{"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":"113 / 83","pdf_page":133,"physical_index":133,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"6b626cabf4b8e0c82ed6341684b8324c6bd713f2272ecf9ba25a66e9a8be29e9"},"chapter":"非人：漫谈时间","content":"纽曼的画作将其造型上的光秃与故事对立起来。维度、颜色、线条就是一切，没有暗示。为此，画作对于评论者是一个问题。说的是什么？给出了什么?描述很容易，然而如同冗长的解释一样乏味。最好的诠释在于追问:“说的是什么?”，在于感叹:“啊!”,在于惊叹:“居然是这样!”。如此多的说法表达了一种感觉，这种感觉在现代美学传统里（也在纽曼的作品里）叫作崇高。它是这样的感觉：voilà（就是这样）。所以，几乎没有什么可“消耗”的，或者我一无所知。我们不能消耗意外事件，能消耗的唯有其感觉。感觉瞬间就是瞬间。\n\n必须之事\n\n纽曼尝试与景象空间(espace des vedute)¹断裂，这影响着他的“实用”根基。他不再是一个画家-王子，一个这样的我:依照作为古典现代性基础的“交流结构”，让第三者（当然也包括他自身）看见他的光荣(在杜尚那儿，是他的不幸）。杜尚费尽心思设计这种布置(disposition)，特别是通过他对多重空间和各种“合页”的研究。创作在整体上都属于太早/太晚的时间大合页。事情总是与“太”(trop)有关—“太”\n\n瞬间，纽曼\n\n113\n\n83\n\n1 vedute，意大利语，是la veduta的复数形式，意指风景或者景观。意大利18世纪风行过一种景象派，以大广角描画城市的建筑和风光，代表作品就是乔瓦尼·巴提斯塔·皮拉内西(Giovanni Battista Piranesi)的版画系列《罗马景象图》。——译者注","previous_page":132,"next_page":134}