The ArgumentIn the first part of this paper, issues concerning an “epistemology of time” are raised. The Derridean theme of the historial movement of a trace is connected to Prigogine's notion of an operator-time. It is suggested that both conceptions can be used to characterize the dynamics of experimental systems in contemporary science. It is argued that such systems have, to speak with Hacking, “a life of their own” and that this is precisely the reason for their inherent unpredictability.In the (...) second part, a case from the history of virology and cytomorphology is presented. The movement of a particular experimental system is followed in its peculiar tension between deferring and becoming different—i.e., between the persistence of a problem and the vagaries of its successive transformations. They are rendered possible by novel technical implementations, but they are not determined in any meaningful sense on a mere technological level.In conclusion, a point is made for a deconstructive approach to the history of science. (shrink)

The essay aims to outline an epistemology of photography through the critical issues that arise from the encounter between photography and sculpture. In particular, it investigates the aesthetic and semiotic constraints that define the specificity of the photographic look with respect to a sculptural three-dimensional vision. The relationship between documentary and art photographs is the main area of research; specifically, the essay tries to highlight the interpretative value that can also be attributed to documentary photography, underlining the boundaries of a (...) complex distinction. A specific section is devoted to Medardo Rosso’s photographs of his own sculptures. Rosso’s work solicits a reflection on the status of photography and on some theoretical problems such as reproducibility, the relationship between original and copy, and the creative gap produced by variation in a series. The artist suggests a peculiar “grammar” of photography by virtue of his relationship with another art – sculpture. (shrink)

Although popular music is increasingly recognized as an important area of inquiry in philosophy of art, many organizing principles have been taken over from other fields without scrutiny. This article selects heavy metal as an example of the value of applying philosophy of criticism to discourse about popular music. Metal is now in its fifth decade, and its combination of longevity and diversity have made it an attractive topic in popular music studies. In accounts of metal by musicologists and social (...) science researches, metal is almost always referred to as a genre of music, and the genre is said to unify diverse metal subcultures, which are associated with diverse styles of metal. An examination of the concepts of genre and subculture as they are typically understood in popular music studies generally, and in metal studies in particular, suggests that they do not function to delineate metal as a unitary category. However, contemporary philosophy of art provides several theoretical principles that provide criteria for identifying a unified genre. The relevant theories are historical definitions of art and Kendall Walton's account of style. Viewed in terms of these philosophical developments, metal should be seen as an evolving assemblage of related styles, only some of which are associated with fans who constitute a subculture. However, it is not a "category" in Walton's sense of that term. Video abstract. (shrink)