{"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":24,"pdf_page":39,"physical_index":39,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e41d6c42752711a74332ce29dfcb81a6111aa3e4183077fa761c2f651e6ca1ba"},"chapter":"第五章 析取的合取","content":"我们并不鼓励用现代的物品来定义音乐的现在，如计算机、唱片、收音机、随身听等：没有这套工具照样可以制作音乐，它与古老的工具相比并没有（法定的，充其量在实际中有一点）优先权，不能条件制约如今全部的音乐制作，即使它在大部分音乐生产中还承担着决定性角色亦然。相反我们主张，在任何情况下都不能简化一种理解和考虑，即对当代逻辑-乐器学的理解和考虑，因为逻辑-乐器学再次一一深度配置音乐的技术特征，在此名义下涉及最为多样的语言和实践②，将感觉性重置于工地中，因为这般的感觉性应该本质上保留在变异中——在一种并非倒退的变异中，它不应该包含那种感性的狭隘，而象征的贫困则会变成或倾向于这种狭隘。\n\n在电子音乐领域，近期的先锋者体验倒巧逢幸运，如卡尔海因兹·施托克-豪森(KarlheinzStock-hausen)、皮埃尔·布莱（Pierre Boulez)、伊阿尼斯·泽纳基斯（Iannis\n\n①关于这些不同点，见《媒介学期刊》第18期，第四部分，第191页：《21世纪:迈向新的音乐智能》。\n\n②正如艾莲·杜琳(ÉlieDuring)在阅读格伦·古尔德时所指出的那样。见《截面、屏幕、网格》，同上，第57页。\n\n024\n\n象征的贫困2：感性的灾难","previous_page":23,"next_page":25}