| Abstract [eng] |
In this work I analyze the problem of scientific terminology in the Gilbert Simondon‘s genetic theory of images. The thesis of this work I try to defend is as follows: the terminological analysis of the scientific concepts of Simondon‘s theory of images provides a basis for arguing that the specific technical nature of image can be treated as a condition for the evolution of the individual. This work is made up of four parts in which: 1) the controversial field, in which Simondon‘s theory of images appears, is developed and the particular aspect of the Simondonian image is shown; 2) the concept of the image as well as the whole theory of images are introduced and genetic nature of the theory is defined; 3) the origins of scientific terminology in Simondon‘s theory of images are shown as well as the context of physics to highlight it is used; the context of chemistry will substantially supplement the understanding of one of the scientific concepts and in this way it will better define the stage of the image genesis process that has an utmost importance to Simondon; 4) after showing the technical nature of the image the mode of its existence is discussed, thus reaching the important conclusions that provide added value to Simondon's theory of images. The aim of this work is multiple: a) to elucidate the scientific terminology which appears in Simondon‘s genetic theory of images, b) to show its origins; c) to determine its scattering in Simondon‘s best known works and to present the semantic meanings of concepts, thus creating a broader context for the whole theory of images, making it clearer and at the same time showing the tight connection, that may seem unconvincing at first glance, of Simondon’s theory of images to both his previous works and the domain of natural sciences. In this paper I analyze the work in which Simondon developed his theory of images. So far the work „Imagination and Invention“ has not received much attention from theoretical interpreters. Also in this paper I analyze the conceptions laid out in Simondon‘s best known works that are relevent to his theory of images. In this paper the context of previous studies of imagination is showed as well. In this paper I repel some criticism which is directed towards Simondon‘s theory of images. |
