{"id":"hs-b6ed057678294ecd","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd","title":"第二章：运动-影像残余与感知-行动图式危机","kind":"research_article","reviewStatus":"selected_research_edition","language":"zh-CN","category":"研究书稿分章","series":"绝境电影研究","sourceVersionDate":"2026-05-17","publishedAt":"2026-09-08","modifiedAt":"2026-09-08T05:03:32+00:00","markdownUrl":"https://a.p4theater.top/research/hs-b6ed057678294ecd.md","editionUrl":"https://a.p4theater.top/research/data/editions/hs-b6ed057678294ecd-d13c78204ec8b2b72994.md","markdownSha256":"d13c78204ec8b2b7299418a65a6da3759caf7ebdf9c91f2c8ace98823a0d3742","markdownBytes":13312,"characters":4372,"sourceEvidenceTier":"T3_SYNTHESIS_OVER_T0_T1_T2","sourceStatus":"final-v1","evidenceBoundary":"本章讨论运动-影像残余；不得把全片粗暴称为时间-影像，必须记录行动仍在发生。","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。","imageUrls":[],"links":["https://a.p4theater.top/research/hs-46bd66dfc6555b38","https://a.p4theater.top/research/hs-535db9b830e1c975","https://a.p4theater.top/research/hs-5dd1cbf52bc4473d","https://a.p4theater.top/research/hs-65c8ddd7f89bebed","https://a.p4theater.top/research/hs-abdd251e91ce91e6","https://a.p4theater.top/research/hs-bda08145ee0ba578","https://a.p4theater.top/research/hs-e33a9b5fd6cb5130","https://a.p4theater.top/research/hs-ef608a7155ec333c"],"relationMethod":"literal links and image references in the public edition; no inferred semantic support","paragraphCount":75,"markdown":"# 第二章：运动-影像残余与感知-行动图式危机\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。\n\n来源版本日期：2026-05-17\n\n证据边界：本章讨论运动-影像残余；不得把全片粗暴称为时间-影像，必须记录行动仍在发生。\n\n# 第二章：运动-影像残余与感知-行动图式危机\n\n《人类投降派》不是从纯粹的瘫痪开始。它一开始仍然保留行动的热。有人必须见到某个人，有人必须说出某句话，有人必须到场，有人必须让关系发生转向。电影开头并不是一潭死水，而是一种行动信念正在被点燃。\n\n德勒兹所谓运动-影像，不只是“镜头在动”，而是一种世界信念：人物看见处境，理解处境，然后通过行动改变处境。古典电影的力量建立在这条链上。问题在于，《人类投降派》让这条链一边继续运行，一边慢慢失灵。\n\n这一章必须守住一个细节：不能太早把全片说成时间-影像。那样会抹掉前面行动的重量。只有先承认行动真的存在，后面的行动危机才会有力度。人不是一开始就倒在地上，也不是一开始就被塑料、片尾和归档接管。人先相信自己能来、能说、能演、能证明、能把某个关系扭回来。正因为这个信念还活着，信念的崩塌才残酷。\n\n运动-影像残余不是旧形式的遗迹，而是绝境电影必须经过的燃料。没有行动信念，绝境只会变成氛围；有了行动信念，绝境才成为行动内部的裂开。\n\n## 行动仍在\n\n最粗糙的误读，是说这部电影“没有行动”。恰恰相反，它有很多行动。到场是行动，表白是行动，排练是行动，证明是行动，抓捕是行动，跳过也是行动。甚至沉默在很多时候也是行动，因为它改变了他人说话和现场等待的方式。\n\n但这部电影的行动不再拥有古典电影的干净功能。行动之后，世界没有被清理。表白之后，关系没有透明。排练之后，错误没有消失。证明之后，怀疑没有解除。跳过之后，缺口没有消失。结束之后，现场还在泄漏。\n\n运动仍在，行动图式却危机四伏。\n\n这里要把“行动”拆得更细。影片里的行动至少有五类。\n\n第一类是抵达行动。人进入现场，似乎事情终于可以开始。抵达在古典电影里常常意味着任务启动：人到了，冲突可以处理，关系可以摊开。但在《人类投降派》中，抵达更像被纳入。人一出现，就进入数字、镜头、关系称呼和后续归档。抵达不是获得主权，而是被登记为可处理对象。\n\n第二类是语言行动。表白、解释、质问、确认、跳过，都不是纯语义。它们在现场改变状态。问题在于，语言虽然能改变流程，却越来越不能稳定真相。一个句子说完，现场确实不同了，但不同不等于解决。语言像一把刀，能切开局面，也能切出更多伤口。\n\n第三类是表演行动。排练、重来、进入角色、退出角色，都属于这一类。表演行动原本应当让人获得形式保护：我是在演，所以我可以说；我是在排，所以我可以错。可本片让这种保护变得不可靠。角色不是安全外壳，而是让真实反应漏出来的夹具。\n\n第四类是身体行动。靠近、躲开、抓住、倒下、滑行、遮蔽、蒙眼、站起、坐下。这些行动常常比语言更诚实，也更难被解释。身体不一定知道自己在表达什么，但它会改变空间压力。第四部分的身体尤其重要：身体不再只是执行动作，而成为被观看、被材料、被流程反复处理的平面。\n\n第五类是档案行动。片尾名单、数字、字幕、人工校对、Wiki 链接，这些看似在影片之后，实则改变影片如何继续存在。归档也是行动，只是它不发生在剧情内部，而发生在时间之后。它把已经发生的未解决保存下来。\n\n把行动拆开后，危机更清楚：不是行动少，而是行动太多、太分散、太互相牵制。每一种行动都有局部力量，却没有一种能重新统治全局。\n\n## 感知-行动链怎样断开\n\n感知-行动图式的崩塌不是突然发生的。它有一个逐渐加压的过程：\n\n```text\n看见关系问题\n-> 尝试到场和说明\n-> 说明不能稳定关系\n-> 尝试排练和重来\n-> 重来暴露更深裂缝\n-> 感知开始失去行动出口\n-> 时间、声音、身体和归档接手\n```\n\n第一、二部分的关键，就是让观众仍然保留“也许下一次行动会有用”的期待。正因为还有这个期待，后面行动的失败才会变得更重。如果电影一开始就放弃行动，绝境只会成为氛围；但它先让行动相信自己，再让行动看见自己的失败，于是绝境变成结构。\n\n这条链断开的方式，并不是简单断成两半。它更像一段电路不断接触不良：有时还能亮一下，有时突然熄灭，有时亮得太刺眼反而让人看不清。\n\n看见关系问题，本应引发说明。可是说明很快被关系本身污染。一个人解释自己时，并不是面对空白听众，而是面对已经有记忆、有期待、有伤口的人。解释于是无法从零开始。\n\n尝试到场，本应让距离缩短。可是到场也带来被看见、被拍摄、被安排位置的压力。人越到场，越不能再以“不在现场”为理由逃开。\n\n尝试排练，本应让错误被修正。可是排练的重复把错误从偶然变成结构。一次没演好可能是失误，反复没演好就说明“演好”这个目标本身出了问题。\n\n尝试证明，本应解除怀疑。可是证明需要观众、对象、规则和证据。证明一旦进入这些条件，反而暴露人并不拥有自己的真实性。\n\n尝试跳过，本应结束段落。可是跳过把缺口命名为缺口。它没有让未说之物消失，只是让未说之物获得流程地位。\n\n这就是感知-行动链的真正危机：每一个修复动作都把需要修复的东西带到更公开的位置。\n\n## 第一、二部分的行动热\n\n第一、二部分的行动热不应被低估。这里的影像仍然有一种推进感：人要见面，关系要摊开，排练要继续，某种真相似乎可以被逼出来。电影还没有完全进入第三部分那种水、白光和声音错位的纯视听状态，也还没有进入第四部分的公开观察机器。\n\n这一阶段的动作有一种朴素信念：只要把人带到一起，只要让话说出来，只要让场景再演一次，事情也许会有转向。它像古典电影残留在现代电影里的火种。\n\n可是火种很快照出自己的无力。到场没有变成透明，排练没有变成完成，表达没有变成理解。行动不断碰到一个问题：关系不是一个可以通过单次正确动作修好的对象。关系有前史，有旧作，有 P4 的招募和排练机制，有真实人之间的不透明，有摄影机和观众的未来压力。\n\n因此第一、二部分最重要的不是它们“讲了什么”，而是它们让观众保留行动信念。观众仍然会期待下一次对话、下一次排练、下一次解释。这种期待后来会被第三、第四部分反复拆开。\n\n## 从运动到时间\n\n德勒兹所说时间-影像不是从天而降。时间是在行动不够用时站出来的。当人物不能再通过动作恢复世界，等待、迟疑、重复、记忆、回声、未完成和归档就开始显形。\n\n《人类投降派》的时间-影像也不是突然出现。它从行动影像内部长出来。一次行动失败，时间还只是延迟；多次行动失败，时间变成滞留；行动失败被观众看见，时间变成公开压力；行动失败被片尾保存，时间变成档案。\n\n这条转换可以写成：\n\n```text\n行动信念\n-> 行动落空\n-> 重复行动\n-> 重复暴露差异\n-> 等待和迟疑增厚\n-> 感知脱离行动\n-> 时间-影像开始掌权\n```\n\n这里的“掌权”不是说行动消失，而是说行动不再是全片的主宰。时间、声音、材料和归档开始和行动平起平坐，甚至反过来处理行动。\n\n## 行动影像的危机种子\n\n这章要仔细写行动影像危机的种子。不是等到第四部分，危机才出现。开场的编号、摄影机、评价性声音、到场压力，已经让行动一出生就带着档案阴影。人物还没真正成为自由行动者，就已经被记录、被判断、被纳入一个更大的工程。\n\n这也是《人类投降派》的狠处。它不是让人物先拥有完整自由，再被剥夺；它让我们发现，所谓完整自由也许从来没有独立存在过。行动开始时，归档已经在等。\n\n编号是第一个种子。数字看似帮助观众进入结构，实际上也让事件从一开始就进入可索引状态。被编号的不是章节而已，也是人的状态、关系的层级、未来回看的坐标。数字让行动从出生起就带着档案痕迹。\n\n摄影机是第二个种子。镜头不是事后记录，而是行动发生时的条件。一个人在镜头前说话，他说的不只是给现场的人听，也给未来听。摄影机把现在变成未来档案的原材料。\n\n评价性声音是第三个种子。声音一旦进入，行动就不再只由行动者自己解释。别人如何叫你、如何要求你、如何评价你的动作，都会改变你的行动意义。\n\n到场压力是第四个种子。一个人来了，就不能轻易撤回自己已经来过。到场留下痕迹，痕迹进入镜头，镜头进入影片，影片进入 Wiki。行动的第一步已经在通向归档。\n\n这些种子说明，行动危机不是第四部分才出现的戏剧效果，而是影片结构从开头就埋下的条件。\n\n## 为什么不能直接跳到第四部分\n\n由于第四部分太强，很容易让前两部分变成“铺垫”。这是危险的。前两部分不是为了第四部分服务的简单前史，而是让第四部分能够被理解的行动底盘。\n\n如果没有第一、二部分的行动信念，第四部分的公开失败就没有重量。观众必须先看见人物仍然想行动、仍然想说、仍然想修复、仍然想完成，才能理解后面为什么那么残酷。第四部分不是凭空残酷，而是把前面那些行动愿望推到公开场里处理。\n\n前两部分还保留了一种亲密关系的幻觉：也许两个人之间可以解决，也许排练室内部可以解决，也许导演和演员之间可以解决。第四部分摧毁这种内部性，让观众、塑料、流程和片尾进入。可这个摧毁只有在内部性曾经被相信过时才有力量。\n\n所以本章的工作是保留前两部分的尊严。它们不是弱章节，而是行动信念最后比较完整的区域。\n\n## 反读\n\n运动-影像残余不能写成“旧电影被新电影淘汰”。《人类投降派》里那些行动仍然很重要，因为没有它们，后面的时间-影像不会站起来。时间不是抽象地出现，而是从行动的不够用中被迫出现。\n\n因此，本章不能用时间-影像压扁前两部分。要承认行动的真实强度，同时指出这种强度为什么不能完成修复。\n\n还要承认另一件事：行动不只失败，它也真的改变局面。到场改变关系距离，语言改变流程，排练改变身体记忆，跳过改变时间结构，片尾改变身份归属。行动不是假的，也不是装饰。\n\n问题在于这些改变越来越局部。它们像在一张破网里打结，可以让某一处暂时不散，却不能让整张网恢复原样。绝境电影的行动不是无效行动，而是局部有效、总体失效的行动。\n\n这个反读能防止我们把影片写成纯瘫痪。影片的力量不在瘫痪，而在运动继续存在。人仍然努力，这种努力才使绝境变得难受。\n\n## 本章命题\n\n《人类投降派》的现代性不在于它没有行动，而在于它让行动继续发生，并在行动内部拍出行动自身的危机。\n\n运动-影像没有被简单抛弃；它被保留、被磨损、被公开失败，最后被时间、声音、身体和档案接管。\n\n## 相关\n\n- - 回应失效（馆内参考，未随本文公开）\n- - 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[德勒兹Wave15电影形式增量-2026-05-10](/research/hs-65c8ddd7f89bebed)","paragraphs":[{"id":"hs-b6ed057678294ecd#p-87643a279fbdbbf6-1","anchor":"p-87643a279fbdbbf6-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-87643a279fbdbbf6-1","kind":"h2","headingPath":["第二章：运动-影像残余与感知-行动图式危机"],"text":"第二章：运动-影像残余与感知-行动图式危机","textSha256":"5082d3feeec2c479842a2247affa59ae759c45ed578ecf41bc05f5db713790b1","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-3242e5d76a99f771-1","anchor":"p-3242e5d76a99f771-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-3242e5d76a99f771-1","kind":"p","headingPath":["第二章：运动-影像残余与感知-行动图式危机"],"text":"《人类投降派》不是从纯粹的瘫痪开始。它一开始仍然保留行动的热。有人必须见到某个人，有人必须说出某句话，有人必须到场，有人必须让关系发生转向。电影开头并不是一潭死水，而是一种行动信念正在被点燃。","textSha256":"bf4f6cf475d901e5669fc55b650326e926bd5954c71db0f357e07fdae50994f6","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-e1c0db4910f44602-1","anchor":"p-e1c0db4910f44602-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-e1c0db4910f44602-1","kind":"p","headingPath":["第二章：运动-影像残余与感知-行动图式危机"],"text":"德勒兹所谓运动-影像，不只是“镜头在动”，而是一种世界信念：人物看见处境，理解处境，然后通过行动改变处境。古典电影的力量建立在这条链上。问题在于，《人类投降派》让这条链一边继续运行，一边慢慢失灵。","textSha256":"2c2a252b7a00ab0183f3bb818472f8bc43aff409549eb1698f5806e7d69e10dd","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-d8fc731768bf6c34-1","anchor":"p-d8fc731768bf6c34-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-d8fc731768bf6c34-1","kind":"p","headingPath":["第二章：运动-影像残余与感知-行动图式危机"],"text":"这一章必须守住一个细节：不能太早把全片说成时间-影像。那样会抹掉前面行动的重量。只有先承认行动真的存在，后面的行动危机才会有力度。人不是一开始就倒在地上，也不是一开始就被塑料、片尾和归档接管。人先相信自己能来、能说、能演、能证明、能把某个关系扭回来。正因为这个信念还活着，信念的崩塌才残酷。","textSha256":"b9ef278622a1923ca6e9cf55b25e2c7418cffc5b0e396c71a79a5f5ec171dcbe","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-e5b557bd6d125b12-1","anchor":"p-e5b557bd6d125b12-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-e5b557bd6d125b12-1","kind":"p","headingPath":["第二章：运动-影像残余与感知-行动图式危机"],"text":"运动-影像残余不是旧形式的遗迹，而是绝境电影必须经过的燃料。没有行动信念，绝境只会变成氛围；有了行动信念，绝境才成为行动内部的裂开。","textSha256":"af33d38e4797af29fdb18916b076ead4a5410ceec0b43b718684b6213dc37462","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-a746c0be11725737-1","anchor":"p-a746c0be11725737-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-a746c0be11725737-1","kind":"h2","headingPath":["行动仍在"],"text":"行动仍在","textSha256":"a17a9c8c986ee67358e9854ec6db580c4db67641ea8053306f2f5397b673a420","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-fcac3dac365873c8-1","anchor":"p-fcac3dac365873c8-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-fcac3dac365873c8-1","kind":"p","headingPath":["行动仍在"],"text":"最粗糙的误读，是说这部电影“没有行动”。恰恰相反，它有很多行动。到场是行动，表白是行动，排练是行动，证明是行动，抓捕是行动，跳过也是行动。甚至沉默在很多时候也是行动，因为它改变了他人说话和现场等待的方式。","textSha256":"439f39bba52a4a023593a3f00f9d88edf1f1762d1d003ba5c87cc4213b12e2dd","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-dce4847c8db56689-1","anchor":"p-dce4847c8db56689-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-dce4847c8db56689-1","kind":"p","headingPath":["行动仍在"],"text":"但这部电影的行动不再拥有古典电影的干净功能。行动之后，世界没有被清理。表白之后，关系没有透明。排练之后，错误没有消失。证明之后，怀疑没有解除。跳过之后，缺口没有消失。结束之后，现场还在泄漏。","textSha256":"0d7edb3e6cf4ee8cc38aefea91270b9b2c3c738b8a8e2122b983eb79cde78095","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-427979f5fe10d221-1","anchor":"p-427979f5fe10d221-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-427979f5fe10d221-1","kind":"p","headingPath":["行动仍在"],"text":"运动仍在，行动图式却危机四伏。","textSha256":"edb6ac498cef193453a5cfbc5b91259b91058bb935c77ac21aebfa3c1ff9091a","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-490604033c1c8ff8-1","anchor":"p-490604033c1c8ff8-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-490604033c1c8ff8-1","kind":"p","headingPath":["行动仍在"],"text":"这里要把“行动”拆得更细。影片里的行动至少有五类。","textSha256":"3eb023e386586c20184d0fd86810ef06357ea14a5e27616ed492dedcfeb05be9","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-f76083174f809b02-1","anchor":"p-f76083174f809b02-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-f76083174f809b02-1","kind":"p","headingPath":["行动仍在"],"text":"第一类是抵达行动。人进入现场，似乎事情终于可以开始。抵达在古典电影里常常意味着任务启动：人到了，冲突可以处理，关系可以摊开。但在《人类投降派》中，抵达更像被纳入。人一出现，就进入数字、镜头、关系称呼和后续归档。抵达不是获得主权，而是被登记为可处理对象。","textSha256":"79e6f18ecdf86b3badc493522195c3579af7a99f0e10f74dfcdf33a2274d45ab","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-6f71de576f05efb9-1","anchor":"p-6f71de576f05efb9-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-6f71de576f05efb9-1","kind":"p","headingPath":["行动仍在"],"text":"第二类是语言行动。表白、解释、质问、确认、跳过，都不是纯语义。它们在现场改变状态。问题在于，语言虽然能改变流程，却越来越不能稳定真相。一个句子说完，现场确实不同了，但不同不等于解决。语言像一把刀，能切开局面，也能切出更多伤口。","textSha256":"6267a12667d5a27f58f12c0d2e8113912984f64016abde9eb931540df5537477","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-8b582364f6d9d4b6-1","anchor":"p-8b582364f6d9d4b6-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-8b582364f6d9d4b6-1","kind":"p","headingPath":["行动仍在"],"text":"第三类是表演行动。排练、重来、进入角色、退出角色，都属于这一类。表演行动原本应当让人获得形式保护：我是在演，所以我可以说；我是在排，所以我可以错。可本片让这种保护变得不可靠。角色不是安全外壳，而是让真实反应漏出来的夹具。","textSha256":"5a7cab61ec5d04f9abef3bf241ac69de923ae01d16d7fa048aac6e9058bd5311","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-7b790e43b6d56157-1","anchor":"p-7b790e43b6d56157-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-7b790e43b6d56157-1","kind":"p","headingPath":["行动仍在"],"text":"第四类是身体行动。靠近、躲开、抓住、倒下、滑行、遮蔽、蒙眼、站起、坐下。这些行动常常比语言更诚实，也更难被解释。身体不一定知道自己在表达什么，但它会改变空间压力。第四部分的身体尤其重要：身体不再只是执行动作，而成为被观看、被材料、被流程反复处理的平面。","textSha256":"14f971fb26d26fa5881b10c3df57d047c5fe310c38dc257f1f4560b7158c2f79","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-aca323976932aec1-1","anchor":"p-aca323976932aec1-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-aca323976932aec1-1","kind":"p","headingPath":["行动仍在"],"text":"第五类是档案行动。片尾名单、数字、字幕、人工校对、Wiki 链接，这些看似在影片之后，实则改变影片如何继续存在。归档也是行动，只是它不发生在剧情内部，而发生在时间之后。它把已经发生的未解决保存下来。","textSha256":"cc637bc127d6ceb78a445647ebe365b5d8cf7962e3181975f3bb77cfcc316a0c","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-6ec3fcce759aac97-1","anchor":"p-6ec3fcce759aac97-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-6ec3fcce759aac97-1","kind":"p","headingPath":["行动仍在"],"text":"把行动拆开后，危机更清楚：不是行动少，而是行动太多、太分散、太互相牵制。每一种行动都有局部力量，却没有一种能重新统治全局。","textSha256":"a34a38bc6fd17b580b723dd45590b08252625ba683acb5beee4f463317c4e4b5","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-42ed7c69ba24da57-1","anchor":"p-42ed7c69ba24da57-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-42ed7c69ba24da57-1","kind":"h2","headingPath":["感知-行动链怎样断开"],"text":"感知-行动链怎样断开","textSha256":"1e0cb5c350c8b397f62a3b4b726f421ba7d35a9b18b9b0ea87fedfe82d7b75eb","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-2644118893ee5f3c-1","anchor":"p-2644118893ee5f3c-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-2644118893ee5f3c-1","kind":"p","headingPath":["感知-行动链怎样断开"],"text":"感知-行动图式的崩塌不是突然发生的。它有一个逐渐加压的过程：","textSha256":"e0022c93c9e725543a929f9350a0f0dcf2643673c980722a804552807e7db392","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-d8f811b8b82b3469-1","anchor":"p-d8f811b8b82b3469-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-d8f811b8b82b3469-1","kind":"pre","headingPath":["感知-行动链怎样断开"],"text":"看见关系问题\n-> 尝试到场和说明\n-> 说明不能稳定关系\n-> 尝试排练和重来\n-> 重来暴露更深裂缝\n-> 感知开始失去行动出口\n-> 时间、声音、身体和归档接手","textSha256":"bb96d5b5d692e277a64f2637d139ef7c79afcf6494ee17f80cf60be3ea4eb7f1","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-83d6b28b0a570f59-1","anchor":"p-83d6b28b0a570f59-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-83d6b28b0a570f59-1","kind":"p","headingPath":["感知-行动链怎样断开"],"text":"第一、二部分的关键，就是让观众仍然保留“也许下一次行动会有用”的期待。正因为还有这个期待，后面行动的失败才会变得更重。如果电影一开始就放弃行动，绝境只会成为氛围；但它先让行动相信自己，再让行动看见自己的失败，于是绝境变成结构。","textSha256":"1a5de6e5290725001fe3b5d32e2552257c44b8dde78fc8c949af52e90dbc9546","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-2ef249bde2c5f1c3-1","anchor":"p-2ef249bde2c5f1c3-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-2ef249bde2c5f1c3-1","kind":"p","headingPath":["感知-行动链怎样断开"],"text":"这条链断开的方式，并不是简单断成两半。它更像一段电路不断接触不良：有时还能亮一下，有时突然熄灭，有时亮得太刺眼反而让人看不清。","textSha256":"26204d9b5fa13a72010ffc21e88e5634b130108bfc6a388729c1159db7c4ddcc","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-c8cd3f8e166719c5-1","anchor":"p-c8cd3f8e166719c5-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-c8cd3f8e166719c5-1","kind":"p","headingPath":["感知-行动链怎样断开"],"text":"看见关系问题，本应引发说明。可是说明很快被关系本身污染。一个人解释自己时，并不是面对空白听众，而是面对已经有记忆、有期待、有伤口的人。解释于是无法从零开始。","textSha256":"4037cf44ecab31feadee2820c899fcd20b3a561a5efe985604081e221c01b337","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-ad8e7929abe38e39-1","anchor":"p-ad8e7929abe38e39-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-ad8e7929abe38e39-1","kind":"p","headingPath":["感知-行动链怎样断开"],"text":"尝试到场，本应让距离缩短。可是到场也带来被看见、被拍摄、被安排位置的压力。人越到场，越不能再以“不在现场”为理由逃开。","textSha256":"36ba72885745cb076b2c61ef62b6553f12f7aa6e406e76ef54c8983a70858d2b","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-5a5ef475b4786a8a-1","anchor":"p-5a5ef475b4786a8a-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-5a5ef475b4786a8a-1","kind":"p","headingPath":["感知-行动链怎样断开"],"text":"尝试排练，本应让错误被修正。可是排练的重复把错误从偶然变成结构。一次没演好可能是失误，反复没演好就说明“演好”这个目标本身出了问题。","textSha256":"c6e989cae04c7051efbf97588bf8e278d8af5dae38df302bfdf8e476a2a631b6","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-9c1abe1295b68fa7-1","anchor":"p-9c1abe1295b68fa7-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-9c1abe1295b68fa7-1","kind":"p","headingPath":["感知-行动链怎样断开"],"text":"尝试证明，本应解除怀疑。可是证明需要观众、对象、规则和证据。证明一旦进入这些条件，反而暴露人并不拥有自己的真实性。","textSha256":"0b05a1fc7b0312fc91ae203363bf9b40e7d076eba6b65789fb005d7077d78876","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-63925f6e109e33ad-1","anchor":"p-63925f6e109e33ad-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-63925f6e109e33ad-1","kind":"p","headingPath":["感知-行动链怎样断开"],"text":"尝试跳过，本应结束段落。可是跳过把缺口命名为缺口。它没有让未说之物消失，只是让未说之物获得流程地位。","textSha256":"7635739e1e169e7c8d85d21269f65df72f5f2b36f3099408dc868eed5153a0bc","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-d9ece971926ffd98-1","anchor":"p-d9ece971926ffd98-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-d9ece971926ffd98-1","kind":"p","headingPath":["感知-行动链怎样断开"],"text":"这就是感知-行动链的真正危机：每一个修复动作都把需要修复的东西带到更公开的位置。","textSha256":"10451854eca36429035985ff64f0889e635ef4a0f2a57635514f70fd66e9d97d","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-f04bd41cff91286f-1","anchor":"p-f04bd41cff91286f-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-f04bd41cff91286f-1","kind":"h2","headingPath":["第一、二部分的行动热"],"text":"第一、二部分的行动热","textSha256":"a859b2584acf6be4331d9cdb6cd11de0d611007f897c09bb5b9a885616a94e37","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-f42538002e998961-1","anchor":"p-f42538002e998961-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-f42538002e998961-1","kind":"p","headingPath":["第一、二部分的行动热"],"text":"第一、二部分的行动热不应被低估。这里的影像仍然有一种推进感：人要见面，关系要摊开，排练要继续，某种真相似乎可以被逼出来。电影还没有完全进入第三部分那种水、白光和声音错位的纯视听状态，也还没有进入第四部分的公开观察机器。","textSha256":"ed80bc510c515bef7c7a237bbfc66de76a9030952d24c601d73fce567d083cc5","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-4b7d2ed79a612e24-1","anchor":"p-4b7d2ed79a612e24-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-4b7d2ed79a612e24-1","kind":"p","headingPath":["第一、二部分的行动热"],"text":"这一阶段的动作有一种朴素信念：只要把人带到一起，只要让话说出来，只要让场景再演一次，事情也许会有转向。它像古典电影残留在现代电影里的火种。","textSha256":"aae9e678906efc2ca2bb076611796f4d42c01669f73758878b731abf92076485","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-6aff4fc2f650d930-1","anchor":"p-6aff4fc2f650d930-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-6aff4fc2f650d930-1","kind":"p","headingPath":["第一、二部分的行动热"],"text":"可是火种很快照出自己的无力。到场没有变成透明，排练没有变成完成，表达没有变成理解。行动不断碰到一个问题：关系不是一个可以通过单次正确动作修好的对象。关系有前史，有旧作，有 P4 的招募和排练机制，有真实人之间的不透明，有摄影机和观众的未来压力。","textSha256":"7312f3583e2d44e0a0127e3715abcd038ff73ed32483e5f747ff1ae7715e9cea","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-3234f2ab8a57fb2f-1","anchor":"p-3234f2ab8a57fb2f-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-3234f2ab8a57fb2f-1","kind":"p","headingPath":["第一、二部分的行动热"],"text":"因此第一、二部分最重要的不是它们“讲了什么”，而是它们让观众保留行动信念。观众仍然会期待下一次对话、下一次排练、下一次解释。这种期待后来会被第三、第四部分反复拆开。","textSha256":"754a47581dcfab285cc4f8d646f28c150d30a60e56948e1311cba996e3dc0ef2","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-5c840ecb60552e82-1","anchor":"p-5c840ecb60552e82-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-5c840ecb60552e82-1","kind":"h2","headingPath":["从运动到时间"],"text":"从运动到时间","textSha256":"2cd04c18802738e9475211257789f76fc3631475196898688fc550abbce545cd","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-a6e8fee1c2ce76b4-1","anchor":"p-a6e8fee1c2ce76b4-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-a6e8fee1c2ce76b4-1","kind":"p","headingPath":["从运动到时间"],"text":"德勒兹所说时间-影像不是从天而降。时间是在行动不够用时站出来的。当人物不能再通过动作恢复世界，等待、迟疑、重复、记忆、回声、未完成和归档就开始显形。","textSha256":"6ab3f95863eb60fc408bf4b47909f801575e3e20d47e826a1c2f3fdb98530af9","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-fba3922e64142e72-1","anchor":"p-fba3922e64142e72-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-fba3922e64142e72-1","kind":"p","headingPath":["从运动到时间"],"text":"《人类投降派》的时间-影像也不是突然出现。它从行动影像内部长出来。一次行动失败，时间还只是延迟；多次行动失败，时间变成滞留；行动失败被观众看见，时间变成公开压力；行动失败被片尾保存，时间变成档案。","textSha256":"c20d77bbe2e3e4df34f323e809d9588c30d51a6caa79b16fc12def14662a23dd","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-8581fe426786a99b-1","anchor":"p-8581fe426786a99b-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-8581fe426786a99b-1","kind":"p","headingPath":["从运动到时间"],"text":"这条转换可以写成：","textSha256":"aab6d004267d4ba87d52a913d1bd8abba1daf7ca1449c9c63c4ca0d8d042c65d","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-598daec7136a30a1-1","anchor":"p-598daec7136a30a1-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-598daec7136a30a1-1","kind":"pre","headingPath":["从运动到时间"],"text":"行动信念\n-> 行动落空\n-> 重复行动\n-> 重复暴露差异\n-> 等待和迟疑增厚\n-> 感知脱离行动\n-> 时间-影像开始掌权","textSha256":"274dd847742aae451a5906f44adbb1e34b877260b16760a0a23d6bf673fedbe7","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-3fbce14f817427f2-1","anchor":"p-3fbce14f817427f2-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-3fbce14f817427f2-1","kind":"p","headingPath":["从运动到时间"],"text":"这里的“掌权”不是说行动消失，而是说行动不再是全片的主宰。时间、声音、材料和归档开始和行动平起平坐，甚至反过来处理行动。","textSha256":"587dcf1da8ad1f9efbf915a523fb4595caf6911d0e1ce9406e748d09aef315bf","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-1e5b589848d71ac1-1","anchor":"p-1e5b589848d71ac1-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-1e5b589848d71ac1-1","kind":"h2","headingPath":["行动影像的危机种子"],"text":"行动影像的危机种子","textSha256":"c97865c9103ab798368737457386e13fdd2d3d377e0cc59baa8537372b099e1b","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-2e5e37dd92a56d70-1","anchor":"p-2e5e37dd92a56d70-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-2e5e37dd92a56d70-1","kind":"p","headingPath":["行动影像的危机种子"],"text":"这章要仔细写行动影像危机的种子。不是等到第四部分，危机才出现。开场的编号、摄影机、评价性声音、到场压力，已经让行动一出生就带着档案阴影。人物还没真正成为自由行动者，就已经被记录、被判断、被纳入一个更大的工程。","textSha256":"0ac3f6e351263475ce73e3a9c8f6b7c186473bbe8079315298b4a2661f838b04","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-f083bf5727c8b140-1","anchor":"p-f083bf5727c8b140-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-f083bf5727c8b140-1","kind":"p","headingPath":["行动影像的危机种子"],"text":"这也是《人类投降派》的狠处。它不是让人物先拥有完整自由，再被剥夺；它让我们发现，所谓完整自由也许从来没有独立存在过。行动开始时，归档已经在等。","textSha256":"b3faa221dea1c295c4745dea855b41aec6009fd9bdfb8d5052db72dc7dd0a799","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-dff2fa47ba4b110c-1","anchor":"p-dff2fa47ba4b110c-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-dff2fa47ba4b110c-1","kind":"p","headingPath":["行动影像的危机种子"],"text":"编号是第一个种子。数字看似帮助观众进入结构，实际上也让事件从一开始就进入可索引状态。被编号的不是章节而已，也是人的状态、关系的层级、未来回看的坐标。数字让行动从出生起就带着档案痕迹。","textSha256":"4c917ddcef53cf177df3525cd891b14a07283ae2e4d9a88d5fbcbff2b6131e3a","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-52fd372f4b3587b6-1","anchor":"p-52fd372f4b3587b6-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-52fd372f4b3587b6-1","kind":"p","headingPath":["行动影像的危机种子"],"text":"摄影机是第二个种子。镜头不是事后记录，而是行动发生时的条件。一个人在镜头前说话，他说的不只是给现场的人听，也给未来听。摄影机把现在变成未来档案的原材料。","textSha256":"53a22840a4917409d743bef1d46438797cbd1eb7403ec0b99283ac3953895826","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-e3817b9974aaf6df-1","anchor":"p-e3817b9974aaf6df-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-e3817b9974aaf6df-1","kind":"p","headingPath":["行动影像的危机种子"],"text":"评价性声音是第三个种子。声音一旦进入，行动就不再只由行动者自己解释。别人如何叫你、如何要求你、如何评价你的动作，都会改变你的行动意义。","textSha256":"bb3e653af8f0a08393aa21a424a4cb75e1eb47863fb1ade730e4e3548bab7dfa","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-3165e764d1bceb68-1","anchor":"p-3165e764d1bceb68-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-3165e764d1bceb68-1","kind":"p","headingPath":["行动影像的危机种子"],"text":"到场压力是第四个种子。一个人来了，就不能轻易撤回自己已经来过。到场留下痕迹，痕迹进入镜头，镜头进入影片，影片进入 Wiki。行动的第一步已经在通向归档。","textSha256":"07f3741e8a2d81b302b1c49ec53bb34a086a59f2225ca55c24403529254cce33","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-73a84d45b7af1d34-1","anchor":"p-73a84d45b7af1d34-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-73a84d45b7af1d34-1","kind":"p","headingPath":["行动影像的危机种子"],"text":"这些种子说明，行动危机不是第四部分才出现的戏剧效果，而是影片结构从开头就埋下的条件。","textSha256":"ce6c7f666646ad34f661c84f7b9ed46676ae9360efb44e894717a6e1c52b8134","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-440d9d60683bbec6-1","anchor":"p-440d9d60683bbec6-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-440d9d60683bbec6-1","kind":"h2","headingPath":["为什么不能直接跳到第四部分"],"text":"为什么不能直接跳到第四部分","textSha256":"8aba57c2fcc7ffe9eecd49e1f0999b1d1843c45fd91eff375e1e9608059a2e41","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-a5f1192fdf48bde6-1","anchor":"p-a5f1192fdf48bde6-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-a5f1192fdf48bde6-1","kind":"p","headingPath":["为什么不能直接跳到第四部分"],"text":"由于第四部分太强，很容易让前两部分变成“铺垫”。这是危险的。前两部分不是为了第四部分服务的简单前史，而是让第四部分能够被理解的行动底盘。","textSha256":"7ecdde48598ea8f505bb6ed7a341a55e714715aa1fa2c958718bcecd26448f08","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-80fcb3f7b608d23f-1","anchor":"p-80fcb3f7b608d23f-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-80fcb3f7b608d23f-1","kind":"p","headingPath":["为什么不能直接跳到第四部分"],"text":"如果没有第一、二部分的行动信念，第四部分的公开失败就没有重量。观众必须先看见人物仍然想行动、仍然想说、仍然想修复、仍然想完成，才能理解后面为什么那么残酷。第四部分不是凭空残酷，而是把前面那些行动愿望推到公开场里处理。","textSha256":"dc197eacc53e6b0c8ad22e6692fd03a5ef9b65adaaab3219e633e35168b53522","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-e96cede3348ead55-1","anchor":"p-e96cede3348ead55-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-e96cede3348ead55-1","kind":"p","headingPath":["为什么不能直接跳到第四部分"],"text":"前两部分还保留了一种亲密关系的幻觉：也许两个人之间可以解决，也许排练室内部可以解决，也许导演和演员之间可以解决。第四部分摧毁这种内部性，让观众、塑料、流程和片尾进入。可这个摧毁只有在内部性曾经被相信过时才有力量。","textSha256":"00a655df29c427bad659f12249c118371cb8911275beab56d401c1e93ce438ab","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-01bf69bf2b0ea29c-1","anchor":"p-01bf69bf2b0ea29c-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-01bf69bf2b0ea29c-1","kind":"p","headingPath":["为什么不能直接跳到第四部分"],"text":"所以本章的工作是保留前两部分的尊严。它们不是弱章节，而是行动信念最后比较完整的区域。","textSha256":"c771c1c2e2a2250925fd8669b1c08200571c05f80e13c61a075d0565f6cee90f","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-5b34a643890de5a8-1","anchor":"p-5b34a643890de5a8-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-5b34a643890de5a8-1","kind":"h2","headingPath":["反读"],"text":"反读","textSha256":"90585c484b229d6befae88da3f4ef0845a7d08ddc4526ac69a22a83f53a7d1be","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-d6e30dcfa81864d1-1","anchor":"p-d6e30dcfa81864d1-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-d6e30dcfa81864d1-1","kind":"p","headingPath":["反读"],"text":"运动-影像残余不能写成“旧电影被新电影淘汰”。《人类投降派》里那些行动仍然很重要，因为没有它们，后面的时间-影像不会站起来。时间不是抽象地出现，而是从行动的不够用中被迫出现。","textSha256":"a585d12ba0f454cbbdd6de409e876b9f65b53eac6b7a00b4cafbf3338b2e414a","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-07fc429f0141bd7a-1","anchor":"p-07fc429f0141bd7a-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-07fc429f0141bd7a-1","kind":"p","headingPath":["反读"],"text":"因此，本章不能用时间-影像压扁前两部分。要承认行动的真实强度，同时指出这种强度为什么不能完成修复。","textSha256":"0e632ef7078f20eeaf433fc874c92fa96fcfb2c062b65bcfd1543b41810e8fef","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-cf952d68791a1a88-1","anchor":"p-cf952d68791a1a88-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-cf952d68791a1a88-1","kind":"p","headingPath":["反读"],"text":"还要承认另一件事：行动不只失败，它也真的改变局面。到场改变关系距离，语言改变流程，排练改变身体记忆，跳过改变时间结构，片尾改变身份归属。行动不是假的，也不是装饰。","textSha256":"6e3e2d89c5d253fe784d1de27ce2db39a24a152da1b76aa6d2c0a899c23d92f1","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-ccefe02dae549253-1","anchor":"p-ccefe02dae549253-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-ccefe02dae549253-1","kind":"p","headingPath":["反读"],"text":"问题在于这些改变越来越局部。它们像在一张破网里打结，可以让某一处暂时不散，却不能让整张网恢复原样。绝境电影的行动不是无效行动，而是局部有效、总体失效的行动。","textSha256":"7b807022ad420867876a35cd30c90d06528b79bfd15f9cb555109946dc48c3c5","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-4705cb607bbdf951-1","anchor":"p-4705cb607bbdf951-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-4705cb607bbdf951-1","kind":"p","headingPath":["反读"],"text":"这个反读能防止我们把影片写成纯瘫痪。影片的力量不在瘫痪，而在运动继续存在。人仍然努力，这种努力才使绝境变得难受。","textSha256":"78c1216e3dc49a6328baa9639c28adf2bee63bcbce647e5d28259532b3032986","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-8288467fae262910-1","anchor":"p-8288467fae262910-1","url":"https://a.p4theater.top/research/hs-b6ed057678294ecd#p-8288467fae262910-1","kind":"h2","headingPath":["本章命题"],"text":"本章命题","textSha256":"bdc4e9bb98128bb2ae54a6fc2d7e6100e0bd6669d46cbce74e3639898bc1d646","links":[],"images":[]},{"id":"hs-b6ed057678294ecd#p-09705d93b61a9cf0-1","ancho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