{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"c377f608-9f8d-4e82-acf0-78a48f7daa88","title":"技术与时间：2.迷失方向：人文与社会译丛","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787544711999","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"c377f608-9f8d-4e82-acf0-78a48f7daa88","id":"c377f608-9f8d-4e82-acf0-78a48f7daa88","uuid":"c377f608-9f8d-4e82-acf0-78a48f7daa88","title":"技术与时间：2.迷失方向：人文与社会译丛","normalized_title":"技术与时间2迷失方向人文与社会译丛","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787544711999","isbns":["9787544711999"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":306,"navigation_url":"https://workshop.closeclaw.top/ai/book/c377f608-9f8d-4e82-acf0-78a48f7daa88","title_url":"https://workshop.closeclaw.top/ai/title/%E6%8A%80%E6%9C%AF%E4%B8%8E%E6%97%B6%E9%97%B4%EF%BC%9A2.%E8%BF%B7%E5%A4%B1%E6%96%B9%E5%90%91%EF%BC%9A%E4%BA%BA%E6%96%87%E4%B8%8E%E7%A4%BE%E4%BC%9A%E8%AF%91%E4%B8%9B","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/c377f608-9f8d-4e82-acf0-78a48f7daa88/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/c377f608-9f8d-4e82-acf0-78a48f7daa88/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/c377f608-9f8d-4e82-acf0-78a48f7daa88","page_url":"https://workshop.closeclaw.top/api/ai/books/c377f608-9f8d-4e82-acf0-78a48f7daa88/page","search_url":"https://workshop.closeclaw.top/api/ai/books/c377f608-9f8d-4e82-acf0-78a48f7daa88/search"},"page":{"printed_page":21,"pdf_page":30,"physical_index":30,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"40950aec5a58171353505ea9bf3b32780b9c7798ef349957314eba281c7ded2b"},"chapter":"第一章拼写文字的时代","content":"6. 不可名状\n\n在某些照片特有的魅力中可以体验到视点。视点是照相经验的基本情感，它难以预见，自然也难以分析，巴尔特称这种困难为奇特的经历。“这张照片对我有所触动，那张却没有”。这里有来与往的双向运动，或者说相互交叉的两种运动所产生的情感、动力和能动性使“这张照片顿时吸引了我，它使我激动，我赋予它活力”。正是在这种魅力中，在这种从这张或那张照片来又回到这张或那张照片去的运动中，才可能产生反映照相本质的现象学。这一运动有双重渊源，它是一种互成镜影的运动：从观赏者到分光图谱，即照片的内容(文化);再从分光图谱到观赏者，即视点(并非拍摄主题，但属于意向对象)。\n\n不是我(像从我的意识中分析其内容那样)去寻找“视点”，而是视点从照片中箭一样射出并射中我。①\n\n这个奇特的经历是一种回归，它打乱了照片的内容。至于“照片的视点，正是这种偶然性刺痛了我(也打击和伤害我)”;而照片的内容则是由我的文化代码编程的。视点同走向终结的存在中的终结一样不可预见且不确定。视点是“执拗的”，它锲而不舍、不折不挠，我们却无力抵挡它无休止的回归。这种持续不断的视点又是必要的。其细节，是无休止的回归的迂回，虽然终究只是依稀可见的细节：\n\n人们说洗印照片，但化学反应显影的是洗印不出的(创伤的)本质，它不可转化，而只能(在执着的目光下)被执着地重复。②\n\n第一章拼写文字的时代\n\n①《明室》,第48—49页。\n\n② 同上,第81页。\n\n021","previous_page":20,"next_page":22}