{"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":146,"pdf_page":166,"physical_index":166,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d0c61f5d64bf8e7f49222f982544d6b2217f053f37d4a023ecc1264a82aaa47b"},"chapter":"非人：漫谈时间","content":"无论是否属于当代艺术史命名的极简主义或者贫穷艺术103(ArtePovera)潮流，先锋派艺术家的探索都是在追求——我们可以认为是——绘画艺术的“基本的”或者“本源的”构成因素。这些探索从少(exminimis)做起。它们需要面对这样的严格要求:“在形而上学的坠落中伴随着形而上学”的思想只能借助于“显微学”(micrologie)而进行。这个要求与阿多诺在《否定辩证法》(NegativeDialektik)末尾勾勒的原则一起激励这些探索，而且它支配着《美学理论》(AesthetischeTheorie)的书写。\n\n显微学不是碎片状的形而上学，如同纽曼的画也不是碎片状的德拉克洛瓦(Delacroix)的画。显微学把思想的意外事件作为在伟大哲学思想衰落中还需要思考的非思想(impensé)记录下来。先锋派尝试把现在(now)的意外事件记录为不能被呈现的而且在伟大的再现绘画的衰落中还需要呈现的东西。如同显微学，先锋派关心的不是发生在“主体”身上的事情，而是发生(Arrive-t-il?)、匮乏(dénuement)。正是通过这种方式，它属于崇高美学。\n\n在追问作品的发生时，先锋派艺术放弃了作品以前就接收者共同体而言发挥的认同作用。就算从康德理解它的意义上来看，以法则上的场域或者推测的名义而不是以事实上的实存的名义，共通感(sensus communis)(而且康德不是就崇高来谈论共通感，而仅仅是就美）也无法在追问性的作品面前达到稳定。这样的作品一旦形成，就会变成勉强，而当这些作品被放在博物馆，被认为属于共同体的遗产而且对于这个共同体的文化和愉悦来说都是可自由处置的时候，又太迟了。这些作品还必须是对象或者它们经得起被对象化，比如通过摄影被对象化。\n\n146\n\n/非人：漫谈时间","previous_page":145,"next_page":null}