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mechanical tools that work to change the world itself); the 'functionary' (the photographer or operator of the camera who is bound by the rules it sets); the 'programme' (a 'system in which chance becomes necessity' and a game 'in which every virtuality, even the least probable, will be realized of necessity if the game is played for a sufficiently long time'); the 'technical image' (the first example of which is the photograph, with its particular kind of significant surface that looks like a traditional image but harbours encoded and obscure concepts that cannot be 'immediately' deciphered). While
Flusser did write a number of short essays on the work of specific photographers, his major focus was the critical and philosophical need to understand late 20th-century media culture and the emergent possibilities and threats presented by the larger forces at work in an increasingly technical and automated world. Flusser's
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cultural technique through which reality is constituted and understood". In this context, Flusser argued that photographs have to be understood in strict separation from 'pre-technical image forms'. For example, he contrasted them to paintings which he described as images that can be sensibly 'decoded', because the viewer is able to interpret what he or she sees as more or less direct signs of what the painter intended. By contrast, even though photography produces images that seem to be 'faithful reproductions' of objects and events they cannot be so directly 'decoded'. The crux of this difference stems, for
Flusser, from the fact that photographs are produced through the operations of an apparatus. And the photographic apparatus operates in ways that are not immediately known or shaped by its operator. For example, he described the act of photographing as follows:
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233:, all Lecturers of Philosophy (members of the Department of Philosophy) were dismissed. Flusser, who taught at the Engineering School (Escola Politécnica), had to leave the university as well. In 1972 he and his wife Edith settled temporarily in Merano (Tyrol). Further short stays in various European countries followed until they moved to Robion in southern France in 1981, where they remained until Flusser's death in 1991. To the end of his life, he was quite active writing and giving lectures around
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269:, he also wrote in English and French, with scarce translation to other languages. Because Flusser's writings in different languages are dispersed in the form of books, articles or sections of books, his work as a media philosopher and cultural theorist is only now becoming more widely known. The first book by Flusser to be published in English was
363:) and the "beautiful native" who fears the otherness as it threatens their habit. Flusser used his experience in Brazil during a time of massive immigration to demonstrate the possibility to set oneself free of the unconscious habits of the homeland to form new voluntary connections which lead up to the creation of a new homeland.
355:. Only when a person is removed from their home they become aware of the ties which reveal themselves as unconscious judgements. These unconscious "habits prevent bits of information from being perceived" and make the habitual environment comfortable and therefore pretty. For Flusser this substantiates the "love for a fatherland".
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229:) in 1963. In 1972 he decided to leave Brazil. Some say it was because it was becoming difficult to publish because of the military regime. Others dispute this reason, since his work on communication and language did not threaten the military. In 1970, when a reform took place at the University of São Paulo by the
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Flusser was deeply influenced by the loss of his native Prague, and his relocations throughout his life which can be seen in his writings and causing him to proclaim his homelessness, "because there are so many homelands that make their home in me". His personal biography was particularly helpful for
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Whereas ideas might previously have been interpreted in terms of their written form, photography heralded new forms of perceptual experience and knowledge. As
Flusser Archive Supervisor Claudia Becker describes, "For Flusser, photography is not only a reproductive imaging technology, it is a dominant
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Flusser's writings relate to each other, however, which means that he intensively works over certain topics and dissects them into a number of brief essays. His main topics of interest were: epistemology, ethics, aesthetics, ontology, language philosophy, semiotics, philosophy of science, the history
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The homeless person must not only consciously learn the habits of a new home but also must forget them again as if they become conscious, these habits reveal themselves as banal, threatening to expose the true nature of the home of the natives. The developing polemic dialog distinguishes between the
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Roughly put, the person using a camera might think that they are operating its controls to produce a picture that shows the world the way they want it to be seen, but it is the pre-programmed character of the camera that sets the parameters of this act and it is the apparatus that shapes the meaning
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Flusser developed a lexicon of terms that have proven influential and that continue to be useful for thinking about contemporary photography, digital imaging technologies and their online uses. These include: the 'apparatus' (a tool that changes the meaning of the world in contrast to what he calls
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Writing about photography in the 1970s and 80s, in the face of the early worldwide impact of computer technologies, Flusser argued that the photograph was the first in a number of technical image forms to have fundamentally changed the way in which the world is seen. Historically, the importance of
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The photographer's gesture as the search for a viewpoint onto a scene takes place within the possibilities offered by the apparatus. The photographer moves within specific categories of space and time regarding the scene: proximity and distance, bird- and worm's-eye views, frontal- and side-views,
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Flusser's essays are short, provocative and lucid, with a resemblance to the style of journalistic articles. Critics have noted he is less a 'systematic' thinker than a 'dialogic' one, purposefully eclectic and provocative (Cubitt 2004). However, his early books, written in the 1960s, primarily in
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and how to facilitate it. Communication, which are the gaps between different positions, is part of a cultural phenomenon relying on unconsciously learnt patterns at home. Language therein is a major influence on ones thinking. Flusser asked what are the consequences of the loss of one's home and
351:" understood as a homeland and "Wohnung" understood as in house, and argued that home cannot be understood as an eternal value transcending time and space. A person is bound to its "Heimat" through invisible threads such as connections to people, tradition and language, which all lay beyond the
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However, opposed to the homeland one can free himself off, the home understood as in house is a necessary part of human existence. It gives a person the mental ability to process information as it divides the sphere of existence into habit or home and unusual or new information. The habitual
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of the resulting image. Given the central role of photography to almost all aspects of contemporary life, the programmed character of the photographic apparatus shapes the experience of looking at and interpreting photographs as well as most of the cultural contexts in which we do so.
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of
Western culture, the philosophy of religion, the history of symbolic language, technology, writing, the technical image, photography, migration, media and literature, and, especially in his later years, the philosophy of communication and of artistic production.
206:. Flusser and Vicente Ferreira da Silva met in São Paulo in the 1960s and began a close intellectual dialogue that continued until Ferreira da Silva's death in 1963. Flusser wrote several essays on Ferreira da Silva's work and that Ferreira da Silva's concept of "
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photography had been that it introduced nothing less than a new epoch: 'The invention of photography constitutes a break in history that can only be understood in comparison to that other historical break constituted by the invention of linear writing.'
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short or long exposures, etc. The
Gestalt of space–time surrounding the scene is prefigured for the photographer by the categories of his camera. These categories are an a priori for him. He must 'decide' within them: he must press the trigger.
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210:” had a significant impact on Flusser's understanding of the nature of reality. During the 60s Flusser published and taught at several schools in São Paulo, being Lecturer for Philosophy of Science at the Escola Politécnica of the
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and working with new topics (Philosophy of
Photography, Technical Images, etc.). He died in 1991 in a car accident near the Czech–German border, while trying to visit his native city, Prague, to give a lecture.
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128:. Phenomenology would play a major role in the transition to the later phase of his work, in which he turned his attention to the philosophy of communication and of artistic production. He contributed to the
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Irrgang, D.. (2022). Erweiterte
Kognition. Zum diagrammatischen Zeichen als verkörpertes Denkding. Mit einer Studie zu Vilém Flussers Technobildern. Kulturverlag Kadmos, Berlin 2022, ISBN 978-3-86599-450-9
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Professor of Philosophy of Communication at the Escola Dramática and the Escola Superior de Cinema in São Paulo. He also participated actively in the arts, collaborating with the
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FLUSSER, Vilém. Bobenlos: A Philosophical
Autobiography. Annablume, 2007. pp. 141-156. Vicente was the Brazilian philosopher who most marked Flusser's work. (editor's note)
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202:; by these means he seriously approached the Brazilian intellectual community. Flusser had as his friend and closest interlocutor the Brazilian philosopher
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27 (1975), São Paulo: Loyola. (in German). Autobiographical essay, written in
English and Portuguese in October–November 1969 in São Paulo. See also
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Zielinski, S., Weibel, P., Irrgang, D.. (2015). Flusseriana. An Intellectual Toolbox. Univocal Publishing, Minneapolis 2015, ISBN 978-1-937561-52-9.
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476:, Conférence du 3 Mai 1973, Paris: Institut de l'Environment/Centre de Formation Permanente pour les Arts Plastiques, 1974, 48 pp. (in French)
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occupation, Flusser emigrated to London (with Edith Barth, his later wife, and her parents) to continue his studies for one term at the
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in history: the period of image worship, and period of text worship, with deviations consequently into idolatry and "textolatry".
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673:, trans. Jacek Maniecki, Katowice: Akademia Sztuk Pięknych w Katowicach, 2004; Warszawa: Wydawnictwo Aletheia, 2015. (in Polish)
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1227:(online journal of cultural and media theory with focus on Flusser's philosophies) (in English, German, French, and Portuguese)
604:, trans. Božena Koseková and Josef Kosek, 1994; 2nd ed., trans. Božena and Josef Kosek, Prague: Fra, 2013, 104 pp. (in Czech)
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590:, Istanbul: Agac, 1991; Ankara: Med-Campus, 1994; trans. Ihsan Derman, Istanbul: Hayalbaz Kitap, 2009, 97 pp. (in Turkish)
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470:, trans. Jean Mesrie and Barbara Niceall, Paris: Mame, 1973, 146 pp; 1989. Preface by Abraham Moles. (in French). Review.
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813:, ed. G.J. Lischka, Bern: Benteli, 1988, 43 pp. (in German). Lecture delivered on March 20, 1988, at Kunstmuseum Bern.
195:. He started working at a Czech import/export company and then at Stabivolt, a manufacturer of radios and transistors.
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In 1960 he started to collaborate with the Brazilian Institute for Philosophy (IBF) in São Paulo and published in the
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environment is a prerequisite to recognize the unusual which comes into one's home. Flusser refers in this regard to
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113:(where he became a Brazilian citizen) and later in France, and his works are written in many different languages.
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traditional connections? He differentiated between the two meanings of home originating in the German language, "
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Vampyroteuthis Infernalis: A Treatise, with a Report by the Institut Scientifique de Recherche Paranaturaliste
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Vampyroteuthis infernalis. Eine Abhandlung samt Befund des Institut Scientifique de Recherche Paranaturaliste
548:, trans. Vilém Flusser, São Paulo: Hucitec, 1985, 92 pp; Rio de Janeiro: Relume Dumara, 2002. (in Portuguese)
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761:, trans. J.A. Tillmann and Lídia Jósvai, Balassi Kiadó – BAE Tartóshullám – Intermedia, 1997. (in Hungarian)
584:, trans. Panka Veress and István Sebesi, Budapest: Tartóshullám – Belvedere – ELTE BTK, 1990. (in Hungarian)
439:
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Müller-Pohle, A. (2001). Philosopher of the Apparatus: In memory of Vilém Flusser, who died ten years ago.
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896:, Trans. Rodrigo Maltez Novaes, Minneapolis: Univocal, 2014 Foreword by Rainer Guldin 100pp. (in English)
554:, trans. Chantal Marazia, Torino: Agorà, 1987; Milan: Bruno Mondadori, 2006, 128 pp. (in Italian) Review.
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Beginning in the 1950s he taught philosophy and worked as a journalist, before publishing his first book
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464:, São Paulo: Conselho estadual de cultura, 1967, 147 pp; São Paulo: Escrituras, 2002. (in Portuguese)
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His writings reflect his wandering life: although the majority of his work was written in German and
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785:, Göttingen: Immatrix Publications, 1987, 65 pp; Göttingen: European Photography, 2002. (in German)
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among others). Flusser attended German and Czech primary schools and later a German grammar school.
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2001:
1976:
693:, trans. G. Khaydarova, St. Petersburg: St. Petersburg State University, 2008, 146 pp. (in Russian)
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870:, Bensheim and Düsseldorf: Bollmann, 1992, 295 pp; Frankfurt am Main: Fischer, 1999. (in German)
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1050:, eds. Jörg Dünne and Stephan Günzel, Frankfurt am Main: Suhrkamp, 2006, pp 274–285. (in German)
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962:"The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs"
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797:, trans. Rodrigo Maltez Novaes, New York: Atropos, 2011, 160 pp. Foreword by Abraham A. Moles.
1483:(in German and English; includes Flusser's autobiography, a glossary and further information)
412:, São Paulo: Herder, 1963, 238 pp; São Paulo: Annablume, 2004; 2009, 232 pp. (in Portuguese)
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175:. Vilém Flusser lost all of his family in the German concentration camps: his father died in
1996:
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835:, Göttingen: Immatrix Publications, 1989; Göttingen: European Photography, 2000. (in German)
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außen räume innen räume. Der Wandel des Raumbegriffs im Zeitalter der elektronischen Medien
371:'s dialectic analysis between home and the unusual or generally speaking of consciousness.
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633:, trans. Tijana Tubić, Belgrade: Kulturni Centar Beograda, 1999; 2005, 80 pp. (in Serbian)
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751:, Göttingen: Immatrix Publications, 1987, as a book and on 2 floppy disks; repr. as
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890:, Rio de Janeiro: Relume Dumará, 1999; São Paulo: Anna Blume, 2011 (In Portuguese)
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1046:, ed. Heidemarie Seblatnig, Vienna: Universitäts Verlag, 1991, pp 75–83; repr. in
188:
110:
109:-born Brazilian philosopher, writer and journalist. He lived for a long period in
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includes a selection of newly translated writings drawn from the Flusser archive.
424:, trans Rodrigo Maltez Novaes, Univ Of Minnesota Press, 2018, 220pp. (in English)
396:, trans. Anke Finger and Kenneth Kronenberg, University of Minnesota Press, 2022.
2006:
1613:
713:, trans. József Maleczki, 2001; revised trans. Dalma Török, 2011. (in Hungarian)
432:, São Paulo: Martins, 1965, 216 pp; São Paulo: Annablume, 2010. (in Portuguese)
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In the Shadow of Post-History – Introduction to the Philosophy of Vilém Flusser
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Bonse, E. (2001). The Adventure of the Future: Vilém Flusser's last interview.
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where they were killed. The next year, he emigrated to Brazil, living both in
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In 1938, Flusser started to study philosophy at the Juridical Faculty of the
17:
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1057:, ed. Emmanuel Alloa, Dijon: Les presses du réel, 2015, pp 43–56 (in French)
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129:
1036:, eds. Florian Rötzer and Peter Weibel, Munich, 1991, pp 93–95. (in German)
442:, Göttingen: European Photography, 1993; 2nd ed., 1996, 200 pp. (in German)
283:, was published in London in 1999 and was followed by a new translation of
743:, Mexico City: Universidad Nacional Autonoma de Mexico, 2011. (in Spanish)
568:, trans. Jan-Erik Lundström, Göteborg: Korpen, 1988, 112 pp. (in Swedish)
596:, trans. Fukagawa Masafumi, Tokyo: Keiso Shobo, 1992; 1999. (in Japanese)
545:
Filosofia da caixa preta. Ensaios para uma futura filosofia da fotografia
360:
1516:
972:"Fernsehbild und politische Sphäre im Lichte der rumänischen Revolution"
418:, trans Karel Palek, Triáda, 2005, 200 pp. Introduction. (in Czech)
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978:, ed. Peter Weibel, Berlin: Merve Verlag, 1990, pp 103–114. (in German)
496:, São Paulo: Duas Cidades, 1979, 148 pp; 2011, 164 pp. (in Portuguese)
490:, Institut Scientifique de recherche paranaturaliste, 1978. (in French)
295:
1703:
1698:
1048:
Raumtheorie. Grundlagentexte aus Philosophie und Kulturwissenschaften
862:, University of Minnesota Press, trans. Nancy Ann Roth, 2014, 224 pp.
776:, trans. Nancy Ann Roth, University of Minnesota Press, 2011, 208 pp.
348:
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in 1940; his grandparents, his mother and his sister were brought to
149:
141:
106:
936:
Tendenzen der aktuellen Philosophie in Brasilien in Selbstbildnissen
532:, European Photography, 1983, 58 pp; 1989; 1997; 2006. (in German)
1502:
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540:, ed. Derek Bennett, Göttingen: European Photography, 1984, 62 pp.
1437:
W cieniu posthistorii – wprowadzenie do filozofii Viléma Flussera
1414:
Between Literature and Philosophy – Vilém Flusser’s Nomadic Games
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707:, Göttingen: European Photography, 1985; 1992; 1996. (in German)
1273:. Minneapolis / London: University of Minnesota Press. pp.
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1199:
904:
Vols. 1 & 2, São Paulo: É Realizações, 2017 (in Portuguese)
31:
1511:] (in German and English), Berlin: University of the Arts
856:, Bensheim and Düsseldorf: Bollmann, 1991, 1993 (in German)
764:글쓰기에 미래는 있는가, Seoul: Imprima Korea Agency, 1998. (in Korean)
448:, trans. Jiří Fiala, Galerie Gema, 1997, 185 pp. (in Czech)
258:, and published in Brazil, have a slightly different style.
1417:, Santa Barbara Portuguese Studies, 2nd Ser., Vol. 4, 2020.
725:
O universo das imagens tecnicas. Elogio da superficialidade
721:, trans. Jiří Fiala, Prague: OSVU, 2002, 162 pp. (in Czech)
1480:
1423:
In search of the Other – Vilém Flusser and dialogical life
627:사진의 철학을 위하여, Seoul: Communication Books, 1999. (in Korean)
116:
His early work was marked by discussion of the thought of
952:"In Search of Meaning (Philosophical Self-portrait)", in
661:, Bucharest: Idea Design & Print, 2003. (in Romanian)
516:, São Paulo: Duas Cidades, 1983, 168 pp. (in Portuguese)
988:
23:4 (1990), pp 397–399. Adapted from a presentation at
976:
Von der Bürokratie zur Telekratie. Rumänien im Fernsehen
619:
Ensaio sobre a fotografia: para uma filosofia da técnica
522:, trans. Rodrigo Maltez Novaes, Univocal, 2013, 167 pp.
494:
Natural:mente: vários acessos ao significado da natureza
333:
has also been interpreted as a fable about photography.
641:, trans. Anthony Mathews, London: Reaktion Books, 2000.
624:
Thessaloniki: University Studio Press, 1998. (in Greek)
508:, trans. Rodrigo Maltez Novaes, Univocal, 2013, 150 pp.
456:, trans. Rodrigo Maltez Novaes, Univocal, 2014, 220 pp.
402:
Das XX. Jahrhundert. Versuch einer subjektiven Synthese
949:, São Paulo: Loyola, 1976, pp 493–506. (in Portuguese)
1363:
The Freedom of the Migrant: Objections to Nationalism
755:, Göttingen: European Photography, 2002. (in German)
462:
Da religiosidade: a literatura e o senso de realidade
1053:"L'image-calcul. Pour une nouvelle imagination", in
1864:
1743:
1572:
1110:(2012) , "Towards a Theory of Techno-Imagination",
947:
Rumos da filosofia atual no Brasil em auto-retratos
945:"Em busca do significado", in Stanislaus Ladusãns,
1439:), Toruń: Nicolaus Copernicus University Press, (
560:, Horten: Preus Fotomuseum, 1987. (in Norwegian)
514:Pós-história: vinte istantâneos e um modo de usar
393:What If? Twenty-Two Scenarios in Search of Images
995:"Die Stadt als Wellental in der Bilderflut", in
502:, Munich: Carl Hanser, 2000, 136 pp. (in German)
173:London School of Economics and Political Science
647:, Madrid: Síntesis, 2001, 192 pp. (in Spanish)
621:, Lisbon: Relógio d'Água, 1998. (in Portuguese)
317:
1388:Understanding Flusser, Understanding Modernism
803:, University of Minnesota Press, 2012, 112 pp.
482:, São Paulo: Cosacnaify, 2007. (in Portuguese)
105:(May 12, 1920 – November 27, 1991) was a
2201:Academic staff of the University of São Paulo
1532:
1034:Strategien des Scheins. Kunst Computer Medien
934:, trans. Edith Flusser with Vera Schwamborn,
882:, São Paulo: Annablume, 2010. (in Portuguese)
791:, São Paulo: Annablume, 2011. (in Portuguese)
770:, São Paulo: Annablume, 2010. (in Portuguese)
727:, São Paulo: Annablume, 2010. (in Portuguese)
685:, Utrecht: Uitgeverij Ijzer, 2007. (in Dutch)
279:, which was his own translation of the work.
8:
2216:Jewish emigrants from Nazi Germany to Brazil
1399:, Minneapolis: University of Minnesota Press
1377:, Minneapolis: University of Minnesota Press
1018:"The City as Wave‐Trough in the Image‐Flood"
868:Bodenlos: Eine philosophische Autobiographie
1513:with many links to current work on Flusser.
1055:Penser l'image II. Anthropologies du visuel
909:Book chapters, papers, articles (selection)
741:Hacia el universo de las imagenes technicas
578:, trans. Eduardo Molina, 1990. (in Spanish)
404:, 1950s, c200 pp. Unpublished. (in German)
1539:
1525:
1517:
1319:. University of Minnesota Press. pp.
850:, Berlin: Merve, 135 pp, 1989. (in German)
655:, Plovdiv: Horizonti, 2002. (in Bulgarian)
359:"ugly stranger" who can unveil the truth (
1365:, Champaign: University of Illinois Press
876:, Prague: Hynek, 1998, 225 pp. (in Czech)
290:Flusser's archives have been held by the
156:, studied mathematics and physics (under
82:Learn how and when to remove this message
2181:Alumni of the London School of Economics
679:, Zagreb: Scarabeus, 2007. (in Croatian)
93:
45:This article includes a list of general
1153:
1141:
1067:
699:, Ljubljana: ZSKZ, 2010. (in Slovenian)
613:Pour une philosophie de la photographie
880:Bodenlos: Uma autobiografia filosofica
500:Vogelflüge: Essays zu Natur und Kultur
2281:Philosophy of artificial intelligence
1350:"Books from Vilem Flusser in English"
982:"On Memory (Electronic or Otherwise)"
921:2 (1966), pp 133–210. (in Portuguese)
731:Into the Universe of Technical Images
609:Taipei: Yuan-Liou, 1994. (in Chinese)
7:
1296:. University of Minnesota. pp.
1076:In the German version: Freund-feind.
854:Gesten. Versuch einer Phänomenologie
768:A Escrita. Ha futuro para a escrita?
705:Ins Universum der technischen Bilder
575:Hacia una filosofía de la fotografía
2176:20th-century Brazilian philosophers
1183:Towards a Philosophy of Photography
1126:Becker, Claudia, "Image/Thinking",
848:Philosophien der neuen Technologien
753:Die Schrift. Hat Schreiben Zukunft?
638:Towards A Philosophy of Photography
594:写真の哲学のために : テクノロジーとヴィジュアルカルチャー
537:Towards A Philosophy of Photography
530:Für eine Philosophie der Fotografie
285:Towards a Philosophy of Photography
271:Towards a Philosophy of Photography
27:20th-century philosopher and writer
2221:Czechoslovak expatriates in France
1373:Finger, Anke; et al. (2011),
999:, 1990. Written in 1988. Repr. in
874:Bezedno: filosofická autobiografie
552:Per una filosofia della fotografia
51:it lacks sufficient corresponding
25:
2171:Brazilian people of Czech descent
759:Az írás. Van-e jövője az írásnak?
711:A technikai képek univerzuma felé
653:Za edna filosofia na fotografiata
615:, Paris: Circé, 1996. (in French)
2141:Czechoslovak emigrants to Brazil
2080:
2079:
1734:
1426:, Flusser Studies 27 – May 2019.
1185:, Reaktion, 2000, pp. 14–20
1170:, vol. 2, 1983, p. 211
665:Za edna filosofia na fotografira
337:Concept of Home and Homelessness
298:and are currently housed at the
273:in 1984 by the then new journal
36:
2226:Brazilian expatriates in France
2126:20th-century Czech philosophers
1599:Computer-mediated communication
1112:Philosophy of Photography (POP)
1097:(Typoskript, 7 Seiten, deutsch)
1024:31:2 (Winter 2005), pp 320–328.
683:Een filosofie van de fotografie
659:Pentru o filosofie a fotografie
241:Vilém Flusser is the cousin of
218:, among other cultural events.
200:Revista Brasileira de Filosofia
2231:Naturalized citizens of Brazil
1391:, London: Bloomsbury Academic.
1375:Vilém Flusser. An Introduction
1198:Müller-Pohle, Andreas (1983),
925:"Auf der Suche nach Bedeutung"
718:Do universa technických obrazů
645:Una filosofía de la fotografía
588:Bir fotoğraf felsefesine doğru
1:
1458:(2), Intellect, Spring 2012,
1395:Ströhl, Andreas, ed. (2004),
1385:Jaffe, Aaron, et al. (2021),
1030:"Projektion statt Linearität"
974:, trans. Almuth Carstens, in
735:University of Minnesota Press
388:, Göttingen: Immatrix, 1989.
300:Berlin University of the Arts
231:Brazilian military government
167:. In 1939, shortly after the
1721:Text and conversation theory
1496:] (in Portuguese), Foto+
833:Angenommen. Eine Szenenfolge
667:, Moscow, 2002. (in Russian)
386:Angenommen. Eine Szenenfolge
165:Charles University in Prague
140:Flusser was born in 1920 in
1008:Die Revolutionen der Bilder
1003:111 (March 1992), pp 58–63
930:September 14, 2015, at the
774:Does Writing Have a Future?
344:interpersonal communication
152:intellectuals. His father,
2307:
2256:Philosophers of technology
1429:Wiatr, Przemysław (2018),
1420:Wiatr, Przemysław (2019),
1411:Wiatr, Przemysław (2020),
1361:Finger, Anke, ed. (2003),
1130:, vol. 2, p. 251
1114:, vol. 2, p. 195
566:En filosofi för fotografin
436:Die Geschichte des Teufels
120:, and by the influence of
2136:Charles University alumni
2075:
1732:
1554:
1452:Philosophy of Photography
1088:Vicente Ferreira da Silva
1020:, trans. Phil Gochenour,
817:"The Crisis of Linearity"
795:Vampyroteuthis Infernalis
789:Vampyroteuthis infernalis
733:, trans. Nancy Ann Roth,
631:Za filozofiju fotografije
558:For fotografiets filosofi
331:Vampyroteuthis Infernalis
306:Philosophy of photography
204:Vicente Ferreira da Silva
2291:Historians of technology
2276:Philosophers of religion
2266:Philosophers of language
2166:Jewish Brazilian writers
1679:Nonviolent communication
1609:History of communication
1498:; includes bibliography.
1435:(published in Polish as
1348:Cubitt, S (April 2004),
968:19:4 (1986), pp 329–332.
915:"Filosofia da linguagem"
902:O Último Juízo: Gerações
697:K filozofiji fotografije
690:Za filosofiyu fotografii
582:A fotográfia filozófiája
454:The History of the Devil
2271:Philosophers of history
2251:Philosophers of science
2241:Philosophers of culture
2151:Communication theorists
1674:Nonverbal communication
1664:Models of communication
1494:Vilém Flusser in Brazil
1489:Vilém Flusser no Brasil
1311:Flusser, Vilem (2002).
1288:Flusser, Vilem (2002).
1265:Flusser, Vilem (2002).
671:Ku filozofii fotografii
601:Za filosofii fotografie
212:University of São Paulo
66:more precise citations.
2211:Writers from São Paulo
2116:Jewish existentialists
1093:June 11, 2016, at the
677:Filozofija Fotografije
488:Orthonature/Paranature
322:
99:
2261:Philosophers of death
1826:Mediated cross-border
1548:Communication studies
1406:European photography,
1241:"Vampire Squid Media"
992:, September 14, 1988.
827:1:1 (2006), pp 19–21.
468:La force du quotidien
292:Academy of Media Arts
97:
2246:Philosophers of mind
2186:Mass media theorists
1761:Communication theory
1756:Communication design
1504:Vilém Flusser Archiv
1340:European photography
1239:Jue, Melody (2014).
1014:, 1997, pp 178–179.
810:Krise der Linearität
440:Andreas Müller-Pohle
422:Language and Reality
276:European Photography
227:Language and Reality
208:Fundamental ontology
2236:Philosophers of art
2206:Writers from Prague
2131:Photography critics
2121:Jewish philosophers
1454:(special section),
956:, 2002, pp 197–208.
430:A história do diabo
281:The Shape of Things
216:Bienal de São Paulo
98:Vilém Flusser, 1940
2161:Systems scientists
1791:Discourse analysis
1716:Telecommunications
1659:Meta-communication
480:O mundo codificado
416:Jazyk a skutečnost
410:Língua e realidade
223:Língua e realidade
100:
2093:
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1166:"Our Programme",
148:into a family of
92:
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16:(Redirected from
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2286:Phenomenologists
2191:Media historians
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1584:Biocommunication
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840:Jean Baudrillard
781:with Louis Bec,
474:Le monde codifié
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2111:1991 deaths
2106:1920 births
1751:Closed-loop
1614:Information
1576:terminology
1210:(2): 257–71
749:Die Schrift
64:introducing
2146:Czech Jews
2100:Categories
2067:Wertheimer
1947:Horkheimer
1684:Propaganda
1639:Mass media
1634:Journalism
1574:Topics and
1332:References
825:Boot Print
380:Monographs
267:Portuguese
256:Portuguese
249:Philosophy
177:Buchenwald
72:March 2012
47:references
1851:Technical
1836:Political
1744:Subfields
1669:New media
1464:2040-3682
819:, trans.
189:São Paulo
181:Auschwitz
130:dichotomy
111:São Paulo
2085:Category
2037:Richards
1962:Jakobson
1942:Habermas
1897:Castells
1887:Benjamin
1865:Scholars
1397:Writings
1315:Writings
1292:Writings
1269:Writings
1091:Archived
1010:, 1995;
986:Leonardo
966:Leonardo
954:Writings
942:, 1999.
940:Bodenlos
928:Archived
894:On Doubt
888:A Dúvida
860:Gestures
361:Aletheia
2057:Tankard
2052:Shannon
2047:Schramm
2032:Quebral
2027:Postman
2017:Packard
1997:McLuhan
1992:Marcuse
1987:Luhmann
1982:Lippman
1977:Kincaid
1972:Johnson
1937:Goffman
1932:Gerbner
1922:Flusser
1902:Chomsky
1882:Bateson
1877:Barthes
1846:Science
1776:Climate
1726:Writing
1694:Reading
1644:Meaning
1564:Outline
1559:History
1040:"Räume"
296:Cologne
60:improve
2062:Tannen
2042:Rogers
2022:Peirce
2007:Morgan
1952:Huxley
1927:Gasset
1917:Fisher
1872:Adorno
1856:Visual
1806:Health
1801:Global
1771:Crisis
1704:Symbol
1699:Speech
1462:
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349:Heimat
150:Jewish
142:Prague
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1967:Janis
1957:Innis
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1907:Craig
1892:Burke
1649:Media
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1032:, in
1001:Arch+
838:with
375:Works
369:Hegel
107:Czech
2002:Mead
1841:Risk
1816:Mass
1709:list
1460:ISSN
1252:2021
842:and
191:and
169:Nazi
136:Life
124:and
2012:Ong
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