The Online/Offline Distinction Will Dissolve
This paper argues that the internet typifies an ongoing restructuring of the social understanding of space and time, with regard to telecommunication grounds, the offline/online distinction, and the mis/information distinction. Bernard Stiegler’s foundational concept of technics as (re)frames the humanity-technology relationship as that which constitutes time via externalization of memory. This reframing initiates an investigation into how new age internet technologies recalibrate these spatiotemporal relations. Concepts such as ‘hybrid space’ go to show how space as a physical phenomenon begins to accord to digital programming, as seen with the case of locationally aware cell phones that organize and inform one’s approach to space. In Flusser’s notion of ‘technical image’ the linear historical time is supplanted by circular time. The last part of the paper is dedicated to Marxian in view of Romeo Alquati’s notion of ‘valorizing information’ as a measurable economic exchange between human and machine that is objectified in the commodity.
Vilém Flusser’s Theories of Photography and Technical Images in a U.S. Art Historical Context
In the field of U.S. art history, the photography specialization is fairly new and the discourse is dominated by a handful of voices like Walter Benjamin and Roland Barthes, while Vilém Flusser has been virtually ignored. This essay examines the trilogy of “technical image” texts Flusser wrote in the 1980s—Towards a Philosophy of Photography (1983), Into the Universe of Technical Images (1985), and Does Writing Have a Future? (1987)—and beyond these, locating the seeds of Flusser’s “photophilosophy” in his use of information and communications theory to develop concepts like “image,” “apparatus,” “program,” and “information.” It considers the U.S. art historical bias toward writers like Jean Baudrillard, Paul Virilio, and the “control society” ethos of Gilles Deleuze and Flusser’s proposal that technical images and photography criticism could provide models for creative disruption of apparatus and finally, “human freedom.” Placed in the current moment, with its crises of environment, technology, economy, and geopolitics, this essay considers Flusser’s writing as a form of ethics and politics in which photography serves as a model for thinking about history, culture, revolution, and consciousness.