{"id":"hs-208a23140e0ed551","url":"https://a.p4theater.top/research/hs-208a23140e0ed551","title":"第四部分材料动作账：身体如何被材料接管","kind":"research_note","reviewStatus":"structurally_screened_not_individually_reviewed","language":"zh-CN","category":"声画与理论笔记","series":"声画与理论笔记","sourceVersionDate":"2026-05-17","publishedAt":"2026-09-08","modifiedAt":"2026-09-08T05:03:32+00:00","markdownUrl":"https://a.p4theater.top/research/hs-208a23140e0ed551.md","editionUrl":"https://a.p4theater.top/research/data/editions/hs-208a23140e0ed551-e29a799604d0d6d04844.md","markdownSha256":"e29a799604d0d6d04844081425a4e0e5379b83a85ffc6d0ab0df8730eb5bccf2","markdownBytes":15097,"characters":4998,"sourceEvidenceTier":"T3_SYNTHESIS_OVER_T0_T1_T2","sourceStatus":"active","evidenceBoundary":"T3 材料动作综合；所有材料判断必须能回链到 T1 可见/可听事实、T0 台词或 T2 候选，不把材料直接神秘化为象征。","editionNote":"本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。","imageUrls":[],"links":["https://a.p4theater.top/research/hs-1f53b37c9f5feaf7","https://a.p4theater.top/research/hs-23c2dec5963ea385","https://a.p4theater.top/research/hs-294980a6560f3a9b","https://a.p4theater.top/research/hs-2f51c9d58d0a0f61","https://a.p4theater.top/research/hs-497d81f8a2350438","https://a.p4theater.top/research/hs-63d0f6f422226539","https://a.p4theater.top/research/hs-6ad2baaf9b74c4d0","https://a.p4theater.top/research/hs-6e9e65fa50f6c742","https://a.p4theater.top/research/hs-7c698cdb0edd2a36","https://a.p4theater.top/research/hs-83609f36b52e3daa","https://a.p4theater.top/research/hs-8e87420b9a3b4cb8","https://a.p4theater.top/research/hs-9c74a921b3b0ecc8","https://a.p4theater.top/research/hs-a034a73b62b37c89","https://a.p4theater.top/research/hs-b2cde313635e5499","https://a.p4theater.top/research/hs-bdc3e21c0c33b579","https://a.p4theater.top/research/hs-c5e5ce0a539ddbdc","https://a.p4theater.top/research/hs-c768f1df5c59bd9e","https://a.p4theater.top/research/hs-c8bf508be7798abe","https://a.p4theater.top/research/hs-d0714c688265314d","https://a.p4theater.top/research/hs-d141f815454a0da3","https://a.p4theater.top/research/hs-e996c7118171d1ab"],"relationMethod":"literal links and image references in the public edition; no inferred semantic support","paragraphCount":83,"markdown":"# 第四部分材料动作账：身体如何被材料接管\n\n本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。\n\n来源版本日期：2026-05-17\n\n证据边界：T3 材料动作综合；所有材料判断必须能回链到 T1 可见/可听事实、T0 台词或 T2 候选，不把材料直接神秘化为象征。\n\n# 第四部分材料动作账：身体如何被材料接管\n\n第四部分不能只按台词读。台词当然重要，但真正让这一部分变得凶的，是材料。\n\n塑料、低位地面、黑线、黄色点、布、破裙子、话筒、蒙眼、手电、脚步、水瓶、白色覆盖、字幕、数字、电子音乐。它们不是布景，也不是道具清单。它们在改变身体能做什么、能承受什么、能不能被看、能不能被说、能不能退出。\n\n用德勒兹读培根，最关键的一点是：不要急着把材料解释成象征。材料先是力。线会切开可见性，塑料会隔开身体，话筒会改变声音资格，蒙眼会重新分配观看，地面会把抽象的跳过拖回重力。\n\n所以这一页的任务是：把第四部分的材料动作建立成账本。\n\n## 材料动作总账\n\n| 时间 / 区段 | 材料 / 动作 | 可见 / 可听事实 | 身体如何被改变 | 概念回链 | 证据层 |\n|---|---|---|---|---|---|\n| `01:21:00-01:33:30` | 低位、反光地面、暗部、观众围坐 | 现场先以低位空间和观看容器出现，动作还没强烈发生，压力已经在。 | 身体被放进等待；不是人物先行动，而是空间先把人减速。 | [公开观察机器](/research/hs-c8bf508be7798abe) | T1/T2/T3 |\n| `01:23:34-01:24:25` | 画外装置声、笑、零碎声 | 画外有人声、笑声、边缘噪音。 | 身体没有完全属于画内；画外声音把现场边界撕开。 | [分布式公演控制](/research/hs-8e87420b9a3b4cb8) | T0/T1/T3 |\n| `01:32:00-01:33:10` | 眼睛、期待、说话压力 | 黄蒙说每一双眼睛都在看着她，又催“你说话呀”。 | 观看被翻译成说话义务；身体必须把被看压力变成话。 | [说话权被系统接管](/research/hs-23c2dec5963ea385) | T0/T3 |\n| `01:38:00-01:39:24` | 画画流程 | “第二幕要画画了”“为什么要画画”“这是戏剧吗”。 | 情绪争论被转交给材料程序，身体要成为可画对象。 | [身体电路](/research/hs-6ad2baaf9b74c4d0) | T0/T3 |\n| `01:42:00-01:51:30` | 黑线、颜料、身体表面 | 画、线、颜色和身体靠近成为主要可见事实。 | 身体从角色变成图面；线不解释身体，线直接改写身体。 | [纯感觉机器](/research/hs-d0714c688265314d) / [材料法庭](/research/hs-83609f36b52e3daa) | T1/T2/T3 |\n| `01:45:03-01:46:58` | 破裙子、布料阻力 | 子丑说“穿这破裙子我走路都不会了”。 | 布料改变行走能力，剧本概念被衣物阻力拦住。 | [外界推力](/research/hs-e996c7118171d1ab) / [材料法庭](/research/hs-83609f36b52e3daa) | T0/T1/T3 |\n| `01:46:30-01:51:30` | 破裙子、脱衣、变轻、黑线、地铁想象 | `穿这破裙子我走路都不会了 / 选择把它脱掉 / 变轻了吗 / 我应该把他们全杀了 / 回家的地铁 / 被迫的选择` 同窗。 | 选择被材料审理：能不能走、能不能轻、能不能离开，先于能不能解释。 | [材料法庭](/research/hs-83609f36b52e3daa) | T0/T1/T2/T3 |\n| `01:51:30-01:55:34` | 语言迟缓、童年问卷、痛苦定义、话筒掉落 | `思绪很慢 / 寻找语言 / 必须得说出口 / 看不见就不痛苦了 / 你看起来很痛苦啊 / 我的麦掉了 / 我们来玩游戏` 同窗。 | [材料法庭](/research/hs-83609f36b52e3daa)之后，语言本身也被审理；说话系统松动后，游戏系统接上。 | [说出口门槛](/research/hs-a034a73b62b37c89) / 程序接手（馆内参考，未随本文公开） | T0/T2/T3 |\n| `01:55:02-01:55:xx` | 话筒掉落 | “我的麦掉了”之后，游戏被提议。 | 声音技术故障成为转场缝隙；说话系统松动后，游戏系统接上。 | 程序接手（馆内参考，未随本文公开） / [公开观察机器](/research/hs-c8bf508be7798abe) | T0/T1/T3 |\n| `01:55:20-01:58:05` | 三字规则、抓人、输赢、塑料脚步噪音 | `三个字 / 我抓 / 你抓 / 我输了 / 你输了 / 他还没有抓到你` 与巨大脚步、塑料声、笑和道歉交错。 | 游戏先把语言压成口令，再把追跑改成抓到/没抓到的身体裁决；脚步和塑料让风险从语言转成声响。 | [抓人裁决](/research/hs-1f53b37c9f5feaf7) / [力的吸收回路](/research/hs-c5e5ce0a539ddbdc) | T0/T1/T2/T3 |\n| `02:06:00-02:11:00` | 蒙眼、围打、抓/放开 | 后续明确出现 `蒙着眼睛 / 三个人在他周围打他`，并接到抓甲瑞、放开和朋友不可能。 | 蒙眼不是退出观看，而是让观看改由规则、围观、声音和抓捕来执行。 | [力的吸收回路](/research/hs-c5e5ce0a539ddbdc) | T0/T1/T2/T3 |\n| `01:57:36-01:58:05` | 噪音阈值 | Wave8 固定为噪音爆发/截断的阈值区。 | 身体被声响推到事故边缘，又被笑和社交修补拉回。 | [公开观察机器](/research/hs-c8bf508be7798abe) | T2/T3 |\n| `02:00:25-02:06:26` | 话筒、观众、腹式发声、剧本空壳 | Ricky 公开训诫：演得太差，声音放出来，让大家看到。 | 话筒把声音变成可审查对象；观众把训练变成公开法庭。 | [分布式公演控制](/research/hs-8e87420b9a3b4cb8) | T0/T3 |\n| `02:04:30-02:06:26` | 黄点、蓝色眼睛、红黑身体标记、布 | 角色、男主角、导演、剧本、赵轩、爱都变得不稳定。 | 标记替代身份，颜色和布把“谁是谁”变成可改写的表面。 | 真从假里发生（馆内参考，未随本文公开） | T1/T2/T3 |\n| `02:07:02-02:10:36` | 围攻、抓、放开 | 三人围绕、甲瑞杀意、黄蒙抓甲瑞、Ricky 说放了他。 | 身体在被玩、反击、被抓、被释放之间快速转场。 | [力的吸收回路](/research/hs-c5e5ce0a539ddbdc) | T0/T1/T3 |\n| `02:11:37-02:13:25` | 上下位、导演下场、塑料视线 | 何发让 Ricky 下去；多导演结构被说出。镜头曾经通过塑料/上下位置感组织观看。 | 身体位置重排，导演权从话语变成空间调度。 | [分布式公演控制](/research/hs-8e87420b9a3b4cb8) | T0/T1/T3 |\n| `02:16:37-02:20:29` | “下一幕”、说话顺序、鲸落、跳过、来 | 流程声把未解决风险转成下一幕/最后一幕/跳过。 | 语言成为按钮，身体等待执行。 | [说话权被系统接管](/research/hs-23c2dec5963ea385) | T0_USER_CORRECTION/T3 |\n| `02:20:29-02:21:30` | 坐姿指点、前倾、低位移动、站起、进入观众边界、坐地、滑行、手机光 | Wave17 校正：`02:20:30-02:21:00` 主要是顺序后的坐姿指点；`02:21:00-02:21:30` 补跑确认墨迹身体完成爬/站/坐/滑的低位转场，并短暂进入观众边界。 | 抽象的“跳过”被身体边界交换纠正；身体必须经过地面、观众区、手机光和滑行动作，才能完成流程转场。 | [身体电路](/research/hs-6ad2baaf9b74c4d0) | T1/T2/T3 |\n| `02:22:01-02:26:21` | 切断感觉、漏词、不想说 | “切断了感觉”“漏掉了好多词”“不想说”。 | 身体能力从动作转向疲惫：能说什么、不能说什么被流程继续逼问。 | [说话权被系统接管](/research/hs-23c2dec5963ea385) | T0/T3 |\n| `02:28:24-02:31:09` | 帮说、白色覆盖/不可见、确认 | 黄蒙问“需要我帮你说吗”；随后不可见、安全、胆小鬼、确认。 | 身体还在场，但说话能力外包；不可见反而成为[被观看](/research/hs-bdc3e21c0c33b579)中的羞耻判词。 | [公开观察机器](/research/hs-c8bf508be7798abe) | T0/T1/T2/T3 |\n| `02:31:55-02:33:20` | 结束宣告、人数修正、数字、主演字幕、电子音乐 | 何发宣布演出结束；三位/四位/五位修正；残余声轨和字幕进入。 | 身体退场，档案接管；人的不稳定身份被数字和名单重新固定。 | [强迫思想的公演机器](/research/hs-9c74a921b3b0ecc8) | T0/T1/T2/T3 |\n\n## 材料不是象征，它们是动作\n\n### 1. 塑料：把亲密隔成公开现场\n\n塑料在第四部分不是“透明”的简单隐喻。它更像一种半透明权力：看得见，却隔着；听得见，却带着摩擦；能靠近，却总有一层膜。\n\n第三部分的水让身体边界变软，第四部分的塑料让身体边界变硬。水让人泡开，塑料让人被包住。两者共同说明：人物之间已经不能直接互相抵达，必须经过介质。\n\n### 2. 线和颜色：不是画在身体上，而是把身体变成可读图纸\n\n黑线、黄色点、红黑身体标记、蓝色眼睛这组材料，不能只说成“象征伤口”或“象征身份”。它们首先改变身体的可见性。\n\n线让身体被分割，点让身体被标记，颜色让角色身份变成表面事件。被画以后，身体不再只是“甲瑞/黄蒙/子丑/Ricky 在那里”，而是成为现场压力留下痕迹的图纸。\n\n### 3. 话筒：声音资格的材料化\n\n“我的麦掉了”不是小事故。它暴露了一件事：第四部分里，说话不是自然发生的。说话要经过设备、观众、音量、训练、被听见、被要求放出来。\n\n话筒掉落后，游戏接上。这个转场很关键：声音系统松动，身体游戏接管。后来 Ricky 的训诫又把话筒、观众和发声技术带回来，让声音重新成为可审查对象。\n\n2026-05-13 续补：`01:51:30-01:55:34` 已沉淀为 [说出口门槛](/research/hs-a034a73b62b37c89)。话筒掉落不是凭空发生，而是接在 `思绪很慢 / 寻找语言 / 必须得说出口 / 童年快乐 / 痛苦 / 看不见就不痛苦` 之后。也就是说，先是语言被要求穿过公开问卷，随后声音设备暴露脆弱，最后由 程序接手（馆内参考，未随本文公开） 让游戏规则接上。\n\n### 4. 抓人和蒙眼：观看先变成裁决，再升级为围打\n\n`01:55-01:58` 先出现的是 [抓人裁决](/research/hs-1f53b37c9f5feaf7)：`三个字 / 我抓 / 你抓 / 我输了 / 你输了 / 他还没有抓到你`。这里还不宜直接写成完整[蒙眼围打](/research/hs-6e9e65fa50f6c742)，硬证据更准确地说明：游戏先把语言压成口令，再把身体追跑压成抓到/没抓到、输/赢的裁决。\n\n到后续 `02:06-02:11`，蒙眼规则才明确升级。蒙眼游戏表面上取消视觉，但它实际制造了更强的观看关系。被蒙眼的人要抓，旁边的人要看，观众要看，摄影机也在看。\n\n这就是第四部分的悖论：看不见不是观看的消失，而是观看的重新分配。到后面“谁也看不见你”时，这个悖论变得更残酷：台词说没有凝视，但整部电影正在把这个不可见保存下来。\n\n### 5. 地面和重力：电影不让语言轻易获胜\n\n`02:20:29-02:21:20` 是材料动作账里最重要的段落之一。\n\n语言说“跳过”，流程说“来”，可身体不能抽象地跳过。身体必须撑手、移动重心、滑下、靠近、挡住镜头。重力在这里像一个最后的证人：无论语言多么流程化，身体仍然要用物理时间通过现场。\n\n这就是第四部分的美学：最抽象的流程，最后仍然要落到地面。\n\n## 材料动作的五条规律\n\n| 规律 | 说明 | 关键段落 |\n|---|---|---|\n| 介质先于人物 | 第四部分一开始就由塑料、低位、暗部、观众和噪音规定身体。 | `01:21-01:33` |\n| 材料替语言裁决 | 当语言争不出结果，画、线、布、颜色开始处理身体。 | `01:38-01:51` |\n| [说出口门槛](/research/hs-a034a73b62b37c89) | 当材料审理之后仍无行动答案，现场改问语言能不能说出、多久说得出、谁来定义痛苦。 | `01:51-01:55` |\n| 技术故障制造转场 | 话筒掉落不是边角，而是声音系统松动后游戏系统接管。 | `01:55` |\n| 语言按钮必须经过身体 | 下一幕、跳过、来都不能直接完成，必须经过行走、滑下、遮挡。 | `02:16-02:21` |\n| 档案是最后材料 | 字幕、数字、名单、电子音乐不是附录，而是把未整理的现场重新压成作品。 | `02:31-02:33` |\n\n## 和前三部分的回接\n\n第四部分的材料不是突然出现的。它们是前三部分材料链的公开化。\n\n| 前三部分材料 | 第四部分材料 | 回接关系 |\n|---|---|---|\n| 月亮、数字、夜色 | 数字、片尾、电子音乐 | 编号和归档从开场一直压到结尾。 |\n| 水、鱼缸、河边 | 塑料、反光地面、鲸落 | 容器从液态变成公共装置。 |\n| 白光、眼镜、LED | 观众、低机位、不可见台词 | 观看从光学问题变成制度问题。 |\n| 长杆、织物、蓝线 | 黑线、黄点、布、覆盖 | 捕获从寻找对象变成标记身体。 |\n| 投影/动态影像层 | 主演字幕/数字层 | 记忆层转为档案层。 |\n\n这样看，第四部分不是“加入了更多道具”。它是让前三部分的感知材料集体上台。\n\n## 本页新结论\n\n第四部分的身体不是被台词解释出来的，而是被材料加工出来的。\n\n塑料让它隔开，线让它可读，话筒让它被审查，蒙眼让它被重新观看，地面让它不能轻易跳过，字幕和数字让它被归档。\n\n这就是 [身体电路](/research/hs-6ad2baaf9b74c4d0) 在第四部分的具体形态：身体不是心理的外壳，而是一条被材料、声音、规则和档案共同接线的电路。\n\n## 下一轮问题\n\n1. `01:42-01:51` 做材料定位表：黑线、黄点、颜色分别落在谁的身体/空间位置上。\n2. `01:55-01:58` 做声音优先账：麦掉、脚步、塑料、水瓶、笑、道歉的先后顺序。\n3. `02:20:29-02:21:30` 做帧级重力账：坐姿指点、低位移动、站起、进入观众边界、坐地、滑行、手机光和遮挡镜头的时间点。\n4. `02:31:55-02:33:20` 做档案材料账：数字 `4/5`、主演字幕、残余台词、电子音乐如何互相压住。\n\n## 相关页面\n\n- 人类投降派中枢索引（馆内参考，未随本文公开）\n- [六维解剖-视觉台词节奏材料装置证据链](/research/hs-c768f1df5c59bd9e)\n- [力的吸收回路-德勒兹尼采斯宾诺莎框架](/research/hs-b2cde313635e5499)\n- [拉康LCN-MAT-03材料身体电路账](/research/hs-294980a6560f3a9b)\n- [拉康xhigh深挖配置与四链增量](/research/hs-497d81f8a2350438)\n- [拉康分析家位置下的人类投降派-能指链与缺口](/research/hs-d141f815454a0da3)\n- [新唯物主义物导向本体论深度分析报告](/research/hs-7c698cdb0edd2a36)\n- [现象学深度分析报告](/research/hs-63d0f6f422226539)\n- [09-第八章-身体电影材料接管与无器官身体](/research/hs-2f51c9d58d0a0f61)","paragraphs":[{"id":"hs-208a23140e0ed551#p-0f4fdb5fe93dcfae-1","anchor":"p-0f4fdb5fe93dcfae-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-0f4fdb5fe93dcfae-1","kind":"h2","headingPath":["第四部分材料动作账：身体如何被材料接管"],"text":"第四部分材料动作账：身体如何被材料接管","textSha256":"38da141faf05e3f20a108069261f16ba9c3d2533542c511756aca694be7cee16","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-ad82cdaed1b757c4-1","anchor":"p-ad82cdaed1b757c4-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-ad82cdaed1b757c4-1","kind":"p","headingPath":["第四部分材料动作账：身体如何被材料接管"],"text":"第四部分不能只按台词读。台词当然重要，但真正让这一部分变得凶的，是材料。","textSha256":"ae2280962a7b85d4df3edde5d21d7555f86d4543656ce96c6947cb6117e25742","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-00f36119739277e1-1","anchor":"p-00f36119739277e1-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-00f36119739277e1-1","kind":"p","headingPath":["第四部分材料动作账：身体如何被材料接管"],"text":"塑料、低位地面、黑线、黄色点、布、破裙子、话筒、蒙眼、手电、脚步、水瓶、白色覆盖、字幕、数字、电子音乐。它们不是布景，也不是道具清单。它们在改变身体能做什么、能承受什么、能不能被看、能不能被说、能不能退出。","textSha256":"8f72db3f727d1466a243e8a6200467a4993f50bb86974fee1b473ff45725b81b","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-88428d227f107953-1","anchor":"p-88428d227f107953-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-88428d227f107953-1","kind":"p","headingPath":["第四部分材料动作账：身体如何被材料接管"],"text":"用德勒兹读培根，最关键的一点是：不要急着把材料解释成象征。材料先是力。线会切开可见性，塑料会隔开身体，话筒会改变声音资格，蒙眼会重新分配观看，地面会把抽象的跳过拖回重力。","textSha256":"6e06ca9e4f0ae616fa721317238c1080b3fc3fd07ebdebcecfa9eb7e4bccee50","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-ff86508c5cc91e7e-1","anchor":"p-ff86508c5cc91e7e-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-ff86508c5cc91e7e-1","kind":"p","headingPath":["第四部分材料动作账：身体如何被材料接管"],"text":"所以这一页的任务是：把第四部分的材料动作建立成账本。","textSha256":"ad76d0f57d3b6769a63734db99d8eef986600fd503d17dc4c5a3a841f7fa2d9a","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-77afc73e3bf30597-1","anchor":"p-77afc73e3bf30597-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-77afc73e3bf30597-1","kind":"h2","headingPath":["材料动作总账"],"text":"材料动作总账","textSha256":"766637750f85ab7a10e80cb1cdf3ce9a4bef0097a74cc7b0e51a48ef0e47b6ce","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-7e9ff865ec404da3-1","anchor":"p-7e9ff865ec404da3-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-7e9ff865ec404da3-1","kind":"tr","headingPath":["材料动作总账"],"text":"时间 / 区段 材料 / 动作 可见 / 可听事实 身体如何被改变 概念回链 证据层","textSha256":"518a736d4c31cc306964d5a46812e0904696fd0aaec9547c9de0cd3d825149f6","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-9d71285df1fd326b-1","anchor":"p-9d71285df1fd326b-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-9d71285df1fd326b-1","kind":"tr","headingPath":["材料动作总账"],"text":"01:21:00-01:33:30 低位、反光地面、暗部、观众围坐 现场先以低位空间和观看容器出现，动作还没强烈发生，压力已经在。 身体被放进等待；不是人物先行动，而是空间先把人减速。 公开观察机器 T1/T2/T3","textSha256":"00da08888b20244d59fbb966eb882efdf72ac4fb07b62d3e48decb86e1878e49","links":["https://a.p4theater.top/research/hs-c8bf508be7798abe"],"images":[]},{"id":"hs-208a23140e0ed551#p-8c50bac0f229cb2e-1","anchor":"p-8c50bac0f229cb2e-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-8c50bac0f229cb2e-1","kind":"tr","headingPath":["材料动作总账"],"text":"01:23:34-01:24:25 画外装置声、笑、零碎声 画外有人声、笑声、边缘噪音。 身体没有完全属于画内；画外声音把现场边界撕开。 分布式公演控制 T0/T1/T3","textSha256":"f37e2b0ad9408e3515735403b73ec6d0f6acac0341db082357710344e9c47746","links":["https://a.p4theater.top/research/hs-8e87420b9a3b4cb8"],"images":[]},{"id":"hs-208a23140e0ed551#p-8a7cf116eb57e931-1","anchor":"p-8a7cf116eb57e931-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-8a7cf116eb57e931-1","kind":"tr","headingPath":["材料动作总账"],"text":"01:32:00-01:33:10 眼睛、期待、说话压力 黄蒙说每一双眼睛都在看着她，又催“你说话呀”。 观看被翻译成说话义务；身体必须把被看压力变成话。 说话权被系统接管 T0/T3","textSha256":"2e24aeea8c7f1f67d44117af68d49b34b2290c59accad98444dd48c4ffbe866e","links":["https://a.p4theater.top/research/hs-23c2dec5963ea385"],"images":[]},{"id":"hs-208a23140e0ed551#p-0280a6b0ef8f76a3-1","anchor":"p-0280a6b0ef8f76a3-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-0280a6b0ef8f76a3-1","kind":"tr","headingPath":["材料动作总账"],"text":"01:38:00-01:39:24 画画流程 “第二幕要画画了”“为什么要画画”“这是戏剧吗”。 情绪争论被转交给材料程序，身体要成为可画对象。 身体电路 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T0/T1/T3","textSha256":"25d5666cadf6c867c9eb7ce9ea9846318875c632356eca5eb4ce04175c05fdf2","links":["https://a.p4theater.top/research/hs-83609f36b52e3daa","https://a.p4theater.top/research/hs-e996c7118171d1ab"],"images":[]},{"id":"hs-208a23140e0ed551#p-44bc514140d57916-1","anchor":"p-44bc514140d57916-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-44bc514140d57916-1","kind":"tr","headingPath":["材料动作总账"],"text":"01:46:30-01:51:30 破裙子、脱衣、变轻、黑线、地铁想象 穿这破裙子我走路都不会了 / 选择把它脱掉 / 变轻了吗 / 我应该把他们全杀了 / 回家的地铁 / 被迫的选择 同窗。 选择被材料审理：能不能走、能不能轻、能不能离开，先于能不能解释。 材料法庭 T0/T1/T2/T3","textSha256":"6db7440de42808b950e75d2ba5689da0f5c866db8fcc5d782b2d7cfd846218ec","links":["https://a.p4theater.top/research/hs-83609f36b52e3daa"],"images":[]},{"id":"hs-208a23140e0ed551#p-ce0185d1796b4e7c-1","anchor":"p-ce0185d1796b4e7c-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-ce0185d1796b4e7c-1","kind":"tr","headingPath":["材料动作总账"],"text":"01:51:30-01:55:34 语言迟缓、童年问卷、痛苦定义、话筒掉落 思绪很慢 / 寻找语言 / 必须得说出口 / 看不见就不痛苦了 / 你看起来很痛苦啊 / 我的麦掉了 / 我们来玩游戏 同窗。 材料法庭 之后，语言本身也被审理；说话系统松动后，游戏系统接上。 说出口门槛 / 程序接手（馆内参考，未随本文公开） T0/T2/T3","textSha256":"5bd36248729219e6b088a70f91f3245b5bd5c6b4dbfc66142b17a6537baa8c14","links":["https://a.p4theater.top/research/hs-83609f36b52e3daa","https://a.p4theater.top/research/hs-a034a73b62b37c89"],"images":[]},{"id":"hs-208a23140e0ed551#p-cd34fb37e9ec119d-1","anchor":"p-cd34fb37e9ec119d-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-cd34fb37e9ec119d-1","kind":"tr","headingPath":["材料动作总账"],"text":"01:55:02-01:55:xx 话筒掉落 “我的麦掉了”之后，游戏被提议。 声音技术故障成为转场缝隙；说话系统松动后，游戏系统接上。 程序接手（馆内参考，未随本文公开） / 公开观察机器 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记忆层转为档案层。","textSha256":"9783ff7eea79646972dfa7fce8503b2c6494dd89b229ffeb85f268c6ae4fddd6","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-736de22b4bb22e1b-1","anchor":"p-736de22b4bb22e1b-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-736de22b4bb22e1b-1","kind":"p","headingPath":["和前三部分的回接"],"text":"这样看，第四部分不是“加入了更多道具”。它是让前三部分的感知材料集体上台。","textSha256":"9db17f843c18438788bb175972edf82bfa7c0f7716aae174231b46ebac335915","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-a30497a7690599e5-1","anchor":"p-a30497a7690599e5-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-a30497a7690599e5-1","kind":"h2","headingPath":["本页新结论"],"text":"本页新结论","textSha256":"3d6cf4899c54f41299b9a61fd558a5eb31ed9f83bc3288bcd64b29a210356a46","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-c86dc3a1f438223e-1","anchor":"p-c86dc3a1f438223e-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-c86dc3a1f438223e-1","kind":"p","headingPath":["本页新结论"],"text":"第四部分的身体不是被台词解释出来的，而是被材料加工出来的。","textSha256":"c7ce8627878450b7900b91dce093b55ecee5f2c06abba6c979381e7b0d7769cd","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-4da89f1628561930-1","anchor":"p-4da89f1628561930-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-4da89f1628561930-1","kind":"p","headingPath":["本页新结论"],"text":"塑料让它隔开，线让它可读，话筒让它被审查，蒙眼让它被重新观看，地面让它不能轻易跳过，字幕和数字让它被归档。","textSha256":"179b2436d60435adf4d2f034eed1ee2274fab6be92814d97fd61d5f825081744","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-d61eb9007429f02c-1","anchor":"p-d61eb9007429f02c-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-d61eb9007429f02c-1","kind":"p","headingPath":["本页新结论"],"text":"这就是 身体电路 在第四部分的具体形态：身体不是心理的外壳，而是一条被材料、声音、规则和档案共同接线的电路。","textSha256":"bd9f8e1772a69ee784cff413dac38c33120e68a13ca4d823a88999000536b7bd","links":["https://a.p4theater.top/research/hs-6ad2baaf9b74c4d0"],"images":[]},{"id":"hs-208a23140e0ed551#p-2cf434a0ad7f3684-1","anchor":"p-2cf434a0ad7f3684-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-2cf434a0ad7f3684-1","kind":"h2","headingPath":["下一轮问题"],"text":"下一轮问题","textSha256":"37f7ae11beefaf7101a04bf3a82729be63ba6fa2ebfa8cedb56174e6170eae4b","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-8f10a24dd470a325-1","anchor":"p-8f10a24dd470a325-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-8f10a24dd470a325-1","kind":"li","headingPath":["下一轮问题"],"text":"01:42-01:51 做材料定位表：黑线、黄点、颜色分别落在谁的身体/空间位置上。","textSha256":"8701b7e928d55ac5eac6670e1ca9925406cd4b9bfa9fd9fbdb7b0769b0128e4b","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-763b7a1e8b225f13-1","anchor":"p-763b7a1e8b225f13-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-763b7a1e8b225f13-1","kind":"li","headingPath":["下一轮问题"],"text":"01:55-01:58 做声音优先账：麦掉、脚步、塑料、水瓶、笑、道歉的先后顺序。","textSha256":"92d9b9d2d88699aa05669052d9d3ec9f2296eb05805d154523dfe7ca4088be4a","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-19ec7d17321c9006-1","anchor":"p-19ec7d17321c9006-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-19ec7d17321c9006-1","kind":"li","headingPath":["下一轮问题"],"text":"02:20:29-02:21:30 做帧级重力账：坐姿指点、低位移动、站起、进入观众边界、坐地、滑行、手机光和遮挡镜头的时间点。","textSha256":"15a32b135681d8b97763e30adacf4d35d4a0dac5f4d1eb1e42228adf5f1e9e3b","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-dd9077fe9e0b3983-1","anchor":"p-dd9077fe9e0b3983-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-dd9077fe9e0b3983-1","kind":"li","headingPath":["下一轮问题"],"text":"02:31:55-02:33:20 做档案材料账：数字 4/5 、主演字幕、残余台词、电子音乐如何互相压住。","textSha256":"419f76b6b0cb0f9c2a683e691e09379d07e83553e4a69c4630e0ee5502ecb1b4","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-38cc8282472e4c98-1","anchor":"p-38cc8282472e4c98-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-38cc8282472e4c98-1","kind":"h2","headingPath":["相关页面"],"text":"相关页面","textSha256":"81410268052e179aa1a59f2b64b2f153dc5fe3b28c87c74272db08f41036ec4c","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-3b55b4c0e9a9a589-1","anchor":"p-3b55b4c0e9a9a589-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-3b55b4c0e9a9a589-1","kind":"li","headingPath":["相关页面"],"text":"人类投降派中枢索引（馆内参考，未随本文公开）","textSha256":"d886f58451e0440517dca2a478503d3148aa91bd619fe44053eb5d3e20b7a8bb","links":[],"images":[]},{"id":"hs-208a23140e0ed551#p-be34902808e1a59e-1","anchor":"p-be34902808e1a59e-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-be34902808e1a59e-1","kind":"li","headingPath":["相关页面"],"text":"六维解剖-视觉台词节奏材料装置证据链","textSha256":"f7077c3f54a225e3b327108e83d3c6cdfe1be5ac635908f52050bdc058f80f31","links":["https://a.p4theater.top/research/hs-c768f1df5c59bd9e"],"images":[]},{"id":"hs-208a23140e0ed551#p-7cc19ba389eafd1e-1","anchor":"p-7cc19ba389eafd1e-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-7cc19ba389eafd1e-1","kind":"li","headingPath":["相关页面"],"text":"力的吸收回路-德勒兹尼采斯宾诺莎框架","textSha256":"2ca10a32ecfe75a751dd6684daef87452d1f863129bf2a097f87992e43fd272c","links":["https://a.p4theater.top/research/hs-b2cde313635e5499"],"images":[]},{"id":"hs-208a23140e0ed551#p-a1e0186659c2888f-1","anchor":"p-a1e0186659c2888f-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-a1e0186659c2888f-1","kind":"li","headingPath":["相关页面"],"text":"拉康LCN-MAT-03材料身体电路账","textSha256":"916ae7566849e35b88d42440f4a661eec00f008c899b9ecac4746193c0999284","links":["https://a.p4theater.top/research/hs-294980a6560f3a9b"],"images":[]},{"id":"hs-208a23140e0ed551#p-645677ff3aa0ef19-1","anchor":"p-645677ff3aa0ef19-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-645677ff3aa0ef19-1","kind":"li","headingPath":["相关页面"],"text":"拉康xhigh深挖配置与四链增量","textSha256":"6e39c05111f07426f927a9d4976d5e3f14e0328ce1894700bb8c70f4b2042fce","links":["https://a.p4theater.top/research/hs-497d81f8a2350438"],"images":[]},{"id":"hs-208a23140e0ed551#p-9bc11f6523877df3-1","anchor":"p-9bc11f6523877df3-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-9bc11f6523877df3-1","kind":"li","headingPath":["相关页面"],"text":"拉康分析家位置下的人类投降派-能指链与缺口","textSha256":"1086e78e48cc5296092dc088473e69c9e5cfda8694b7713c9ebf59eb0289cd82","links":["https://a.p4theater.top/research/hs-d141f815454a0da3"],"images":[]},{"id":"hs-208a23140e0ed551#p-9c8ac1e525af8734-1","anchor":"p-9c8ac1e525af8734-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-9c8ac1e525af8734-1","kind":"li","headingPath":["相关页面"],"text":"新唯物主义物导向本体论深度分析报告","textSha256":"2a376487adb4cdd61eae8f8d1a5f3b8afe34aefb8a8b3c832977db16227c4708","links":["https://a.p4theater.top/research/hs-7c698cdb0edd2a36"],"images":[]},{"id":"hs-208a23140e0ed551#p-06b336900ee1f7d5-1","anchor":"p-06b336900ee1f7d5-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-06b336900ee1f7d5-1","kind":"li","headingPath":["相关页面"],"text":"现象学深度分析报告","textSha256":"c0614c4f5b80b8d41161b458f03e5e34ca46b1a8118ebeadaf091cf4b49b810a","links":["https://a.p4theater.top/research/hs-63d0f6f422226539"],"images":[]},{"id":"hs-208a23140e0ed551#p-55a9fca733613c5b-1","anchor":"p-55a9fca733613c5b-1","url":"https://a.p4theater.top/research/hs-208a23140e0ed551#p-55a9fca733613c5b-1","kind":"li","headingPath":["相关页面"],"text":"09-第八章-身体电影材料接管与无器官身体","textSha256":"74dbae6b4a8d849fea0a117a261af3f3ebaa260e0ce5aabcc10359744b6c4379","links":["https://a.p4theater.top/research/hs-2f51c9d58d0a0f61"],"images":[]}]}