{"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":"199 / 142","pdf_page":219,"physical_index":219,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"c570c280516b7ca279691b6fd6124b1485b6a0080c1e38dd6f44f142d0c82bc3"},"chapter":"非人：漫谈时间","content":"“记录”指的是事物可以流逝，不能不流逝，不过各种显示事物曾经在过的迹象(signes)持留在此地。而当我们说“持留在此地”(restentlà)时，我们通过“此地”(là)预设一切回想从空间上所期待的问候(salut)。这是支持康德在第一批判里用于反对观念论的所谓的“辩驳”的论据本身。我们预设记录的这种“servare”(保存)、这种“salvare”(储存),或者我们暗示了这件事情。拼写(graphie)、雕刻(gravure)都会留下事物曾在过的痕迹，无论是哪种痕迹。当然，博物馆的画作不再是“画作本身”，如同人们所说的“事物本身”:我们这么想，我们全都这么想，即博物馆的敌人和朋友。博物馆的画作是画作已经流逝的在场的痕迹，但它对其原初的、被假设的状态——我们所说的它原初的显现状态——示意，示记忆之意。\n\n整个展览空间成了时间的残余物。所有的地点，这儿，是对其他流逝次数、对过去的索引。观看者和参观者现在对颜色的观看把颜色变成这样一种迹象:它是曾经处于作品初始中的位置或者姿势里、在作品(opus)运作时的颜色的迹象。而这件事情，似乎我们可以从一切作品来谈论，一栋房子、一座城市，还有一片风景、一本书。展览，让-路易·德奥特1说，吞没了所有位置。努力制作出来的空间是一个记事本，也包括被着色的空间。\n\n保存与颜色\n\n199\n\n142","previous_page":218,"next_page":220}