Filosofia del Diseno by Vilem Flusser at – ISBN View all 12 copies of Filosofia del Diseno from £ FILOSOFÍA DEL DISEÑO. Vilém Flusser (May 12, – November 27, ) was a Czech-born philosopher, writer and .. Vilém Flusser, São Paulo: Hucitec, , 92 pp; Rio de Janeiro: Relume Dumara, Una filosofía de la fotografía, Madrid: Síntesis, , pp. Filosofia del Diseno: Vilem Flusser: Books –
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His early work was marked by discussion of the thought of Martin Heideggerand by the influence of existentialism and phenomenology. 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 dichotomy in history: Flusser was born in in PragueCzechoslovakia into a family of Jewish intellectuals.
His father, Gustav Flusserstudied mathematics and physics under Albert Einstein among others. Flusser attended German and Czech primary schools and later a German grammar school.
Inshortly after the Nazi occupation, Flusser emigrated to London with Edith Barth, his later wife, and her parents to continue his studies for one term at the London School of Economics and Political Science. In he decided to leave Brazil.
Some say it was because it was becoming difficult to publish because of the military regime [ who? Others dispute this reason, since his work on communication and language did not threaten the military [ who?
At first, he immigrated to the North of Italy Tyrol. To the end of his life, he was quite active writing and giving lectures around media theory and working with new topics Philosophy of Photography, Technical Images, etc.
He died in in a car accident near the Filoosofia border, while trying to visit his native city, Prague, to give a lecture. Flusser’s essays are short, provocative and lucid, with a resemblance to the style of journalistic articles.
Critics have noted he is less a filsoofia thinker than a ‘dialogic’ one, purposefully eclectic and provocative Cubitt However, his early books, written in the s, primarily in Portugueseand published in Brazil, have a slightly different style. 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 interest were: His writings reflect his wandering life: 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 Towards a Philosophy of Photography in by European Photography, which was his own translation of the work. The Shape of Thingswas published in London in and was followed by a new translation of Towards a Philosophy of Photography. Flusser’s archives have been held by the Academy of Media Arts in Cologne and are currently housed at the Berlin University of the Arts.
Writing about photography in the s and 80s, in the face of the early worldwide filoosofia 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 photography had been that it introduced nothing less than a new epoch: 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 cultural technique through which reality is constituted and understood”.
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:.
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: 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: 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 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.
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. 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 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”.
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 traditional connections? He differentiated between the two meanings of home originating in the German language, ” Heimat ” understood as a homeland and “Wohnung” understood as in house, and argued that home cannot be understood as an eternal value flksser time and space.
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A person is bound to its “Heimat” through invisible threads such as connections to people, tradition and language, which all lay beyond the consciousness. 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”. The homeless person must not only consciously learn the habits of a new home but also must forget them again flusserr 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 “ugly stranger” who can unveil the truth Aletheia and the “beautiful native” who fears the otherness as it threatens their habit.
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 environment is a prerequisite to recognize the unusual which comes into one’s home. Flusser refers in this regard to Hegel ‘s dialectic analysis between home and the unusual or generally speaking of consciousness.
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