But certainly for the present age, which prefers the sign to the thing signified, the copy to the original, representation to reality, the appearance to the essence… illusion only is sacred, truth profane. Nay, sacredness is held to be enhanced in proportion as truth decreases and illusion increases, so that the highest degree of illusion comes to be the highest degree of sacredness.
——Feuerbach, Preface to the second edition of The Essence of Christianity
然而对于符号胜过实物、副本胜过原本、表象胜过现实、现象胜过本质的现在这个时代……真理被认为是亵渎神明的, 只有幻觉才是神圣的。事实上, 神圣性正依真理之减少和幻想之增加的程度而增加, 所以最高级的幻想也就是最高级的神圣。
——费尔巴哈, 《基督教的本质》第二版序言
1. In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.
在现代生产条件下无所不在的社会, 生活本身展现为景观(spectacles)的庞大堆积。直接存在的一切全都转化为一个表象。
2. The images detached from every aspect of life fuse in a common stream in which the unity of this life can no longer be reestablished. Reality considered partially unfolds, in its own general unity, as a pseudo-world apart, an object of mere contemplation. The specialization of images of the world is completed in the world of the autonomous image, where the liar has lied to himself. The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living.
从生活的每个方面分离出来的影像群汇成一条共同的河流, 这样, 生活的统一便不再可能被重建。重建将他们自己编组为新的整体的、关于现实的片断的景色, 只能展现为一个纯粹静观的(contemplation)、孤立的(seule)伪世界。这一世界之影像的专门化, 发展成一个自给自足的影像世界, 在这里, 骗人者也被欺骗和蒙蔽。作为生活具体颠倒的景观, 总体上是非生命之物的自发运动。
3. The spectacle presents itself simultaneously as all of society, as part of society, and as instrument of unification. As a part of society it is specifically the sector which concentrates all gazing and all consciousness. Due to the very fact that this sector is separate, it is the common ground of the deceived gaze and of false consciousness, and the unification it achieves is nothing but an official language of generalized separation.
景观同时将自己展现为社会自身, 社会的一部分, 亦或是统一的手段。作为社会的一部分时, 景观是全部视觉和全部意识的焦点。正是由于这一领域是分离的这一真正的事实, 景观才成了错觉和伪意识的领地: 它所到达的统只不过是一种普遍分离的官方语言。
4. The spectacle is not a collection of images, but a social relation among people, mediated by images.
景观不是影像的聚积, 而是以影像为中介的人们之间的社会关系。
5. The spectacle cannot be understood as an abuse of the world of vision, as a product of the techniques of mass dissemination of images. It is, rather, a Weltanschauung which has become actual, materially translated. It is a world vision which has become objectified.
景观不能被理解为一种由大众传播技术制造的视觉欺骗, 事实上, 它正是已经物化了的世界观。
6. The spectacle grasped in its totality is both the result and the project of the existing mode of production. It is not a supplement to the real world, an additional decoration. It is the heart of the unrealism of the real society. In all its specific forms, as information or propaganda, as advertisement or direct entertainment consumption, the spectacle is the present model of socially dominant life. It is the omnipresent affirmation of the choice already made in production and its corollary consumption. The spectacle’s form and content are identically the total justification of the existing system’s conditions and goals. The spectacle is also the permanent presence of this justification, since it occupies the main part of the time lived outside of modern production.
从整体上理解景观, 它不仅是占统治地位的生产方式的结果, 也是其目标。景观不是附加于现实世界无关紧要的装饰或补充, 它是现实社会非现实的核心。在其全部特有的形式——新闻、宣传、广告、娱乐表演中, 景观成为主导性的生活模式。景观是对在生产领域或由生产所决定的消费领域中已做出的选择的普遍肯定。在内容和形式方面, 景观总是现存体制条件和目标的总的正当性的理由, 景观也是这种正当性理由的永久在场, 因为它垄断了耗费在生产过程之外的大部分时间。
7. Separation is itself part of the unity of the world, of the global social praxis split up into reality and image. The social practice which the autonomous spectacle confronts is also the real totality which contains the spectacle. But the split within this totality mutilates it to the point of making the spectacle appear as its goal. The language of the spectacle consists of signs of the ruling production, which at the same time are the ultimate goal of this production.
分离(separation)本身是统一世界的一部分, 是分裂为现实和影像的全球社会实践的一部分。自主景观所对抗的社会实践, 同时也是包含了景观在内的现实总体性。但是, 这一总体性的内在分裂危害到如此程度, 以致景观似乎就是它的目标。景观的语言由主导生产体系的符号(signes)所组成，这些符号同时也是这一生产体系的最终的和最后的目标。
8. One cannot abstractly contrast the spectacle to actual social activity: such a division is itself divided. The spectacle which inverts the real is in fact produced. Lived reality is materially invaded by the contemplation of the spectacle while simultaneously absorbing the spectacular order, giving it positive cohesiveness. Objective reality is present on both sides. Every notion fixed this way has no other basis than its passage into the opposite: reality rises up within the spectacle, and the spectacle is real. This reciprocal alienation is the essence and the support of the existing society.
人们不能抽象地把景观与具体的社会活动进行对立: 这一划分本身就是分裂的。伪造现实的景观不过是这一现实的真正产物, 反之, 现实生活在很大程度上也被景观静观所侵蚀, 并以与景观结成同盟和将其同化与吞噬为终结。客观现实就是景象和真实社会活动这两方面的现状。以这一方式确立的每一概念除了这一基础外, 没有任何转向其对立面的通道: 现实显现于景观, 景观就是现实。这种彼此的异化(alienation)乃是现存社会的支撑与本质。
9.In a world which really is topsy-turvy, the true is a moment of the false.
在这一真正颠倒的世界, 真相不过是虚假的一个瞬间。
10.The concept of spectacle unifies and explains a great diversity of apparent phenomena. The diversity and the contrasts are appearances of a socially organized appearance, the general truth of which must itself be recognized. Considered in its own terms, the spectacle is affirmation of appearance and affirmation of all human life, namely social life, as mere appearance. But the critique which reaches the truth of the spectacle exposes it as the visible negation of life, as a negation of life which has become visible.
“景观”概念使大量表面上明显不同的现象相互联系, 并对其做出了阐释。这些现象的差异和对立均源自于社会组织的表象(apparences), 这一社会组织表象的本性自身必须被认识到。就其自身的条件而言, 景观是一种表象的肯定和将全部社会生活认同为纯粹表象的肯定。但是触及景观实质的批判把景观展现为生活看得见的否定, 展现为采取了明显可见形式的生活之否定。
11.To describe the spectacle, its formation, its functions and the forces which tend to dissolve it, one must artificially distinguish certain inseparable elements. When analyzing the spectacle one speaks, to some extent, the language of the spectacular itself in the sense that one moves through the methodological terrain of the very society which expresses itself in the spectacle. But the spectacle is nothing other than the sense of the total practice of a social-economic formation, its use of time. It is the historical movement in which we are caught.
为了描述景观及其形式, 功能和反对景观的各种力量, 必须特别加以区别某些不可分离的因素。人们分析景观却又不得不在一定程度上运用景观自己的语言, 在一定意义上, 我们不得不穿越景观所表达的这个社会的方法论领地。因为景观是我们特定社会经济构成的意义和记录, 它同时也是我们被卷入其中的历史运动。
12. The spectacle presents itself as something enormously positive, indisputable and inaccessible. It says nothing more than “that which appears is good, that which is good appears. The attitude which it demands in principle is passive acceptance which in fact it already obtained by its manner of appearing without reply, by its monopoly of appearance.
景观自身展现为某种不容争辩的和不可接近的事物。它发出的唯一信息是: “呈现的东西都是好的, 好的东西才呈现出来。”原则上它所要求的态度是被动的接受, 实际上它已通过表象的垄断, 通过无需应答的炫示实现了。
13. The basically tautological character of the spectacle flows from the simple fact that its means are simultaneously its ends. It is the sun which never sets over the empire of modern passivity. It covers the entire surface of the world and bathes endlessly in its own glory.
景观同义反复的特性在于这样一个简单事实, 即它的手段同时就是它的目的, 他是永远照耀现代被动性帝国的不落的太阳, 它覆盖世界的整个表面并永远沐浴在自身的光辉之中。
14. The society which rests on modern industry is not accidentally or superficially spectacular, it is fundamentally spectaclist. In the spectacle, which is the image of the ruling economy, the goal is nothing, development everything. The spectacle aims at nothing other than itself.
以现代工业为基础的社会决非偶然或表面的就是景观的, 景观恰是这一社会根本性的出口。在景观——统治经济秩序的视觉映像中, 目标是不存在的, 发展就是一切。景观的目标就在于它自身。
15. As the indispensable decoration of the objects produced today, as the general expose of the rationality of the system, as the advanced economic sector which directly shapes a growing multitude of image-objects, the spectacle is the main production of present-day society.
作为当今物品生产不可缺少的背景, 作为制度基本原理的陈述, 作为一个直接塑造不断增长的影像对象(images-objects)的发达经济部门, 景观成为当今社会的主要生产。
16. The spectacle subjugates living men to itself to the extent that the economy has totally subjugated them. It is no more than the economy developing for itself. It is the true reflection of the production of things, and the false objectification of the producers.
景观征服现实的人们达到这样的程度, 即经济已经完全控制他们。景观不过是独立的发展中经济。景观是对物的生产的真实的反映, 是生产者的虚假对象化。
17. The first phase of the domination of the economy over social life brought into the definition of all human realization the obvious degradation of being into having. The present phase of total occupation of social life by the accumulated results of the economy leads to a generalized sliding of having into appearing, from which all actual “having” must draw its immediate prestige and its ultimate function. At the same time all individual reality has become social reality directly dependent on social power and shaped by it. It is allowed to appear only to the extent that it is not.
经济统治社会生活的第一阶段, 使人们实现了从存在(l’être)向占有(avoir)的明显堕落——人类视线的不再是等同于他们的之所是, 而是他们之所占有。目前这个阶段是经济积累的结果完全占据了社会生活, 并进而导向了从占有(avoir)向显现(paraitre)的普遍转向, 由此, 一切实际的占有现在都必须来自其直接名望和表象的最终功能。同时, 一切个体现实都已变成为社会现实, 在这一意义上, 个体现实直接依赖于社会力量并受社会力量的完全塑形。只有在个人现实不再事实上是真实时, 个体才被允许显现自身。
18. Where the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior. The spectacle, as a tendency to make one see the world by means of various specialized mediations (it can no longer be grasped directly), naturally finds vision to be the privileged human sense which the sense of touch was for other epochs; the most abstract, the most mystifiable sense corresponds to the generalized abstraction of present-day society. But the spectacle is not identifiable with mere gazing, even combined with hearing. It is that which escapes the activity of men, that which escapes reconsideration and correction by their work. It is the opposite of dialogue. Wherever there is independent representation, the spectacle reconstitutes itself.
在真实的世界变成纯粹影像之时, 纯粹影像就变成真实的存在——为催眠行为提供直接动机的动态虚构事物。
19. The spectacle inherits all the weaknesses of the Western philosophical project which undertook to comprehend activity in terms of the categories of seeing; furthermore, it is based on the incessant spread of the precise technical rationality which grew out of this thought. The spectacle does not realize philosophy, it philosophizes reality. The concrete life of everyone has been degraded into a speculative universe.
景观继承了西方哲学研究的全部缺点，亦即试图依据看(voir)的范畴来理解活动, 并将自身建立在精确的技术理性的无止境发展的基础之上, 而这种哲学传统正来源于这一思想形式。景观没有实现哲学, 而是将现实哲学化, 并将每一个人的具体生活简化为一个思辨(speculatif)的世界。
20. Philosophy, the power of separate thought and the thought of separate power, could never by itself supersede theology. The spectacle is the material reconstruction of the religious illusion. Spectacular technology has not dispelled the religious clouds where men had placed their own powers detached from themselves; it has only tied them to an earthly base. The most earthly life thus becomes opaque and unbreathable. It no longer projects into the sky but shelters within itself its absolute denial, its fallacious paradise. The spectacle is the technical realization of the exile of human powers into a beyond; it is separation perfected within the interior of man.
作为分离(séparée)思想之力量与分离(séparé)力量之思想的哲学, 从来就不能独自替代神学。景观是对宗教幻觉的具体重构。景观技术没有驱散人类将自己异化的力量投射其中的宗教迷雾; 相反, 它只是将这些迷雾降落到人们生活的尘世, 并达到这样的程度——使生活最世俗的方面也日益变得暧昧不清和令人窒息。代表对世俗生活整体拒绝的幻象天堂不再投向苍天, 而被植入世俗生活自身。尽管是一种将人类力量放逐到”现世之外”, 并使人们内在分离达到顶点的技术样式。
21. To the extent that necessity is socially dreamed, the dream becomes necessary. The spectacle is the nightmare of imprisoned modern society which ultimately expresses nothing more than its desire to sleep. The spectacle is the guardian of sleep.
只要需要是一种社会梦想, 这一梦想也将变成社会需要。尽管是被囚禁的现代社会的梦魇, 他最终代表的不过是这一社会昏睡的愿望。景观是昏睡的监护人。
22. The fact that the practical power of modern society detached itself and built an independent empire in the spectacle can be explained only by the fact that this practical power continued to lack cohesion and remained in contradiction with itself.
与社会相分离并在景观中建立自己独立王国的现代社会的实践力量, 只能通过这一事实来解释, 即这种强大的实践力量始终缺乏内聚力, 且其自身又充满了矛盾。
23. The oldest social specialization, the specialization of power, is at the root of the spectacle. The spectacle is thus a specialized activity which speaks for all the others. It is the diplomatic representation of hierarchic society to itself, where all other expression is banned. Here the most modern is also the most archaic.
景观之根就植于最古老的社会专门化——权利的专门化之中。景观就是一种代表其他活动而表现的专门化活动。对于其自身而言, 景观是等级社会的大使, 在这一社会中, 它发布官方信息并禁止其他话语。因此, 景观最现代的方面也是最古代的。
24. The spectacle is the existing order’s uninterrupted discourse about itself, its laudatory monologue. It is the self-portrait of power in the epoch of its totalitarian management of the conditions of existence. The fetishistic, purely objective appearance of spectacular relations conceals the fact that they are relations among men and classes: a second nature with its fatal laws seems to dominate our environment. But the spectacle is not the necessary product of technical development seen as a natural development. The society of the spectacle is on the contrary the form which chooses its own technical content. If the spectacle, taken in the limited sense of “mass media” which are its most glaring superficial manifestation, seems to invade society as mere equipment, this equipment is in no way neutral but is the very means suited to its total self-movement. If the social needs of the epoch in which such techniques are developed can only be satisfied through their mediation, if the administration of this society and all contact among men can no longer take place except through the intermediary of this power of instantaneous communication, it is because this “communication” is essentially unilateral. The concentration of “communication” is thus an accumulation, in the hands of the existing system’s administration, of the means which allow it to carry on this particular administration. The generalized cleavage of the spectacle is inseparable from the modern State, namely from the general form of cleavage within society, the product of the division of social labor and the organ of class domination.
景观是关于其自身统治秩序的不间断的演讲, 是永不停止的自我赞美的独白, 是其自身生活所有方面极权管理阶段的自画像。景观关系的那种拜物教和纯然客观的表象, 掩盖人与人之间和阶级与阶级之间关系的真正特性: 一种带有其必然规律性的第二自然对我们环境的统治。但是景观并不是被当作自然演化的科技发展之必然结果。相反, 景观社会是选择其自身技术内容的一种形式。如果从”大众传媒”(它们是最显著的表面现象)的具体意义上来理解景观, 景观好像以单纯技术装备的形式侵蚀了社会, 其实, 这种装备绝不能被理解为是中立的, 事实上它是与景观内在动力学一致发展起来的。如果某个时代这样的技术已经发展起来, 其社会需要只能通过其中介来满足。如果这个社会的管理和人们的一切交往整体上只能依赖即时交往手段, 那这只是因为这种”交往”本质上是单面的。所以, 这些大众传播媒体的集中, 意味着交由现存体制管理者处理的手段的集中, 这些手段能够使他们贯彻一种特定的管理形式。反映在景观中的社会分离与现代国家密不可分。这种社会分离作为社会分工的产物不但是阶级统治的主要手段, 而且也是全部社会分裂的集中表达。
25. Separation is the alpha and omega of the spectacle. The institutionalization of the social division of labor, the formation of classes, had given rise to a first sacred contemplation, the mythical order with which every power shrouds itself from the beginning. The sacred has justified the cosmic and ontological order which corresponded to the interests of the masters; it has explained and embellished that which society could not do. Thus all separate power has been spectacular, but the adherence of all to an immobile image only signified the common acceptance of an imaginary prolongation of the poverty of real social activity, still largely felt as a unitary condition. The modern spectacle, on the contrary, expresses what society can do, but in this expression the permitted is absolutely opposed to the possible. The spectacle is the preservation of unconsciousness within the practical change of the conditions of existence. It is its own product, and it has made its own rules: it is a pseudo-sacred entity. It shows what it is: separate power developing in itself, in the growth of productivity by means of the incessant refinement of the division of labor into a parcellization of gestures which are then dominated by the independent movement of machines; and working for an ever-expanding market. All community and all critical sense are dissolved during this movement in which the forces that could grow by separating are not yet reunited.
分离是景观的全部。以阶级分工形式表现的社会分工导致了最初的宗教冥想形式: 全部权力总是把自身伪装起来的神话秩序。宗教论证了宇宙论与本体论秩序的合理性, 而这种秩序是和统治者的利益一致的; 它诠释并美化了这种利益, 而这正是这个社会所不能做到的。于是, 所有这样分离的力量就都是景观性的了。但是这种初期的、普遍的、对凝固的宗教意象的信仰和忠诚, 只不过是一种对缺失的共同认可, 是对作为普遍经历的一种整体环境的具体社会活动的匮乏的虚构的补偿。与此相反, 现代景观则描述了社会所能做到的, 但在这种描述中, 允许做的事情与可能做的事情是截然对立的。在人们生存状况的实际改变中, 景观使人们保持了一种无意识状态。像一个伪神圣的上帝, 景观自己创造自己, 自己制定自己的规则。景观展示其所是: 一种以生产力的增长为基础的、受制于机器的独立运动的、产生于一种日益精确地将劳动分工碎片化为姿势和动作的自在发展的分离力量。于是, 工作的目的就只是为了不断扩展的市场。在这一发展过程中, 所有共同体和所有批判意识都消解了; 在这个过程中, 相互分离的力量不可能再重新统一起来。
26. With the generalized separation of the worker and his products, every unitary view of accomplished activity and all direct personal communication among producers are lost. Accompanying the progress of accumulation of separate products and the concentration of the productive process, unity and communication become the exclusive attribute of the system’s management. The success of the economic system of separation is the proletarianization of the world.
工人和商品的普遍分离已经消除掉了任何对已完成活动的统一的观点, 消除掉了生产者之间的全部直接交往。伴随着分离产品的日益聚积和生产过程的不断集中, 统一与交往被这个制度的管理者所垄断。这一分离经济体制的成功就在于使整个世界无产阶级化。
27. Due to the success of separate production as production of the separate, the fundamental experience which in primitive societies is attached to a central task is in the process of being displaced, at the crest of the system’s development. by non-work, by inactivity. But this inactivity is in no way liberated from productive activity: it depends on productive activity and is an uneasy and admiring submission to the necessities and results of production; it is itself a product of its rationality. There can be no freedom outside of activity, and in the context of the spectacle all activity is negated. just as real activity has been captured in its entirety for the global construction of this result. Thus the present “liberation from labor,” the increase of leisure, is in no way a liberation within labor, nor a liberation from the world shaped by this labor. None of the activity lost in labor can be regained in the submission to its result.
由于这一分离的分离生产的真正成功, 再早先社会中与人们的原初劳动密切相联的基本经验, 已处于与被动性和非劳动领域相联的生活的认同所取代的过程中(在这一分离制度进化的高峰)。但是这种被动性绝不是从生产活动中解放出来的被动性, 它以一种既心神不安又向往地屈从于生产制度的需要和结果的形式依赖于生产活动, 它本身就是这一生产合理性的结果之一。在活动之外不存在自由, 并且在景观中一切活动都是被禁止的——所有真实的活动都被导入景观的全球性建构之中。因此, 人们所提及的所有”从劳动中解放出来的”东西, 即日益增长的休闲时间, 既不是劳动自身的解放, 也不是由这类劳动所塑造的这一世界的解放。没有哪一种在劳动中被掠去的活动, 能够通过屈从于劳动所生产出来的东西重新获得。
28. The economic system founded on isolation is a circular production of isolation. The technology is based on isolation, and the technical process isolates in turn. From the automobile to television, all the goods selected by the spectacular system are also its weapons for a constant reinforcement of the conditions of isolation of “lonely crowds.” The spectacle constantly rediscovers its own assumptions more concretely.
占统治地位的经济制度是一种孤立(l’isolement)的循环生产, 它的技术以孤立为基础并献身于这种孤立。从汽车到电视, 景观系统选中生产的所有商品, 作为不断强化制造”孤独人群”的武器, 同样也服务于这一景观体系。景观不断地, 更加精准地重新发现自己的种种假定。
29. The spectacle originates in the loss of the unity of the world, and the gigantic expansion of the modern spectacle expresses the totality of this loss: the abstraction of all specific labor and the general abstraction of the entirety of production are perfectly rendered in the spectacle, whose mode of being concrete is precisely abstraction. In the spectacle, one part of the world represents itself to the world and is superior to it. The spectacle is nothing more than the common language of this separation. What binds the spectators together is no more than an irreversible relation at the very center which maintains their isolation. The spectacle reunites the separate, but reunites it as separate.
景观源于世界统一性的丧失, 现代景观的巨大扩张表现了这一丧失的全部。所有个别劳动的抽象化与整个生产的普遍抽象化, 均在景观中完美地显现出来, 它的具体化存在方式就是精确的抽象。在景观中, 世界的某一部分把自己展示给世界, 并且优越于整个世界。景观不过是这一分离的共同语言。观众只是通过一种他们单方面的关系与真正的中心相联系, 这一中心使他们彼此之间相互隔离。因此, 景观重新统一了分离, 但却是以他们的分离将他们重新统一。
30. The alienation of the spectator to the profit of the contemplated object (which is the result of his own unconscious activity) is expressed in the following way: the more he contemplates the less he lives; the more he accepts recognizing himself in the dominant images of need, the less he understands his own existence and his own desires. The externality of the spectacle in relation to the active man appears in the fact that his own gestures are no longer his but those of another who represents them to him. This is why the spectator feels at home nowhere, because the spectacle is everywhere.
屈从于预设对象(是他自己无思活动的结果)的观众(spectateur)的异化, 以下面的方式表现出来: 他预期得越多; 他生活就越少; 他将自己认同为需求的主导影像越多, 他对自己的生存和欲望就理解得越少。景观与积极主动的主体的疏离, 通过以下事实呈现出来: 个人的姿势不再是他自己的; 它们是另外一个人的。而后者又将这些姿势展示给他看。观众在哪里都感到不自在, 因为景观无处不在。
31. The worker does not produce himself; he produces an independent power. The success of this production, its abundance, returns to the producer as an abundance of dispossession. All the time and space of his world become foreign to him with the accumulation of his alienated products. The spectacle is the map of this new world, a map which exactly covers its territory. The very powers which escaped us show themselves to us in all their force.
工人并不生产自身, 他生产出一种独立于他们自身的力量。这种生产的成功及其产品的丰裕, 则作为一种剥夺的丰裕为生产者所经历。由于异化产品的日益骤增, 全部的时间和空间变得越来越外在于他们。景观正是这一新世界的地图, 这幅地图刚好等于景观所描绘的疆域。那些逃离我们的力量, 以其全部力量向我们展示了它们自身。
32. The spectacle within society corresponds to a concrete manufacture of alienation. Economic expansion is mainly the expansion of this specific industrial production. What grows with the economy in motion for itself can only be the very alienation which was at its origin.
景观的社会功能就是异化的具体生产。经济的扩张根本上构成了这一特殊工业部门的扩张。为了自己的缘由通过经济发展而产生的”增长”, 只能是那些本源如此的一种真正异化的增长。
33. Separated from his product, man himself produces all the details of his world with ever increasing power, and thus finds himself ever more separated from his world. The more his life is now his product, the more he is separated from his life.
从他们的产品中分离出来的人们, 以日益强大的力量制造他们世界的每个细部, 同时他们也发现, 他们与这个世界越来越分离。他们的生活越是他们自己的产物, 他们就越是被排除于这一生活之外。
34. The spectacle is capital to such a degree of accumulation that it becomes an image.
资本变成为一个影像, 当积累达到如此程度时, 景观也就是资本。
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