{"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":165,"pdf_page":172,"physical_index":172,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"a43e9a7a328d12e53df0080946284acea7621533ae57cbfdc28e9f716d0a393a"},"chapter":"审美资本主义","content":"在20世纪，资本主义工业经历了三个必要阶段：第一个阶段涉及工业设计的发展，自20世纪初，工业设计的目的被设为使大规模生产的商品具备吸引力，例如20年代汽车工业领域的通用汽车公司。然后，第二阶段是新的经济领域—即文化产业的出现，这个产业直接转向了对大众审美欲望的满足与开发。文化产业——这一命名来自于阿多诺——是伴随着电影的发明而开创的，并从生产与复制生产艺术作品的技术手段的发展开始。“休闲娱乐”的生产者旨在为大众提供愉悦感。在最后一个阶段，即80年代，这一建立在与审美欲望相关的经济利益基础上的运动加速发展，这一次的发展相比于产品，更在于品牌。品牌是非物质财富，因为大胆运用了传播技术的支持，品牌形象的开发被提升为承载消费的快车。由此出现了一种前所未有的逆转，产品逐渐成为品牌主观体验的简单载体。后福特时期的企业不再将其生产财富的精力集中在工厂劳动上，工厂被弃置到世界的边缘，而是将精力集中在商品的构思以及公众的接收上，客户群被视为整个企业唯一的财富。\n\n① 安德烈·戈尔兹(André GORZ),《非物质》(L'Immatériel),第 18 页。\n\n165","previous_page":164,"next_page":166}