{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"7e4c841a-b79b-4458-bd26-8f762fabd431","title":"技术与时间 3：电影的时间与存在之痛的问题","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787544726474","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"7e4c841a-b79b-4458-bd26-8f762fabd431","id":"7e4c841a-b79b-4458-bd26-8f762fabd431","uuid":"7e4c841a-b79b-4458-bd26-8f762fabd431","title":"技术与时间 3：电影的时间与存在之痛的问题","normalized_title":"技术与时间3电影的时间与存在之痛的问题","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787544726474","isbns":["9787544726474","1111101000"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":344,"navigation_url":"https://workshop.closeclaw.top/ai/book/7e4c841a-b79b-4458-bd26-8f762fabd431","title_url":"https://workshop.closeclaw.top/ai/title/%E6%8A%80%E6%9C%AF%E4%B8%8E%E6%97%B6%E9%97%B4%203%EF%BC%9A%E7%94%B5%E5%BD%B1%E7%9A%84%E6%97%B6%E9%97%B4%E4%B8%8E%E5%AD%98%E5%9C%A8%E4%B9%8B%E7%97%9B%E7%9A%84%E9%97%AE%E9%A2%98","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/7e4c841a-b79b-4458-bd26-8f762fabd431/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/7e4c841a-b79b-4458-bd26-8f762fabd431/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/7e4c841a-b79b-4458-bd26-8f762fabd431","page_url":"https://workshop.closeclaw.top/api/ai/books/7e4c841a-b79b-4458-bd26-8f762fabd431/page","search_url":"https://workshop.closeclaw.top/api/ai/books/7e4c841a-b79b-4458-bd26-8f762fabd431/search"},"page":{"printed_page":48,"pdf_page":62,"physical_index":62,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"b2b0e9d794181fe7c92b7177e405a39839cd2500577e3a56581cdab66ddcbb52"},"chapter":"第二章意识犹如电影","content":"工业剥夺了个体的功能。工业提供给顾客的第一大服务是为顾客把所有一切都图型化。康德认为，一个隐秘的机制在人的思想中运作，随时将所需的信息准备好，使这些信息适应纯粹理性的体系。而今，这个机制的神秘性已经被解码。①\n\n从某种意义上来说，具有统一功能的想象力或许就此短路，被文化的工业化进程消除殆尽。与此同时，文化的工业化使文化的消费者变得迟钝和麻木，而且急剧地异化了理性的自由主体—确切地说，是征服了理性的主体。从此，文化资产普遍的“商品化”或许注定会解放社会中较为非理性的事物—不太“文化的”、更为“不合理的”，也即更为“野蛮的”事物。\n\n因此，霍克海默和阿多诺对电影大加指责，认为它麻痹了观众的想象力，而且更为宽泛地说，麻痹了观众的判断力，以致观众不再能够区分“感知”和“想象”、现实和虚构。今天，这一言论仍然适用于各种虚拟现实和电子游戏：\n\n(文化工业)越是能够成功地凭借技术制造出与现实客体相像的复制品，它就越能使人轻易相信外部世界只是电影所展现世界的简单延伸。声音的突然介入使工业化复制过程完全致力于这一目标。从此，现实生活不再可能与电影相互区别。②\n\n因此，工业图型法已经存在，它的首都是好莱坞。\n\n技术与时间\n\n①狄奥多·阿多诺、马克斯·霍克海默，《理性的辩证法》，出处同前，第130页。粗体为笔者所加。\n\n② 同上，第133页。\n\n048","previous_page":47,"next_page":49}