Vilém Flusser (1920–1991)
Auteur van Een filosofie van de fotografie
Over de Auteur
Vilem Flusser was appointed professor of philosophy of communication at Sao Paulo University in 1963.
Werken van Vilém Flusser
Vampyroteuthis Infernalis: A Treatise, with a Report by the Institut Scientifique de Recherche Paranaturaliste… (1993) 85 exemplaren
Steidl Taschenbücher, Nr.86, Vom Stand der Dinge. Eine kleine Philosophie des Design (1993) 13 exemplaren
Die Revolution der Bilder. Der Flusser- Reader. Zu Kommunikation, Medien, Design. (1998) 8 exemplaren
Communicology: Mutations in Human Relations? (Sensing Media: Aesthetics, Philosophy, and Cultures of Media) (2022) 2 exemplaren
Az ágy : [esszék] 1 exemplaar
Vilém Flusser: Ein Gespräch (German Edition) 1 exemplaar
Vilém Flusser y la Cultura de la Imagen: Textos Escogidos (Colección Austral Universitaria de Ciencias… 1 exemplaar
Für eine Philosophie der Fotografie 1 exemplaar
A RECONSIDERAR 1 exemplaar
Máscaras 1 exemplaar
ARTE Y POLITICA 1 exemplaar
Criação Cientifica e Artística 1 exemplaar
Do espelho 1 exemplaar
Estrangeiros no mundo 1 exemplaar
Exílio y creatividad 1 exemplaar
Da ficção 1 exemplaar
Para além das máquinas 1 exemplaar
Una nueva imaginacíon 1 exemplaar
Unicórnios 1 exemplaar
Η Γραφή 1 exemplaar
Tagged
Algemene kennis
- Officiële naam
- Flusser, Vilém
- Geboortedatum
- 1920-05-12
- Overlijdensdatum
- 1991-11-27
- Geslacht
- male
- Nationaliteit
- Czechoslovakia
- Land (voor op de kaart)
- Czechoslovakia
Brazil
France
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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.… (meer)