{"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":211,"pdf_page":231,"physical_index":231,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"070d57f479665de66ff523c5b2472f509a4f34aa456f87b45cdb336be6aafa1f"},"chapter":"非人：漫谈时间","content":"到了声音物质的核心处。\n\n关于这一点，有两个观察。首先，一种声音特有的属性原则上是可以测量的，而且这正是研究在量上规定声音属性的振动的声学和物理学的任务。然而，对声音在认知上进行识别的条件是:决定着声音的振幅、周期和频率的可动部分的振荡在观察中一直是确定不变的。对于共振的装置也是同样的，无论它们是怎样的，它们要保证声音的传播。对装置的任何变动都会改变用以界定基音和泛音的干扰(interférences)。因此，界定一种声音的各个属性要求产生它的各个条件可以完全同一地反复循环。\n\n相反，声音整体的组织（声音正是通过这种组织在其同一性中得到规定），也就是说它们组成音乐的形式，并不服从数量上一致（因此也就是同一的重复）这个唯一的原则。它承认，而且很有可能它要求这些形式通过改变声音元素而发生变化或者转移。它这么要求，是因为音乐的愉悦似乎止于对这些区别的知觉：精神透过不同的东西享受相同的东西，而且同时着迷于同一性所接受的多样性。声学以知识为目的，而音乐以某种愉悦为目的。这是两“种”不同的说法或者两种不同的“能力”。如果用康德的术语来说，我会说:对声音的精确识别属于它认知目的性里的理解力，而声音在形式上的变化则属于服从于目的性的想象，且没有无功利愉悦特有的概念。这种无功利的愉悦在康德看来描述了对美的审美感觉。\n\n上帝与木偶\n\n211\n\n150","previous_page":null,"next_page":212}