Thingly hermeneutics/Technoconstructions

Within the Euro-American community of philosophers relating hermeneutics to science there is a considerable disagreement about where hermeneutics may be located. The older traditions hold that hermeneutics apply to and are limited to the social, cultural, and historical dimensions of science. But newer approaches claim that hermeneutics applies to the very praxis of science and to the constitution of scientific objects. This paper sides with the latter perspective and argues that a tendency to retain vestigial positivist interpretations of science keeps the older tradition from seeing hermeneutics as deeply embedded in science praxis. After arguing this point historically, I turn to a hermeneutic recuperation of science, first by drawing from the hermeneutic approach of Joseph Rouse, and then by the hermeneutic constructionism of Bruno Latour. I finally turn to what I term technoconstruction in science, particularly in imaging processes, to show concrete cases of the hermeneutic preparation of scientific objects. I conclude that contemporary science has exceeded its earlier modernist framework and now operates in a constructionist-hermeneutic framework.     

Aging: I don’t want to be a cyborg!

Examination is made of a range of cyborg solutions to bodily problems due to damage, but here with particular reference to aging. Both technological and animal implants, transplants and prosthetic devices are phenomenologically analyzed. The resultant trade-off phenomena are compared to popular culture technofantasies and desires and finally to human attitudes toward mortality and contingency. The parallelism of resistance to contingent existence and to becoming a cyborg is noted.     

Image technologies and traditional culture

The thesis explored here is that ‘image technologies’ prominent in today's communications technologies are acidic to traditional cultures. I parallel examples from the history of early modern science and its optical instrumentation with the rise of cinema and television and other audio‐visual technologies to show a similar history and effect. One dominant contemporary phenomenon which occurs through image technologies is the appearance of pluriculture, a unique mediation of the multi‐cultural. The challenge of pluriculture vis‐à‐vis the contemporary forms of reaction to the phenomenon is also examined.