{"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":236,"pdf_page":267,"physical_index":267,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"b9788b8964633feb63d751f181968dd17015c23fd56dacc1c8c8a23de5c292e4"},"chapter":"第三章 起源与重复","content":"每个生命于是就都如同是特异性的喧哗，交织着无数异质系列，生成的力量贯穿其间，一切都可以是特异的，然而，“促使前个体化及无人称的特异性说话，简言之，生产意义，这是今日首要之务”1。这便是作为德勒兹哲学最核心的特异性思考。\n\n2.虚拟的逻辑与影像的意义2]\n\n影像作为一个问题，恐怕与哲学一样古老。柏拉图对影像的极度贬抑，仿佛深恐禁锢其中的幽闭恐惧症患者；稍后，伊比鸠鲁派树立拟像理论，以一种令现代人膛目结舌的方式大胆逆转了影像的负面地位，感觉来自物体表面所喷发的拟像，确保了感官与物体的接触，感性材料因此具有了真确性；笛卡尔则在影像中植入经院学派的心物两元纠葛，并将其划归外在的形体物(chosecorporelle)；莱布尼兹亦重新思索影像与观念的动态链结，将事物的清楚影像视为思考的必要条件；康德哲学中图示(schema)作为一般性影像说明了先验想象力的运作，因为有先验图示作为先天根据，才产生了经验影像，建构了感性与知性的关联。从希腊时代、古典时代到现代，影像概念在思想史中交织出无数谱系，勾勒了繁多变奏，哲学家一再提出符应他们时代的影像概念，也各自在概念中灌注了该时代最原创、激进与叛逆的想法。影像之为问题，正在于每个时代的“知识型”(épistémè)都必须重新去面对、开发与解决(无疑地可以有一门关于影像的考古学)。当代的影像问题已因摄影与电影的发明、古典再现理论的崩溃、电脑科技的崛起……变得复杂无比，究竟什么是属于我们时代的影像概念？如果影像的本质已根本改变，该怎么思考影像的现代性?\n\n分裂分析德勒兹\n\n[1] LS, 91.\n\n[2]本章初稿曾发表于《当代》，1999/11,147期，38-57。\n\n236","previous_page":235,"next_page":237}