“Documentar algo que no existe”: los modelos discursivos como apparatus en Vampyroteuthis Infernalis
The concept of “apparatus”, proposed by Vilém Flusser in his Towards a Philosophy of Photography, implies an analysis of the “production logic” of the artistic work, which Flusser proposed thinking about photography. However, this concept also offers a possibility of reading his Vamyproteuhis Infernalis as a rebellion against the discursive rules that themselves work as an “apparatus” . By questioning the rules of scientific, philosophical, didactic and literary discourses, Flusser plays with the mechanisms of the discourse and deactivates their automatisms. This leads to questions like the boundaries of art, creation as a form of knowledge, or imitation and scientific study of reality as a need in artistic, literary creation, and methodologies of “scientific creation”.
Trying Things Out. A Flusserian Vision for the Future of Science
My goal in this paper is twofold. First, I want to analyze two early texts by Vilém Flusser in order to explore what may have been his conceptualization of the relationship between science and philosophy. My analysis suggests that Flusser thought of both as tools to analyze reality by analyzing language. While he saw science as a (sometimes too vigorous) force forward, he viewed philosophy as what can prevent some of the negative consequences of such progress. In direct comparison, Flusser thought of science as a discourse with the purpose to provide novel information and of philosophy as what can keep objective science in check by moving the discourse into the realm of the subjective. It remains to be explored whether these results also apply to Flusser’s later writings. My second goal is to show the relationship between three aspects of modern science (crisis, contrast, and trying out) and what I see as Flusser’s early (mid 1960s) view of science in relation to philosophy and poetry.
Fiktions des Wissenschaft – Is Science Fiction Translatable? or is Translation a Science Fiction?
Vilém Flusser’s 1988 short essay Science Fiction explores two strategies of science and fiction as science, and provides clues to his process of translating and retranslating his own work. Flusser explains two different praxes that lead to an essential paradox, and that this two-sided approach is equivalent to Leonardo da Vinci’s fantasia essata, an ‘exacting fantasy’. For Flusser, Science Fiction is a ‘Technik’ in the truest sense of the word, and his theory and praxis of science fiction can be applied to his use of translation. While he allows for an ‘inexactitude’ in science, science fiction and translation – an ‘Ungenauigkeit’ that allows a space for exploration – he still engaged in translation, using this practice throughout his career. It is odd then, that he did not take the time to translate and reevaluate his 1988 lecture Science Fiction. Both translation and science fiction can exist as a kind of Technofantasy as proposed by Don Ihde, but one where Flusser’s two fiction-in-science strategies to approaching truth (“Wahrheit”) in science (“Wissenschaft”) are analogous to Hans Vaihinger’s two categories of fictions: ‘figments’ as imaginary fantasy, and ‘fictions’ as falsifiable conjecture. Both allow for a more nuanced sliding suspension of disbelief that is liminal and active in the human practice of finding meaning in information. This is not a subliminal hidden individual practice, nor is it hyper-liminal collective-unconscious of an overall audience knowledge – but both. This double-edged practice is baked into how narrative and scientific method’s dialectic have evolved and replicated across history particularly through translation. Using both Vaihinger’s Philosophy of ‘As-If’ and Ihde’s conceptions of Postphenomenology this research seeks approaches to translation and science fictions in Flusser’s works. It will then reconnect to the original 1988 essay linking Flusser’s ideas of science fiction and translation and the struggle with translating thought, science and fictions.
Flusser’s Philosophy of Science
Many of Flusser’s books and essays refer to “science”, “epistemology”, and “knowledge”. His ways of conceptualizing these terms, however, remain to be explored in detail. To my knowledge, there is no secondary literature that analyzes “Flusser’s philosophy of science”. In this paper, I begin outlining such a project. I offer two translations of unpublished manuscripts, “La creation scientifique et artistique” (“Scientific and artistic creativity”) and “Wissenschaft, Weisheit (und Judentum)” (“Science, Wisdom (and Jewishness)). Based on an initial and very superficial analysis, I suggest locating Flusser’s concept of science at the center of a triangle of reciprocal relationships between philosophy, art, and religion.
Até a terceira e a quarta geração: a experiência do holocausto como fundamento das teorias de Vilém Flusser / Unto the Third and Fourth Generation. The Experience of the Holocaust as the Basis of Vilém Flusser’s Philosophy / Do třetího i čtvrtého pokolení
This essay focuses on the fundamental significance of the Holocaust in Vilém Flusser’s life and thinking. In his still unpublished Até a terceira e a quarta geração (Unto the Third and Fourth Generation) written in the early 1960ies, the problem of Nazism is explicitly thematized and linked to the development of Western society. The abandonment of a religious view of the world in the Renaissance led to the loss of a grounding sense of reality, which was filled up by science (the new religion) and later on by nationalism. These developments eventually led to the First and the Second World War, as well as to Auschwitz and Adolf Eichmann as the ideal representatives of the apparatus and the functionary.
Vampyroteuthis Infernalis: l’alterità capovolta
The Vampyroteuthis Infernalis is a text that defies labels by layering scientific, philosophical, and anthropological perspectives. We should read it “lengthwise” in order to share the vision of this brilliant metaphorical story and post-human fairy tale. Flusser eradicates points of view that are rusty, ancient and anthropocentric. In this, he sheds a beam of light not only on the ideas but also on the method, and the point of view. Throughout the book, the literary device turns out to be a kind of powerful “antivirus” against the rhetoric and the morals of our “a priori”. The Vampyroteuthis emerges where we dive: it is the dark side, the sleep of reason and the monster of dreams; it is the common unconscious, the fear of the unknown, the repression of drives; it is what is submerged by science and religion; it is the black, the different, the other; it is what we would like to suppress in ourselves, but actually, if this emergence is slow and conscious, the subsequent integration will be healthy and productive. It will be the utopia of new humans who look out and see themselves.