{"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":144,"pdf_page":175,"physical_index":175,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"c7dc23403bfe970f3463942b5106041887622a954c8b4c454087ffc9c1b4b25e"},"chapter":"第二章 空间","content":"然而，具象难道没有感觉吗？一只画得很写实或很写意的狗，观众哭得唏哩哗啦的好莱坞电影，不都充满感觉吗？当然不是，这些只是煽情(sensationnel)或伤感(sentimental)的操弄，不是感觉，至少不是德勒兹或当代美学所严格定义的感觉。这便涉及一个根本的美学问题：什么是严格区别于煽情或伤感的感觉?能够答复这个问题就几乎理解了当代关于艺术最顶尖与最天才的思考。\n\n在《感觉的逻辑》中德勒兹如此定义感觉：\n\n力量与感觉有紧密的关联：必须有一股力量作用在身体上，亦即作用在一个波动场域，才有感觉。然而如果力量是感觉的条件，并不是它被感觉，因为感觉从规约它的力量出发却“给予”完全不同之物。感觉如何能充足地回返自身，松驰或紧缩，以便攫取它（感觉）给予我们的未给予之力，以便促使感觉到诸不可感之力与提升到它们的特有条件？这是因此音乐必须致使无声之力发声，绘画必须致使不可见之力可见。有时候这是同一回事：大写时间是无声与不可见的，如何画时间与使时间发声?以及基本的力量，比如压力、惰力(惯性)、重力、吸引力、万有引力、发芽力？有时候正相反，某一艺术的不可感力量似乎较是另一艺术的“予料”(donnée)：比如声音，或甚至尖叫，如何画（而且反过来，如何使颜色被听见）？[1]\n\n分裂分析德勒兹\n\n144","previous_page":143,"next_page":145}