Libertad y poshistoria en la filosofía de la fotografie de Vilém Flusser
The object of this research is to trace Flusser’s thoughts on freedom and history as they appear in his philosophy of photography. The investigation focusses on the function of the author of the photograph in relation to apparatuses and programs. It extends, as I will try to show, to the activity of the spectator and of everyone who interacts with images. I follow Flusser’s methodology, which is to relate the philosophy of photography to the theory of games. And that's why I speak about the player, the toy and the game involved in photography. I think Flusser's main inspiration was Wittgenstein of the Tractactus and his theory of the emancipation of meaning from truth or factual falsity. Here I find the ontological key to his philosophy of photography as a philosophy of freedom.
O filósofo que gostava de jogar: o pensamento dialógico de Vilém Flusser e a sua busca pela liberdade
This article examines the role of playing in Vilém Flusser's thinking. In addition to a deeper conceptual insight, this analyses conducted on the philosopher's work investigates how he understood play as a specific manner of being in the world. In this regard, this paper aims to gain insight into how Flusser accepted this kind of existence for himself. His texts, his thoughts and his methods are based on a playful attitude towards culture, language, his references and towards his readers. A closer look at this specific aspect of Flusser's writing shows how the writing itself materializes the philosophy it suggests. The analyses are based on three key concepts: dialog, image as a concept, and the bureaucrat/employee; concepts which allow the understanding of how the playful dimension of Flusser's thinking can be important in order to figure out how he sees in the concept of the Homo Ludens a feasible ethical posture for the practice of freedom in contemporary society.