{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","id":"ca7a386a-a284-41ec-b146-be626cc2ac01","uuid":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","normalized_title":"非人漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","isbns":["9787562155560","9782252039427"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":325,"navigation_url":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01","title_url":"https://workshop.closeclaw.top/ai/title/%E9%9D%9E%E4%BA%BA%EF%BC%9A%E6%BC%AB%E8%B0%88%E6%97%B6%E9%97%B4","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ca7a386a-a284-41ec-b146-be626cc2ac01","page_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/search"},"page":{"printed_page":"111 / 82","pdf_page":131,"physical_index":131,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"a79963f1aca1a8229e600b873d73b2d21e7be302e3eab6dddfc8be6057d49cdc"},"chapter":"非人：漫谈时间","content":"由此得出的结论是，为“消耗”(体验、评论)这些作品所需的时间几乎是无限的:时间由对显现本身(apparition)(杜尚的术语）的探求而占据着。显现的“脱光”是渎圣且神圣的类似物(analogon)。显现，就是发生某种不同的事情。不同(1'autre) 如何能够用形象表现呢？这里需要互相矛盾的事物被视为是同一的。杜尚布置《新娘》空间的根据是“还没有”，而布置《既成事物》空间的根据是“已经不再”。《大玻璃》的观赏者如同等待戈多;《既成事物》的门背后，观赏者如同追随不知去向的阿尔贝蒂娜。杜尚的两个作品就像连接普鲁斯特狂乱的回溯(anamnèse)与贝克特2对预期的讽刺模仿的合页。\n\n瞬间，纽曼\n\n111\n\n82\n\n1 马塞尔·杜尚(Marcel Duchamp，1887—1968)，法国艺术家(1955年入美籍),20世纪实验艺术的先锋。下面提到的《大玻璃》(1915—1923)、《既成事物》(1946—1966)、《绿盒子》(1936—1941)都是他创作的。当然，他最为人所知的作品应该是《泉》(1917)。—译者注","previous_page":130,"next_page":132}