{"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":"149 / 105","pdf_page":169,"physical_index":169,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e953abc2043b4d10aa8b26b4da940d18084a124a8ddfa391f4614caf76bd252d"},"chapter":"非人：漫谈时间","content":"大家认为，艺术市场如同所有市场服从于创新的规则(règledu nouveau)，可以对艺术家产生一种诱惑。这种诱惑并不归因于唯一的腐败。诱惑借助于创新与事件(Ereignis)之间的混杂而运作。而维护这种混杂的是当代资本主义所特有的时间性。一条“强大的”信息——如果我们可以这么说——与意义的赋予成反比，意义可以在接收者拥有的编码里被赋予信息。信息与“噪音”(bruit)相像。大众和艺术家——受到文化商品的掮客和发行人的建议影响——很容易从这个观察里得出这样的原则:一件作品是否属于先锋派要看它被剥夺意义的比例。那时，难道它不是作为一个事件了吗?\n\n还需要作品的荒诞性不会打消购买者的念头，同样，在商品中引进的创新必须任由消费者切近、欣赏和获取。艺术成功的秘密如同商业成功的秘密，就包含在出人意料与“为人熟知”之间以及信息与编码之间的配量中。艺术中的创新是这样的：重拾被前面的成功所确认的程式；然后借助于根据不兼容的原则与其他程式结成的组合，借助于援引、装饰和仿制的大混合，使之失去平衡。这样可以直至媚俗和怪异。讨好大众的“趣味(可大众不能有趣味)，恭维被可自由处置的形式和物品的多样化减弱了的感觉的折衷主义。人们以为这样就表达了时代的精神，却只是体现了市场的精神。崇高性不再在艺术中，而是在对艺术的思辨中。\n\n崇高与先锋派\n\n149\n\n105","previous_page":168,"next_page":170}