{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","title":"分裂分析德勒兹 先验经验论与建构主义","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","id":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","uuid":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","title":"分裂分析德勒兹 先验经验论与建构主义","normalized_title":"分裂分析德勒兹先验经验论与建构主义","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":327,"navigation_url":"https://workshop.closeclaw.top/ai/book/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","title_url":"https://workshop.closeclaw.top/ai/title/%E5%88%86%E8%A3%82%E5%88%86%E6%9E%90%E5%BE%B7%E5%8B%92%E5%85%B9%20%E5%85%88%E9%AA%8C%E7%BB%8F%E9%AA%8C%E8%AE%BA%E4%B8%8E%E5%BB%BA%E6%9E%84%E4%B8%BB%E4%B9%89","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","page_url":"https://workshop.closeclaw.top/api/ai/books/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/page","search_url":"https://workshop.closeclaw.top/api/ai/books/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/search"},"page":{"printed_page":140,"pdf_page":171,"physical_index":171,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"2ddb1c282580a019091e47dbaf36358cb42eb308a4027ccfd2053df0dfe97310"},"chapter":"第二章 空间","content":"然而影像无关再现并不是自明的，时至今日想让影像不再现仍然非常困难，再现并不因我们是毕加索、杜象或波洛克(JacksonPollock)之后的人就自然退散。我们永远被再现包围，现代艺术无关再现只是一个必须用一切创造性力量所达成的目标而不是现成的出发点。我们看的电影、电视、摄影、录像甚至装置……仍然大部分是再现的作品，仍然再现着观念、因果关系、情节故事，仍然自觉或不自觉的是外部世界的某种模仿，就仿佛这些作品的作者完全不知道有20世纪的艺术史，完全没听过塞尚或杜象。\n\n这便是德勒兹《感觉的逻辑》这本书所切入的主要论点。\n\n1. 影像的“事实物质”\n\n如果影像不再现，换句话说，如果影像与叙事(任何故事或情节）、具象（任何表象、外形、样貌、图样、长相……)、因果（因为A所以B)等等都无关，那么立刻发生的困难就是我们该怎么思考影像？影像长久以来不就是这些元素的载体吗？如果影像没有这些元素，那是什么?如果思考影像不是思考影像所表现的叙事、具象、因果，如果影像上不再有这些元素，那么思考如何可能?这些问题仍然是关于现代影像的一般性困惑。而且很吊诡地，目前对影像的大部分思考都仍然思考作为再现影像中的叙事、具象与因果，影像的思考者或评论者似乎把自己与创作者都拉回19世纪，看与讲着19世纪的话语。\n\n分裂分析德勒兹\n\n140","previous_page":139,"next_page":141}