{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"a6cc7da8-99f2-4538-8a66-26787f7481a3","title":"资本主义与精神分裂(卷2)：千高原(修订译本)","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208178977","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"a6cc7da8-99f2-4538-8a66-26787f7481a3","id":"a6cc7da8-99f2-4538-8a66-26787f7481a3","uuid":"a6cc7da8-99f2-4538-8a66-26787f7481a3","title":"资本主义与精神分裂(卷2)：千高原(修订译本)","normalized_title":"资本主义与精神分裂卷2千高原修订译本","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208178977","isbns":["9787208178977"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":515,"navigation_url":"https://workshop.closeclaw.top/ai/book/a6cc7da8-99f2-4538-8a66-26787f7481a3","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B5%84%E6%9C%AC%E4%B8%BB%E4%B9%89%E4%B8%8E%E7%B2%BE%E7%A5%9E%E5%88%86%E8%A3%82(%E5%8D%B72)%EF%BC%9A%E5%8D%83%E9%AB%98%E5%8E%9F(%E4%BF%AE%E8%AE%A2%E8%AF%91%E6%9C%AC)","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/a6cc7da8-99f2-4538-8a66-26787f7481a3/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/a6cc7da8-99f2-4538-8a66-26787f7481a3/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/a6cc7da8-99f2-4538-8a66-26787f7481a3","page_url":"https://workshop.closeclaw.top/api/ai/books/a6cc7da8-99f2-4538-8a66-26787f7481a3/page","search_url":"https://workshop.closeclaw.top/api/ai/books/a6cc7da8-99f2-4538-8a66-26787f7481a3/search"},"page":{"printed_page":465,"pdf_page":483,"physical_index":483,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"452be50dbcd2930d46e8388a0d9a1a3a6f1a3344044ddf307b2f63ddbc847ec3"},"chapter":"Capitalisme et Schizophré Mille Plat Dilles Del ix Gu","content":"当我们援引平滑和纹理化之间的某种至为重要的二元性之时，这是为了说明，“接触性一视觉性”“切近的目光一遥远的目光”之间的差异本身是从属于此种区分的。因此，我们不会以静止的背景，以平面和轮廓来界定接触性，因为只有在一种已然混合的状态之中，接触性才得以被用于纹理化，它也运用自身的平滑的组分，但只是为了将它们转换为另一种空间。接触性的功能和切近的目光首先预设了平滑空间，它没有背景，没有平面，也没有轮廓，而只有方向的变化和本地部分（partieslocales）之间的衔接。反之，发达的视觉功能并不满足于将纹理化推进到一个新的完备性的层次，由此赋予后者一种虚构出来的普遍价值和作用范围；它还能够重新给出平滑空间，解放光线，调制颜色，修复一种空灵的接触性空间，由此构成了平面之间相互干涉的未限定场所。②简言之，在得出接触性和视觉性、切近和遥远之间的相对区分之前，平滑和纹理化首先应该在它们自身之中被界定。\n\n14. 1440年：平滑与纹理化\n\n① 无论存在着怎样的相互影响，“草原艺术”的一种特性确实被传递给了迁移的日耳曼人：尽管格鲁塞对于一种游牧文化持诸多保留意见，但正是他在《草原帝国》(L'empire des steppes，Payot，pp.42—62)之中出色阐述了这一论点。他揭示了斯基泰艺术对亚述艺术、萨尔马提亚艺术对波斯艺术、匈奴艺术对中国艺术的不可还原性。他甚至指出，与它所借鉴的来源相比较，草原艺术自身所产生的影响更大（尤其参见鄂尔多斯艺术及其与中国之间的关系)。\n\n② 这个关于光线和颜色的问题，尤其是在拜占庭艺术之中，参见 Henri Maldiney，p.203 sq.，239 sq.。\n\n465","previous_page":464,"next_page":466}