{"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":177,"pdf_page":182,"physical_index":182,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7df23ca9fa6548582cfabcd0a9cec6ac97d07b7a2a90994a664a0ead7180bebe"},"chapter":"PRNG","content":"[13]Dora Vallier在《抽象与移情》法文版的前言中正确地指出沃林格与康定斯基是相互独立的，二者探讨的问题也各不相同。然而，她认为他们之间仍存在着聚合和共鸣。在某种意义上，所有艺术都是抽象的，都产生于出自某些抽象类型的比喻(埃及几何，希腊有机物，哥特生命，等等)，于是，问题就在于判断哪条路线是抽象的，或意识到这种抽象。很难说这是几何线条，因为它仍然勾画一个形象，即便是一个抽象的、非再现性形象。而MichaelFried依据波洛克一些作品把抽象的线条定义为：多方向的，既不是内部的，也不是外部的，既不是形式，也不是背景，不界定任何东西，不描画任何轮廓，在场或点之间穿过，填充平滑空间，搅动附近的触感视觉物质，“吸引观者观看，使他不再看其余的东西”(The American Painters,Cambridge, Mass.：Fogg Art Museum,1965，p.14)。在康定斯基本人那里，抽象不是通过几何结构实现的，而是通过行进或过渡的线条，这似乎使人想起了蒙古游牧民的主题。oM\n\n游牧艺术：空间\n\n177","previous_page":176,"next_page":178}