When Hans-Jörg Rheinberger proposed the concept of epistemic things, he drew inspiration from the art historian George Kubler, who had considered the aesthetic object as resulting from problem-solving processes in The Shape of Time (1962). Kubler also demonstrated that a sequence of objects could retrace the progress that led to a solution that was afterwards accepted as the most classical. Parallel to Kubler, Rheinberger demonstrates how temporally extended activities of experimentation are condensed in the object, revealing the moments of innovation that lead to it. In the history of science as well as in art history, various trajectories can thus be grasped in the materially given. Rheinberger conceives of an object as a network of heterogeneous time strings. However, these are manifold: they cannot be thought of as making up a homogeneous temporality encompassing all the others as a temporal container and synchronizing them within it. Since the discovery of the Anthropocene, we no longer separate natural from cultural time, and no hegemonic historical narrative can be taken as unifying all the others. Historical epistemology as proposed by Rheinberger will be read as a contribution to constructing new models of natural as well as of cultural time.
Keywords: Dipesh Chakrabarty; Friedrich Nietzsche; George Kubler; Gilbert Ryle; Hans-Jörg Rheinberger; Henri Bergson; art work; epistemic object; multiple temporality; ontology of time; philosophy of time; time strings; trajectories.
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