La matriz disciplinar de Kuhn

Good evening. This video also corresponds to Unit 2, and today we're going to work on Kun and the disciplinary matrix. We'll revisit some concepts we 've seen in previous videos and texts, including the perspective technique of Renaissance painters. There, we established this separation between the fixed eye and the painting. The painting, which was the world, the

ontology where objects are, and that fixed eye, which constitutes that homogeneous space to ensure the homogeneity of objects, to allow objects to be constructed following the same rules. We associated this fixed eye with the subject, with the eternal subject, and fundamentally with the Kantian subject. That Kantian subject—that is, what exists in the place of that fixed eye—is

a set of structures that constitute human reason. We saw that this Kantian subject, which is the transcendental subject, is universal, a priori. And since it is universal, the world that will constitute that painting is the human world. So we have a kind of relativism here in Cannes, which is a world relative to the human species, but there are no

differences of culture or time. Objects are constituted by this universal subject, which is human reason. Well, in terms of what will happen, what will happen with Kun- Kun, he will also consider that the subject is a priori, and we can also achieve this with that fixed eye that we had seen, only that the a priori that he is proposing with

that subject is no longer a historical a priori. The subject that he bought, he puts, is what scientific communities share. It is the scientific community. That scientific community shares disciplinary matrices. That is to say, how do we identify a scientific community by the disciplinary matrix that it shares? It is that they share a series of