顽皮的无生命:科学实践中的创造力和偶然性

Pub Date : 2021-09-01 DOI:10.1016/j.endeavour.2021.100782

Juan Felipe Guevara-Aristizábal

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引用次数: 1

摘要

除了马丁·海德格尔1929-1930年的形而上学课程之外，他对约瑟夫·玛丽亚·埃德尔为西格蒙德·埃克斯纳拍摄的一张照片的描述，是用萤火虫眼睛的镜头拍摄的。由于制作这种摄影的技术细节并不容易获得，我将重建实验环境。关注技术细节为基于科学实践的创造潜力的历史和哲学反思开辟了一个场所。通过一种批判的方法，一个相当通用的实验网络可以变成一个自然的人工的、有生命的和没有生命的混合环境，在这个环境中，密集的技术环境、哲学玩具和实验系统的概念相遇并交织在一起，这要归功于贯穿其中的玩闹性，一种植根于科学实践的品质。在这种混合和有趣的配置中，无生命的人以一种矛盾的声音出现在活着的人面前。

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The playful unliving: Creativity and contingency in scientific practice

Standing apart from Martin Heidegger’s 1929–1930 metaphysical lessons is his description of a photograph taken by Josef Maria Eder, for Sigmund Exner, using the lens of a glow worm’s eye. Since the technical details of the production of such a photography are not readily available, I will reconstruct the experimental setting. Paying attention to the technical details opens up a venue for historical and philosophical reflection based on the creative potential of scientific practices. Through a critical approach, a rather generic experimental meshwork could be turned into a natural-artifactual, living-nonliving hybrid setting in which the concepts of dense technological environment, philosophical toy, and experimental system meet and intertwine thanks to the playfulness that goes through them, a quality rooted in scientific practices. Within this hybrid and playful configuration, the unliving emerges as a paradoxical voice for the living.

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