a man

should jump into the gap between the guard and center, you could
not cut him off. After taking the proper split, then apply the common
sense split rule.
2. Tackles—If there is no inside linebacker:

(a) Wide play called—split in one-half man.

(b) Inside play called—fake split and don’t move. Inside
linebacker: Split out one-half man.

3. Ends—Take good wide splits and apply common sense rule,

never split more than one-half man either way.
 In order to split intelligently it is important to determine first of all if
the defensive man will move with you when you move (Figure 99a),
or whether he is keeping his spacing on his own defensive man
(Figure 99b). You are attempting to determine as quickly as possible
if your defensive man is taking a variable or a static position. Figures
99a-b illustrate variable and static spacing, respectively, by the
defensive linemen.

Figure 99a

Figure 99b

Do not ever emphasize that you are splitting to get good blocking
angles, but you split in order to isolate a defender. If the defender
splits when the offensive man splits, you can isolate him. If his split is
static, a good blocking angle will be the result. Your linemen should
never split merely to get the angle, however. It will also help the
linemen if they have a clear picture of where the ball crosses the line
of scrimmage (the critical point of attack), and from where the ball is
being thrown on a pass play. Then, too, there is no set rule that will
cover all defensive situations and the offensive men must be able to
apply the common sense split rule along with the basic split rule.
 Figure 100 illustrates the pre-shift position of the right side of the
offensive line and the application of the guard’s, tackle’s, and end’s
split rules. From the pre-shift stance and position, the offensive men
are allowed to split one-half man either way, according to the
defense. The inside always must be protected. A defensive man
must not be allowed to penetrate or shoot the inside gap as he is
likely to stop the offensive play for a loss.

Figure 100

If the defensive man will move with the offensive man, then the
offense should be able to isolate one man and the point of attack
should be directed toward him. Figures 101a-b illustrate the center’s
man and the offensive right tackle’s man being isolated respectively,
and the critical point of attack being directed at the isolated
defenders.
 Figure 101a

Figure 101b

It is very important for the offensive lineman to know his main

objective in proper line splitting is either (1) to spread the defense
out, or (2) to isolate a man. The main objective is never to split in
order to get a good blocking angle. This latter misconception can
destroy any advantage we gain by splitting the line.

OUR SNAP COUNT

 In order for a team to operate at maximum efficiency offensively all
of the players must get off with the ball at the same time. They must
uncoil as a unit and strike the opposition as quickly as possible. The
only advantage the offense has over the defense is the former
knows where the play is going and when the ball will be snapped. In
order to maintain this advantage the offense must strike quickly as a
unit. Should the defense penetrate the offense or the offense not get
off on the ball together, the offense loses its advantage over the
defense.
The offense’s advantage hinges on its ability to get off on the ball
together. Whether or not the offense can do this well will depend
upon their first initial movement, which in turn depends upon the
snap count.
At one time or another I believe we have used just about every
imaginable snap count. We have found that our line gets off better as
a unit, without leaning, and hits quicker when we employ a sound
snap count. The quarterback can say what he likes if we are going
on the first sound. While in the huddle, the quarterback will give the
play and then cue the action with the first sound, second sound or
the third sound. We use the same word for our sound snap count,
but the emphasis is placed on the first, second or third sound. For
example, if the quarterback calls, “24 on the second sound,” the
team lines up in its offensive position, and the quarterback says,
“Go!” Since this is the first sound, the ball is not centered. Then the
quarterback commands, “Go!” for the second sound, the ball is
centered and the team moves as a unit. The quarterback can wait
between his first and second commands since our snap count is
non-rhythmic. Such a measure not only keeps the defense off guard,
but it also keeps the offense constantly alert.

Automatics

It is not my purpose to discuss the automatic versus the non-

automatic systems of signal calling. In the former the quarterback
can use the automatic system or change the play at the line of
scrimmage. In the latter he runs the play that was called in the
huddle and does not change it at the line of scrimmage. There are
advantages and disadvantages to both systems. A strong argument
that is advanced for the non-automatic system is that it gives the
linemen time to analyze their block and mentally pick out the person
they are supposed to block as they approach the line of scrimmage.
The people who favor the non-automatic system maintain they have
fewer broken signals, and fewer bad plays than the teams using the
automatic play change.
While I am not stressing the merits of one system over the other,
frankly, I would never send my players into a football game without
several plays which could be automaticked at the line of scrimmage.
It is just common sense to realize certain plays are not good against
certain defenses, and it is useless in most instances to run a play
directly toward the strength of a defense when you need to gain
yardage in order to sustain your offensive drive. Therefore, we
always have a trap play, an end sweep, and a look pass as our
automatics. Since they are few in number, our automatics are easy
to learn and they allow the quarterback to change his play at the line
of scrimmage if he wishes to do so.
Our automatic system is very simple, and there is very little
confusion when we change our plays. As an example, while we are
in the huddle, the quarterback will call play, “18,” and the players will
break from the huddle and go to the line of scrimmage. After the
quarterback gets the players down into their offensive positions and
he sees he wants to change the play on automatic, he will repeat the
original play, “18.” This will alert the players, and they know the next
number they hear will be the new play that will be run instead of play
18. After the quarterback has repeated the original play, and has
called another number, “24,” as an example, everyone on the
offensive team knows the new play will be 24, and the snap count
always remains the same.

Faking the Automatic

If the quarterback wishes to fake an automatic so the opponents

cannot catch on to what he is doing, this can be done very simply. As
an example, let’s say the quarterback called the play, “30,” in the
huddle. At the line of scrimmage he decided to fake or dummy the
automatic. At the line he will say any number other than the one he
called in the huddle. This notifies the boys it is a fake automatic and
they will not pay any attention to the next number he calls as they
are going to run the play which the quarterback called originally in
the huddle.
By using this two number system we can always play the
automatic or fake it, and it is impossible for the opponents to catch
on because they do not know the play the quarterback called in the
huddle originally. It is impossible to use the automatic if the
quarterback has elected to run the play on the first sound. The
majority of the time when we are going on the first sound we will be
hitting fast and straight away, and an automatic will not be
necessary. If the quarterback thinks there is any chance he might
want to change the play for any particular reason, he would not run
the play on the first sound.

THE OFFENSIVE HUDDLE

The entire offensive operation starts with the huddle; therefore, it
is very important to insist that proper huddle techniques are carried
out properly. It is not too important the way the men are spaced or
lined up in forming the huddle, as long as everyone can see, hear,
and get to their proper offensive positions with as little confusion as
possible. It is a must, however, for the quarterback to use the proper
techniques in calling his plays and in controlling the huddle.

The Quarterback Controls the Team

A quarterback should never allow any talking in the huddle, unless

he asks a question and wants specific information. Therefore, he
should stand out of the huddle until it is completely formed. This will
give any player an opportunity to come and give specific information
to the quarterback without talking in the huddle.
 The quarterback should not just call a signal, but on certain
occasions he should make a few extra comments while in the
huddle. He should be forceful, and above all he must be confident.
The team will run the play the way the quarterback calls it.
Occasionally he should single out the man called on to make the key
block and inform him the team is depending upon him. After the
quarterback has called the play, and someone wants to check the
signal, the quarterback should not merely repeat the signal but the
entire play over again.
The quarterback must know the tactical situation at all times. If a
substitute comes into the game, the quarterback should always ask if
there are any instructions from the coach. The quarterback must
always be conscious of the 25 seconds between plays, and he
should use it to his advantage, whether to speed up or slow down
the game. Training the quarterback will be discussed in greater detail
in Chapter 9.

THE QUARTERBACK’S TECHNIQUES

I spoke previously of the quarterback’s stance. It is very important
for him to take the same stance every time. The center must know
where to place the ball every time. Centers and quarterbacks should
work with each other frequently giving them as much practice as
possible. Each center or quarterback has particular traits, and by the
centers and quarterbacks working with each other they get to know
one another better, thus eliminating bad exchanges between them.
The quarterback should have his head up and always look straight
ahead, while observing the defense at all times. He should be as
comfortable and as relaxed as possible, and he should never look
down when receiving the ball from his center.

Taking the Snap-Back

On the snap of the ball, the quarterback should dip his hips so his
hands will follow the tail of the center as he charges. This technique
will also help the quarterback push off. The quarterback will take the
ball with his right hand, using the left as a trapper, as was explained
previously. He should make certain he has the ball, and he should
not fight it, before withdrawing his hands from the center’s crotch. As
soon as the quarterback has possession of the ball, he should bring
it into his “third hand,” his stomach. Such a procedure will help
prevent a fumble. He then wants to push off and execute his
techniques as quickly as possible.
The quarterback must always be cognizant of the fact he cannot
score without the ball; consequently, he wants to make certain he
has possession of it before pulling out of there. If he gets in a big
hurry, he is likely to drop the ball to the ground. I have seen this
occur many times.

After Receiving the Snap

After receiving the snap, the quarterback will operate in one

direction or the other by using a pivot or a cross-over step. The
theory and techniques are basically the same.
First, the quarterback must know the defensive alignment as this
will determine how far he should pivot, or if he needs to take a
position step. After he has recognized the defense and he has taken
the first short jab step or pivot step, he should have the ball in close
to his body until he is ready to hand-off.
The head is the first part of the body around if using the pivot step,
and also the first to move in the direction the quarterback is taking if
the cross-over step is used. After the head is pointed in the right
direction, the steps can be adjusted to avoid running into the ball
carrier. The quarterback should not wave his arms or his body up
and down as he should maintain the same level throughout the
entire operation. The quarterback should never flash (show) the
football; he always operates under control.

Making the Exchange

 It is important for the quarterback to know each man with whom he
must make an exchange, including his speed, strong and weak
points. He should look at the target, the far hip, of the man to whom
he is going to hand the football, and he should be very quick with the
exchange. He should try to make the hand-off with the same motion
he would use if he were dealing cards quickly.

Quarterback Faking

The faking of the quarterback is very important. He should always

remember to carry out his fakes realistically. Incidentally we
sometimes give the ball to the man who is supposed to be doing the
faking. We have found it helps our faking as the man is not certain
whether or not the quarterback is going to give the ball to him.
When attempting a fake, it is very important for the quarterback to
look at the man he is faking to, and not merely swing his arms in a
half-hearted fake. He should go through the same motions he uses
when he actually gives the ball to the faker. His fakes must be
realistic for the offense to be effective. The quarterback should
remember he never stops moving while on offense, except when
faking to set up a drop back pass.

BALL CARRYING TECHNIQUES

Every team wins or loses a great percentage of its games due to
the manner in which the backs and ends carry the football. All
players, not only the backs, should be drilled in the proper
mechanics and techniques of carrying a football properly as it is
possible on occasions an interior lineman will have an opportunity to
run with the ball.
The outstanding characteristics or strength of each ball carrier is
likely to be different as one might possess outstanding speed,
another is a nifty, shifty runner, and the third is solid on his feet,
possesses power, and is capable of running over the opposition.
Every ball carrier must utilize his natural talents, and should practice
diligently to become as versatile as possible. Regardless of the
individual style of a runner, the most important point is for him to hold
on to the football and not fumble it.
Good habits, careful handling, and the execution of proper
techniques will prevent fumbles on ball exchanges. When a player
has the ball in his possession and fumbles it, he has committed the
unpardonable sin in my estimation. The ball carrier should remember
to have one point of the football in the palm of his hand with the
fingers around the end of the ball, and gripping it tightly. The other
end should be in the crook of his arm, which should force the football
up close to his body.
If the football is carried properly, and the ball carrier is determined
to hang on to it, the football should never be lost due to a fumble.
The ball is the most valuable object on the football field.
Consequently if the ball carrier fails to hang on to the ball, he is
letting down his entire team. Once a player has control of the ball
and fumbles it, this is no accident. It is either carelessness or lack of
courage. I can’t build a winner with this type of player. In a close
game a fumbled ball can be the deciding factor in winning or losing.
A ball carrier should remember his primary objective is to gain
ground; if possible, to score. Therefore, he should move directly
toward the opposition’s goal line as quickly as possible, unless there
is a definite reason for doing otherwise. There are always exceptions
to the rules, and a ball carrier may not be running toward the
opposition’s goal because he might be trying to make better use of a
blocker, dodge an opponent, get to the opening, time the play
properly, or he might have some other valid reason. There will be
times when top speed and the correct direction will not be sufficient
to get the job done.

Open Field Running Techniques

When a ball carrier is in the open field, he should always keep the
tackler guessing. He should not tip-off whether he is going to try to
outrun him, run through him, or dodge him, until he is close enough
to the tackler to give him the fake and then get by him. The ball
carrier should never concede he is down, and he should always
keep fighting to gain ground until the whistle stops the play.
The ball carrier should always realize and know exactly where he
is on the field, and just what he must do in order for the play to be
successful. In a majority of cases, a ball carrier should be concerned
only with running for a touchdown.

The Importance of Proper Mental Attitude

The basic difference between ordinary and great athletes is mental

attitude. As far as football players are concerned, the ordinary ball
carrier will try to make a touchdown, but he will be satisfied with a
five or six yard gain. The champion athlete, the All-American back, is
dissatisfied when he fails to score. He is always going for the
opposition’s goal line. The ball carrier actually does not succeed in
his objective unless he runs for a touchdown on every play (except
for occasional tactical situations), and he should never be made to
feel he has accomplished his objective unless he scores.
A ball carrier must be made to realize when he does a poor job of
carrying the ball, the effort of the other 10 men has been wasted.
The ball carrier must always be aware of the yardage necessary for
a first down and for a touchdown. When the ball carrier has
possession of the football, he must realize he has the control of the
game in his hands.

OUR BLOCKING TECHNIQUES

Blocking techniques are basically the same for all linemen. The
blocks the backs are called upon to execute are basically the same,
too. Therefore, we will not discuss the techniques of each position,
but merely discuss techniques and procedures as a whole.

The Drive Block