This paper develops a dialectical methodology for assessing technoscience during the Anthropocene. How to practice Hegelian dialectics of technoscience today? First of all, dialectics is developed here in close interaction with contemporary technoscientific research endeavours, which are addressed from a position of proximity and from an ‘oblique’ perspective. Contrary to empirical research, the focus is on how basic concepts of life, nature and technology are acted out in practice. Notably, this paper zooms in on a synthetic cell project called BaSyC (...) as a concrete instantiation of converging views of life, nature and technology currently at work in technoscience. While dialectics is used to explore the significance of this project, the synthetic cell as a case study also allows us to demonstrate the remarkable relevance of dialectics for understanding contemporary research, notably because it incites us to see the synthetic cell project as a concrete exemplification of life under Anthropocenic conditions. Should we assess the synthetic cell as the ultimate realisation of the technoscientific will to control and optimise life, or rather as an effort to bridge the disruptive collision between technoscience and nature, or both? (shrink)

Michael Crichton (1942–2008) was a prolific writer of “science novels”, portraying the psychodynamics and sociodynamics of genomics and other NBIC (Nanotechnology, Biotechnology, Information technology and Cognitive science) fields, fostering critical reflection on their societal dimensions. Science novels may serve as “literary experiments”, as windows into the (future) impacts of current research. Although on the surface level Crichton’s books may be seen as entertaining bestsellers, an in-depth reading allows them to emerge as exploratory exercises, usable as course material for science students. (...) To open up this “deeper” dimension, I read Crichton’s work from a psychoanalytic angle, focusing on typical scenes and themes, such as the idea of a scientific crisis, geneticization and gender role reversal. The core question of a typical Crichton novel usually is: what will happen when a new laboratory research field suddenly comes out into the open? Notably, the gender dimension reflects and exemplifies the fascinations and concerns with contemporary technoscience addressed by him. (shrink)

This paper develops a dialectical methodology for assessing technoscience during the Anthropocene. How to practice Hegelian dialectics of technoscience today? First of all, dialectics is developed here in close interaction with contemporary technoscientific research endeavours, which are addressed from a position of proximity and from an ‘oblique’ perspective. Contrary to empirical research, the focus is on how basic concepts of life, nature and technology are acted out in practice. Notably, this paper zooms in on a synthetic cell project called BaSyC (...) as a concrete instantiation of converging views of life, nature and technology currently at work in technoscience. While dialectics is used to explore the significance of this project, the synthetic cell as a case study also allows us to demonstrate the remarkable relevance of dialectics for understanding contemporary research, notably because it incites us to see the synthetic cell project as a concrete exemplification of life under Anthropocenic conditions. Should we assess the synthetic cell as the ultimate realisation of the technoscientific will to control and optimise life, or rather as an effort to bridge the disruptive collision between technoscience and nature, or both? (shrink)

In the Netherlands, the poet Herman Gorter is mostly known as the author of the neo-romantic poem May and the “sensitivistic” Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an “open letter” to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and “bourgeois”, unconnected with what was happening in the real world. He wanted to put his poetry (...) on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan, two terms are rather prominent, namely heelal and kristal. These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter’s secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter’s work and the main objective of this paper is to demonstrate her influence on Gorter’s Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter’s Pan, highlighting important connections with Ada Prins’ research into liquid crystal chemistry. (shrink)

Metaphors allow us to come to terms with abstract and complex information, by comparing it to something which is structured, familiar and concrete. Although modern science is “iconoclastic”, as Gaston Bachelard phrases it, scientists are at the same time prolific producers of metaphoric images themselves. Synthetic biology is an outstanding example of a technoscientific discourse replete with metaphors, including textual metaphors such as the “Morse code” of life, the “barcode” of life and the “book” of life. This paper focuses on (...) a different type of metaphor, however, namely on the archetypal metaphor of the mandala as a symbol of restored unity and wholeness. Notably, mandala images emerge in textual materials related to one of the new “frontiers” of contemporary technoscience, namely the building of a synthetic cell: a laboratory artefact that functions like a cell and is even able to replicate itself. The mandala symbol suggests that, after living systems have been successfully reduced to the elementary building blocks and barcodes of life, the time has now come to put these fragments together again. We can only claim to understand life, synthetic cell experts argue, if we are able to technically reproduce a fully functioning cell. This holistic turn towards the cell as a meaningful whole also requires convergence at the “subject pole”: the building of a synthetic cell as a practice of the self, representing a turn towards integration, of multiple perspectives and various forms of expertise. (shrink)

We characterize science in terms of nihilism: the nihilism of science is something faced not in what science i mplies, but as the very essence of science as such. The nihilism of science is the birth of the truth of Nietzsche's announcement "God is dead" from within science as it must now face its repressed subjective core. But in truth, as the Psychoanalytic tradition has determined, it is subjectivity itself that is a bottomless searching-the subject is itself born from nothing. (...) In this way it becomes clear that the nihilism of science is in fact the birth of a nothingness as the essence of science insofar as it embraces the nothingness of its own subjectivity. Therefore, we show that the proper determination of the crisis of science is not made via phenomenology, as Husserl attempted in the early 20th century, but can only be made properly in a philosophical-psychoanalytic register. This nihilism is encoded within science in its very modality of thought , as Heidegger well understood: science thinks by means of "representation", and it is this "representational thinking" which prevents the expression of the repressed core of subjectivity. Therefore, by overcoming representation, it is seen that science will no longer be in despair to determine itself as a self, but come to see that this self, grounded in nothingness, in fact becomes its greatest and final expression, that is, as a self rooted not in an unending yearning for the transcendent certainty of a ground, but in a productive desire -self as will-to-create, will-to-power . This transition from the self as rooted in Desire qua lack to a self as determined by an infinitely productive desire is shown to be, in fact, the transition from Lacan to Deleuze. Once this transition is accomplished, it becomes clear that the anti-representational mode of thinking, accompanied by the productive self as will-to-power, determines science not from a transcendent metaphysic , but as an aesthetically determined modality of pure creativity-i.e., as an art . We then conclude by speculating on the proper form of art that this new science should take. We see that anti-representational thinking, rooted in the self as infinite creativity , is determined not by concepts, but by play or performances . Perhaps, then, we should consider music as determining the proper artistic form of this new kind of science? In this way we finally come to see the possibility for the first time of music as a new kind of science. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)