{"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":116,"pdf_page":136,"physical_index":136,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"1388c3be4b548113b3cffdd1944d847fe36d9316a33450e28ad5d826300db002"},"chapter":"非人：漫谈时间","content":"所以,如果有“主题”,那么它就是“当前的事情”(1'actuel)。这事情发生在现在和这里。接着，发生的事情(cequi arrive,quid)到来。开端是有事情（qu'il y a...)(quod)；世界是有事情 $\\left( \\mathsf { c e q u } ^ { \\prime } \\mathrm { i l y a } \\right)$ o\n\n杜尚曾以瞬间的不可把握性为主题，试图通过空间的设置来再现。纽曼的创作从《太一I》(OnementI，1948)开始就不再透过屏幕指向一个处于另一边的故事。这个另一边的故事如同在杜尚那里对他者(另一性别)的发现或者“发明”或者“观看”一样被纯化和极具象征意义。如果我们观看那些有关“站立”(在这里纽曼才变成纽曼)的画作，大多都追随《太一I》:《银河系》(Galaxy)、《亚伯拉罕》(Abrabam)、《名字I》(The Name I)、《太一II》(Onement II，1949)、《约书亚》(Joshua)、《名字II》(The Name II)、《崇高而英勇的人》(Vir Heroicus Sublimis,1950—1951)或者1950年以《狂野》(TheWild)结束的五幅《无题》(Untitled)作品系列（每一幅都有一到两米高、四到十五米宽)，我们会看到:这些作品显然不“叙述”事件，它们在形象上不指涉从观看者熟知或者可构建的叙事里选取的场面。它们也许象征一些事件，就像它们的标题所暗示的。这些标题在某种程度上赞同赫斯对希伯来文圣经的评注，因为众所周知，纽曼对阅读《妥拉》和《塔木德》的兴趣也可以佐证此事。然而赫斯自己承认“纽曼从未利用其绘画给观众传达信息”，而且“他也从未用图描绘一个观念或者画一幅寓意画”。作品的非图像性必须作为指导评论的原则，就算这种非图像性具有象征意义。\n\n116\n\n85\n\n/非人：漫谈时间","previous_page":115,"next_page":117}