Abstract

The paper attempts to examine what is by all accounts a self-styled approach to contemporary existence, borrowing from Claire Colebrook’s 2017 essay on Bernard Stiegler’s so-called ‘curious problem of range’. Subsequently, we tackle Yuk Hui's interpretive reading of Stiegler's analysis of retentional digitality. Hui promotes the idea of archival metaphysics to overlay Stiegler’s concept of tertiary retention with tertiary protention. However, Stiegler's reformulation of Kant's aesthetics already addresses these concerns: the problem of range that his works continually provoke and the self-inscriptive conditions of writing that limit the examination of this range to the paradox of différance. Stiegler assigns the task of unraveling this range in question to the amateur, vis-a-vis the critic's typical role in the conduct of critical reason. For Stiegler, the amateur is the full achievement of aesthetic judgment, essential to education and culture formation.

摘要

这篇论文试图通过借鉴克莱尔·科尔布鲁克 (Claire Colebrook) 2017 年关于伯纳德·斯蒂格勒 (Bernard Stiegler) 所谓的“好奇的范围问题”的文章，来检验什么是自封的当代存在方法。随后，我们处理 Yuk Hui 对斯蒂格勒对保留数字性分析的解释性阅读。Hui 提倡档案形而上学的思想，以将斯蒂格勒的三级保留概念与三级保留相重叠。然而，斯蒂格勒对康德美学的重新表述已经解决了这些问题：他的作品不断引发的范围问题，以及将对该范围的考察限制在差异悖论的写作的自我铭文条件。斯蒂格勒将解开这个范围的任务分配给业余爱好者，而不是批评家' 在批判理性行为中的典型作用。对斯蒂格勒来说，业余爱好者是审美判断的充分成就，对教育和文化形成至关重要。