{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ea3b7167-0435-4a94-84b9-80a5359326a4","title":"递归与偶然","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787576004694","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ea3b7167-0435-4a94-84b9-80a5359326a4","id":"ea3b7167-0435-4a94-84b9-80a5359326a4","uuid":"ea3b7167-0435-4a94-84b9-80a5359326a4","title":"递归与偶然","normalized_title":"递归与偶然","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787576004694","isbns":["9787576004694"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":401,"navigation_url":"https://workshop.closeclaw.top/ai/book/ea3b7167-0435-4a94-84b9-80a5359326a4","title_url":"https://workshop.closeclaw.top/ai/title/%E9%80%92%E5%BD%92%E4%B8%8E%E5%81%B6%E7%84%B6","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ea3b7167-0435-4a94-84b9-80a5359326a4/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ea3b7167-0435-4a94-84b9-80a5359326a4/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ea3b7167-0435-4a94-84b9-80a5359326a4","page_url":"https://workshop.closeclaw.top/api/ai/books/ea3b7167-0435-4a94-84b9-80a5359326a4/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ea3b7167-0435-4a94-84b9-80a5359326a4/search"},"page":{"printed_page":334,"pdf_page":346,"physical_index":346,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"fd3217836bd28f2cec3a918b31a4749c10f36f0ecc0f0110648b1caae97ff468"},"chapter":"第五章剩余的非人","content":"有人指出，托马斯·库恩关于范式转变的概念与福柯的知识型——福柯在《词与物》之后就抛弃了这个概念—有相似处。在《词与物》中，福柯试图说明在16世纪到19世纪之间(文艺复兴、古典时代和现代)，知识如何在不同的知识型下产生。我试图从感知性角度理解知识型，或者更准确地说，理解[268]某种知识得以产生的条件。感知性总是地域性的和历史性的，它也是理智多样性的条件。比如，欧洲的知识型不同于亚洲和非洲文化的知识型，这些不同知识型的背后，是不同的(在和宇宙的关系方面)感性和存在的含义。我想对积极的非人和利奥塔在展览《非物质》中提出的感知性问题作出一种非常规的解读。它取决于这样一个问题：后现代是否是一种新的知识型，如果是，这种知识型与技术的关系又是怎样的。利奥塔并没有把他的后现代观念和福柯联系起来，但在我看来作出这种联系似乎是合理的。对利奥塔来说，后现代呈现了一种新的感知性，这是他1979年《后现代状况》的主题，也是他1985年的展览《非物质》的主要论题。利奥塔在展览中试图唤起一种对不安全、不确定性和焦虑的感知性。艺术，尤其是这个展览，是一种感性化的方式。知识型的重建就是我所理解的“感知性”的发现和“感知性化”(sensibilization)计划：\n\n334\n\n递归与偶然\n\n①怀德海，《过程与实在》(Process and Reality)，纽约：Free Press，1978年，第xi页。","previous_page":333,"next_page":335}