{"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":47,"pdf_page":65,"physical_index":65,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d757a953f11d99f88bb7a3453d9d3ec63a2ef6743d7f4cf5f18e1d3d5adf7d42"},"chapter":"导读德勒兹","content":"如果我们按照惯常情形，将世界看作一系列具有外延性的客体与一个统一的可测量的空间的一部分，这是因为我们将强度综合了。强度不是性质——例如红色，它是性质的生成：比如说，燃烧和红外线的波动使我们最终看见了红色。对于德勒兹来说，正是电影在时间之中将影像组合起来，所以它能够呈现强度和感受。它能够分离影像的日常秩序——我们通常将世界按照所期望的事件之流的方式予以秩序化，并且让我们不按照标准的秩序和意义来体会这些感受。或许大卫·林奇(David\n\n2电影：知觉、时间与生成\n\n47\n\n39","previous_page":46,"next_page":48}