Vilém Flusser (1920–1991)
Författare till En filosofi för fotografin
Om författaren
Vilem Flusser was appointed professor of philosophy of communication at Sao Paulo University in 1963.
Verk av Vilém Flusser
Vampyroteuthis Infernalis: A Treatise, with a Report by the Institut Scientifique de Recherche Paranaturaliste… (1993) 85 exemplar
Steidl Taschenbücher, Nr.86, Vom Stand der Dinge. Eine kleine Philosophie des Design (1993) 13 exemplar
Communicology: Mutations in Human Relations? (Sensing Media: Aesthetics, Philosophy, and Cultures of Media) (2022) 2 exemplar
Für eine Philosophie der Fotografie 1 exemplar
Estrangeiros no mundo 1 exemplar
Az ágy : [esszék] 1 exemplar
A RECONSIDERAR 1 exemplar
ARTE Y POLITICA 1 exemplar
Criação Cientifica e Artística 1 exemplar
Do espelho 1 exemplar
Exílio y creatividad 1 exemplar
Da ficção 1 exemplar
Máscaras 1 exemplar
Para além das máquinas 1 exemplar
Una nueva imaginacíon 1 exemplar
Unicórnios 1 exemplar
Η Γραφή 1 exemplar
Taggad
Allmänna fakta
- Namn enligt folkbokföringen
- Flusser, Vilém
- Födelsedag
- 1920-05-12
- Avled
- 1991-11-27
- Kön
- male
- Nationalitet
- Czechoslovakia
- Land (för karta)
- Czechoslovakia
Brazil
France
Medlemmar
Recensioner
Du skulle kanske också gilla
Associerade författare
Statistik
- Verk
- 80
- Medlemmar
- 998
- Popularitet
- #25,829
- Betyg
- 3.9
- Recensioner
- 12
- ISBN
- 183
- Språk
- 16
- Favoritmärkt
- 1
The act of photography is that of 'phenomenological doubt', to the extent that it attempts to approach phenomena from any number of viewpoints. But the 'mathesis' of this doubt (its deep structure) is prescribed by the camera's program. Two aspects are decisive for this doubt. First: Photographers' practice is hostile to ideology. Ideology is the insistence on a single viewpoint thought to be perfect. Photographers act in a post-ideological way even when they think they are serving an ideology. Second: Photographers' practice is fixed to a program. Photographers can only act within the program of the camera, even when they think they are acting in opposition to this program. This is true of all post-industrial acts: They are 'phenomenological' in the sense of being hostile to ideology, and they are programmed acts. Thus it is a mistake to talk of a drift towards ideology on the part of mass culture (e.g. on the part of mass photography). Programming is post-ideological manipulation.… (mer)