{"id":"hs-a6893f1aba9917fe","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe","title":"德勒兹汉化语料接入与《人类投降派》分析增量","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-a6893f1aba9917fe.md","editionUrl":"https://a.p4theater.top/research/data/editions/hs-a6893f1aba9917fe-a3222c8ffdf79b59e3e7.md","markdownSha256":"a3222c8ffdf79b59e3e77fd671f7066f0e0557d22a6ce50d9c832902d0e16d10","markdownBytes":10015,"characters":3137,"sourceEvidenceTier":"T3_SYNTHESIS_OVER_T1_SOURCE_INDEX","sourceStatus":"active","evidenceBoundary":"这是基于公开 Notion 目录与短摘的 T3 综合；完整文本需回到原网页阅读，不替代影片 T0/T1/T2 证据。","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-203eaf80e3685293","https://a.p4theater.top/research/hs-23c2dec5963ea385","https://a.p4theater.top/research/hs-46bd66dfc6555b38","https://a.p4theater.top/research/hs-5dd1cbf52bc4473d","https://a.p4theater.top/research/hs-722446358a149188","https://a.p4theater.top/research/hs-832b004e1a182278","https://a.p4theater.top/research/hs-8e87420b9a3b4cb8","https://a.p4theater.top/research/hs-c8bf508be7798abe","https://a.p4theater.top/research/hs-ddd5b3bf9012d9e9","https://a.p4theater.top/research/hs-ef608a7155ec333c","https://a.p4theater.top/research/hs-f67965260dd64b60"],"relationMethod":"literal links and image references in the public edition; no inferred semantic support","paragraphCount":101,"markdown":"# 德勒兹汉化语料接入与《人类投降派》分析增量\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：这是基于公开 Notion 目录与短摘的 T3 综合；完整文本需回到原网页阅读，不替代影片 T0/T1/T2 证据。\n\n# 德勒兹汉化语料接入与《人类投降派》分析增量\n\n这批 Notion 语料真正有价值的地方，不是“又多了一堆德勒兹材料”。它把我们之前写得有点粗的几个词，重新变成了可以工作的刀。\n\n尤其是第四部分。我们以前说“公开观察机器”“时间-影像公开化”“说话权被系统接管”，这些判断大方向没错，但还可以更锋利：第四部分不是单纯“人在被看”，而是可见的影片和可说的影片开始互相拉扯；不是单纯“真假混淆”，而是伪造、跳过、已演过、不在这里演这些说法，开始生产新的时间事实；不是单纯“身体痛苦”，而是身体变成一种速度、强度和承受平面。\n\n## 一、最重要的新入口：可见和可说分开了\n\nNotion 里的福柯/电影线索非常关键：一部影片里可以有“一部说的影片”和“一部看的影片”。它们互相捕捉，但不能被对方吞掉。\n\n这句话对《人类投降派》第四部分非常有用。\n\n第四部分里，画面经常已经把身体放在那里了：坐着、等着、低机位、反光地面、塑料布、身体标记、躺下、滑落。但声音又在另一个层面运作：谁先说、谁跳过、谁确认、谁帮谁说、谁说没想什么。\n\n以前我们容易把声音当成画面的解释。现在要改。声音不是解释画面，画面也不是证明声音。它们像两套机器在同一现场互相抢人。\n\n这会直接升级第四部分分析：\n\n- 画面机器：让身体成为可见物。\n- 声音机器：让沉默、空白、跳过、确认成为可说物。\n- 公演机器：把可见和可说拧在一起，但不让它们和解。\n\n这比“导演控制现场”更准确。控制不是从一个人那里发出，而是在可见和可说之间发生。\n\n## 二、小津线索：普通时间不是铺垫，普通时间就是事件\n\n“德勒兹看电影”页里，小津段落给了一个特别好的提醒：纯视听情境不是靠奇观产生的。日常、空白、停顿、普通对话，也可以让行动影像消失。\n\n这能纠正我们看第四部分开场的方式。\n\n第四部分不是一上来就爆炸。它让人坐着，让观众等，让空间响一点鸟鸣和金属声，让倒计时之后继续空着。这个“空”不是拖沓，不是还没开始。它就是开始。\n\n换句话说，第四部分的第一个强事件不是抓捕、不是争论、不是 `skip`，而是等待本身获得了公演地位。观众被训练成等待机器的一部分。\n\n这也能回看第三部分：第三部分里水、眼睛、白光、投影不只是“氛围”，而是在训练我们承受纯视听状态。等第四部分来了，我们才会知道，电影已经提前改变了观众的观看器官。\n\n## 三、杜拉斯线索：声音和画面不是一个整体\n\n杜拉斯相关条目更狠。它强调视觉影像和听觉影像之间的异质性：它们有关联，但不形成一个整体。\n\n这对《人类投降派》几乎是直插核心。\n\n第三部分里，声音经常找不到稳定身体；画面也不再只是情节容器。到了第四部分，声音更进一步变成程序：它不只是说话内容，而是在安排时间、顺序、资格。\n\n所以后面分析第四部分时，必须把账拆开：\n\n- 可见事实：谁在场，身体怎样，空间怎样，镜头怎样，材料怎样。\n- 可听事实：谁的声音，声音位置是否稳定，噪音/音乐/残余声如何压场。\n- 言语行为：这句话在现场执行了什么。\n- 不可整体化关系：画面和声音如何互相抵触，而不是互相解释。\n\n这会让 `skip` 的分析更清楚。`skip` 不是对画面做解释，而是把画面无法完成的时间改写成声音流程里的合法动作。\n\n## 四、伪造者线索：假的不是遮蔽真，假的生产真\n\n“电影、真相和时间：伪造者”这一组会成为后续最重要的深读对象。\n\n《人类投降派》里，“是不是戏”“真的假的”“已经演过”“不在这里演”“跳过”这些东西，不应该被读成真假判断题。它们更像现场里的造真机器。\n\n一个句子说出来以后，它不只是描述一个事实，它开始制造事实：\n\n- `Already acted` 把没有在此刻发生的东西变成已经发生过。\n- `Not acting here` 把现场切成不同层级。\n- `skip` 把缺口变成流程。\n- 确认句把不确定变成可归档。\n\n这就是伪之力量在《人类投降派》里的现场版本。不是“假戏真做”这么简单，而是伪造、缺席、跳过、重演共同生产一种新的现实。\n\n## 五、斯宾诺莎/身体速度：身体不是心理容器\n\n斯宾诺莎研讨班和著作条目提醒我们，德勒兹读身体时，核心问题不是“身体代表什么”，而是“身体能做什么”“身体以什么速度和强度被改变”。\n\n这可以救回我们对第四部分身体的写法。\n\n甲瑞的身体不能只写成“痛苦”“羞耻”“崩溃”。那还是心理剧。更准确的写法是：身体的速度被改变了。\n\n他被等待拖慢，被注视固定，被问题逼近，被 `skip` 改写，被材料遮挡，被片尾重新命名。身体不是内心的外壳，而是现场各种力落下的平面。\n\n这也能补强第三部分：水、白光、眼睛、投影、风扇，不是象征系统，而是改变身体速度和感知速度的介质。\n\n## 六、反俄狄浦斯/千高原线索：公开观察机器是装配体，不是单人控制\n\n反俄狄浦斯、千高原、国家装置与战争机器这一组，应该成为第四部分的第二理论底盘。\n\n第四部分最不能写成一个单一主宰模型。不是“何发操控所有人”，也不是“某个角色支配现场”。真正发生的是装配体：\n\n```text\n观众\n+ 摄影机\n+ 反光地面\n+ 塑料布\n+ 说话顺序\n+ 身体标记\n+ 跳过流程\n+ 片尾名单\n+ 后来的字幕校对和 Wiki 归档\n= 公开观察机器\n```\n\n这套机器不只控制人。它生产人。甲瑞、黄蒙、子丑、Ricky、何发在不同节点上被生产成不同功能，但没有谁能单独等同于整台机器。\n\n## 七、对 `deleuze-film-thinker` skill 的升级方向\n\n这批语料要求 skill 从“概念工具箱”升级成“读法发动机”：\n\n1. 先问可见和可说是否分离。\n2. 再问行动是否还能把二者重新接上。\n3. 如果接不上，就进入时间-影像分析。\n4. 如果声音开始安排流程，就进入言语行为分析。\n5. 如果真假开始生产现场事实，就进入伪之力量分析。\n6. 如果身体承受无法言说的力，就进入身体电影/斯宾诺莎速度分析。\n7. 如果主体由多种材料临时产生，就进入装配体分析。\n\n这比简单套用“时间-影像”“无器官身体”强得多。\n\n## 八、下一轮应该深读的 12 个条目\n\n优先级从高到低：\n\n1. `论玛格希特・杜拉斯的电影`\n2. `论小津安二郎`\n3. `电影、真相和时间：伪造者`\n4. `电影：运动-图象`\n5. `电影：符号的分类与时间`\n6. `论电影：思想-图象`\n7. `福柯`\n8. `反俄狄浦斯 I：流的逻辑`\n9. `反俄狄浦斯 III`\n10. `国家装置与战争机器`\n11. `斯宾诺莎：思想的不同速度`\n12. `《论绘画》：绘画研讨班`\n\n这些条目会直接对应到《人类投降派》的三条最强分析线：\n\n- 第三部分：纯视听情境、感知失去行动出口。\n- 第四部分：可见/可说分离、公开观察机器、言语行为接管。\n- 片尾：伪之力量、水晶影像、归档继续运行。\n\n## 九、现在的新判断\n\n有了这批语料之后，我会把《人类投降派》的德勒兹式核心判断改得更精确：\n\n这部电影不是简单从运动-影像进入时间-影像。它更像是先让行动不断失败，再把行动失败后的剩余物分配给三套机器：画面机器保存身体，声音机器安排流程，档案机器重新命名现场。\n\n第四部分就是这三套机器第一次公开合体。\n\n所以它不是公演开始，而是可见、可说、可保存三者同时开始抢夺人的时刻。\n\n## 相关\n\n- - [公开观察机器](/research/hs-c8bf508be7798abe)\n- - [分布式公演控制](/research/hs-8e87420b9a3b4cb8)\n- - [招募式绝境-时间影像](/research/hs-46bd66dfc6555b38)\n- - [说话权被系统接管](/research/hs-23c2dec5963ea385)\n- - [Ricky](/research/hs-ddd5b3bf9012d9e9)\n- - 何发（馆内参考，未随本文公开）\n- - [子丑](/research/hs-203eaf80e3685293)\n- - [甲瑞](/research/hs-5dd1cbf52bc4473d)\n- - [黄蒙](/research/hs-ef608a7155ec333c)\n- - 德勒兹-加塔利精神分析工具箱-2026-05-10（馆内参考，未随本文公开）\n- - 德勒兹电影理论工具箱-2026-05-09（馆内参考，未随本文公开）\n- - 德勒兹语料与思考方式总账-2026-05-10（馆内参考，未随本文公开）\n- - 2026-05-10-德勒兹汉化Notion目录总账（馆内参考，未随本文公开）\n- - [时间站起来的时候-重看人类投降派-德勒兹影评升级稿-2026-05-10](/research/hs-722446358a149188)\n\n## 相关页面\n\n- [三重影片理论-可见可说可归档的人类投降派](/research/hs-f67965260dd64b60)\n- 人类投降派中枢索引（馆内参考，未随本文公开）\n- [德勒兹十重机器下的人类投降派](/research/hs-832b004e1a182278)","paragraphs":[{"id":"hs-a6893f1aba9917fe#p-0147466bac6112f3-1","anchor":"p-0147466bac6112f3-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-0147466bac6112f3-1","kind":"h2","headingPath":["德勒兹汉化语料接入与《人类投降派》分析增量"],"text":"德勒兹汉化语料接入与《人类投降派》分析增量","textSha256":"004016e1af1bc2196b71c367e19c386db5703717847be2035d37ba99b17bb241","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-5fc23a8848831084-1","anchor":"p-5fc23a8848831084-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-5fc23a8848831084-1","kind":"p","headingPath":["德勒兹汉化语料接入与《人类投降派》分析增量"],"text":"这批 Notion 语料真正有价值的地方，不是“又多了一堆德勒兹材料”。它把我们之前写得有点粗的几个词，重新变成了可以工作的刀。","textSha256":"db3f6d2f9dc8acf286b04cbf964e23f156c0f2e3eb7fd9a2cbf2b16d2b319231","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-e94c6afe88d7c1f3-1","anchor":"p-e94c6afe88d7c1f3-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-e94c6afe88d7c1f3-1","kind":"p","headingPath":["德勒兹汉化语料接入与《人类投降派》分析增量"],"text":"尤其是第四部分。我们以前说“公开观察机器”“时间-影像公开化”“说话权被系统接管”，这些判断大方向没错，但还可以更锋利：第四部分不是单纯“人在被看”，而是可见的影片和可说的影片开始互相拉扯；不是单纯“真假混淆”，而是伪造、跳过、已演过、不在这里演这些说法，开始生产新的时间事实；不是单纯“身体痛苦”，而是身体变成一种速度、强度和承受平面。","textSha256":"7af6a0ade644ec15837b44bf73cc044b18d3cdfbb4fd6d1962a67b26c862f3c6","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-b63a0751d0a28b1b-1","anchor":"p-b63a0751d0a28b1b-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-b63a0751d0a28b1b-1","kind":"h2","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"一、最重要的新入口：可见和可说分开了","textSha256":"951dd058b1c8d9307a93706531667d394005b989fe6bdd11b46f8719ce8565c7","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-6a074176bfa36ec4-1","anchor":"p-6a074176bfa36ec4-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-6a074176bfa36ec4-1","kind":"p","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"Notion 里的福柯/电影线索非常关键：一部影片里可以有“一部说的影片”和“一部看的影片”。它们互相捕捉，但不能被对方吞掉。","textSha256":"30e7371a6cc9f667f7c56e5024d9d20a9ca9c3748a106c00128d70b3ce617c34","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-56acd97f3f3a0809-1","anchor":"p-56acd97f3f3a0809-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-56acd97f3f3a0809-1","kind":"p","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"这句话对《人类投降派》第四部分非常有用。","textSha256":"eb758e74a8234e46406f92a3111dd2a20d4185aa19e696c5e6945d1afde28a7c","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-50f323d08ed721e9-1","anchor":"p-50f323d08ed721e9-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-50f323d08ed721e9-1","kind":"p","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"第四部分里，画面经常已经把身体放在那里了：坐着、等着、低机位、反光地面、塑料布、身体标记、躺下、滑落。但声音又在另一个层面运作：谁先说、谁跳过、谁确认、谁帮谁说、谁说没想什么。","textSha256":"fbf3b256356b0fd446b3a0e9469f48929bad45f2823f9f12c38ac4da58e79cac","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-7dec65257b6acbf4-1","anchor":"p-7dec65257b6acbf4-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-7dec65257b6acbf4-1","kind":"p","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"以前我们容易把声音当成画面的解释。现在要改。声音不是解释画面，画面也不是证明声音。它们像两套机器在同一现场互相抢人。","textSha256":"1341b95046d437565b571d0d1ecdd56d2173820785bebeca4ce4fe917cf02948","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-a68ca4a7e87bb0c9-1","anchor":"p-a68ca4a7e87bb0c9-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-a68ca4a7e87bb0c9-1","kind":"p","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"这会直接升级第四部分分析：","textSha256":"73d925d0d7b35fcc64f57b14308795df20754f090223964d60ed492561fa6bed","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-eaf9dea828d635d8-1","anchor":"p-eaf9dea828d635d8-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-eaf9dea828d635d8-1","kind":"li","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"画面机器：让身体成为可见物。","textSha256":"882c313c735aa1bc22854e4ad38e317ae14a74824e8c35043b5af1ff2008eabd","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-9bf901f763225d8c-1","anchor":"p-9bf901f763225d8c-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-9bf901f763225d8c-1","kind":"li","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"声音机器：让沉默、空白、跳过、确认成为可说物。","textSha256":"8c8797e73ae93007c942f5881d37418e15054062cb34dea02ab7c88791cde647","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-2861c7aee9df03f4-1","anchor":"p-2861c7aee9df03f4-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-2861c7aee9df03f4-1","kind":"li","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"公演机器：把可见和可说拧在一起，但不让它们和解。","textSha256":"b20b045d12b4cb2ee8e361373b811925e3feaac4a64c3df7fbdf052748d39b15","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-c79b6188881c857b-1","anchor":"p-c79b6188881c857b-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-c79b6188881c857b-1","kind":"p","headingPath":["一、最重要的新入口：可见和可说分开了"],"text":"这比“导演控制现场”更准确。控制不是从一个人那里发出，而是在可见和可说之间发生。","textSha256":"3f6487d735f709f4bf9bd2f2eb1997582b1dcfe2863cd10b0fd35cefc3b4640d","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-30ed1a4747b81bd6-1","anchor":"p-30ed1a4747b81bd6-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-30ed1a4747b81bd6-1","kind":"h2","headingPath":["二、小津线索：普通时间不是铺垫，普通时间就是事件"],"text":"二、小津线索：普通时间不是铺垫，普通时间就是事件","textSha256":"9efcfd2bc8172e5a877d270afab8bc3dec4a5028bcbe998f77f59c24f82c30c5","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-d1e4981d657ad132-1","anchor":"p-d1e4981d657ad132-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-d1e4981d657ad132-1","kind":"p","headingPath":["二、小津线索：普通时间不是铺垫，普通时间就是事件"],"text":"“德勒兹看电影”页里，小津段落给了一个特别好的提醒：纯视听情境不是靠奇观产生的。日常、空白、停顿、普通对话，也可以让行动影像消失。","textSha256":"a29d2adde4e74af2def5600eb9fa754816c837b5ed13b0c2475b3ac125def7b1","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-db2373260949b87a-1","anchor":"p-db2373260949b87a-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-db2373260949b87a-1","kind":"p","headingPath":["二、小津线索：普通时间不是铺垫，普通时间就是事件"],"text":"这能纠正我们看第四部分开场的方式。","textSha256":"45fc675dbd94c1c4f7e5a79aa4cec9c082ada1be1b148ae3003766bde508bc4c","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-832bc7d36ba0a092-1","anchor":"p-832bc7d36ba0a092-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-832bc7d36ba0a092-1","kind":"p","headingPath":["二、小津线索：普通时间不是铺垫，普通时间就是事件"],"text":"第四部分不是一上来就爆炸。它让人坐着，让观众等，让空间响一点鸟鸣和金属声，让倒计时之后继续空着。这个“空”不是拖沓，不是还没开始。它就是开始。","textSha256":"68e59547e68df8ca22fd67c3818813c2fda9ec102af4cb41f9df06cb6fac84a1","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-06ddbc68d890333a-1","anchor":"p-06ddbc68d890333a-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-06ddbc68d890333a-1","kind":"p","headingPath":["二、小津线索：普通时间不是铺垫，普通时间就是事件"],"text":"换句话说，第四部分的第一个强事件不是抓捕、不是争论、不是 skip ，而是等待本身获得了公演地位。观众被训练成等待机器的一部分。","textSha256":"e7393309fd281f8b8d1391533fcec39f4cdc24300eea2b0d18414d78fdd9cc08","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-014b3769d29e4ab1-1","anchor":"p-014b3769d29e4ab1-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-014b3769d29e4ab1-1","kind":"p","headingPath":["二、小津线索：普通时间不是铺垫，普通时间就是事件"],"text":"这也能回看第三部分：第三部分里水、眼睛、白光、投影不只是“氛围”，而是在训练我们承受纯视听状态。等第四部分来了，我们才会知道，电影已经提前改变了观众的观看器官。","textSha256":"1629e24f343bcf97b48366d52055c5a43351ae341bf03e37ff0208b01e2fd911","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-1b0a1e1cc31c5881-1","anchor":"p-1b0a1e1cc31c5881-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-1b0a1e1cc31c5881-1","kind":"h2","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"三、杜拉斯线索：声音和画面不是一个整体","textSha256":"10a6bc4ab69943de5ce35a2a5537afeaac8413ba66bc5d364b749a5f009a7867","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-11fec4cbadc76626-1","anchor":"p-11fec4cbadc76626-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-11fec4cbadc76626-1","kind":"p","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"杜拉斯相关条目更狠。它强调视觉影像和听觉影像之间的异质性：它们有关联，但不形成一个整体。","textSha256":"8a0da96c47bf4b38fdd1f345943249abfd143924f325be230e858dd35b8e5670","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-ba59a96f1af42ce5-1","anchor":"p-ba59a96f1af42ce5-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-ba59a96f1af42ce5-1","kind":"p","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"这对《人类投降派》几乎是直插核心。","textSha256":"63dc7b445f0161818638d81054e7d58f2e88475a4ab8e4b6618083687714b63d","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-a0eb1e0293bd26fe-1","anchor":"p-a0eb1e0293bd26fe-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-a0eb1e0293bd26fe-1","kind":"p","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"第三部分里，声音经常找不到稳定身体；画面也不再只是情节容器。到了第四部分，声音更进一步变成程序：它不只是说话内容，而是在安排时间、顺序、资格。","textSha256":"bec9fab20ca094e40369e561d1026076e2e12ff0261c9ba5b8ae9cf1219f778a","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-beaa43b3ad565f8c-1","anchor":"p-beaa43b3ad565f8c-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-beaa43b3ad565f8c-1","kind":"p","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"所以后面分析第四部分时，必须把账拆开：","textSha256":"67bc84c0bb6a69e5ec20d574cd928d98e980ac9deb9786acc3964a0d70164c73","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-052384813a657be0-1","anchor":"p-052384813a657be0-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-052384813a657be0-1","kind":"li","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"可见事实：谁在场，身体怎样，空间怎样，镜头怎样，材料怎样。","textSha256":"1433e0b9efdae3ed75234241c71d86875b59680699422145d774f818aaaaf9b2","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-9ca9e7b9b0456f37-1","anchor":"p-9ca9e7b9b0456f37-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-9ca9e7b9b0456f37-1","kind":"li","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"可听事实：谁的声音，声音位置是否稳定，噪音/音乐/残余声如何压场。","textSha256":"da9037fd27ce29ee0fbcc74a21c2ca10651e6c900d9787ada8b5447cf6efc5e5","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-efc05b1a1ad486ad-1","anchor":"p-efc05b1a1ad486ad-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-efc05b1a1ad486ad-1","kind":"li","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"言语行为：这句话在现场执行了什么。","textSha256":"febdb63c809586ac08588b744f334170e607f9a82f8f8bb167edd388b2408aa7","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-22b3200fb7d9c462-1","anchor":"p-22b3200fb7d9c462-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-22b3200fb7d9c462-1","kind":"li","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"不可整体化关系：画面和声音如何互相抵触，而不是互相解释。","textSha256":"97f61e677aafa2bd345e361dca05a18b84349c1c72556284d20c8eb84c07acc4","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-a147c4fb8e90b72a-1","anchor":"p-a147c4fb8e90b72a-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-a147c4fb8e90b72a-1","kind":"p","headingPath":["三、杜拉斯线索：声音和画面不是一个整体"],"text":"这会让 skip 的分析更清楚。 skip 不是对画面做解释，而是把画面无法完成的时间改写成声音流程里的合法动作。","textSha256":"4b2d7d529b05ad44a676bd82ad9969f009cc50d6ed51343f2c0338a805fa5880","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-58ef2060bc9d5383-1","anchor":"p-58ef2060bc9d5383-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-58ef2060bc9d5383-1","kind":"h2","headingPath":["四、伪造者线索：假的不是遮蔽真，假的生产真"],"text":"四、伪造者线索：假的不是遮蔽真，假的生产真","textSha256":"dbfb0c763ce69456ee807e809707e815db78b6e3bdb1840588b2671a7bb875a5","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-7af89de3f8168388-1","anchor":"p-7af89de3f8168388-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-7af89de3f8168388-1","kind":"p","headingPath":["四、伪造者线索：假的不是遮蔽真，假的生产真"],"text":"“电影、真相和时间：伪造者”这一组会成为后续最重要的深读对象。","textSha256":"f48744f6cbfd44e6b841c15393449b21cfd074cbab2eb2b0cde47a43e0a71b6e","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-297e72c77c607a0b-1","anchor":"p-297e72c77c607a0b-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-297e72c77c607a0b-1","kind":"p","headingPath":["四、伪造者线索：假的不是遮蔽真，假的生产真"],"text":"《人类投降派》里，“是不是戏”“真的假的”“已经演过”“不在这里演”“跳过”这些东西，不应该被读成真假判断题。它们更像现场里的造真机器。","textSha256":"0fd5b494189e30fe9762f78a12601cf0721cab9de4d268590e20f4d9781a6cac","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-2b32cdad2913561e-1","anchor":"p-2b32cdad2913561e-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-2b32cdad2913561e-1","kind":"p","headingPath":["四、伪造者线索：假的不是遮蔽真，假的生产真"],"text":"一个句子说出来以后，它不只是描述一个事实，它开始制造事实：","textSha256":"4d2f631edeb901d9b69bb55249f277c747629814cdbebf2197f7ff16acfbf21f","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-c57258306f85cb25-1","anchor":"p-c57258306f85cb25-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-c57258306f85cb25-1","kind":"li","headingPath":["四、伪造者线索：假的不是遮蔽真，假的生产真"],"text":"Already acted 把没有在此刻发生的东西变成已经发生过。","textSha256":"0a8bc8c2addd2f61e2edcf0b32c15fc06b3887b5fcd41993fb76478dc96eefcf","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-2ae01d98a2c8412b-1","anchor":"p-2ae01d98a2c8412b-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-2ae01d98a2c8412b-1","kind":"li","headingPath":["四、伪造者线索：假的不是遮蔽真，假的生产真"],"text":"Not acting here 把现场切成不同层级。","textSha256":"7b3b6217eb593092cfca4859aea53f80baa4568d5548ee178e6f403899d95021","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-0f095bf162fa1989-1","anchor":"p-0f095bf162fa1989-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-0f095bf162fa1989-1","kind":"li","headingPath":["四、伪造者线索：假的不是遮蔽真，假的生产真"],"text":"skip 把缺口变成流程。","textSha256":"0cdd971db39afe6adca51fc6108f002ae62062d1e67c3c3ab9e7dc7eaf486a66","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-07fa56b745be41d6-1","anchor":"p-07fa56b745be41d6-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-07fa56b745be41d6-1","kind":"li","headingPath":["四、伪造者线索：假的不是遮蔽真，假的生产真"],"text":"确认句把不确定变成可归档。","textSha256":"c47025fc241033bc5162c2bfba106610858628be7e133548b6da524da596859a","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-4fb082e4d4ced7fd-1","anchor":"p-4fb082e4d4ced7fd-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-4fb082e4d4ced7fd-1","kind":"p","headingPath":["四、伪造者线索：假的不是遮蔽真，假的生产真"],"text":"这就是伪之力量在《人类投降派》里的现场版本。不是“假戏真做”这么简单，而是伪造、缺席、跳过、重演共同生产一种新的现实。","textSha256":"eabf0a4f7c6d879c731361e5143575509a87b45816ddc950b2cd0cebfa2ad5e6","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-b6b34e106d722f50-1","anchor":"p-b6b34e106d722f50-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-b6b34e106d722f50-1","kind":"h2","headingPath":["五、斯宾诺莎/身体速度：身体不是心理容器"],"text":"五、斯宾诺莎/身体速度：身体不是心理容器","textSha256":"fd6cf7d3ce41026f5a4327ef5d56ee5424447627fcba8541cac7fe021e5e1b87","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-5d14f21c2687e2ba-1","anchor":"p-5d14f21c2687e2ba-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-5d14f21c2687e2ba-1","kind":"p","headingPath":["五、斯宾诺莎/身体速度：身体不是心理容器"],"text":"斯宾诺莎研讨班和著作条目提醒我们，德勒兹读身体时，核心问题不是“身体代表什么”，而是“身体能做什么”“身体以什么速度和强度被改变”。","textSha256":"6f0436919ea95d88c17e284e0c5200c2361db73769edecbcc20b663df546611c","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-e2c3c04d5a71a270-1","anchor":"p-e2c3c04d5a71a270-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-e2c3c04d5a71a270-1","kind":"p","headingPath":["五、斯宾诺莎/身体速度：身体不是心理容器"],"text":"这可以救回我们对第四部分身体的写法。","textSha256":"cc0882bc67a98e580a994b7905f5d8f046dcea3edc3d581f1ec438fa07d85361","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-e67e114a66f90d7f-1","anchor":"p-e67e114a66f90d7f-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-e67e114a66f90d7f-1","kind":"p","headingPath":["五、斯宾诺莎/身体速度：身体不是心理容器"],"text":"甲瑞的身体不能只写成“痛苦”“羞耻”“崩溃”。那还是心理剧。更准确的写法是：身体的速度被改变了。","textSha256":"cdaa2c8118db7d9e6b86ecb5a9245d3438acd18b4d0c7624e954029d1b309825","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-4106570a0f75e36a-1","anchor":"p-4106570a0f75e36a-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-4106570a0f75e36a-1","kind":"p","headingPath":["五、斯宾诺莎/身体速度：身体不是心理容器"],"text":"他被等待拖慢，被注视固定，被问题逼近，被 skip 改写，被材料遮挡，被片尾重新命名。身体不是内心的外壳，而是现场各种力落下的平面。","textSha256":"5767373c7920b9d5e8b4bbbcb92fd2f9d29f7f31711dc91cefe9eee8c5c82d26","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-df717a57b7eb04b3-1","anchor":"p-df717a57b7eb04b3-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-df717a57b7eb04b3-1","kind":"p","headingPath":["五、斯宾诺莎/身体速度：身体不是心理容器"],"text":"这也能补强第三部分：水、白光、眼睛、投影、风扇，不是象征系统，而是改变身体速度和感知速度的介质。","textSha256":"de27c7486cb7c63ec41cac449a89ab011d6cfda59808e0df99071e7e413c78c2","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-f1dfd9d9a042c75a-1","anchor":"p-f1dfd9d9a042c75a-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-f1dfd9d9a042c75a-1","kind":"h2","headingPath":["六、反俄狄浦斯/千高原线索：公开观察机器是装配体，不是单人控制"],"text":"六、反俄狄浦斯/千高原线索：公开观察机器是装配体，不是单人控制","textSha256":"21846f14d34a2ab5b0f2c879fd647c292cac68b7d7cf3a8a71ece917f3278100","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-87f90f35e0535358-1","anchor":"p-87f90f35e0535358-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-87f90f35e0535358-1","kind":"p","headingPath":["六、反俄狄浦斯/千高原线索：公开观察机器是装配体，不是单人控制"],"text":"反俄狄浦斯、千高原、国家装置与战争机器这一组，应该成为第四部分的第二理论底盘。","textSha256":"3dc800b940e69a8c4fd7395d53f13a2cf8e89169ddceffdf460ba5a30e9d76df","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-f662b8baa6391aed-1","anchor":"p-f662b8baa6391aed-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-f662b8baa6391aed-1","kind":"p","headingPath":["六、反俄狄浦斯/千高原线索：公开观察机器是装配体，不是单人控制"],"text":"第四部分最不能写成一个单一主宰模型。不是“何发操控所有人”，也不是“某个角色支配现场”。真正发生的是装配体：","textSha256":"ce5dd696f3dcc86e5999c4e3c2afc312158cd726c976d9f12400651348e72665","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-51273d04c32caf97-1","anchor":"p-51273d04c32caf97-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-51273d04c32caf97-1","kind":"pre","headingPath":["六、反俄狄浦斯/千高原线索：公开观察机器是装配体，不是单人控制"],"text":"观众\n+ 摄影机\n+ 反光地面\n+ 塑料布\n+ 说话顺序\n+ 身体标记\n+ 跳过流程\n+ 片尾名单\n+ 后来的字幕校对和 Wiki 归档\n= 公开观察机器","textSha256":"8128597f245380ccd8f50b1a246ae68e6c1b88363be1424bc2a7b8465b4d659d","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-1a858e72aac17630-1","anchor":"p-1a858e72aac17630-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-1a858e72aac17630-1","kind":"p","headingPath":["六、反俄狄浦斯/千高原线索：公开观察机器是装配体，不是单人控制"],"text":"这套机器不只控制人。它生产人。甲瑞、黄蒙、子丑、Ricky、何发在不同节点上被生产成不同功能，但没有谁能单独等同于整台机器。","textSha256":"65b211bf160cde02c21d5bccbb8551de4da9f72e429e53cae50220fb4f810635","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-18d3b1053af8a920-1","anchor":"p-18d3b1053af8a920-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-18d3b1053af8a920-1","kind":"h2","headingPath":["七、对 deleuze-film-thinker skill 的升级方向"],"text":"七、对 deleuze-film-thinker skill 的升级方向","textSha256":"90e9c03860bf317d2b1e50059aab10dfca49d635d9d3a74941f9b0865769a786","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-3b383186b522e2a6-1","anchor":"p-3b383186b522e2a6-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-3b383186b522e2a6-1","kind":"p","headingPath":["七、对 deleuze-film-thinker skill 的升级方向"],"text":"这批语料要求 skill 从“概念工具箱”升级成“读法发动机”：","textSha256":"6bad29717648d86373916d5748de9d02070fbc7a7edc174500094dc095150048","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-0ac1a289123ee31a-1","anchor":"p-0ac1a289123ee31a-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-0ac1a289123ee31a-1","kind":"li","headingPath":["七、对 deleuze-film-thinker skill 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个条目"],"text":"片尾：伪之力量、水晶影像、归档继续运行。","textSha256":"48c310832d28787d9a3f479f783be3d9b652cac6c2f00ec23b6273dd23216433","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-4681ef1551718b30-1","anchor":"p-4681ef1551718b30-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-4681ef1551718b30-1","kind":"h2","headingPath":["九、现在的新判断"],"text":"九、现在的新判断","textSha256":"7a8bcd677f836649aa0101dd87ce25a3eef5f052b075e346fbbcf4234540df46","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-05c01644a7406e09-1","anchor":"p-05c01644a7406e09-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-05c01644a7406e09-1","kind":"p","headingPath":["九、现在的新判断"],"text":"有了这批语料之后，我会把《人类投降派》的德勒兹式核心判断改得更精确：","textSha256":"652aecf37933cabd2c39007f426162b09d381c59065db2d185dbd7c51b3378fa","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-456c8aa6e6ef2bb3-1","anchor":"p-456c8aa6e6ef2bb3-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-456c8aa6e6ef2bb3-1","kind":"p","headingPath":["九、现在的新判断"],"text":"这部电影不是简单从运动-影像进入时间-影像。它更像是先让行动不断失败，再把行动失败后的剩余物分配给三套机器：画面机器保存身体，声音机器安排流程，档案机器重新命名现场。","textSha256":"f0e2e681d3555b2101583095992d0c3b0ba133dcc6dd0db77386c0be1bd82b28","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-51e6dd77bc1ddb3b-1","anchor":"p-51e6dd77bc1ddb3b-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-51e6dd77bc1ddb3b-1","kind":"p","headingPath":["九、现在的新判断"],"text":"第四部分就是这三套机器第一次公开合体。","textSha256":"17f695feee1c444461db7574c0df24d8bf149cad7ce64cb254080b144b61b2b5","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-f971d56877810852-1","anchor":"p-f971d56877810852-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-f971d56877810852-1","kind":"p","headingPath":["九、现在的新判断"],"text":"所以它不是公演开始，而是可见、可说、可保存三者同时开始抢夺人的时刻。","textSha256":"dfc463f872dcf4302dc1f8cc4d518ec589bcedb1c38fc0328cbacffdc83defc2","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-5652116cc8203236-1","anchor":"p-5652116cc8203236-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-5652116cc8203236-1","kind":"h2","headingPath":["相关"],"text":"相关","textSha256":"7dfa43a32757b9c5007ad75470455a0c6c100a1ad366f2ba604724b6a4bad75e","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-d50b8ed58e42d02c-1","anchor":"p-d50b8ed58e42d02c-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-d50b8ed58e42d02c-1","kind":"li","headingPath":["相关"],"text":"公开观察机器","textSha256":"15909ee01ba517cb56565aabc34a373b9394e537a326839765995f6b7b7efb22","links":["https://a.p4theater.top/research/hs-c8bf508be7798abe"],"images":[]},{"id":"hs-a6893f1aba9917fe#p-2847620edcb3641f-1","anchor":"p-2847620edcb3641f-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-2847620edcb3641f-1","kind":"li","headingPath":["相关"],"text":"分布式公演控制","textSha256":"c056a52850ae5ab26391f56c6791a067967c86eba05adbee30395b516a3abf8f","links":["https://a.p4theater.top/research/hs-8e87420b9a3b4cb8"],"images":[]},{"id":"hs-a6893f1aba9917fe#p-3cf9344cb7855916-1","anchor":"p-3cf9344cb7855916-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-3cf9344cb7855916-1","kind":"li","headingPath":["相关"],"text":"招募式绝境-时间影像","textSha256":"73332bfa14f5b62596e28b04e1d5055be36cb0b92e214688f2090f48d1d49212","links":["https://a.p4theater.top/research/hs-46bd66dfc6555b38"],"images":[]},{"id":"hs-a6893f1aba9917fe#p-6d41c92a52334e83-1","anchor":"p-6d41c92a52334e83-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-6d41c92a52334e83-1","kind":"li","headingPath":["相关"],"text":"说话权被系统接管","textSha256":"2629e2e882d1f1fb26d4e3ccfbe1bf5579d160e07e79a4a08815ba949e0e7d0d","links":["https://a.p4theater.top/research/hs-23c2dec5963ea385"],"images":[]},{"id":"hs-a6893f1aba9917fe#p-a99ba6462c428f56-1","anchor":"p-a99ba6462c428f56-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-a99ba6462c428f56-1","kind":"li","headingPath":["相关"],"text":"Ricky","textSha256":"fbf2144018584dc9bdc7eda2bacb9e2d6ae83222f322e0c223b9a8b8fba80f90","links":["https://a.p4theater.top/research/hs-ddd5b3bf9012d9e9"],"images":[]},{"id":"hs-a6893f1aba9917fe#p-a771da099e125ef3-1","anchor":"p-a771da099e125ef3-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-a771da099e125ef3-1","kind":"li","headingPath":["相关"],"text":"何发（馆内参考，未随本文公开）","textSha256":"0aca3ecbd4a1494c5fc12369686469713e9e485a67bcf09e2c35655a613920bc","links":[],"images":[]},{"id":"hs-a6893f1aba9917fe#p-d051e0953f70e263-1","anchor":"p-d051e0953f70e263-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-d051e0953f70e263-1","kind":"li","headingPath":["相关"],"text":"子丑","textSha256":"93222561eae4980f22d08b1b7db5c7b454af73d933abd61b803bbc453a0e000d","links":["https://a.p4theater.top/research/hs-203eaf80e3685293"],"images":[]},{"id":"hs-a6893f1aba9917fe#p-ddf68f87b8a6437b-1","anchor":"p-ddf68f87b8a6437b-1","url":"https://a.p4theater.top/research/hs-a6893f1aba9917fe#p-ddf68f87b8a6437b-1","kind":"li","headingPath":["相关"],"text":"甲瑞","textSha256":"3626736c680d3f134e86a196d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