{"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":17,"pdf_page":32,"physical_index":32,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"83cc81286b5afc308cfefd810eacc0911966970abe486c7debd600fc23a67d6d"},"chapter":"第五章 析取的合取","content":"正因如此，我们只得试图颠倒这个观点：就是要从普通乐器学观点的角度来思考美学技术，即活体器官、人造器官和社会组织构成了完整的美学事实，同时缔结了一些吉尔贝·西蒙东所说的转导关系（一些构成它们极点的关系）。而音乐，无论作为狭义的乐器学（在机械转折之前），还是作为广义的乐器学(机械转折之后)，它将是一个优先考察场域，因为我们可以从中清楚地看到，技术和感觉性①之间建立起一种关系。此外，音乐一直得到基础思想的青睐，以毕达哥拉斯的思想开始：该思想首先提出了感性的问题，认为感性问题既是数量问题也是工具问题希腊古笛和里拉琴成为狄俄尼索斯和阿波罗的乐器投射并非偶然，而马尔叙阿斯（Marsyas）总是出没于那些城邦和大都市。\n\n有了机器，计算和技术相互结合形成了工业技术，构成了普遍意义上的乐器学独特时代。自19世纪中叶起不断出现了许多记录机器：正是从照相机和留声机开始，突然出现了机器感觉性。各种感官的机械化构成了一种巨大的决裂，因为并非所有东西都必须经过手或嗓音才能发生：我们可以不会音乐而听音乐。从此以后，人们几乎一直这样去听音乐当阅读实践占主导地位时，这种情况极为稀少。在与歌唱相连（个人或集体的）和与钢琴（被普遍充当收听工具，通过阅读歌剧或交响乐的缩写版而进行)相连的记忆实践中也很罕见。\n\n① 参见莫罗·郎兹(MauroLanz)关于这方面的独特态度，见《压抑的回归》(对话)，《媒介学期刊》第18期，第159页。\n\n017\n\n朗读者配音序曲","previous_page":16,"next_page":18}