{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","title":"象征的贫困 2：感性的灾难","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787305250415","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","id":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","uuid":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","title":"象征的贫困 2：感性的灾难","normalized_title":"象征的贫困2感性的灾难","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787305250415","isbns":["9787305250415"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":288,"navigation_url":"https://workshop.closeclaw.top/ai/book/b708aa90-cb9d-4126-93b7-4c56ecb08efe","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B1%A1%E5%BE%81%E7%9A%84%E8%B4%AB%E5%9B%B0%202%EF%BC%9A%E6%84%9F%E6%80%A7%E7%9A%84%E7%81%BE%E9%9A%BE","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/b708aa90-cb9d-4126-93b7-4c56ecb08efe/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/b708aa90-cb9d-4126-93b7-4c56ecb08efe/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/b708aa90-cb9d-4126-93b7-4c56ecb08efe","page_url":"https://workshop.closeclaw.top/api/ai/books/b708aa90-cb9d-4126-93b7-4c56ecb08efe/page","search_url":"https://workshop.closeclaw.top/api/ai/books/b708aa90-cb9d-4126-93b7-4c56ecb08efe/search"},"page":{"printed_page":13,"pdf_page":28,"physical_index":28,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"354ead226cbd8ecae8c1196565133240fcba2d3add7cecf756ca05f2b9c4dca6"},"chapter":"第五章 析取的合取","content":"电影和音乐的共同点，就是它们都是时间的艺术。诚然，任何艺术都是“若干时间”：阅读的时间、凝视的时间、“蛇纹线”的时间……任何音乐也都是若干空间：当代音乐的伟大冒险果断地探索着这个空间性①，尤其是声学与音乐协调研究所②。无论如何，音乐的内在本质是时间，某种意义上说是只和电影分享的时间：音乐一边出现一边消失，构成一种流逝的流。我们强调这一点只是要突出这个事实：音乐和电影在时间上的流动性，与以其为客体的意识流动性恰好对应，音乐和电影具有截获注意力的特殊权力，而市场营销必然会开发利用这种权力。音乐和视听，它们已经成为控制社会的首选工具，因此也臣服于工业经济所施加的巨大压力，迫使它们服从于眼前的利益。\n\n5.转变：感觉性的机械转折\n\n朗读者将感觉器官和技术连接起来，普遍意义上的感觉性（sensibilité），作为人类的属性，其变异就具有艺术特征，因此也在不断地演变，自行转变，这种感觉性的器官逻辑①变异，自第一次工业革命以来，就隶属于机械的变异。\n\n① 参见我与乔纳森·阿勒韦(JonathanHarvey)的访谈，《声音的空间化和个体进入音乐》，《媒介学期刊》第18期，第211页。\n\n②声学与音乐协调研究所，是我领导的协会，其使命是组织作曲家和科学家的相遇与合作，以发展当代的乐器馆(instrumentarium)该乐器馆的含义当然是我在本书中所称呼的扩大的乐器学。\n\n朗读者配音序曲\n\n013","previous_page":12,"next_page":14}