{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","title":"导读德勒兹","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562482765","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","id":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","uuid":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","title":"导读德勒兹","normalized_title":"导读德勒兹","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562482765","isbns":["9787562482765"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":241,"navigation_url":"https://workshop.closeclaw.top/ai/book/aad4d586-86fc-4d21-a20d-fd3da08aedc1","title_url":"https://workshop.closeclaw.top/ai/title/%E5%AF%BC%E8%AF%BB%E5%BE%B7%E5%8B%92%E5%85%B9","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/aad4d586-86fc-4d21-a20d-fd3da08aedc1/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/aad4d586-86fc-4d21-a20d-fd3da08aedc1/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/aad4d586-86fc-4d21-a20d-fd3da08aedc1","page_url":"https://workshop.closeclaw.top/api/ai/books/aad4d586-86fc-4d21-a20d-fd3da08aedc1/page","search_url":"https://workshop.closeclaw.top/api/ai/books/aad4d586-86fc-4d21-a20d-fd3da08aedc1/search"},"page":{"printed_page":45,"pdf_page":63,"physical_index":63,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"8dd01244681df640c16bfd5d3c0f3eb6cb1dca233f21d985fa5519918ba92661"},"chapter":"导读德勒兹","content":"电影的出现给予我们一种僭越的(transversal)生成形式:这不是建基于某种存在并通过时间来简单地展开的生成，而是面对每一种新的遭遇而发生改变的生成。生成不是某物之所是的展开。事物(例如人类)能够通过它与其所不是者的遭遇来转变自身的整体生成方式，例如电影就是这样。如果我们遭遇电影的镜头，看到的不是某种我们已经认识的东西，而是一种挑战我们认知的东西的时候，就是这样。\n\n感受与无序的知觉\n\n德勒兹关于电影的著作对展开他的时间哲学至关重要。这不仅是一种“哲学”，因为德勒兹认为只要我们重新思考时间，我们就能够转变我们自身以及未来。以不同的方式去重新思考时间的能力，既是艺术与哲学的驱动力也是生命生成的关键。再就是，这是因为例如艺术、科学与哲学的思考模式不是慵懒的认知或反映，它们是我们借以改变自身的媒介。其次，电影不仅仅是我们从中遭遇时间的一种形式，它不是哲学的另一个例子或客体。我们对哲学的实践和思考将会因电影的出现而转变。(我们可能会说文学也同样如此：例如，布莱特·伊斯东·艾利斯[Brett Easton Ellis]写于1999年的小说《魅力戏剧》[Glamora-ma]就是通过大量镜头视角的镶嵌而写成。)\n\n2 电影：知觉、时间与生成\n\n45","previous_page":44,"next_page":46}