{"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":234,"pdf_page":254,"physical_index":254,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"ec79a112ed80b56afd249a14e9f69b451aad45d525e42640b959005a2e5b937f"},"chapter":"非人：漫谈时间","content":"在外面的音乐系统里，我们与其价值固定的数量有关。在我曾梦寐以求的作品里，价值总是相较于一个不变量而改变。换句话说：您可以想象一系列的变奏，在这些变奏里变化大概来自一种功能形式的轻微改变，或者一种功能转移在另一种形式里。(《文集》，p.128)\n\n至于声音的音高，则出现了一种比较分析。瓦雷兹在其曲作中引入工厂的汽笛和鸟鸣。第一批汽笛出现在1926年创作的《亚美利加》(Amériques)里，以及在《电离》(Ionisation，1934)里。\n\n它们如同抛物线和双曲线的轨道一样被书写出来。 (《文集》,p.150)\n\n他评论道。\n\n他使用声音的连续体却不在意遵守调式和音阶对这个连续体的切分。这样，他重新发起对影响声音音高的限制的追问：研究在德彪西那里就已存在的新调式，探索欧洲之外的音乐，尝试无调性音乐，关注打击乐器的声音（因为缺乏共振空间，无法保持打击乐器的频率)。\n\n在绘画上，在探索了画面颜色组织的限制以后，只剩下颜色了（德劳内的第一批作品《窗》「Fenêtres]创作于1911年）。同样地，在音乐上，对音高调控的分析最终只让如同残余物的质料——振动的谜式的在场——继续存在。皮埃尔·舍费尔在一篇忧郁不快的文章里写道：\n\n234\n\n/非人：漫谈时间\n\n164","previous_page":null,"next_page":null}