I sit down on the white bench soaked in sun and salty breeze. The heat is pressing me down, questioning my stay on this metallic seat. Looking around, it seems no other alternative is possible unless I resign myself to get into the refrigerated cabin. I will stay here among young couples and tourists. I am, also, about to go rambling with the promise of a better land, away from the roaring concrete. A stronger blow of wind sends me clouds of fumes from the above chimney of the ferry boat, and makes me realise in an interesting transfer of sensation that although I am supposedly at a very particular viewpoint, from which the whole scenery will unfold nicely, I am also at the back of the boat, in a location where the air conditioning system and the boat engine are rehearsing a distorted version of Charlemagne Palestine’s Negative Sound Study (1). The wind, as an uninvited player begins to join and brings intensity modulations to the whole performance. A sign that the bank is going further away. Like Baudelaire in its Drunken Boat, “As I was floating down unconcerned Rivers, I no longer felt myself steered by the haulers”. Totally immersed in the performance, the colourful rusty cargos and small junks, and other embarkations of all sizes and shapes are mirages in the heat shimmering on this unstable blue desert.
It is moving.
I am wandering. I do not have any specific aim or goal. I don’t know anyone on this island. Yet I am here. I remember Raymond Depardon’s introduction in his book Errance in which he explains how one day hereceived a fax with a text from Alexandre Laumonier entitled “wandering or thinking the milieu.” The text began like this:
“wandering, a term at the same time explicit and vague, is ordinarily associated to movement, and singularly to walking, to the idea of getting lost, the lost of one-self. However, the principal problem of wandering is nothing else than the problem of the acceptable place. The wanderer in search of the acceptable place is placed in avery peculiar space, an intermediate space. To the intermediate space corresponds in fact an intermediatetime, a temporality that one could qualify of floating. This floating time is the time of the look on history, when the wanderer ponders upon the past, while he/she thinks about his/her near future.”
The text goes on:
“the wanderer disappears, becomes silent, engages in the experience of the world, that is why there is no immobile wandering.”
Depardon ends this long quoted passage from Laumonier with the essential question:
“as wandering is neither the travel, nor a trip , etc. but rather: what am I doing here?”(2)

The engine changes its tone suddenly, letting space an unidentified soloist to manifest itself. Human voices. An island is approaching. In a last blast, the engine finishes its part, letting the sea taking over accompanied by the continuous tone of the air conditioning. Time of disembarkment, activity regained. My floating orchestra is finally letting other sounds to be heard, not without last signs of fights.
A door bangs. A different land. I am among humans again.

I am walking.
What am I doing here?
………
1: From the album in mid-air, 2009 Alga Marghen
2: Raymond Depardon, Errance, Seuil, 2000, p 12-13. The text of Laumonier has been published in Laumonier, Alexandre. “L’Errance ou La Pensée du Milieu”. Magazine Littéraire, L’Errance de Cervantès aux Écrivains Voyageurs, Avril 1997( 21).

我坐在白色長櫈上，浸淫在陽光和鹹鹹海風中。酷熱卻逼迫著我，質疑我坐在金屬椅上。環顧四周，似乎沒有其他可行的選擇，除非我改變心意走進入冷氣艙。我會與年輕夫婦和遊客們留在這兒。而我，也即將一如承諾去漫步更好的地方，遠離喧囂的混凝土地。

更強的風為我送上從渡船上煙囪飄揚的朵朵煙霧，並讓我意識到一種有趣的感覺在轉移，雖然我應該在某一觀景點，那裡可一眼飽覽整個風景，而我是在船的後方，在空調系統和發動機在排練巴勒斯坦（Charlemagne Palestine）《負面聲音研究》(Negative Sound Study )[1]。風，作為一個不請自來的樂手，開始加入其中，為整個演出注入強大的轉調。岸堤漸漸遠去。像波德萊爾(Baudelaire)的《醉舟》(Drunken Boat):「當我沿著不動聲色的長河順流而下，小舟彷彿擺脫了縴夫的拖引。」完全沉醉在演出之中，七彩且生鏽的貨櫃和小帆船，和其他各種大小及形狀的船隻，都在這藍色沙漠中，在炎熱產生的海市蜃樓中閃爍。

它在移動。

我在遊蕩。我沒有任何具體的目的或目標。我不認識島上的人。然而我人就在這裡。我記得雷蒙．德帕東(Raymond Depardon)於《游走》(Errance) 的序言中，他解釋有一天，他收到亞歷山大．諾莫尼耶(Alexandre Laumonier)的傳真，以《遊蕩或思考的環境》(Wandering or thinking the milieu)為題，文章是這樣開始的：
「遊蕩，一個既明確又模糊的詞語，通常與運動相關，特別是行走，迷路的概念，失去自我。然而，遊蕩的主要問題是合身之所。流浪者尋找合適的地方，是一個奇特的空間、過渡的空間。過渡的空間其實與過渡的時間是相對應的，它暫時容許某人浮動。這個浮動時間是於歷史角度來看，當流浪者在思考過去，同時他/她在想及不遠的將來。」

文中接著說：
「流浪者消失，變得沉默、被世事吸引，那就是再沒有流浪的原因。」
德帕東以一個基本的問題，結束諾莫尼耶的大段引文：
「流浪既不是旅遊，也不是旅行等。而是：我究竟在這裡幹什麼?」[2]
發動機突然改變了音調，讓一個身份不明的獨奏者有演出的空間。人的聲音。島嶼將至。在最後的響聲中，發動機完成它的部分，讓海洋代替它，並伴隨空調系統連續的聲音。上岸的時間，活動恢復。我的漂浮管弦樂隊終於讓其他聲音被聽見，留下打架的痕跡。

打開門。不同的地方，我再次被人群圍繞。

我在行走。
我究竟在這裡幹什麼呢？

[1] 收錄於2009年唱片《In-Mid-Air》中。
[2] 雷蒙．德帕東(Raymond Depardon)，《游走》，Seuil出版社，2000，12-13｡諾莫尼耶的文章輯錄於《遊蕩或思考的環境》(L’Errance ou La Pensée du Milieu) ， <L’Errance de Cervantès aux Écrivains Voyageurs>專題， Littéraire雜誌 (4月號，1997)：21。