Standing apart from Martin Heidegger’s 1929–1930 metaphysical lessons is his description of a photograph taken by Josef Maria Eder, for Sigmund Exner, using the lens of a glow worm’s eye. Since the technical details of the production of such a photography are not readily available, I will reconstruct the experimental setting. Paying attention to the technical details opens up a venue for historical and philosophical reflection based on the creative potential of scientific practices. Through a critical approach, a rather generic experimental meshwork could be turned into a natural-artifactual, living-nonliving hybrid setting in which the concepts of dense technological environment, philosophical toy, and experimental system meet and intertwine thanks to the playfulness that goes through them, a quality rooted in scientific practices. Within this hybrid and playful configuration, the unliving emerges as a paradoxical voice for the living.

除了马丁·海德格尔 1929 年至 1930 年的形而上学课程之外，他对约瑟夫·玛丽亚·埃德 (Josef Maria Eder) 为西格蒙德·埃克斯纳 (Sigmund Exner) 拍摄的一张照片的描述使用了萤火虫的眼睛。由于制作此类照片的技术细节不易获得，因此我将重建实验设置。关注技术细节为基于科学实践的创造潜力的历史和哲学反思开辟了一个场所。通过批判性的方法，一个相当通用的实验网络可以变成一个自然-人造、有生命-无生命的混合环境，在这种环境中，密集的技术环境、哲学玩具和实验系统的概念在其中相遇并交织在一起，这要归功于它们的趣味性，一种植根于科学实践的品质。