{"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":141,"pdf_page":172,"physical_index":172,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"4b673a13c8aaeae4e2f1b025780f6c89b0ea96cd683a385e1e0d87b3ba865f56"},"chapter":"第二章 空间","content":"把当代的非再现影像视为再现影像来理解与分析当然是不适当的，然而，非再现影像的非再现思考该如何进行?我们处在一个非再现，或者再现体制已经终结的时代，但这并不意味我们因此就不再看到任何再现影像，或者再现影像自然而然地绝迹，相反地，再现影像（绘画、电视、电影………）永远都有，而且恐怕比任何时代都多。重点在于，我们如何在各种再现与具象中找到属于当代的“影像非再现性”？或者不如反过来说，我们该如何评论与思考才能使被评论的对象不再“只是再现影像”?影像如何才能不再为了述说各种故事或不再忠实于各种强加其上的范型?\n\n德勒兹提出两种可能的方式。首先，指出影像的“反再现性”，比如时间一影像就是一种反再现与反常态运动的蒙太奇影像，德勒兹以许多分析指出时间一影像中的变态与脱轨正是使它终于逃离再现命运的程序，电影影像因此可以不再是运动的再现。第二，指出影像中无关再现的元素，比如分析线条、笔触与颜色所产生的力量或强度构成，用培根的话来说，就是去分析影像的“事实”(fact)或“事实物质”(mattersoffact)。不论是方法一或方法两，我们都可以开始感受德勒兹在《感觉的逻辑》中“大写形象”这个词的专有意义。德勒兹在本书中严格分辨了具象与大写形象这两个由同一\n\n第二章 空间\n\n141","previous_page":140,"next_page":142}