Marek Woszczek
Associate Professor, Chair of Philosophy of Science and Technology at the Department of Philosophy, Adam Mickiewicz University, Poznan (Poland).
My research is focused on the metaphysics of nature and the philosophy of physics, in particular the ontology of quantum physics and the framework of causal powers. My interests are also in some topics in the history of the natural-philosophical discourses, from the early modern period through Spinoza and Leibniz to the Enlightenment and the Romantic Naturphilosophie. I am especially interested in the radical Paracelsian ideas of the 16/17th century and the early modern transformations of the concept of nature.
Address: Department of Philosophy
Adam Mickiewicz University
ul. Szamarzewskiego 89c
60-568 Poznan, Poland
http://filozofia.amu.edu.pl/struktura-instytutu/zaklad-filozofii-nauki/dr-marek-woszczek
My research is focused on the metaphysics of nature and the philosophy of physics, in particular the ontology of quantum physics and the framework of causal powers. My interests are also in some topics in the history of the natural-philosophical discourses, from the early modern period through Spinoza and Leibniz to the Enlightenment and the Romantic Naturphilosophie. I am especially interested in the radical Paracelsian ideas of the 16/17th century and the early modern transformations of the concept of nature.
Address: Department of Philosophy
Adam Mickiewicz University
ul. Szamarzewskiego 89c
60-568 Poznan, Poland
http://filozofia.amu.edu.pl/struktura-instytutu/zaklad-filozofii-nauki/dr-marek-woszczek
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It is claimed that that ‘vertical’ (non-eschatological) apocalypticism of nature is an early modern form of an ancient Judeo-Christian apocalyptic tradition transformed under the new social-cultural conditions into a formula of the ‘learning the secrets of nature’ in a complex process of renegotiating the power relations, and it produced the ample resource of the cognitive motivations for experimental activity, quite independently of the gradually waning millenarian affects. Thus, that transformation is important for understanding the religious early modernity with its immanentist, activist attitudes and getting beyond the one-dimensional discourses of the secularization paradigm, which obliterate or ignore the vertical axis of apocalypticism and fix themselves upon the horizontal (millenarian) dimension while constructing the criticized unpicturesque ‘irreligion of progress’ (Löwith). Early modernity could be better understood as a diffused effect associated with the innovative material (medical or chemical, in particular) practices and their new conceptualisations of matter and knowledge, where philosophy, theology, science of matter and social revolt seem inseparable. The myth of the Elijah of the Arts, contrary to a superficial secularization interpretation, is one of the symptoms of the growing process of ‘de-eschatologization’ through the alternative direction of apocalypticism, i.e., shifting an interest to nature and matter as the religious objects available to exploration, which produced the new power conflicts typical of modernity but also the ‘laboratory’ as a space of unveiling that which is hidden in nature.
It is claimed that that ‘vertical’ (non-eschatological) apocalypticism of nature is an early modern form of an ancient Judeo-Christian apocalyptic tradition transformed under the new social-cultural conditions into a formula of the ‘learning the secrets of nature’ in a complex process of renegotiating the power relations, and it produced the ample resource of the cognitive motivations for experimental activity, quite independently of the gradually waning millenarian affects. Thus, that transformation is important for understanding the religious early modernity with its immanentist, activist attitudes and getting beyond the one-dimensional discourses of the secularization paradigm, which obliterate or ignore the vertical axis of apocalypticism and fix themselves upon the horizontal (millenarian) dimension while constructing the criticized unpicturesque ‘irreligion of progress’ (Löwith). Early modernity could be better understood as a diffused effect associated with the innovative material (medical or chemical, in particular) practices and their new conceptualisations of matter and knowledge, where philosophy, theology, science of matter and social revolt seem inseparable. The myth of the Elijah of the Arts, contrary to a superficial secularization interpretation, is one of the symptoms of the growing process of ‘de-eschatologization’ through the alternative direction of apocalypticism, i.e., shifting an interest to nature and matter as the religious objects available to exploration, which produced the new power conflicts typical of modernity but also the ‘laboratory’ as a space of unveiling that which is hidden in nature.
It is claimed that that ‘vertical’ (non-eschatological) apocalypticism of nature is an early modern form of an ancient Judeo-Christian apocalyptic tradition transformed under the new social-cultural conditions into a formula of the ‘learning the secrets of nature’ in a complex process of renegotiating the power relations, and it produced the ample resource of the cognitive motivations for experimental activity, quite independently of the gradually waning millenarian affects. Thus, that transformation is important for understanding the religious early modernity with its immanentist, activist attitudes and getting beyond the one-dimensional discourses of the secularization paradigm, which obliterate or ignore the vertical axis of apocalypticism and fix themselves upon the horizontal (millenarian) dimension while constructing the criticized unpicturesque ‘irreligion of progress’ (Löwith). Early modernity could be better understood as a diffused effect associated with the innovative material (medical or chemical, in particular) practices and their new conceptualisations of matter and knowledge, where philosophy, theology, science of matter and social revolt seem inseparable. The myth of the Elijah of the Arts, contrary to a superficial secularization interpretation, is one of the symptoms of the growing process of ‘de-eschatologization’ through the alternative direction of apocalypticism, i.e., shifting an interest to nature and matter as the religious objects available to exploration, which produced the new power conflicts typical of modernity but also the ‘laboratory’ as a space of unveiling that which is hidden in nature.
It is claimed that that ‘vertical’ (non-eschatological) apocalypticism of nature is an early modern form of an ancient Judeo-Christian apocalyptic tradition transformed under the new social-cultural conditions into a formula of the ‘learning the secrets of nature’ in a complex process of renegotiating the power relations, and it produced the ample resource of the cognitive motivations for experimental activity, quite independently of the gradually waning millenarian affects. Thus, that transformation is important for understanding the religious early modernity with its immanentist, activist attitudes and getting beyond the one-dimensional discourses of the secularization paradigm, which obliterate or ignore the vertical axis of apocalypticism and fix themselves upon the horizontal (millenarian) dimension while constructing the criticized unpicturesque ‘irreligion of progress’ (Löwith). Early modernity could be better understood as a diffused effect associated with the innovative material (medical or chemical, in particular) practices and their new conceptualisations of matter and knowledge, where philosophy, theology, science of matter and social revolt seem inseparable. The myth of the Elijah of the Arts, contrary to a superficial secularization interpretation, is one of the symptoms of the growing process of ‘de-eschatologization’ through the alternative direction of apocalypticism, i.e., shifting an interest to nature and matter as the religious objects available to exploration, which produced the new power conflicts typical of modernity but also the ‘laboratory’ as a space of unveiling that which is hidden in nature.