{"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":176,"pdf_page":196,"physical_index":196,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"fe872d6540a59fb6ae2a16d6511e11e3278de79cdd057f0814cefa279d3b24b4"},"chapter":"非人：漫谈时间","content":"至于伯尼托·奥利瓦的“超前卫主义”(trans-avant-gardisme)和我们在美国和德国观察到的类型流派（包括建筑上詹克斯的“后现代主义”，读者会友善地不把我所称的“后现代状况”与之混淆在一起)，显然，以继承先锋派者的遗产为借口，却是侵吞这份遗产的手段之一。这份遗产只能在反驳外加追问的否定辩证法中得以传承。想要从中得出结论，尤其是以添加的方式得出结论，就要中止这场对话，把先锋作品的精神禁闭在博物馆里，鼓励消费的折中主义。把新-或者超-现实主义的主题与抽象的、抒情的或者概念的主题混淆地放在同一个平面上，这意味着一切都是等值的，因为一切都可用于消费。这是试图建立和让人承认一种新的“趣味”。这种趣味不是趣味。折中主义煽起的是，杂志阅读者的习惯，工业标准图像消费者的需求，这是超市顾客的精神。这种后现代主义，当它通过评论、馆藏家、画廊的主任和收藏家在艺术家身上施加了很大的压力时，它的目的就是要让绘画探索与“文化”事实状态齐平，并且使得艺术家对不可呈现之物的问题丧失责任心。然而这个问题在我看来是21世纪唯一与生活和思想的关键问题相称的问题。让人忘记这个问题是一种威胁，我们不应该忽视这个问题，因为它可以瓦解绘画行为与绘画本质之间的张力，而这种张力不断激励着西方绘画最令人仰慕的世纪之一。随这个问题而来的还有绘画名誉的腐坏。尽管有国家以及市场发起的最为低劣的煽动（国家发起的煽动是由文化制造的！而市场发起的煽动是由金钱制造的！），但绘画一直保持毫发未损。\n\n176\n\n非人：漫谈时间","previous_page":175,"next_page":177}