米歇尔·塞雷斯和后人文主义:沉默、承认和处理缺席

Michel Serres, O. Rignani
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引用次数: 1

摘要

面对一个社会-政治-媒介舞台继续上演流行病,气候变化,第四次工业革命,第六次大灭绝,战争等芭蕾,Michel Serres和后人类主义的反思提出了人类中心主义标志的沉默,以及对事物和人类共同所属的多样性,多样性,可能性的认识,以及对这些多样性,多样性,可能性的研究,那往往是缺位,黑洞,被哲学缺位压抑的地方,我目瞪口呆地看到一个几乎250英亩见方的地方全是跳舞的瓶子。盘绕的风把他们从四面八方,从四面八方,都逼到了那里。它们不断地危险地碰撞,发出尖锐刺耳的鸣笛声,这种声音升到天上,飘到天边,使整个空间充满了令人眼花缭乱的狂喜。(Serres, 1982, p。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Michel Serres and the Posthumanism: Silencing, Recognizing, and Working on Absences
 Faced with a socio-political-mediatic arena that continues to return the ballet of pandemic, climate change, fourth industrial revolution, sixth mass extinction, war etc., the reflection of Michel Serres and Posthumanism put forth instances for silencing of the anthropocentric logos , and for recognition of the multiplicity, variety, possibility of things and of the human in co-belonging with them, as well as instances for working on these same multiplicities, varieties, possibilities, that are often absences, black holes, repressed of philosophical absences Bearing off, I was dumbfounded to see an area almost two hundred and fifty acres square entirely populated by dancing bottles. […] The coiling winds had compelled them all there, from far and near, from thousand different quadrants. Their constant and perilous collisions made for an acute and cacophonic carillon, and this noise mounted heavenward, wafted to the horizon, it filled all space with giddy ecstasy. (Serres, 1982, p.
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