The work of Michel Serres is often presented as a radical break with the work of Gaston Bachelard. The aim of this paper is to partly correct this image, by focusing on Serres’s early Hermes series (1969-1980). In these books Serres portrays himself as a follower of Bachelard, exemplarily shown in his neologism of the ‘new new scientific spirit’ (le nouveau nouvel esprit scientifique), updating Bachelard in the light of more recent scientific developments. This allows a reinterpretation of the relation (...) between both authors, one where there is room to acknowledge how the roots of Serres’s philosophy lie not in a radical break with Bachelard, but can be partly understood as a Bachelardian criticism of Bachelard himself. This Bachelardian criticism consists in what could be called his ‘surrationalism’: the sciences do not follow the categories imposed by philosophers, but are always more flexible and open than these categories allow. Specific critiques of Serres, such as those concerning the novelty of Bachelard’s thought, the role of epistemology and finally the political dimension of science will be evaluated through a reappraisal of this Bachelardian move that underlies Serres’s criticism. (shrink)

This paper deals with the problem of the subject in Bachelard?s concept of surrationalism. Focusing on the epistemological character of surrational creativity, the issue of the subject is approached through the analysis of the relationship between subjectivity and objectivity in the surrational act. Comparing the character of novelty in surrealism and surrationalism, the paper introduces Bachelard?s distinction between formal and material imagination, with the latter further discussed through the prepositions?against? [contre] and?in? [dans]. Bachelard?s theory of the internal dialectic (...) - the theory of subdivision of the subject - is analyzed through his concept of reverie. The last chapter deals with the dialectic between the apodictic and the assertoric subject, aiming to reconsider the idea of interiority and repose. (shrink)

The work of Michel Serres, if considered at all, is often presented as a radical break with or criticism of the work of Gaston Bachelard. The aim of this paper is to correct this image, by focusing on the early Hermes series by Serres. In these studies Serres still portrays himself as a follower of Bachelard, rather than an adversary. This is exemplarily shown in his neologism, i.e. the new new scientific spirit, referring to the attempt to update Bachelard in (...) the light of more recent scientific developments. This shows how the roots of Serres’ philosophy lie not in a radical break with Bachelard, but must be understood rather as a Bachelardian criticism of Bachelard himself. This Bachelardian criticism consists in what could be called his surrationalism: the sciences do not follow the categories imposed by philosophers, but are always more flexible and open than these categories allow. The philosopher should follow this scientific flexibility, rather than trying to contain it in his or her categories. Instead of abandoning Bachelard’s perspective, Serres’ criticisms can therefore be understood as a radicalisation of Bachelard’s thought. Specific critiques of Serres, such as those concerning the novelty of Bachelard’s thought, the role of epistemology, the role of normativity, and finally the role of politics, and their consequences will be evaluated through a reappraisal of this Bachelardian move that underlies Serres’ criticism. Finally, this can also open a path to reassess the relation between Bachelard and Bruno Latour or Isabelle Stengers, who can be considered as followers of Serres. (shrink)

The paper deals with the engraving hand of Albert Flocon and its poietic description by the pen of Gaston Bachelard. It proceeds by discussing examples of the group of collaborative works that emerged from the cooperation between Flocon, the copperplate engraver and theoretician of perspective and Bachelard, the philosopher of science and scholar of literary images in mid-twentieth century Paris.