{"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":80,"pdf_page":87,"physical_index":87,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"2ecc5419040bb5223852e174d4e46fec0699e2fff5107daf7fe4110a82165f8d"},"chapter":"审美资本主义","content":"可以从时尚的作用出发，对工业中审美性的产生给予定性，时尚是一种推广工业产品和使消费大规模统一化的力量。除了摒弃经典的艺术顺从于时尚变化的观点，瓦勒里(PaulValéry)明确表示并非只是时尚掌控艺术，而是艺术本身摆脱了创造的苛求，走在了浪漫主义之前，放任产品的生产，使之适应于消费的加速。同样也是“时尚，即客户群品味的高频变化，让其固有的流动性替代了风格、流派、盛誉形成的漫长过程”。①艺术需求的松懈同样有利于在工业品中加入艺术特性。时尚与艺术间的关系的公式从此取决于这些关系间的可倒转性。②事实上，在瓦勒里看来，对新颖性的这种贫乏的崇拜可直接归咎于浪漫主义者们“愚蠢有害的思想”，他们反对通过深入研究得到的执行方法知识和通过经验对规律作出的可靠观察，而推崇“独特感觉的冲动行为”。在浪漫主义时期，作品的寿命让位于对惊喜的欲望。从此，人们不再像过去那样重复生产“大师之作”，而是模仿“新奇事物”。艺术陷入一个持续断裂并变化的体制中。艺术中没有了规则，为各种各样的作品和艺术准则的增生铺平了道路，使这些作品之后可纳入工业领域。在回应符号性的欲望的同时，工业使人们相信它能够以艺术的模式培养非功利性的欲望。生产者们从现代艺术中获取消费者的代表，通过与艺术家的类比，消费者的代表应该是个自主者和鉴赏家，具备构建自己的生活模式的闲情逸致。\n\n①塔尔德，《社会逻辑》，第551页。\n\n80","previous_page":79,"next_page":81}