{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"54d3c118-c4aa-4f73-931a-46b5161e4e39","title":"生产：德勒兹机器（第五辑）","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787563370245","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"54d3c118-c4aa-4f73-931a-46b5161e4e39","id":"54d3c118-c4aa-4f73-931a-46b5161e4e39","uuid":"54d3c118-c4aa-4f73-931a-46b5161e4e39","title":"生产：德勒兹机器（第五辑）","normalized_title":"生产德勒兹机器第五辑","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787563370245","isbns":["9787563370245"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":408,"navigation_url":"https://workshop.closeclaw.top/ai/book/54d3c118-c4aa-4f73-931a-46b5161e4e39","title_url":"https://workshop.closeclaw.top/ai/title/%E7%94%9F%E4%BA%A7%EF%BC%9A%E5%BE%B7%E5%8B%92%E5%85%B9%E6%9C%BA%E5%99%A8%EF%BC%88%E7%AC%AC%E4%BA%94%E8%BE%91%EF%BC%89","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/54d3c118-c4aa-4f73-931a-46b5161e4e39/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/54d3c118-c4aa-4f73-931a-46b5161e4e39/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/54d3c118-c4aa-4f73-931a-46b5161e4e39","page_url":"https://workshop.closeclaw.top/api/ai/books/54d3c118-c4aa-4f73-931a-46b5161e4e39/page","search_url":"https://workshop.closeclaw.top/api/ai/books/54d3c118-c4aa-4f73-931a-46b5161e4e39/search"},"page":{"printed_page":135,"pdf_page":140,"physical_index":140,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"850c65700a40a1677785b78ea50eda2f08c05d26973e5a12b3c81d400f3c1d43"},"chapter":"PRNG","content":"游牧艺术：空间\n\n吉尔·德勒兹\n\n陈永国译\n\n美学模式：游牧艺术\n\n一些实际的和理论的观念适于定义游牧艺术及其后继者(蛮荒时代的艺术，哥特艺术和现代艺术)。首先是区别于远景视野的“近景”视野；第二是区别于视觉空间的“触觉的”或“触感的”空间。触感这个词好于触觉，因为触感并不在两个感觉器官之间建立对立关系，反而易于让人假定眼睛本身能够履行这个非视觉功能。给予近景和触感空间这对儿术语以美学地位的，还是阿洛伊斯·里格尔的卓著。但眼下我们先不论里格尔(然后是威廉·沃林格，再近就是亨利·马尔迪尼)定下的规矩，而自己冒险来随便用一下这几个观念。[1]我们认为，平滑的空间既是完全近景的客体，又是触感空间的因素(它既可能是视觉的或听觉的，又是触觉的)。相反，有条纹的空间相关于较远的视野，比较具有视觉性质的空间尽管眼睛并不是具有这种能力的唯一器官。如以往一样，这种分析必定受到一个变化的协同因素的矫正，根据这个协同因素，条纹空间与平滑空间之间的通路既是必要的，又是不确定的，而且更具颠覆性。绘画的规律在于它要在近景内完成，即便要在相对较远的地方观看它。你可以从一物后退几步，但如果画家要从他或她所画的画后退的话，那就是一个糟糕的画家。或从所画的物后退的话。塞尚说没有必要再去看麦田，过分地接近麦田，这样就会失去平滑空间里的标志物。之后，条纹将出现：画画，层次，大地，“顽固的几何学”，“世界的丈量”，“地质学基础”，“径直下落的一切”…条纹本身可能在“灾难”中消失，为一个新的平滑空间开辟道路，然后是另一个条纹空间。……\n\n游牧艺术：空间\n\n135","previous_page":134,"next_page":136}