In this way, a sensible politicity exists that is immediately attributed to the major forms of aesthetic distribution such as the theatre, the page, or the chorus. These politics obey their own proper logic, and they offer their services in very different contexts and time periods. Consider the way these paradigms functioned in the connection between art and politics at the end of the nineteenth century and the beginning of the twentieth. Consider, for example, the role taken on by the paradigm of the page in all its different forms, which exceed the materiality of a written sheet of paper. Novelistic democracy, on the one hand, is the indifferent democracy of writing such as it is symbolized by the novel and its readership. There is also, however, the knowledge concerning typography and iconography, the intertwining of graphic and pictorial capabilities, that played such an important role in the Renaissance and was revived by Romantic typographythrough its use of vignettes, culs-de-lampe, and various innovations. This model disturbs the clear-cut rules of representative logic that establish a relationship of correspondence at a distance between the sayable and the visible. It also disturbs the clear partition between works of pure art and the ornaments made by the decorative arts. This is why it played such an important - and generally underestimated - role in the upheaval of the representative paradigm and of its political implications. I am thinking in particular of its role in the Arts and Crafts movement and all of its derivatives (Art Deco, Bauhaus, Constructivism). These movements developed an idea of furniture – in the broad sense of the term for a new community, which also inspired a new idea of pictorial surface as a surface of shared writing.
Modernist discourse presents the revolution of pictorial abstraction as paintings discovery of its own proper medium: two-dimensional surface. By revoking the perspectivist illusion of the third dimension, painting was to regain the mastery of its own proper surface. In actual fact, however, this surface does not have any distinctive feature. A surface is not simply a geometric composition of lines. It is a certain distribution of the sensible. For Plato, writing and painting were equivalent surfaces of mute signs, deprived of the breath that animates and transports living speech. Flat surfaces, in this logic, are not opposed to depth in the sense of three-dimensional surfaces. They are opposed to the living. The mute surface of depicted signs stands in opposition to the act of living speech, which is guided by the speaker towards its appropriate addressee. Moreover, paintings adoption of the third dimension was also a response to this distribution. The reproduction of optical depth was linked to the privilege accorded to the story. In the Renaissance, the reproduction of three-dimensional space was involved in the valorization of painting and the assertion of its ability to capture an act of living speech, the decisive moment of action and meaning. In opposition to the Platonic degradation of mimēsis, the classical poetics of representation wanted to endow the fiat surface with speech or with a scene of life, with a specific depth such as the manifestation of an action, the expression of an interiority, or the transmission of meaning. Classical poetics established a relationship of correspondence at a distance between speech and painting, between the sayable and the visible, which gave imitation its own specific space.
It is this relationship that is at stake in the supposed distinction between two-dimensional and three-dimensional space as specific to a particular form of art. To a large extent, the ground was laid for paintings anti-representative revolution by the flat surface of the page, in the change in how literatures images function or the change in the discourse on painting, but also in the ways in which typography, posters, and the decorative arts became interlaced. The type of painting that is poorly named abstract, and which is supposedly brought back to its own proper medium, is implicated in an overall vision of a new human being lodged in new structures, surrounded by different objects. Its flatness is linked to the flatness of pages, posters, and tapestries. It is the flatness of an interface. Moreover, its anti-representative purity is inscribed in a context where pure art and decorative art are intertwined, a context that straight away gives it a political signification. This context is not the surrounding revolutionary fever that made Malevich at once the artist who painted Black Square and the revolutionary eulogist of new forms of life. Furthermore, this is not some theatrical ideal of the new human being that seals the momentary alliance between revolutionary artists and politics. It is initially in the interface created between different mediums- in the connections forged between poems and their typography or their illustrations, between the theatre and its set designers or poster designers, between decorative objects and poems - that this newness is formed that links the artist who abolishes figurative representation to the revolutionary who invents a new form of life. This interface is political in that it revokes the twofold politics inherent in the logic of representation. On the one hand, this logic separated the world of artistic imitations from the world of vital concerns and politico-social grandeur. On the other hand, its hierarchical organization - in particular the primacy of living speech/action over depicted images - formed an analogy with the socio-political order. With the triumph of the novels page over the theatrical stage, the egalitarian intertwining of images and signs on pictorial or typographic surfaces, the elevation of artisans art to the status of great art, and the new claim to bring art into the deacute;cor of each and every life, an e
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以这种方式，一个明智的政治存在，立即归因于主要形式的审美分布，如戏剧，网页，或合唱。这些“政治”遵循他们自己的正确逻辑，他们在非常不同的背景和时间段中提供他们的服务。想想这些范式在十九世纪末和第二十年初的艺术和政治之间的联系。例如，考虑页面在所有不同形式的范式中所起的作用，这超出了书面纸的重要性。小说民主，一方面是冷漠的写作民主，因为它是小说和读者的象征。然而，也有关于印刷和肖像的知识，图形和绘画能力的交织，在文艺复兴中扮演着如此重要的角色，通过浪漫的印刷术，通过使用小插曲，culs de lampe，以及各种创新而复活。这个模型扰乱了代表逻辑的明确规则，在可言和可见之间的距离建立对应关系。它也扰乱了纯艺术作品和装饰艺术所做的装饰之间的清晰划分。这就是为什么它在代表性范式的动荡及其政治含义中扮演着如此重要和普遍低估的角色。我特别思考它在艺术和手工艺运动中的作用及其所有的衍生物（艺术装饰，Bauhaus，建构主义）。这些运动形成了一种家具概念，广义上说是一个新社区的概念，这也启发了一种新的概念，即绘画表面作为共享写作的表面。
yǐ以 zhegrave;这 zhǒng种 fāng方 shigrave;式 ， yī一 gegrave;个 miacute;ng明 zhigrave;智 de的 zhegrave;ng政 zhigrave;治 cuacute;n存 zagrave;i在 ， ligrave;立 jiacute;即 guī归 yīn因 yuacute;于 zhǔ主 yagrave;o要 xiacute;ng形 shigrave;式 de的 shěn审 měi美 fēn分 bugrave;布 ， ruacute;如 xigrave;戏 jugrave;剧 ， wǎng网 yegrave;页 ， huograve;或 heacute;合 chagrave;ng唱 。 zhegrave;这 xiē些 “ zhegrave;ng政 zhigrave;治 ” zūn遵 xuacute;n循 tā他 men们 zigrave;自 jǐ己 de的 zhegrave;ng正 quegrave;确 luoacute;逻 jiacute;辑 ， tā他 men们 zagrave;i在 fēi非 chaacute;ng常 bugrave;不 toacute;ng同 de的 begrave;i背 jǐng景 heacute;和 shiacute;时 jiān间 duagrave;n段 zhōng中 tiacute;提 gōng供 tā他 men们 de的 fuacute;服 wugrave;务 。 xiǎng想 xiǎng想 zhegrave;这 xiē些 fagrave;n范 shigrave;式 zagrave;i在 shiacute;十 jiǔ九 shigrave;世 jigrave;纪 mograve;末 heacute;和 digrave;第 egrave;r二 shiacute;十 niaacute;n年 chū初 de的 yigrave;艺 shugrave;术 heacute;和 zhegrave;ng政 zhigrave;治 zhī之 jiān间 de的 liaacute;n联 xigrave;系 。 ligrave;例 ruacute;如 ， kǎo考 lǜ虑 yegrave;页 miagrave;n面 zagrave;i在 suǒ所 yǒu有 bugrave;不 toacute;ng同 xiacute;ng形 shigrave;式 de的 fagrave;n范 shigrave;式 zhōng中 suǒ所 qǐ起 de的 zuograve;作 yograve;ng用 ， zhegrave;这 chāo超 chū出 le了 shū书 miagrave;n面 zhǐ纸 de的 zhograve;ng重 yagrave;o要 xigrave;ng性 。 xiǎo小 shuō说 miacute;n民 zhǔ主 ， yī一 fāng方 miagrave;n面 shigrave;是 lěng冷 mograve;漠 de的 xiě写 zuograve;作 miacute;n民 zhǔ主 ， yīn因 wegrave;i为 tā它 shigrave;是 xiǎo小 shuō说 heacute;和 duacute;读 zhě者 de的 xiagrave;ng象 zhēng征 。 raacute;n然 eacute;r而 ， yě也 yǒu有 guān关 yuacute;于 yigrave;n印 shuā刷 heacute;和 xiagrave;o肖 xiagrave;ng像 de的 zhī知 shi识 ， tuacute;图 xiacute;ng形 heacute;和 huigrave;绘 huagrave;画 neacute;ng能 ligrave;力 de的 jiāo交 zhī织 ， zagrave;i在 weacute;n文 yigrave;艺 fugrave;复 xīng兴 zhōng中 bagrave;n扮 yǎn演 zhe着 ruacute;如 cǐ此 zhograve;ng重 yagrave;o要 de的 jueacute;角 segrave;色 ， tōng通 guograve;过 lagrave;ng浪 magrave;n漫 de的 yigrave;n印 shuā刷 shugrave;术 ， tōng通 guograve;过 shǐ使 yograve;ng用 xiǎo小 chā插 qǔ曲 ， c u l s d e l a m p e ， yǐ以 jiacute;及 gegrave;各 zhǒng种 chuagrave;ng创 xīn新 eacute;r而 fugrave;复 huoacute;活 。 zhegrave;这 ge个 moacute;模 xiacute;ng型 rǎo扰 luagrave;n乱 le了 dagrave;i代 biǎo表 luoacute;逻 jiacute;辑 de的 miacute;ng明 quegrave;确 guī规 zeacute;则 ， zagrave;i在 kě可 yaacute;n言 heacute;和 kě可 jiagrave;n见 zhī之 jiān间 de的 jugrave;距 liacute;离 jiagrave;n建 ligrave;立 duigrave;对 yigrave;ng应 guān关 xi系 。 tā它 yě也 rǎo扰 luagrave;n乱 le了 chuacute;n纯 yigrave;艺 shugrave;术 zuograve;作 pǐn品 heacute;和 zhuāng装 shigrave;饰 yigrave;艺 shugrave;术 suǒ所 zuograve;做 de的 zhuāng装 shigrave;饰 zhī之 jiān间 de的 qīng清 xī晰 huagrave;划 fēn分 。 zhegrave;这 jiugrave;就 shigrave;是 wegrave;i为 sheacute;n什 me么 tā它 zagrave;i在 dagrave;i代 biǎo表 xigrave;ng性 fagrave;n范 shigrave;式 de的 dograve;ng动 dagrave;ng荡 jiacute;及 qiacute;其 zhegrave;ng政 zhigrave;治 haacute;n含 yigrave;义 zhōng中 bagrave;n扮 yǎn演 zhe着 ruacute;如 cǐ此 zhograve;ng重 yagrave;o要 heacute;和 pǔ普 biagrave;n遍 dī低 gū估 de的 jueacute;角 segrave;色 。 wǒ我 tegrave;特 bieacute;别 sī思 kǎo考 tā它 zagrave;i在 yigrave;艺 shugrave;术 heacute;和 shǒu手 gōng工 yigrave;艺 yugrave;n运 dograve;ng动 zhōng中 de的 zuograve;作 yograve;ng用 jiacute;及 qiacute;其 suǒ所 yǒu有 de的 yǎn衍 shēng生 wugrave;物 （ yigrave;艺 shugrave;术 zhuāng装 shigrave;饰 ， B a u h a u s ， jiagrave;n建 gograve;u构 zhǔ主 yigrave;义 ） 。 zhegrave;这 xiē些 yugrave;n运 dograve;ng动 xiacute;ng形 cheacute;ng成 le了 yī一 zhǒng种 jiā家 jugrave;具 gagrave;i概 niagrave;n念 ， guǎng广 yigrave;义 shagrave;ng上 shuō说 shigrave;是 yī一 gegrave;个 xīn新 shegrave;社 qū区 de的 gagrave;i概 niagrave;n念 ， zhegrave;这 yě也 qǐ启 fā发 le了 yī一 zhǒng种 xīn新 de的 gagrave;i概 niagrave;n念 ， jiacute;即 huigrave;绘 huagrave;画 biǎo表 miagrave;n面 zuograve;作 weacute;i为 gograve;ng共 xiǎng享 xiě写 zuograve;作 de的 biǎo表 miagrave;n面 。
Modernist discourse presents the revolution of pictorial abstraction as paintings discovery of its own proper medium: two-dimensional surface. By revoking the perspectivist illusion of the third dimension, painting was to regain the mastery of its own proper surface. In actual fact, however, this surface does not have any distinctive feature. A surface is not simply a geometric composition of lines. It is a certain distribution of the sensible. For Plato, writing and painting were equivalent surfaces of mute signs, deprived of the breath that animates and transports living speech. Flat surfaces, in this logic, are not opposed to depth in the sense of three-dimensional surfaces. They are opposed to the living. The mute surface of depicted signs stands in opposition to the act of living speech, which is guided by the speaker towards its appropriate addressee. Moreover, paintings adoption of the third dimension was also a response to this distribution. The reproduction of optical depth was linked to the privilege accorded to the story. In the Renaissance, the reproduction of three-dimensional space was involved in the valorization of painting and the assertion of its ability to capture an act of living speech, the decisive moment of action and meaning. In opposition to the Platonic degradation of mimēsis, the classical poetics of representation wanted to endow the fiat surface with speech or with a scene of life, with a specific depth such as the manifestation of an action, the expression of an interiority, or the transmission of meaning. Classical poetics established a relationship of correspondence at a distance between speech and painting, between the sayable and the visible, which gave imitation its own specific space.
现代主义话语呈现绘画抽象的革命性，即绘画发现自己的“媒介”：二维表面。通过撤销第三维度的透视论幻觉，绘画重新获得对其自身表面的掌握。然而，实际上，这个表面没有任何明显的特征。“表面”不仅仅是线条的几何构图。它是感性的某种分布。对于Plato来说，写作和绘画是静音符号的等效表面，剥夺了呼吸和激活生活语言的气息。在这个逻辑中，平面并不是三维表面意义上的深度。他们反对“活着”。被描绘的符号的静音表面与“活着”的言语截然相反，言语由说话人引导其适当的收件人。此外，绘画采用第三维度也是对这种分布的一种回应。光学深度的复制与故事赋予的特权有关。在文艺复兴时期，三维空间的再现涉及到绘画的价值化和对捕捉生活言语行为、决定性行动瞬间和意义的能力的断言。反对米姆的柏拉图式的退化，代表性的古典诗学想要赋予“菲亚特表面”与言语或“生活场景”赋予一个特定的深度，如行为的表现、内在性的表达或意义的传递。古典诗学建立了言语与绘画之间的距离，即可言与可见之间的对应关系，这赋予了摹仿自身的特定空间。
xiagrave;n现 dagrave;i代 zhǔ主 yigrave;义 huagrave;话 yǔ语 cheacute;ng呈 xiagrave;n现 huigrave;绘 huagrave;画 chōu抽 xiagrave;ng象 de的 geacute;革 migrave;ng命 xigrave;ng性 ， jiacute;即 huigrave;绘 huagrave;画 fā发 xiagrave;n现 zigrave;自 jǐ己 de的 “ meacute;i媒 jiegrave;介 ” ： egrave;r二 weacute;i维 biǎo表 miagrave;n面 。 tōng通 guograve;过 chegrave;撤 xiāo销 digrave;第 sān三 weacute;i维 dugrave;度 de的 tograve;u透 shigrave;视 lugrave;n论 huagrave;n幻 jueacute;觉 ， huigrave;绘 huagrave;画 choacute;ng重 xīn新 huograve;获 deacute;得 duigrave;对 qiacute;其 zigrave;自 shēn身 biǎo表 miagrave;n面 dī的 zhǎng掌 wograve;握 。 raacute;n然 eacute;r而 ， shiacute;实 jigrave;际 shang上 ， zhegrave;这 ge个 biǎo表 miagrave;n面 meacute;i没 yǒu有 regrave;n任 heacute;何 miacute;ng明 xiǎn显 de的 tegrave;特 zhēng征 。 “ biǎo表 miagrave;n面 ” bugrave;不 jǐn仅 jǐn仅 shigrave;是 xiagrave;n线 tiaacute;o条 de的 jǐ几 heacute;何 gograve;u构 tuacute;图 。 tā它 shigrave;是 gǎn感 xigrave;ng性 de的 mǒu某 zhǒng种 fēn分 bugrave;布 。 duigrave;对 yuacute;于 P l a t o laacute;i来 shuō说 ， xiě写 zuograve;作 heacute;和 huigrave;绘 huagrave;画 shigrave;是 jigrave;ng静 yīn音 fuacute;符 hagrave;o号 de的 děng等 xiagrave;o效 biǎo表 miagrave;n面 ， bō剥 duoacute;夺 le了 hū呼 xī吸 heacute;和 jī激 huoacute;活 shēng生 huoacute;活 yǔ语 yaacute;n言 de的 qigrave;气 xī息 。 zagrave;i在 zhegrave;这 ge个 luoacute;逻 jiacute;辑 zhōng中 ， piacute;ng平 miagrave;n面 bigrave;ng并 bu不 shigrave;是 sān三 weacute;i维 biǎo表 miagrave;n面 yigrave;意 yigrave;义 shagrave;ng上 de的 shēn深 dugrave;度 。 tā他 men们 fǎn反 duigrave;对 “ huoacute;活 zhe着 ” 。 begrave;i被 miaacute;o描 huigrave;绘 de的 fuacute;符 hagrave;o号 de的 jigrave;ng静 yīn音 biǎo表 miagrave;n面 yǔ与 “ huoacute;活 zhe着 ” de的 yaacute;n言 yǔ语 jieacute;截 raacute;n然 xiāng相 fǎn反 ， yaacute;n言 yǔ语 yoacute;u由 shuō说 huagrave;话 reacute;n人 yǐn引 dǎo导 qiacute;其 shigrave;适 dagrave;ng当 de的 shōu收 jiagrave;n件 reacute;n人 。 cǐ此 wagrave;i外 ， huigrave;绘 huagrave;画 cǎi采 yograve;ng用 digrave;第 sān三 weacute;i维 dugrave;度 yě也 shigrave;是 duigrave;对 zhegrave;这 zhǒng种 fēn分 bugrave;布 de的
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