{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"2fd9baec-d4ba-40d3-827a-de528fdf9e27","title":"艺术与诸众 论艺术的九封信","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787568902106","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"2fd9baec-d4ba-40d3-827a-de528fdf9e27","id":"2fd9baec-d4ba-40d3-827a-de528fdf9e27","uuid":"2fd9baec-d4ba-40d3-827a-de528fdf9e27","title":"艺术与诸众 论艺术的九封信","normalized_title":"艺术与诸众论艺术的九封信","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787568902106","isbns":["9787568902106"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":139,"navigation_url":"https://workshop.closeclaw.top/ai/book/2fd9baec-d4ba-40d3-827a-de528fdf9e27","title_url":"https://workshop.closeclaw.top/ai/title/%E8%89%BA%E6%9C%AF%E4%B8%8E%E8%AF%B8%E4%BC%97%20%E8%AE%BA%E8%89%BA%E6%9C%AF%E7%9A%84%E4%B9%9D%E5%B0%81%E4%BF%A1","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/2fd9baec-d4ba-40d3-827a-de528fdf9e27/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/2fd9baec-d4ba-40d3-827a-de528fdf9e27/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/2fd9baec-d4ba-40d3-827a-de528fdf9e27","page_url":"https://workshop.closeclaw.top/api/ai/books/2fd9baec-d4ba-40d3-827a-de528fdf9e27/page","search_url":"https://workshop.closeclaw.top/api/ai/books/2fd9baec-d4ba-40d3-827a-de528fdf9e27/search"},"page":{"printed_page":100,"pdf_page":120,"physical_index":120,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"c420a2c3aaa9c41b9c03c161d16b516c536411becbdc156f6db6538e08680109"},"chapter":"艺术与诸众","content":"由此，一旦返回市场和商品流通的内部，抽象化就会采取种种越来越具有分析性的形式，而这些形式，当然依旧抽象，却越来越渐趋于消失，甚至往往向纯粹的实验开放—至少是每当危机(和生产模式的更新，其必然的结果)允许它，或工人斗争强行提出它的时候。\n\n1929年之后，仅存的艺术维度是由大众艺术家生产的换言之，它提出了一种纯粹的建构能力—不论后者采取了什么样的形式。而正是这样的演化，在一段持续实验的历史中，把我们最终引向了1968年。所以，我们就这样抵达了抽象和生产之间的交错时刻;或者，更确切地说，抵达了当前生产模式的抽象化与其他可能世界的再现所形成的交织，抵达了影像的抽象化，抵达了越来越多样的材料的使用，抵达了艺术姿态的简单化，抵达了真实物的几何学解构……毕加索和克利，杜尚和马列维奇，博伊斯和丰塔纳，劳森伯格和克里斯托2:不管他们之间有怎样明显的差异，我们把他们所有人认作一种并且是同一种创造性经验的行动者。从此，我们面对着一个新的主体——它能够去除资本强加给我们的物神化命运的神秘——和一个抽象的客体。\n\n100\n\n/艺术与诸众：论艺术的九封信","previous_page":99,"next_page":101}