Yannis Mitrou
Ioannis Mitrou was born and lives Greece. He is a Doctor of Philosophy, visual-performance artist, film director, and researcher in the field of Media Philosophy in its relation to psychoanalysis. From 2018 until 2023, he taught at the School of Fine Arts of the Aristotle University of Thessaloniki (Department of Visual and Applied Arts) . Academic career: Aristotle University, Department of Physics (1996-97), Postgraduate course in theoretical physics on Chaos, Department of Physics, Aristotle University of Thessaloniki (1997- 99), Fellowship for original scientific research at the Institute of Nuclear Fusion in Orsay, Paris-Sud (2005), master’s degree in Systematic Philosophy at the Department of Philosophy and Pedagogy, Aristotle University of Thessaloniki (2010-2013). He also taught psychoanalysis at the School of the Freudian Cause, Freudian Society of Northern Greece / 2014-2017, Ph.D. (2017): “Phenomenology of the unconscious: The example of the Lacanian field”.
Articles of Yannis Mitrou
Phenomenological crossroads between Husserl and Flusser. Toward a Phenomenology of the Image in the post-digital age of AI
This article examines the phenomenological relationship between Edmund Husserl’s foundational ideas on intentionality, perception, and consciousness, and Vilém Flusser’s media-philosophical critique of technical images. While Husserl laid the groundwork for understanding consciousness as always directed toward objects through intentional acts, Flusser extended this logic to consider how new media—specifically technical images—restructure the horizon of intentional experience. Through a comparative reading, we argue that Flusser offers a post-phenomenological extension of Husserlian thought, addressing the historical evolution of appearance and its mediation through apparatuses. By situating technical images within the lifeworld (Lebenswelt), the article shows how Flusser’s theory can be understood as a phenomenology of post-industrial perception, where the image no longer reveals the world, but instead simulates it, altering the structure of intentionality itself. Ultimately, we propose a synthesis that sees Flusser’s technical image not merely as a cultural artifact but as a new noematic layer within phenomenological experience, calling for a reconsideration of subjectivity and meaning in the digital age.
The construction of happiness in the world of technical images: from Aristotelian ‘’ευδαιμονία (eudaimonia)’’ to the image-synthesis of Vilém Flusser
This paper explores the concept of happiness in modern times through the lens of Vilém Flusser’s technical image comparing it to the Aristotelian concept of eudaimonia. According to Aristotle, eudaimonia is the supreme good to which human beings should dedicate their life. The process of finding eudaimonia is an extremely difficult journey. Is this concept still valid in the age of technical images that compose the reality around us? What does happiness mean in this situation? How can we give any meaning to it? An answer to these questions can be found in Flusser’s thought.