In 1986, after the international success of Towards a Philosophy of Photography, Vil?m Flusser started to publish regularly in Artforum Magazine, New York. The book Artforum // Essays gathers together for the first time all twenty-eight essays, both published and unpublished, which Flusser wrote for the magazine until his tragic death in 1991.The fundamental question that Vil?m Flusser asks in this series of short provocative essays, and which he explores in most of his literary production, is this: can we really make such a clear distinction between aesthetics, epistemology and ethics as forms of knowledge production? And if through a phenomenological analysis we discover that indeed the boundaries of these fields of human production are not so well defined, then what are the implications for us of such an analysis? Are we already engaging in different modes of cultural production (in its widest sense) but are not yet fully aware of it? His analyses are posited within a contemporary discussion in relation to both the schisms and confluences between art, philosophy and science, but also questioning the very
Is the alphabet about to disappear? How will we communicate without it? Are there any indications of new, emergent codes? Is human communication going through a mutation? These are only some of the provocative questions posed by Vil?m Flusser in Into Immaterial Culture.? The four essays of this book were delivered as a series of lectures at the School of Communication and the Arts of the University of S?o Paulo in August of 1986, one year after the publication of the first Brazilian edition of Towards a Philosophy of Photography,?published as A Filosofia da Caixa Preta.? Through these four short essays, Flusser presents, in a nutshell, his communications theory. Their style is condensed, with a series of quick-fire sentences, which are best read in conjunction with his major works of the same period. However, for a fist time reader of his work, these four lectures are a good introduction to some of Flusser's polemic and provocative concepts regarding human communication, its future, and its ethical, aesthetic, and epistemological implications; a vision that is paradoxically utopian and dystopian.
Has there been a shift in our concept of immateriality? In Immaterialism, Vil?m Flusser explores some of the signs that point towards a cultural shift in relation to what we regard as immaterial. A shift which he considers fundamental for the understanding of the wider cultural changes we experience today. First published in Portuguese, as an essay in 1987 in the Boletim da Sociedade Brasileira de Hist?ria da Ci?ncia, it was subsequently translated by the author into German and English. This edition presents Flusser's own English version of the text set as a visual poem by the artist Chagrin. This book is the first title of the Metatext series by Metaflux, edited by Rodrigo Maltez Novaes.
The Caderno Sesc_Videobrasil 12 | METAFLUXUS focuses on the thought of? Czech-Brazilian philosopher Vil?m Flusser. Constructed based on his way of understanding and delimiting contemporary cultural territories, this publication creates an experimental space in which different lines of thought and expression cross each other to project a hypertextual and imagetic metaflux that discusses contemporary themes from a Flusserian perspective. The concept of metaflux was born in Berlin, during a period of research at the _Vil?m_Flusser_Archiv, installed at the Universit?t der K?nste (UdK). Between 2010 and 2015, as a research fellow in the archive, I coorganized a study group that I called the Flusserian Philosophical Fridays. The group met every couple of weeks to read Flusser, according to the author?s intention, who wrote his texts to be read and discussed in a group during the various courses he taught throughout Brazil and Europe.From Flusser?s work, four texts have been selected that represent different moments and facets of the development of his thought; together, they make up an arc that encompasses all the
En los años ochenta, el filósofo checo-brasileño Vilém Flusser comenzó a rodear con su escritura el núcleo de un cambio de época que no era aún advertido en la vida cotidiana con la fuerza con la que se percibiría varias décadas después. Uno de los síntomas de ese cambio era la progresiva expansión de un nuevo tipo de fenómeno visual: la imagen técnica. Fotografías, películas, imágenes televisivas, de video y de las terminales informáticas asumían cada vez con más fuerza el rol de portadores de la información antes desempeñado por los textos lineales, transformando radicalmente el modo en el que vivenciamos y valoramos el mundo. En la medida en que experimentamos el mundo no solo a través de textos lineales sino cada vez más a través de imágenes codificadas por aparatos, ingresamos a una situación posthistórica, sucesora de la escritura. Publicado en 1985 como complemento de Hacia una filosofía de la fotografía, El universo de las imágenes técnicas es el diagnóstico embrionario de una nueva forma de imaginación; esto es, de una nueva forma de producción de imágenes que cifra las claves del tránsito de la sociedad alfanumérica a la sociedad digital: la creación sintética de imágenes electrónicas. Escrito con modulaciones proféticas, oscilando entre un determinismo tecnológico apocalíptico que avizora una sociedad totalitaria, centralmente programada e integrada por funcionarios y receptores de imágenes narcotizados, y la utopía positiva de una sociedad de cerebros interconectados en un diálogo creador con potencialidad liberadora, este libro confirma el carácter visionario del pensamiento de Flusser para descifrar las exóticas formas sociales del mundo en el que vivimos.
In 1986, after the international success of Towards a Philosophy of Photography, Vil?m Flusser started to publish regularly in Artforum Magazine, New York. The book Artforum // Essays gathers together for the first time all twenty-eight essays, both published and unpublished, which Flusser wrote for the magazine until his tragic death in 1991.The fundamental question that Vil?m Flusser asks in this series of short provocative essays, and which he explores in most of his literary production, is this: can we really make such a clear distinction between aesthetics, epistemology and ethics as forms of knowledge production? And if through a phenomenological analysis we discover that indeed the boundaries of these fields of human production are not so well defined, then what are the implications for us of such an analysis? Are we already engaging in different modes of cultural production (in its widest sense) but are not yet fully aware of it? His analyses are posited within a contemporary discussion in relation to both the schisms and confluences between art, philosophy and science, but also questioning the very
Is the alphabet about to disappear? How will we communicate without it? Are there any indications of new, emergent codes? Is human communication going through a mutation? These are only some of the provocative questions posed by Vil?m Flusser in Into Immaterial Culture.? The four essays of this book were delivered as a series of lectures at the School of Communication and the Arts of the University of S?o Paulo in August of 1986, one year after the publication of the first Brazilian edition of Towards a Philosophy of Photography,?published as A Filosofia da Caixa Preta.? Through these four short essays, Flusser presents, in a nutshell, his communications theory. Their style is condensed, with a series of quick-fire sentences, which are best read in conjunction with his major works of the same period. However, for a fist time reader of his work, these four lectures are a good introduction to some of Flusser's polemic and provocative concepts regarding human communication, its future, and its ethical, aesthetic, and epistemological implications; a vision that is paradoxically utopian and dystopian.
Has there been a shift in our concept of immateriality? In Immaterialism, Vil?m Flusser explores some of the signs that point towards a cultural shift in relation to what we regard as immaterial. A shift which he considers fundamental for the understanding of the wider cultural changes we experience today. First published in Portuguese, as an essay in 1987 in the Boletim da Sociedade Brasileira de Hist?ria da Ci?ncia, it was subsequently translated by the author into German and English. This edition presents Flusser's own English version of the text set as a visual poem by the artist Chagrin. This book is the first title of the Metatext series by Metaflux, edited by Rodrigo Maltez Novaes.
The Caderno Sesc_Videobrasil 12 | METAFLUXUS focuses on the thought of? Czech-Brazilian philosopher Vil?m Flusser. Constructed based on his way of understanding and delimiting contemporary cultural territories, this publication creates an experimental space in which different lines of thought and expression cross each other to project a hypertextual and imagetic metaflux that discusses contemporary themes from a Flusserian perspective. The concept of metaflux was born in Berlin, during a period of research at the _Vil?m_Flusser_Archiv, installed at the Universit?t der K?nste (UdK). Between 2010 and 2015, as a research fellow in the archive, I coorganized a study group that I called the Flusserian Philosophical Fridays. The group met every couple of weeks to read Flusser, according to the author?s intention, who wrote his texts to be read and discussed in a group during the various courses he taught throughout Brazil and Europe.From Flusser?s work, four texts have been selected that represent different moments and facets of the development of his thought; together, they make up an arc that encompasses all the
En los años ochenta, el filósofo checo-brasileño Vilém Flusser comenzó a rodear con su escritura el núcleo de un cambio de época que no era aún advertido en la vida cotidiana con la fuerza con la que se percibiría varias décadas después. Uno de los síntomas de ese cambio era la progresiva expansión de un nuevo tipo de fenómeno visual: la imagen técnica. Fotografías, películas, imágenes televisivas, de video y de las terminales informáticas asumían cada vez con más fuerza el rol de portadores de la información antes desempeñado por los textos lineales, transformando radicalmente el modo en el que vivenciamos y valoramos el mundo. En la medida en que experimentamos el mundo no solo a través de textos lineales sino cada vez más a través de imágenes codificadas por aparatos, ingresamos a una situación posthistórica, sucesora de la escritura. Publicado en 1985 como complemento de Hacia una filosofía de la fotografía, El universo de las imágenes técnicas es el diagnóstico embrionario de una nueva forma de imaginación; esto es, de una nueva forma de producción de imágenes que cifra las claves del tránsito de la sociedad alfanumérica a la sociedad digital: la creación sintética de imágenes electrónicas. Escrito con modulaciones proféticas, oscilando entre un determinismo tecnológico apocalíptico que avizora una sociedad totalitaria, centralmente programada e integrada por funcionarios y receptores de imágenes narcotizados, y la utopía positiva de una sociedad de cerebros interconectados en un diálogo creador con potencialidad liberadora, este libro confirma el carácter visionario del pensamiento de Flusser para descifrar las exóticas formas sociales del mundo en el que vivimos.