“Here is the very important text from the interviews: Bacon: “Very often the involuntary marks are much more deeply suggestive than others, and those are the moments when you feel that anything can happen.” Sylvester: “You feel it while you’re making those marks?” Bacon: “No, the marks are made, and you survey the thing like you would a sort of graph [diagramme]. And you see within this graph the possibilities of all types of fact being planted. This is a difficult thing; I’m expressing it badly. But you see, for instance, if you think of a portrait, you maybe have to put the mouth somewhere, but you suddenly see through this graph that the mouth could go right across the face. And in a way you would love to be able in a portrait to make a Sahara of the appearance – to make it so like, yet seeming to have the distances of the Sahara” (Interviews, p. 56). ”
Deleuze的原文提到这个词当然用是diagramme：
“C’est ce que Bacon appelle un Diagramme: c’est comme si, tout d’un coup, l’on introduisait un Sahara, une zone de Sahara, dans la tête; c’est comme si l’on y tendait une peau de rhinocéros vue au microscope; c’est comme si l’on écartelait deux parties de la tête avec un océan; c’est comme si l’on changeait d’unité de mesure, et substituait aux unités figuratives des unités micrométriques, ou au contraire cosmiques1. Un Sahara, une peau de rhinocéros, tel est le diagramme tout d’un coup tendu. C’est comme une catastrophe survenue sur la toile, dans les données figuratives et probabilitaires.”
(Francis Bacon - Logique de la sensation, Deleuze)
英文的译本照顾了Bacon访谈的原文加上了graph这个说法，你可以对照相应的英文段落：
This is what Bacon calls a “graph” or a diagram: it is as if a Sahara, a zone of the Sahara, were suddenly inserted into the head; it is as if a piece of rhinoceros skin, viewed under a microscope, were stretched over it; it is as if the two halves of the head were split open by an ocean; it is as if the unit of measure were changed, and micro-metric, or even cosmic, units were substituted for the figurative unit. A Sahara, a rhinoceros skin: such is the suddenly outstretched diagram. It is as if, in the midst of the figurative and probabilistic givens, a catastrophe overcame the canvas.
Deleuze在讨论diagramme时，下面几个点很重要：
1）It is like the emergence of another world. For these marks, these traits, are irrational, involuntary, accidental, free, random. They are non-representative, non-illustrative, non-narrative. They are no longer either significant or signifiers: they are a-signifying traits.
2）And the operation of the diagram, its function, says Bacon, is to be “suggestive.”
3） The diagram is indeed a chaos, a catastrophe, but it is also a germ of order or rhythm. It is a violent chaos in relation to the figurative givens, but it is a germ of rhythm in relation to the new order of the painting.
4）But painters pass through the catastrophe themselves, embrace the chaos, and attempt to emerge from it. Where painters differ is in their manner of embracing this non-figurative chaos, and in their evaluation of the pictorial order to come, and the relation of this order with this chaos.
我们先看这个词它的对立的东西有那些：diagramme首先与figurative相对立的东西，那也就说它与representative的东西相对立, 但它同时还与narrative的东西对立，所以说diagramme是non-representative, 也是non-illustrative, 亦是non-narrative。而画家要达致diagramme的时候，要穿过catastrophe(catastrophe这里是用的古希腊文的意思，一切都混乱、颠倒、倒错、无序的状态）, 画家要拥抱chaos，才肯能最终从中出来，捕获diagramme。而diagramme除了蕴含着chaos, catastrophe，还有着germ of order or rhythm, 从中the new order of the painting会从中崭露出来（这也就是为什么Deleuze用的措辞是germ，germinate, germination, 生发，发芽）。
如果从发音上来说，就跟”构图”类似，但是前文的铺垫已经很清楚，Deleuze用这个词就是表达的non-figurative, non-representative的东西，所以“构图”就违反了这个层面的意义，diagramme一定要是非再现的，它并非是已然、已经构型、固化的东西。但同时，diagramme需要跟其他的东西交合，交接，产生关联（所以这里我选择了“冓”这个字，所谓：交积、对交、叠加，见《说文解字》），但是它的产生同时又是与chaos, catastrophe, 还有意外等等相关联，尤其注意下面这个点： What does this act of painting consist of? Bacon defines it in this way: make random marks (lines-traits); scrub, sweep, or wipe the canvas in order to clear out locales or zones (color-patches); throw the paint, from various angles and at various speeds. 所以我选用了“塗”这个词，它包含着各种随性，意外，超出常规/规则/规范的东西。我又加上了“吐”这个部分，当然首先跟“塗”几乎同音，其次是为了表现那个germ, germinate, germination的部分，从中一个新世界（拥有不同的秩序的新绘画，这也就是为什么原文的措辞是a new order of painting)与此吐露、崭露了出来，或者说生发出来。
图表就是一种尝试，一种可能性，在画面上无数种可能性，总有一个形象适合该画面的位置，就比如在一个语境中说话，总有那么一句话适合那个语境，那我们就要经过大量尝试，可能感觉会告诉我们在什么地方说什么话合适，这都是一个道理，图表不只是绘画能用到，生活的各种尝试我们都可以称之为图表。
wow,学到了，虽然还只能意会，非常感谢详细的解释！
所谓“图表”就是原书第12章提出的le diagramme, 这个词Bacon当时跟David Sylvester的访谈里面时候的对应措辞是graph。请看原书里面的一个小注：
“Here is the very important text from the interviews: Bacon: “Very often the involuntary marks are much more deeply suggestive than others, and those are the moments when you feel that anything can happen.” Sylvester: “You feel it while you’re making those marks?” Bacon: “No, the marks are made, and you survey the thing like you would a sort of graph [diagramme]. And you see within this graph the possibilities of all types of fact being planted. This is a difficult thing; I’m expressing it badly. But you see, for instance, if you think of a portrait, you maybe have to put the mouth somewhere, but you suddenly see through this graph that the mouth could go right across the face. And in a way you would love to be able in a portrait to make a Sahara of the appearance – to make it so like, yet seeming to have the distances of the Sahara” (Interviews, p. 56). ”
Deleuze的原文提到这个词当然用是diagramme：
“C’est ce que Bacon appelle un Diagramme: c’est comme si, tout d’un coup, l’on introduisait un Sahara, une zone de Sahara, dans la tête; c’est comme si l’on y tendait une peau de rhinocéros vue au microscope; c’est comme si l’on écartelait deux parties de la tête avec un océan; c’est comme si l’on changeait d’unité de mesure, et substituait aux unités figuratives des unités micrométriques, ou au contraire cosmiques1. Un Sahara, une peau de rhinocéros, tel est le diagramme tout d’un coup tendu. C’est comme une catastrophe survenue sur la toile, dans les données figuratives et probabilitaires.”
(Francis Bacon - Logique de la sensation, Deleuze)
英文的译本照顾了Bacon访谈的原文加上了graph这个说法，你可以对照相应的英文段落：
This is what Bacon calls a “graph” or a diagram: it is as if a Sahara, a zone of the Sahara, were suddenly inserted into the head; it is as if a piece of rhinoceros skin, viewed under a microscope, were stretched over it; it is as if the two halves of the head were split open by an ocean; it is as if the unit of measure were changed, and micro-metric, or even cosmic, units were substituted for the figurative unit. A Sahara, a rhinoceros skin: such is the suddenly outstretched diagram. It is as if, in the midst of the figurative and probabilistic givens, a catastrophe overcame the canvas.
Deleuze在讨论diagramme时，下面几个点很重要：
1）It is like the emergence of another world. For these marks, these traits, are irrational, involuntary, accidental, free, random. They are non-representative, non-illustrative, non-narrative. They are no longer either significant or signifiers: they are a-signifying traits.
2）And the operation of the diagram, its function, says Bacon, is to be “suggestive.”
3） The diagram is indeed a chaos, a catastrophe, but it is also a germ of order or rhythm. It is a violent chaos in relation to the figurative givens, but it is a germ of rhythm in relation to the new order of the painting.
4）But painters pass through the catastrophe themselves, embrace the chaos, and attempt to emerge from it. Where painters differ is in their manner of embracing this non-figurative chaos, and in their evaluation of the pictorial order to come, and the relation of this order with this chaos.
我们先看这个词它的对立的东西有那些：diagramme首先与figurative相对立的东西，那也就说它与representative的东西相对立, 但它同时还与narrative的东西对立，所以说diagramme是non-representative, 也是non-illustrative, 亦是non-narrative。而画家要达致diagramme的时候，要穿过catastrophe(catastrophe这里是用的古希腊文的意思，一切都混乱、颠倒、倒错、无序的状态）, 画家要拥抱chaos，才肯能最终从中出来，捕获diagramme。而diagramme除了蕴含着chaos, catastrophe，还有着germ of order or rhythm, 从中the new order of the painting会从中崭露出来（这也就是为什么Deleuze用的措辞是germ，germinate, germination, 生发，发芽）。
由上可知，diagramme这个词并不是“图表”的意义。那如何翻译这个特殊的措辞呢。我这里给出我对这个词的译文：“冓塗/吐”
如果从发音上来说，就跟”构图”类似，但是前文的铺垫已经很清楚，Deleuze用这个词就是表达的non-figurative, non-representative的东西，所以“构图”就违反了这个层面的意义，diagramme一定要是非再现的，它并非是已然、已经构型、固化的东西。但同时，diagramme需要跟其他的东西交合，交接，产生关联（所以这里我选择了“冓”这个字，所谓：交积、对交、叠加，见《说文解字》），但是它的产生同时又是与chaos, catastrophe, 还有意外等等相关联，尤其注意下面这个点： What does this act of painting consist of? Bacon defines it in this way: make random marks (lines-traits); scrub, sweep, or wipe the canvas in order to clear out locales or zones (color-patches); throw the paint, from various angles and at various speeds. 所以我选用了“塗”这个词，它包含着各种随性，意外，超出常规/规则/规范的东西。我又加上了“吐”这个部分，当然首先跟“塗”几乎同音，其次是为了表现那个germ, germinate, germination的部分，从中一个新世界（拥有不同的秩序的新绘画，这也就是为什么原文的措辞是a new order of painting)与此吐露、崭露了出来，或者说生发出来。
总之，“冓塗/吐”是 Deleuze 对“diagramme”的创造性翻译，它结合了“塗”和“吐”两个字的含义。“塗”有“涂抹、绘画”的意思，而“吐”有“发出、产生”的意思。Deleuze 认为，“diagramme”是绘画中的一个非再现的元素，它通过“塗”的随意、意外的笔触，创造出一种新的秩序和意义。因此，“冓塗/吐”可以理解为“涂抹、发出”的意思，它强调了“diagramme”的非再现性和创造性。
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