{"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":205,"pdf_page":225,"physical_index":225,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"edad3a78a596bc0de0244c62fdc36199c124c684b2035a67cc3e70500ad3fa01"},"chapter":"非人：漫谈时间","content":"而我们还可以争议的是，无论博物馆满足于哪种技术方式，在作品的展览中，存档和冻结的方面，即我所称的“装置”(dispositif)，在接受或者知觉上要胜于被推延、被重新干预、“重新启动”的方面，正如布汗所说。我认为是迎接事件的方面，而在我们的情况里是迎接颜色可以成为的这种本体论事件。\n\n尽管必然有空间记录、痕迹和保存，但这并不会引发下面的情况:精神注定要重复，没有什么存在过的东西可以记录。今天，失望常常被“新”之名头(du titre de“nouveau”，de“néo”）掩饰着。我在这里就不更多地展开详说这种惧怕，以及这种惧怕在博物馆功能构想中引发的要求。这并非要将之逼向我前面揭发的偏见，或者逼向这样一种暗示，即唯生命有所值，或者如同那些公共权威所说，唯“创造”有所值。\n\n作为结尾我更想要简单地就我认为的重点说两句。这也许看起来与我刚刚说过的东西截然相反。而我并不这么认为。\n\n你们还记得:为了尽力让1767年的沙龙观众看到韦尔内画的风景，狄德罗通过写作模拟他与他的“修道院院长”朋友漫步于其中。通过文字，他开启画面就像打开展览的大门。因为在博物馆，不再只有眼睛，而是整个身体都在运动，不再站在颜色布局之前，而是置身于颜色中。每一幅这样虚拟地游历过的风景就是一片“自然”的展示。通过这一表达方式，狄德罗消除——我想说缩小——了自然与文化的对立（自然是一座颜色的博物馆)、现实与图像的对立、体积与面积的对立。\n\n保存与颜色\n\n205\n\n146","previous_page":204,"next_page":206}