{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ef817ee5-07cd-4d04-b5aa-20e07a77acc2","title":"审美资本主义：品味的工业化","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567508804","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ef817ee5-07cd-4d04-b5aa-20e07a77acc2","id":"ef817ee5-07cd-4d04-b5aa-20e07a77acc2","uuid":"ef817ee5-07cd-4d04-b5aa-20e07a77acc2","title":"审美资本主义：品味的工业化","normalized_title":"审美资本主义品味的工业化","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567508804","isbns":["9787567508804"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":221,"navigation_url":"https://workshop.closeclaw.top/ai/book/ef817ee5-07cd-4d04-b5aa-20e07a77acc2","title_url":"https://workshop.closeclaw.top/ai/title/%E5%AE%A1%E7%BE%8E%E8%B5%84%E6%9C%AC%E4%B8%BB%E4%B9%89%EF%BC%9A%E5%93%81%E5%91%B3%E7%9A%84%E5%B7%A5%E4%B8%9A%E5%8C%96","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ef817ee5-07cd-4d04-b5aa-20e07a77acc2/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ef817ee5-07cd-4d04-b5aa-20e07a77acc2/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ef817ee5-07cd-4d04-b5aa-20e07a77acc2","page_url":"https://workshop.closeclaw.top/api/ai/books/ef817ee5-07cd-4d04-b5aa-20e07a77acc2/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ef817ee5-07cd-4d04-b5aa-20e07a77acc2/search"},"page":{"printed_page":133,"pdf_page":140,"physical_index":140,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"92cc707a369f01d1a4abe91dd5aec431f1e46ea1da2d5832265b46fdec19b1d6"},"chapter":"审美资本主义","content":"审美品味的过度丰富\n\n当审美品味的疆界变得模糊，不同历史时期、体裁、对象、属性、感受间的组合表现出了品味的兼收并蓄，导致了传统等级制度的混杂和坍塌。①享乐变成复数的。人们甚至渴望拥有多重生活、具备多重复杂的文化和人格，变得自由、无拘无束、四海为家。生活模式的多样化增加了享乐的机会，经济生产供应则回应享乐的需求。不再有任何事物能够禁止审美品味的不协调性，反之，完全不同的题材和风格得到欣赏。后现代主义①要求享乐，总是尽可能囊括更多的文化与差异，鼓吹抛弃传统惯例和风俗，以及摒弃任何形式的文化独断性。为何我们注定要过一种单一的生活，只能享受一种单一的快感，受困于一个继承而来传之后世的单一历史，总是伴随着同样的其他个体？\n\n①利奥塔(Jean-FrançoisLyotard)严格定义了后现代性的概念,这项研究与后来这个概念的思想应用是无可比拟的：“在一个平面上混合新现实主义和超现实主义的动机—包括抒情的和概念的动机——意味着所有事物价值相当且都能消费。这是对建立和认可一种新品味’的尝试。这种品味’不是一种品味。兼收并蓄所引发的是读者对阅读杂志的习惯、消费者对标准工业形象的需求、顾客对超级市场的态度。这种后现代主义，当它通过文艺批评、博物馆长、画廊经理和收藏家对艺术家施加强大压力时，它就将对画面的研究放在了文化现象研究之列。”(利奥塔，《非人类》[L'Inhumain],第127页。)\n\n133","previous_page":null,"next_page":134}