{"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":139,"pdf_page":154,"physical_index":154,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"6e45c3ac6172a192fb7465a8b3589751d202b0ebafe26edecaf05e911ee09fb4"},"chapter":"第三章 我们大家","content":"33.人民事务中幻觉装置的使用与实践，作为美学的异教：艺术死亡的问题\n\n如果说我们无法将所有的精神作品定义为严格意义上的短记忆材料，如福柯所描述的那样，如我所研究的柏拉图的短记忆问题，如我在马克斯·韦伯①（MaxWeber）的分析中重新发掘的意义，还有语法化过程②，那么相反，这些作品都是第三持存，在这一点上，它们确实构成了短记忆的基质，即它们也是拜物教的对象：这些对象尤其有利于幻象和幻觉的投射，确切地说就像一些重复的载体，即我在上文所支持的观点，我在上文中谈到体验延异的绘画目光和音乐听赏。\n\n在这段漫长的历史中，感觉性的机械转折是重复的一个新时代，充当着感性经历的普遍条件，感性的经历被设想为一次共在的探险，而意义的扩展正源于探险，这种扩展既是美学（aisthesis），也是符号（semiosis），即惊呼的能意循环。\n\n能意的这个美学维度，心理与集体的个体化过程所包含的维度，它构成了记忆的生命，它是博伊斯作品的能量，萨尔基斯称之为财宝①，即宝典。\n\n① 参见斯蒂格勒，《怀疑和失信1》，第94—107页。\n\n② 参见斯蒂格勒，《象征的贫困1》，第111—123页和第141—149页；《怀疑和失信1》，第63—68页。\n\n139\n\n第三章 我们大家","previous_page":138,"next_page":140}