Suchergebnisse

Intro -- Title Page -- Copyright -- Series Page -- Contents -- Foreword -- Editor's Note -- Synopsis -- 1. What Is Communication? -- 1.1. Discourse and Dialogue -- 1.1.1. Theatrical Discourse -- 1.1.2. Pyramidal Discourse -- 1.1.3. Tree Discourse -- 1.1.4. Amphitheatrical Discourse -- 1.1.5. Circular Dialogue -- 1.1.6. Network Dialogue -- 1.2. How These Structures Work -- 1.2.1. Theater and Circle -- 1.2.2. Pyramid and Tree -- 1.2.3. Amphitheater and Network -- 1.3. Some Characteristic Situations -- 1.3.1. Printed Books -- 1.3.2. Manuscripts -- 1.3.3. Technical Images -- 2. What Are Codes? -- 2.1. How Some Codes Emerged -- 2.1.1. Pre-alphabet -- 2.1.2. Alphabet -- 2.1.3. Post-alphabet -- 2.2. How These Codes Work -- 2.2.1. Images -- 2.2.2. Texts -- 2.2.3. Technical Images -- 2.2.3.1. Literary Languages Overcome -- 2.2.3.2. Apparatus-Operator -- 2.2.4. Code Synchronization -- 2.2.4.1. Traditional Image/Text -- 2.2.4.2. Traditional Image/Technical Image -- 2.2.4.3. Text/Technical Image -- 3. What Is Technical Imagination? -- 3.1. Some Technical Images Deciphered -- 3.1.1. Photographs -- 3.1.2. Films -- 3.1.3. Video -- 3.1.4. Television -- 3.1.5. Cinema -- 3.2. How Technical Images Might Work -- 3.2.1. Points of View -- 3.2.2. Time -- 3.2.3. Space -- 3.3. The Present Situation -- Series List.

In 1939, a young Vilém Flusser faced the Nazi invasion of his hometown of Prague. He escaped with his wife to Brazil, taking with him only two books: a small Jewish prayer book and Goethe's Faust. Twenty-six years later, in 1965, Flusser would publish The History of the Devil, and it is the essence of those two books that haunts his own. From that time his life as a philosopher was born. While Flusser would later garner attention in Europe and elsewhere as a thinker of media culture, The History of the Devil is considered by many to be his first significant work, containing nascent forms of t

Natural:Mind, published for the first time in São Paulo, Brazil, in 1979, investigates the paradoxical connection between the concepts of nature and culture through a lively para-phenomenological analysis of natural and cultural phenomena. Always applying his fluid and imagistic Husserlian style of phenomenology, Vilém Flusser explores different perspectives and relations of items from everyday life.

In Post-History, Vilém Flusser asks the essential question: Is there any room left for freedom in a programmed world? Written as a series of lectures to be delivered at universities in Brazil, Israel, and France, this first English translation of Post-History brings to an anglophone readership Flusser's first critique of apparatus as the aesthetic, ethical, and epistemological model of present times.

In On Doubt, Vilém Flusser refines Martin Heidegger's famous declaration that "language is the dwelling of Being." For Flusser, "the word is the dwelling of being," because in fact, in the beginning, there was the word. On Doubt is a treatise on the human intellect, its relation to language, and the reality-forming discourses that subsequently emerge. For Flusser, the faith that the modern age places in Cartesian doubt plays a role similar to the one that faith in God played in previous eras-a faith that needs to be challenged. Descartes doubts the world through his proposition cogito ergo sum