Flusser’s Plantonic Philosophy
This essay examines the imagery of trees in Flusser’s works such as Natural:Mind, as well as shorter essays “On the Forest” [Da Floresta] and “Plant Film.” The figure of trees and plants cut across the different facets of Flusser’s corpus: from his employment of Husserlian phenomenology, to his retooling of Heidegger’s metaphysics, to his views on media thinking and the apparatus. Understanding his engagement with the plant world can help us understand his modernist method of thinking and the importance of language as a mediating apparatus for thinking. Together, these ideas about trees offer a unique view into Flusser’s thinking of media as a locus of innovation and resistance – two modernist concerns par excellence.
This is a short interview with Claude Lutz, the founder and director of Édition Circé, which in 1996 published a French translation of Vilém Flusser’s Für eine Philosophie der Fotografie. Three more translations followed: Petite philosophie du design (2002), Essais sur la nature et la culture (2005) and La Civilisation des médias (2006).
Jude Sein – Being Jewish – Ser Judeu / Spuren des Jüdischen in Vilém Flussers Denken
These two short essays try to retrace some of the main interrelated nodal points of the Jewish dimension in Vilém Fusser’s thinking and writing: Bodenlosigkeit, Heimatlosigkeit, nomadism, exodus, desert, sand, dune, tent, wind, bit, grain of sand, swarm, Sabbath, epoché, mysticism, nothingness, Pilpul, Talmud, polysemy, multilingualism, and translation.
"Für eine Phänomenologie des Fernsehens" I: Edmund Husserl, Martin Heidegger, Jean-Paul Sartre, Immanuel Kant und Günther Anders
Although Flusser does not explain and develop his philosophical and methodological claims on the first three pages of his mini treatise „Für eine Phänomenologie des Fernsehens“ (1997 <1974>), there is enough evidence for Flusser’s fundamentally phenomenological credo. The philosophers of Flusser’s implicit references can be unmistakably detected: Edmund Husserl, Martin Heidegger, Jean-Paul Sartre, Immanuel Kant and Günther Anders. On the one hand, Flusser appears to be strongly rooted in the phenomenological tradition. On the other, in a text on Husserl’s (late) philosophy written in 1986/87, Flusser reveals that he had changed his mind in the meantime turning to a sociology of media that dispenses with the phenomenological stance that was the main aim of his thinking on media in the 1970ies.
Fotografieren als phänomenologische Tätigkeit. Zur Husserl-Rezeption bei Flusser
Vilém Flusser not only defines his theoretical work as phenomenology, he considers the act of photography itself a phenomenological act. For this reason this contribution seeks to answer the question how much Flusser’s conception of phenomenology owes to Edmund Husserl and in what ways he has transformed Husserl’s own philosophical tenets. The main idea of this essay is that Flusser has reduced Husserl’s phenomenology to the concept of phenomenography. Nowhere in Flusser, in fact, can we trace any mention of Husserl’s idea of phenomenology as an aprioristic science of essentials. On the basis of this reduced understanding of phenomenology as a cultural science, however, Flusser discovers a remarkable structural affinity between philosophy and photography.