과학기술 이미지의 미학적 해명: 19세기 골지와 카할의 신경과학 실험연구를 중심으로
An Aesthetic Explanation of Technoscientific Images: focusing on Golgi and Cajal’s Neuroscientific Experimental Researches in the 19th Century
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과학기술과 미학의 관련은 학문 영역의 지향점이 상이하다는 사실에서 의문시되었다. 그러나 과학 지식이 그 외부의 다양한 개입에 의해 역사적으로 구성된다는 이해는 과학기술 이미지와 미적인 것의 연결 가능성을 보여준다. 본 논문은 19세기 골지와 카할의 신경과학 논쟁에서 실험 이미지의 재현 과정에 주목한다. 그들의 신경세포 이미지 재현에는 미학적인 개입만이 아니라 신경세포염색물질의 개입이 과학적 지식을 변형시켰다. 대스턴과 갤리슨의 ‘기계적 객관성’ 개념은 그들의 이미지 재현을 인식적․역사적 구분에 따라 적합하게 배치했으나, 물질적인 개입을 제대로 설명하지 못했다. 반면 골지와 카할의 이미지재현은 19세기 사진 기술이 사용한 물질들과 긴밀히 연결되었다. 이는 과학기술 이미지가 실험 재료의 물질성을 매개로 해서 미적인 것과 연결될 수 있는역사적 계기들을 보여주며, 과학기술과 미학의 접점을 예시한다.
Abstract
The relationships between technoscience and aesthetics are questioned by the fact that their theoretical intentions are different. However, the historical epistemology that scientific knowledge is historically constructed by variously intervening in its outsides shows the potential of coupling technoscientific images with the aesthetic. The article focuses on their representation of neuron images in the neuroscience debate of Golgi and Cajal in the 19th century. In these representation processes scientific knowledge has been transformed and structured not only by the aesthetic intervening, but by the intervention of materials, such as dyeing materials and experimental tools. In their analyzing the epistemic conventions of technoscientific images, Daston and Galison have rightly disposed the their images to historical-epistemic division of 'the mechanical objectivity', but could not properly explain the materiality intervened in the representation. On the other hand, their representation involved not only the aesthetic, but the materiality of the contemporary photographic techniques. This shows the historical aspect of technoscientific images related to the aesthetic through the materiality of the experiment, and instantiates the coupling of technoscience with aesthetics.
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