{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"c1acbb68-5873-42b3-b81a-ecd4fc576447","title":"非物：生活世界的变革","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"c1acbb68-5873-42b3-b81a-ecd4fc576447","id":"c1acbb68-5873-42b3-b81a-ecd4fc576447","uuid":"c1acbb68-5873-42b3-b81a-ecd4fc576447","title":"非物：生活世界的变革","normalized_title":"非物生活世界的变革","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":153,"navigation_url":"https://workshop.closeclaw.top/ai/book/c1acbb68-5873-42b3-b81a-ecd4fc576447","title_url":"https://workshop.closeclaw.top/ai/title/%E9%9D%9E%E7%89%A9%EF%BC%9A%E7%94%9F%E6%B4%BB%E4%B8%96%E7%95%8C%E7%9A%84%E5%8F%98%E9%9D%A9","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/c1acbb68-5873-42b3-b81a-ecd4fc576447/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/c1acbb68-5873-42b3-b81a-ecd4fc576447/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/c1acbb68-5873-42b3-b81a-ecd4fc576447","page_url":"https://workshop.closeclaw.top/api/ai/books/c1acbb68-5873-42b3-b81a-ecd4fc576447/page","search_url":"https://workshop.closeclaw.top/api/ai/books/c1acbb68-5873-42b3-b81a-ecd4fc576447/search"},"page":{"printed_page":"40 / 055","pdf_page":52,"physical_index":52,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"39f99e358551304e5afc257ed765ca8ad7142e114f0d550d94af193716eac440"},"chapter":"非 谢晓川译 韩炳哲 Byung-Chul Han 物著","content":"模拟摄影是“对当下显现的认证”[54]。它给出“过去曾如此”[55]的证据。它爱上的是现实：“让我对摄影产生兴趣的东西是独一无二的，即摄影向我展现了存在着的东西，即我在摄影中不多也不少地看到的‘有这样的东西！’。”[56]如果“过去曾如此”是摄影的真相（Wahrheit)），那么数字摄影就是纯粹的假相(Schein)。数字摄影不是拍摄对象的流溢，而是它的消灭。数字摄影和它的对象之间没有紧密的、内在的、力比多式的联系。它深化自己，没有对拍摄对象的爱恋。它不呼叫对象，不与对象进行对话。它的基础不是与对象一次性的、唯一的、不可撤销的相遇。观看本身被委托给了摄影的器材。用数字化的方式进行后期制作的可能性削弱了（摄影）和拍摄对象的联系。数字化的后期制作让人们无法投身于现实。在和拍摄对象脱钩之后，摄影变成了自我指向性的摄影。人工智能产生了一种新的、得到了拓展的实在性（这种实在并不存在），产生了一种和实在性、实在的指向对象没有对应的超实在性。数字摄影是超实在性的。\n\n[54] Barthes, Die helle Kammer, a. a. O., S. 97.\n\n40\n\n[55] Ebd., S.90.\n\n[56] Wim Wenders, Landschaften. Photographien, Düsseldorf 2015, S. 229.\n\n055","previous_page":51,"next_page":53}