Vilém Flusser (1920–1991)
Autor de Towards a Philosophy of Photography
Sobre El Autor
Vilem Flusser was appointed professor of philosophy of communication at Sao Paulo University in 1963.
Obras de Vilém Flusser
Vampyroteuthis Infernalis: A Treatise, with a Report by the Institut Scientifique de Recherche Paranaturaliste… (1993) 85 copias
Steidl Taschenbücher, Nr.86, Vom Stand der Dinge. Eine kleine Philosophie des Design (1993) 13 copias
Communicology: Mutations in Human Relations? (Sensing Media: Aesthetics, Philosophy, and Cultures of Media) (2022) 2 copias
Az ágy : [esszék] 1 copia
A RECONSIDERAR 1 copia
Máscaras 1 copia
ARTE Y POLITICA 1 copia
Criação Cientifica e Artística 1 copia
Do espelho 1 copia
Estrangeiros no mundo 1 copia
Exílio y creatividad 1 copia
Da ficção 1 copia
Para além das máquinas 1 copia
Una nueva imaginacíon 1 copia
Unicórnios 1 copia
Η Γραφή 1 copia
Etiquetado
Conocimiento común
- Nombre legal
- Flusser, Vilém
- Fecha de nacimiento
- 1920-05-12
- Fecha de fallecimiento
- 1991-11-27
- Género
- male
- Nacionalidad
- Czechoslovakia
- País (para mapa)
- Czechoslovakia
Brazil
France
Miembros
Reseñas
También Puede Gustarte
Autores relacionados
Estadísticas
- Obras
- 80
- Miembros
- 1,004
- Popularidad
- #25,690
- Valoración
- 3.9
- Reseñas
- 12
- ISBNs
- 183
- Idiomas
- 16
- Favorito
- 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.… (más)