{"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":201,"pdf_page":221,"physical_index":221,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"f226558206c6baac942526bf42faca78638591d6d6f58ddfdaa810ea4e0b4515"},"chapter":"非人：漫谈时间","content":"有人也许会认为这“仅仅”关涉——如果可以这么说—框架或者刻度的改变，这是布汗15年以来一直在批判的东西（我想起他早期的一篇文章:《批评的限度》[Limitescritiques]，写于1970年)。绘画博物馆本身也是一件绘画作品。但这不是对框架或者刻度进行简单的加大，而是对作品用途的决定性改变，至少在布汗看来是如此。因为博物馆作为作品是以保存、保养和保持为目的，因而只是记忆术。那么它与绘画作品没有什么关系，至少如果我们顺着布汗开始的假设来说是这样。绘画作品是鲜活的、精确的，也就是说有确定的位置和时间。我指的是，按照这种研究角度它在根本上是耗费而不是保存；如果它被展出，它展现的是其未来的非确定性而不是它在文化遗产里永久的租地。\n\n保存与颜色\n\n201\n\n143","previous_page":200,"next_page":202}