{"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":193,"pdf_page":200,"physical_index":200,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"de1fc128679f3ca03d5ebbfec0c5138588abbc2df844b8bc72e1aad869db69db"},"chapter":"审美资本主义","content":"消费的改造\n\n如果我们仔细端详就会发现，长期以来用来为商品生产提供论证的“用途”这一概念，是一个假想。只有业余性意义上的实践能够揭示主观的“财富”。例如，在19世纪后半叶，关于摄影术目的论的论战证明了摄影行为可能用途的多样性——文献、刑侦或艺术。在生产者提供的说明书上，摄影行为不具备审美价值。用途不能归结为使用方法。在技术特性盘点的基础上，我们不能从用途中得出任何结论。摄影术的例子证明，人们可以运用的艺术用途与产品的技术潜能之间并不真正存在因果关系。在下方，物品依赖于运用它或用它来享乐的人的能力。人与物品的联系建立在提供可能性的特定物品(在这些可能性中，如果是一件技术产品，其用途就是生产者为其设计的用途)与个人的审美能力之间的关系之中。重要的并非引发我们称之为经历的这种普通形式，而是突出产生品味财富的实践活动的存在。摄影术变得流行，并不是因为相机逐渐变得更轻巧、使用更方便等这些数码器材从此普遍拥有的特点，而是因为“普通”和“流行”被公众视作审美和艺术的类别。\n\n①罗兰·巴特，《全集》(Euvres complètes),第 736 页。\n\n193","previous_page":192,"next_page":194}