Art History, Katholische Universität Eichstätt-Ingolstadt, Germany.
Ber Wiss. 2022 Sep;45(3):434-451. doi: 10.1002/bewi.202200045.
When Hans-Jörg Rheinberger proposed the concept of epistemic things, he drew inspiration from the art historian George Kubler, who had considered the aesthetic object as resulting from problem-solving processes in The Shape of Time (1962). Kubler also demonstrated that a sequence of objects could retrace the progress that led to a solution that was afterwards accepted as the most classical. Parallel to Kubler, Rheinberger demonstrates how temporally extended activities of experimentation are condensed in the object, revealing the moments of innovation that lead to it. In the history of science as well as in art history, various trajectories can thus be grasped in the materially given. Rheinberger conceives of an object as a network of heterogeneous time strings. However, these are manifold: they cannot be thought of as making up a homogeneous temporality encompassing all the others as a temporal container and synchronizing them within it. Since the discovery of the Anthropocene, we no longer separate natural from cultural time, and no hegemonic historical narrative can be taken as unifying all the others. Historical epistemology as proposed by Rheinberger will be read as a contribution to constructing new models of natural as well as of cultural time.
当汉斯-约尔格·莱茵贝格尔提出认知事物的概念时，他从艺术史学家乔治·库布勒（George Kubler）那里汲取了灵感，后者在《时间的形状》（1962 年）中认为审美对象是解决问题过程的结果。库布勒还表明，一系列的物体可以追溯到导致后来被接受为最经典的解决方案的过程。与库布勒平行的是，莱茵贝格尔展示了实验的时间延伸活动是如何在物体中浓缩的，揭示了导致它的创新时刻。在科学史和艺术史中，各种轨迹都可以在物质给定的情况下被把握。莱茵贝格尔将物体视为异质时间字符串的网络。然而，这些是多方面的：它们不能被视为构成一个同质的时间性，将所有其他的时间性作为一个时间容器包含在内，并在其中对它们进行同步。自从人类世的发现以来，我们不再将自然时间与文化时间分开，也没有一个霸权的历史叙述可以被视为将所有其他时间性统一起来。如莱茵贝格尔所提出的历史认识论将被视为构建自然和文化时间新模式的贡献。
