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  1. Tragbare Kontrolle: Die Apple Watch als kybernetische Maschine und Black Box algorithmischer Gouvernementalität.Anna-Verena Nosthoff & Felix Maschewski - 2020 - In Anna-Verena Nosthoff & Felix Maschewski (eds.), Black Boxes - Versiegelungskontexte und Öffnungsversuche. pp. 115-138.
    Im Beitrag wird die Apple-Watch vor dem Hintergrund ihrer „Ästhetik der Existenz“ als biopolitisches Artefakt und kontrollgesellschaftliches Dispositiv, vor allem aber als kybernetische Black Box aufgefasst und analysiert. Ziel des Aufsatzes ist es, aufzuzeigen, dass sich in dem feedbacklogischen Rückkopplungsapparat nicht nur grundlegende Diskurse des digitalen Zeitalters (Prävention, Gesundheit, bio- und psychopolitische Regulierungsformen etc.) verdichten, sondern dass dieser schon ob seiner inhärenten Logik qua Opazität Transparenz, qua Komplexität Simplizität (d.h. Orientierung) generiert und damit nicht zuletzt ein ganz spezifisches Menschenbild forciert. (...)
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  • Affekt Macht Netz. Auf dem Weg zu einer Sozialtheorie der Digitalen Gesellschaft (Hg. Breljak/ Mühlhoff/ Slaby).Rainer Mühlhoff, Anja Breljak & Jan Slaby (eds.) - 2019 - Bielefeld: transcript.
    -/- Shitstorms, Hate Speech oder virale Videos, die zum Klicken, Liken, Teilen bewegen: Die vernetzte Gesellschaft ist von Affekten getrieben und bringt selbst ganz neue Affekte hervor. -/- Die Beiträge des Bandes nehmen die medientechnologischen Entwicklungen unserer Zeit in den Blick und untersuchen sie aus der Perspektive einer kritischen Affekt- und Sozialphilosophie. Sie zeigen: Soziale Medien und digitale Plattformen sind nicht nur Räume des Austauschs, sie erschaffen Affektökonomien – und darin liegt auch ihre Macht. Indem sie neue Formen des sozialen (...)
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  • Creativity with Apparatuses: from Chamber Music to Telematic Dialog.Paulo Chagas - 2013 - Flusser Studies 17 (1).
    This article examines Flusser’s ideas on creativity with apparatus as a model for communication in a telematic society. By placing Flusser’s thinking in the post World War II context, it explores relations to Walter Benjamin’s criticism of technical reproduction and Katherine Hayles’ notion of the post-human. By focusing on Flusser’s suggestion of chamber music as a prototype of telematic dialog, it proposes an analysis of chamber music, electroacoustic music and digital audio technology aiming to critically illuminate Flusser’s utopian vision of (...)
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  • Golem, Roboter und andere Gebilde. Zu Vilém Flussers Apparatbegriff.Rainer Guldin - 2009 - Flusser Studies 9 (1).
    This essay attempts a systematic genealogic reconstruction of Flusser’s concept of apparatus from Portuguese texts of the early 1960ies up to the Bochumer Vorlesungen held in the summer of 1991 shortly before Flusser’s death. As with many other instances from Flusser’s work the concept of apparatus is decidedly interdisciplinary in nature, positioning itself on the border of philosophy, sociology, history, literature, the arts, cybernetics and technology. This fundamental ambivalence becomes particularly visible in the use of the German word ‘Apparat’ and (...)
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  • Für eine Mythographie der Photographie.Dirk-Michael Hennrich - 2010 - Flusser Studies 10 (1).
    The Mythography of Photography is written as a dialog with the Philosophy of Photography of Vilém Flusser, considering the Myths not simply as a primitive state of thinking, but as the dark residuum of all kinds of modern experience. Therefore, the present Mythography of Photography tries to reveal the main Myths which we cite when we are following the gesture of Photography and which we can find hidden in the photographical apparatus. This Mythography is strictly focused on the ancient Greek (...)
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  • Bilder – Denken. Über die Notwendigkeit einer Philosophie der Fotografie.Claudia Becker - 2010 - Flusser Studies 10 (1).
    In this contribution Claudia Becker examines the necessity for a “Philosophy of Photography” Flusser proposed in the 1980s. She expounds the problem that there is no deeper reception of his thought in the various discourses of the pictorial turn or media philosophy, even though Flusser can be read as one of the first who proclaimed a philosophy of images. She takes a closer look at the propositions of what Flusser calls a philosophy of photography and correlates them with other famous (...)
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  • Das technische Bild und der logische Bau: Flusser und Wittgenstein.Stanislav Hubik - 2007 - Flusser Studies 5 (1).
    Both Wittgenstein and Flusser tried to find an answer to the question: how are media possible? Although Wittgenstein does not ask this question explicitly it can be detected in his Tractatus. Because of this fundamental similarity between both thinkers, it is possible to read Wittgenstein's theory of logical form from the point of view of Flusser's concept of techno-image and to interpret Flusser's notion of medium from the point of view articulated in Wittgenstein's Tractatus. At the same time, it is (...)
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  • Flusser an die Schule! Die Essays im Ethikunterricht.Detlev von Graeve - 2011 - Flusser Studies 12 (1).
    Does it make any sense to teach Vilém Flusser’s essays in the advanced courses of a secondary school? While all over Europe school subjects have increasingly been restricted by a formal frame, some precautions have to be taken in the interest of Flusser’s method and message. As a pioneer in the newly established subject of Ethics in the federal state of Hessen/Germany, the author tested the essays without a strict curriculum for more than six years. He gives an overview of (...)
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  • Über Fotografie schreiben. Vilém Flusser, Roland Barthes, Jacques Derrida.Florian Arndtz - 2010 - Flusser Studies 10 (1).
    The paper explores how concepts of writing , photography and ideology are related in the works of Vilém Flusser, Roland Barthes and Jacques Derrida. A comparison of these three authors reveals both fundamental parallels and significant differences, depending on the interest, scope and line of the various argumentations, which are to be investigated.
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