任何(电影)革命进程中的演员自该进程被开启之时起,就应该找到将其终结的方式。我们可以意图完成它,将这一颠覆价值的运动进行到底;我们也可以想要停止,在它瓦解一切现有结构之前把它中止。美学,在与形式起了冲突的同时,也逃脱不了政治历史的法则。美学也有它的波拿巴,擅长于用一个示意重建的夸张手势宣告休息时间的结束;也有它的托洛茨基,那些鼓吹永久运动的拼到底主义者。如何走出新现实 The actor in any (movie) revolutionary process should find the way to end it as soon as the process is turned on. We can do it with the intent to carry this subversive value movement through to the end; we can also want to halt it before it breaks down all existing structures. Aesthetics, while in conflict with the form, can not escape the law of political history. Aesthetics also has its Bonaparte, which specializes in announcing the end of the break with a gesture of exaggerated reconstruction; and Trotsky, the spelling-out advocate of perpetual movement. How to get out of the new reality