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Life[ edit ] Flusser was born in in Prague , Czechoslovakia into a family of Jewish intellectuals. His father, Gustav Flusser , studied mathematics and physics under Albert Einstein among others. Flusser attended German and Czech primary schools and later a German grammar school.
In , shortly after the Nazi occupation, Flusser emigrated to London with Edith Barth, his later wife, and her parents to continue his studies for one term at the London School of Economics and Political Science.
In he decided to leave Brazil. Some say it was because it was becoming difficult to publish because of the military regime[ who? Others dispute this reason, since his work on communication and language did not threaten the military[ who? At first, he immigrated to the North of Italy Tyrol.
To the end of his life, he was quite active writing and giving lectures around media theory and working with new topics Philosophy of Photography, Technical Images, etc. He died in in a car accident near the Czech—German border, while trying to visit his native city, Prague, to give a lecture. However, his early books, written in the s, primarily in Portuguese , and published in Brazil, have a slightly different style.
His main topics of interest were: epistemology, ethics, aesthetics, ontology, language philosophy, semiotics, philosophy of science, the history of Western culture, the philosophy of religion, the history of symbolic language, technology, writing, the technical image, photography, migration, media and literature, and, especially in his later years, the philosophy of communication and of artistic production. His writings reflect his wandering life: although the majority of his work was written in German and Portuguese , he also wrote in English and French, with scarce translation to other languages.
The first book by Flusser to be published in English was Towards a Philosophy of Photography in by European Photography, which was his own translation of the work. The Shape of Things, was published in London in and was followed by a new translation of Towards a Philosophy of Photography.
Philosophy of photography[ edit ] Writing about photography in the s and 80s, in the face of the early worldwide impact of computer technologies, Flusser argued that the photograph was the first in a number of technical image forms to have fundamentally changed the way in which the world is seen. As Flusser Archive Supervisor Claudia Becker describes, "For Flusser, photography is not only a reproductive imaging technology, it is a dominant cultural technique through which reality is constituted and understood".
The crux of this difference stems, for Flusser, from the fact that photographs are produced through the operations of an apparatus. And the photographic apparatus operates in ways that are not immediately known or shaped by its operator. The Gestalt of space—time surrounding the scene is prefigured for the photographer by the categories of his camera. These categories are an a priori for him. Given the central role of photography to almost all aspects of contemporary life, the programmed character of the photographic apparatus shapes the experience of looking at and interpreting photographs as well as most of the cultural contexts in which we do so.
Flusser developed a lexicon of terms that have proven influential and that continue to be useful for thinking about contemporary photography, digital imaging technologies and their online uses. While Flusser did write a number of short essays on the work of specific photographers,  his major focus was the critical and philosophical need to understand late 20th-century media culture and the emergent possibilities and threats presented by the larger forces at work in an increasingly technical and automated world.
Communication, which are the gaps between different positions, is part of a cultural phenomenon relying on unconsciously learnt patterns at home.
Language therein is a major influence on ones thinking. He differentiated between the two meanings of home originating in the German language, " Heimat " understood as a homeland and "Wohnung" understood as in house, and argued that home cannot be understood as an eternal value transcending time and space.
A person is bound to its "Heimat" through invisible threads such as connections to people, tradition and language, which all lay beyond the consciousness. Only when a person is removed from their home they become aware of the ties which reveal themselves as unconscious judgements. These unconscious "habits prevent bits of information from being perceived"  and make the habitual environment comfortable and therefore pretty.
For Flusser this substantiates the "love for a fatherland". The homeless person must not only consciously learn the habits of a new home but also must forget them again as if they become conscious, these habits reveal themselves as banal, threatening to expose the true nature of the home of the natives. The developing polemic dialog distinguishes between the "ugly stranger" who can unveil the truth Aletheia and the "beautiful native" who fears the otherness as it threatens their habit.
However, opposed to the homeland one can free himself off, the home understood as in house is a necessary part of human existence. It gives a person the mental ability to process information as it divides the sphere of existence into habit or home and unusual or new information. Monographs[ edit ] Das XX.
Versuch einer subjektiven Synthese, s, c pp. Rodrigo Maltez Novaes, Univocal, , pp. Preface by Abraham Moles. Ensaios para uma futura filosofia da fotografia , trans. For fotografiets filosofi, Horten: Preus Fotomuseum, Eduardo Molina, Ihsan Derman, Istanbul: Hayalbaz Kitap, , 97 pp. Fukagawa Masafumi, Tokyo: Keiso Shobo, ; Anthony Mathews, London: Reaktion Books, Khaydarova, St. Petersburg: St. Petersburg State University, , pp.
Hat Schreiben Zukunft? Ha futuro para a escrita? Foreword by Abraham A. Lischka, Bern: Benteli, , 43 pp. Lecture delivered on March 20, at Kunstmuseum Bern.
Adelheid Mers , Boot Print , pp 19— See also Bodenlos, Peter Weibel, Berlin: Merve Verlag, , pp — Adapted from a presentation at Ars Electronica , September 14, Written in Phil Gochenour, Critical Inquiry Winter , pp — Kunst Computer Medien, eds.
Der Wandel des Raumbegriffs im Zeitalter der elektronischen Medien, ed. Grundlagentexte aus Philosophie und Kulturwissenschaften, eds. Anthropologies du visuel, ed.
Life[ edit ] Flusser was born in in Prague , Czechoslovakia into a family of Jewish intellectuals. His father, Gustav Flusser , studied mathematics and physics under Albert Einstein among others. Flusser attended German and Czech primary schools and later a German grammar school. In , shortly after the Nazi occupation, Flusser emigrated to London with Edith Barth, his later wife, and her parents to continue his studies for one term at the London School of Economics and Political Science. In he decided to leave Brazil. Some say it was because it was becoming difficult to publish because of the military regime[ who? Others dispute this reason, since his work on communication and language did not threaten the military[ who?
FLUSSER THE SHAPE OF THINGS PDF
The shape of things : a philosophy of design