{"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":153,"pdf_page":184,"physical_index":184,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e0400789ab60b2c4da15cf3e3d6a8a2b5b0ed66a9b199de198c1cc9f5e8f94ff"},"chapter":"第二章 空间","content":"图表是物质性的与手工的，德勒兹以许多篇幅说明培根怎么用手工标记或手工笔触来制造绘画中的灾难，这些线条与颜色并不是自主与有意指的，而是由意外与偶然所造成。但是图表并不是激起感觉的程序，因为图表呈显的仍然是可见的力量，虽然这些力量的脱序造成了混沌，但这并不是艺术涉及的感觉，因为被感觉之物不是可见的力量，而是“完全不同之物”。在德勒兹的感觉逻辑中，图表作为失序的混沌并不是终点而是一个必须不断重新开始的起点，但被感觉的不是标识着错乱可见力的图表，而是不可见力量的形象，作品是由图表所撑出的秩序破洞朝向仅能感觉的形象。德勒兹说：\n\n让我们从触一视空间(espace tactile-optique)与具象化作用出发。并非这两种特征是同一回事，具象化作用或具象的表象比较像是此空间的结果。而且根据培根，不论以哪种方式这个空间就是必须在那里，毫无选择余地(它至少是虚拟地在那里，或在画家的脑袋里……且具象化作用预先存在或预先制造地在那里)。然而手工的“图表”正是与这空间与这结果决裂而成为灾难，它只由不顺从的污渍与笔触构成。而且有某种东西须由图表脱出(sortir)，来到视觉。粗略地说、根据培根，图表的法则如下：由具象形式出发，图表介入以错乱它，必须从图表中脱出另一种全然不同性质的形式，叫作大写形象。[1]\n\n第二章 空间\n\n[1] RF, 316.\n\n[2]“puissance manuelle déchainée”,FB,88.培根说：“通过图表你突然看到嘴巴能从脸的 一端咧开到另一端………”(cf.FB,101.)\n\n153","previous_page":152,"next_page":154}