Andrea Soto Calderon
Autonomous University of Barcelona (UAB), Spain
Andrea Soto Calderón studied Philosophy and Education at the Faculty of Humanities in the University of Valparaíso in Chile. She has an MA in Contemporary philosophy from the Autonomous University of Barcelona. At the moment she is a researcher of the Comisión Nacional de Investigación Científica y Tecnológica de Chile (CONICYT) in the Autonomous University of Barcelona (UAB) where she studies philosophy of the image, philosophy and communication as well as criticism and culture of the media.
Articles of Andrea Soto Calderon
„Para documentar algo que no existe.“ Vilém Flusser – Joan Fontcuberta: una colaboración / „To document something which does not exist.“ Vilém Flusser – Joan Fontcuberta: A Collaboration
This paper is not only dedicated to Flusser’s and Fontcuberta’s letter exchange between 1984 and 1988, it also contains an analysis of their theoretical view of the practice of photography. Joan Fontcuberta wrote on Flusser’s philosophy of photography in a series of texts mainly focusing on its relevance for the work of the avant-garde photographer and the ontological status of the photographic image. Between 1984 and 1988 Flusser wrote a few texts that are directly linked to the work of Fontcuberta: the essays Releaser and Counter-vision as well as an introduction to Fontcuberta’s Herbarium published in 1985. These texts and their relevance for the relationship between Fontcuberta and Flusser and for a definition of the status of photography situated on the border of science and art are also discussed in the paper. Flusser asked Fontcuberta to take a picture of his ‘Bibliophagus convictus’ a hybrid insect between a bee and an ant. This picture, however, was never taken because of lack of time.
Juego e imaginación en Vilém Flusser
In several texts Vilém Flusser argues that if we had to define some specificity that characterizes the human being nowadays it would be homo ludens, because of the multiple cultural revolutions that have occurred, which have radically altered man’s existence, especially his imagination. The argument outlined in this paper is that the category of play not only reveals a specificity of contemporary man, but also represents his philosophical gesture. It is a central notion for Flusser’s criticism of the apparatus as a technical device.