{"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":56,"pdf_page":53,"physical_index":53,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"b404bd914aaae327f8ae75523e67df913f0f171ee3412e53dcb1c5d55fe5b9d2"},"chapter":"非 谢晓川译 韩炳哲 Byung-Chul Han 物著","content":"作为回忆的媒介，模拟摄影讲述的是一段历史、一种命运。围绕它的是小说故事性的场域（einromanhafter Horizont)：“日期数据(Datum)是照片的组成部分（……），因为它让人变得仔细，让人仔细地思考生命、死亡、人类世代不可避免的消逝：柯特兹（Kertész）1931年拍摄到的小学生恩内斯特，他今天仍还有可能活着（但是在哪里？活得怎么样？这就是一部小说)。”[57]数字摄影不是小说故事性的，而是剧集插曲式的（episodisch)。智能手机用一种完全不同的时间性来生成摄影，一种没有时间性深度的摄影、没有小说故事性广度的摄影、没有命运和回忆的摄影，即一种瞬间的摄影(Augenblicksfotografie)。\n\n瓦尔特·本雅明指出：在摄影中，展览的价值越来越排斥崇拜的价值。但崇拜价值并不是毫无阻碍地就能从摄影中隐退的。“人的脸面”是它最后的藏身地。因此，早期摄影的中心是肖像摄影。崇拜价值存续于“对遥远的或逝去的爱之回忆的崇拜”。“人之脸的流动性表达”产生了一种灵韵，这种灵韵赋予了摄影“一种阴郁沉重的、无可比拟的美”[58]。\n\n[57] Barthes, Die helle Kammer, a.a.O., S. 93 ff.\n\n056","previous_page":55,"next_page":null}