Vilém Flusser (May 12, – November 27, ) was a Czech-born The Shape of Things, was published in London in and was followed by a new translation of Towards a Philosophy of Photography. Towards a Philosophy of Photography has ratings and 27 reviews. Jesse said: Interesting attempt to build a theoretical framework around photography. Back in , the media critic and philosopher Vilém Flusser (–) in a little book called Towards a Philosophy of Photography.
|Published (Last):||20 July 2009|
|PDF File Size:||11.21 Mb|
|ePub File Size:||9.15 Mb|
|Price:||Free* [*Free Regsitration Required]|
Goodreads helps you keep track of books photogrxphy want to read. Want to Read saving…. Want to Read Currently Fluusser Read. Refresh and try again. Open Preview See a Problem? Thanks for telling us about the problem. Return to Book Page. Hubertus Von Amelunxen Introduction.
An analysis of the medium in terms of aesthetics, science and politics provided him with new ways of understanding both the cultural crises of the past and the new social forms nascent within them. Flusser showed how the transformation of textual into visual culture from the linearity of history into the two-dimensionality of magic and of industrial into post-industrial society from work flsuser leisure went hand in hand, and how photography allows us to read and interpret these changes with particular clarity.
Paperback94 pages. Published December 1st by Reaktion Books first published January 1st To see what your friends thought of this book, please sign up. To ask other readers questions about Towards a Philosophy of Photographyplease sign up. Be the first to ask a question about Towards a Philosophy of Philozophy.
Towards a Philosophy of Photography by Vilém Flusser
Lists with This Book. Mar 22, Jesse rated it liked it. Interesting attempt to build a theoretical framework around photography, sometimes gratifying, but not always successful. The central idea of an “apparatus,” tied to mechanical devices, social systems, and “programmed” with every possibility already inherent in the device itself I sensed two major weaknesses in Flusser’s framework. First, he’s often rehashing ideas of other thinkers on these topics Heidegger’s ideas about Interesting attempt to build a theoretical framework around photography, sometimes gratifying, but not always successful.
Heidegger’s ideas about technology, or McLuhan’s writing about artifacts and extensions of the senses Flusser would have benefited from more thoughtful citation, and more focus.
Second, too many of Flusser’s conjectures, in attempting to be clever or provocative, simply miss the mark. His claim that photographic devices i. At times, Flusser’s axioms aren’t clever or useful enough to justify their leaps of logic. That said, this is a decent starting point for thinking about photography in a postmodern, highly conceptual way.
May 22, Paula Koneazny rated it it was amazing Shelves: He describes two historical paradigm shifts: He states that the first humans were surrounded by their tools; then, as a consequence of the Industrial Revolution, humans began to surround their machines; finally, after th Brief. He states that the first humans were surrounded by their tools; then, as a consequence of the Industrial Revolution, humans began to surround their machines; finally, after the invention of photography, humans came to reside within their image-making apparatuses, inside the thoroughly programmed and programmable black boxes of their cameras shorthand for all systems that self-program by means of feedback.
Flusser depicts information technologies that produce redundant and non-original images, as well as political and economic systems that are themselves apparatuses, as entities that use photofraphy for their own evolution and success rather than vice versa.
Flusser also brings to mind Foucault in the sense that philosophh philosophy allows for only the most elusive and problematic possibility of human agency. Unfortunately, Flusser provides neither a definition of nor specific examples of such experimental photography.
Feb 27, Mark Broadhead rated it it was ok. A ‘philosophy’ book without references. A multitude of quips, without thought, or little consistency with what he has said before or will say in the next sentence.
Is there no good thinking on photography other than Barthes’ Camera Lucida? View all 3 comments. Oct 16, Rodrigo Novaes rated it it was amazing. This book is not about photography – it is a political manifesto about freedom in a programmed world. Mar 12, Eduardo Deboni rated it it was amazing. While writing revolutionized humanity and marked the beginning of the historical period, photography, and its new coding and symbolization of the information, make towrads post-history, with equally revolutionary developments, developers and modifiers of humanity.
He has glimpsed the magical ability of a photographic image could destroy the one-dimensional feature, linear, of the texts.
Not only photos but also videos and other electronic media are co-responsible for this post-historical revolution. We have been living witnesses that, in recent years, images have ceased to be mere text illustrations, to become the protagonists of the media. They submitted the texts to a supplementary or secondary role. This phenomenon enhanced by two important aspects, closely flussfr to the photo: These ideas are explored in great detail in the book that I find extremely interesting to read and think about.
Jul 26, Al Matthews rated it really liked it Recommends it for: So, inspired by friend-traffic on this site I’ll begin a temporary but sustained one-per-day or so. Prospective readers will note this is not so much a sustained analysis of photographic practice as a fresh contribution to typically mealymouthed discussions of the relation between writing and image — plus a the Hello. Prospective readers will note this is not so much a towarcs analysis of photographic practice as a fresh contribution to typically mealymouthed discussions of the relation between writing and image — plus a theory of freedom.
It’s also very short: And in fact, I’m thinking it was written in English, although Flusser also wrote [his early] philosophy in Brazilian [ehhm, Portuguese], [his later mostly in German,] I believe French [still checking], and his native language, Czech.
Sorry I don’t have that on hand. You’ll be saddened to hear Flusser died in car crash on the way home from photogdaphy lecture. I expected this book to be rooted more in theory. Instead, Flusser set out to contribute hypotheses to photograpny discourse of photography. He did mention this in the foreword though, so that was clear from the beginning. Towards a Philosophy of Photography is not solely about photography but about the deconstruction of information—how it’s encoded and decoded, the cultural influences and how it is conveyed.
Flusser broke down photography into the image, the ap Actual rating: When he did refer to other thinkers like Marx and Kafka, his survey of their theories in relation to photography were extremely brief. They would’ve benefited a clearer analysis but that wasn’t Flusser’s intention, thus he didn’t even include a bibliography at the end. Jun 21, Taco Hidde Bakker rated it really liked it.
CONTINUE TO BILLING/PAYMENT
Texts on photography making you think photography – as system and function of the natural, scientific, and social worlds, rather than as an art or practice. If you want to read about photographers or particular photographs, read others. If you wish to receive stimulating speculation towards thinking photography as abstract category, Flusser is your thought-feeding-machine. But don’t forget to free yourself by playing against machines!
Jul 03, Char Tan rated it it was amazing. Flusser’s anti-quote bravado and originality is refreshing,vexing, and at times depressing Aug 07, carpe librorum: Gostaria que o meu ponto de chegada fosse ponto de partida para outros debates.
Verbos como ver, olhar, observar, focar, deixariam de fazer sentido. Quero procurar um modo de escapar a esta escravatura. Flusser fala do conceito de caixa negra. Estes pontos variam de intensidade luminosa consoante a cor, copiando o modo como os objectos absorvem e reflectem a luz na natureza. Uma forma de evitar este perigo pode ser pensando sobre ele.
Sep 19, Riar rated it really liked it. Possibly the best way to think about the image is to understand the philosophy philosophh photography. In here, Flusser was madly obsessed by the black-box of apparatuses—which means, I think, an interesting starting point to understand techne, philosopy in that matters, technology. Although he might not very systematic when describing the notion of information and value inside a post-industrial object, the way he explores the idea of technical images is pretty much crucial to understand Benjamin’s reproductio Possibly the best way to think about the image is to understand the philosophy of photography.
Although he might not very systematic when describing the notion of information and value inside a post-industrial object, the way he explores the idea of technical images is pretty much crucial to understand Benjamin’s reproductions and mass culture. Aug 14, Kyle Crawley rated it really liked it. A version of Heidegger’s ‘The Age of the World Picture’ where the fourfold take on its technical or cybernetic dimensions i.
An interesting read and connected to Flusser’s writings on writing see ‘Into Immaterial Culture’.
Favourite idea from the text: As ek-sistence, is this our only way to comprehend it? Very interesting reflection about photography as the “hinge” that signals the start of a post-industrial culture. The book looks more like a manifesto than like a philosophical study. Jun 26, David rated it it was amazing. The thinking and writing here is in the stratosphere. Sep 01, Benjamin rated it it was amazing. This book is the reason why a raven is like a writing desk.
It has helped me a great deal in understanding a development of the natural world. Flusser’s philosophies are a mastery. And particularly, his ideas on the apparatus are wonderful thoughts.
This is a book that I will return to again and again.