Flusser 100+ ist ein jährliches Flusser-Treffen, bestehend aus allen möglichen dialogischen und diskursiven Formen, Präsentationen, Workshops und unwahrscheinlichen Informationen.
Im Jahr 2021 wird Flusser 100+ aufgrund der anhaltenden Gesundheitskrise hauptsächlich online stattfinden.
Baruch Gottlieb & Steffi Winkler
Founders and co-chairs of Flusser Club e.V. welcome participants and viewers and introduce the day’s program.
Sebastian Sierra-Barra & Leonardo Reyna
Evolution, Komplexität und Musik
Gehao Zhang (Macao/CN)
the relation between blockchain, digital memory and censorship with cases about news coverage on Covid-19 in China.
Marc Lenot (FR)
Photography and Exchange Value
Flusser France roundtable
news from the Flusserian Community in France en français with Marc Lenot (FR), Rainer Guldin (CH), Elise Rigot (FR), Anderson Pedroso (BR), Marc Partouche (FR), Colette Tron (FR) +++ ↑top
Mike Anusas (Scotland, UK)
Faces, that surface of organisms ‘with as many holes as a Swiss cheese’ (Flusser 1999: 81), have always been a micro-territory of organic-synthetic fleshed-out politics. Recent mass-masking of faces emphasise their condition as emanating, coughing, casting, gazing, as well as absorbing, collecting, receiving and gazed upon, surfaces. Faces are also masked in actions of transgression, oppression, protest and expression, whereby an anonymous collective coherence is attempted to resist individual identification. In this presentation I will therefore ask: what is a face and what do they mean for freedom? ↑top
Marcel René Marburger & Lucrezia Zanardi (DE)
Incited by Vilém Flussers suggestion that artists are most suitable to find a way out of our fateful alienation from reality through media, Lucrezia Zanardi and Marcel René Marburger will discuss the potentialities of artistic archival research and practice in general and the origin of the Vilém Flusser Theory Award as an early attempt to institutionalize collaborations between archives and artists. In their sense artistic interventions in archival institutions are considered to be fundamental to question and create positive disruptions and movements towards our interaction with memory. In her research and artistic practice Zanardi investigates reshaping possibilities resulting from alternative ways to experience and re-narrate preserved physical traces. This eventually leads to new fruitful experiences, like the one aimed at inside the Etty Hillesum birth house in Middelburg. The two lecturers hope to open up a dialogue on those topics discussing artistic strategies on remembering and rethinking Vilém Flusser and his oeuvre.
is an artist and PhD researcher at the University of Applied Sciences and Arts of Dortmund, in cooperation with Radboud University, Nijmegen. She studied at the IUAV University of Venice and at the University of Arts and Design of Karlsruhe, graduated in Multimedia Arts in Venice (2016). Master in Photography and Photographic Studies at the University of Applied Sciences and Arts of Dortmund (2020). Lives in Dortmund.
Marcel René Marburger
is a Cologne based media- and art theorist and professor for design theory at the University for Applied Arts and Sciences of Dortmund. He wrote his doctoral dissertation on the aesthetic relevance of Vilém Flusser writings (Flusser und die Kunst, Köln: 2011). From 2007 to 2010 he was the scientific supervisor of the Vilém Flusser Archive; starting in 2005 he has been co-editor of 18 International Flusser Lectures, in 2008 he initiated the Vilém Flusser Theory Award (now Vilém Flusser Residence Program) with Siegfried Zielinski and Transmediale. In 2017 he started kiU-Salon (with Harald Opel), discussing nonlinear storytelling and the future(s) of audiovisual media.
Plateau Flusser (DE/FR/BR)
Jesse Torres (BR)
Jessé Torres is a PhD candidate in Language Sciences at the Universidade do Sul de Santa Catarina (UNISUL). He holds a master degree in Language Sciences by the same institution and a bachelor degree in Journalism by the Universidade Federal de Santa Catarina (UFSC). His doctoral studies are financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) – Brazil
The objective is to present and discuss my PhD research’s recent findings. My focus is Flusser’s concepts of Science Fiction. Since early texts, such as “The History of the Devil”, Flusser criticizes the genre for its lack of imagination and rigor. He believes that science fiction should be something more like Hans Vaihinger’s fictions. In his later conference “Science Fiction”, Flusser states that perhaps we will find these truly science fictions not in literature, but in technical images. ↑top
Gabriel Salvi Philipson (BR/DE)
Tanz den Untergang mit mir 🙂
Gabriel Salvi Philipson is currently a Ph.D. candidate in Literary Theory at the University of Campinas (UNICAMP) and in Romanistik at Freie Universität Berlin. His doctoral research is funded by Fapesp (2017/27004-7), Capes, and DAAD. He holds a master’s degree in Literary Theory and Comparative Literature from the University of São Paulo (USP, 2017), and received his undergraduate degree in Philosophy from the same institution (2013). ↑top
Francesco Restuccia (IT)
The concept of play is central in Flusser’s thought. In several occasions, when he elaborates on his conception, he uses the expression “Homo Ludens”, quoting the title of an important book by the Dutch historian Johan Huizinga. However, when Flusser reveals his main inspiration for his theory he only mentions the mathematician Anatol Rapoport. We can clearly see his debt towards Rapoport’s conceptions, for example when he describes a game as a combination of elements in accordance with rules, but if we compare Flusser’s and Huizinga’s thoughts they seem almost opposite at least in one respect: the relation between play and magic.
According to Huizinga, play, cult, ritual and magic can almost be identified, as rituals have a ludic dimension and play has a sacred dimension (the magic circle). Huizinga believes that since the 19th century we are loosing our capability of playing because we’re not able to believe in the magical world of play anymore.
On the contrary, Flusser conceives magic and play as belonging to two separate and mutually exclusive fields: the objectifying and idolatrous sphere of enchantment, which prevents any real interaction, and the ludic sphere of dialogue. The 20th century is the age of play and nevertheless it is becoming difficult to play, because our world is still too magical. Playing, according to Flusser, requires putting something at stake (‘etwas aufs Spiel setzen’, literally, to put something into the game), but we won’t do it until the magical dimension of technical images enmesh us in our “inertia of happiness” (‘Trägheit des Glücks’). This is why Flusser’s reference to “Homo Ludens” might well be polemical: being homines ludentes is not our true eternal nature, as Huizinga seems to think, but something we must learn to become, by overcoming our inertia of happiness.
Francesco Restuccia is a post-doctoral fellow at the Istituto Italiano di Studi Germanici in Rome. He obtained his PhD in Philosophy (Aesthetics) at La Sapienza – University of Rome in 2018, with a thesis about Vilém Flusser as a critic of idolatry in the age of new media. He’s also member of the Advisory Board of the international journal Flusser Studies, and Associated Member of the ERC project AN-ICON (An-Iconology: History, Theory, and Practices of Environmental Images – University of Milan). He is publishing a book about Flusser’s theory of idolatry: Il contrattacco delle immagini. Idolatria e comunicazione a partire da Vilém Flusser (Meltemi, Milan 2021, forthcoming).↑top
Miklós Peternak (HU)
A telematic experiment in three phases – a presentation.
Since a year we in Hungary including me at the Hungarian University of Fine Arts giving lectures, talks, seminars etc. exclusively online, due to the local regulations. During this Spring semester I decided to make a small experiment with my art students in the frame of my lecture-series, “Image Anthropologie” (the title resembles Hans Belting’s book, but this is more about media archeology + image theory). The experiment consisted of three phases. First I asked them to read Vilém Flusser’s essay, Die Stadt als Wellental in der Bilderflut which is avilable online in Hungarian translation. As it is not easy to find out, as if they really read a text or not, I also asked them to search for or create illustrations to this text, at least one but three as a maximum and send them to me. Than I created a ppt, including all the illustrations in chronological order (using the time data of their e-mail). As there are 45 students in the class from diverse departments (graphic, intermedia, painting, restauration, art theory, etc.) I expected some diversity. Finally I sent them back the collective results asking to observe/examine and comment it in written form. The process was quite interesting, so I thought to present you the original ppt with comments, using the same medium as it was created. (teams, zoom, jitsi, skype, etc.)
Workshop Video Collection, Emulations, FlusserWIKI
Erick Felinto (BR)
Professor, State University of Rio de Janeiro (UERJ), Department of Media Theory – Graduate Program in Media Studies, CNPq (National Council for Scientific and Technological Development), Visiting Scholar at Universität der Künste Berlin (Institut für zeitbasierte Medien)
The Nameless Things in the Ocean: Vilém Flusser’s and H. P. Lovecraft’s Marine Monstrosities Although arising mainly from his racial fears, Lovecraft’s marine creatures can also be interpreted as a representation of the dangerous psychic depths that threaten the human mind. Besides panic in the face of radical otherness, this paper suggests that Dagon, Cthulhu and the many other inhabitants of Lovecraft’s unseen worlds embody the ancient idea of the inhuman aspect of the ocean. In that sense, Lovecraft is not distant from a vision of the seas that highlights its mysterious, unfathomable nature, a perspective that one also finds in the works of Czech-Brazilian philosopher Vilém Flusser. Going all the way back to Greek philosophy, with Plato’s mistrust of the seas as a domain of impurity and tainted knowledge, water has been perceived as that which does not leave traces and therefore cannot be trusted. From Carl Schmitt’s frightening “fishmen” (Fischmenschen) to Vilém Flusser’s Vampyroteuthis Infernalis, a long imaginary tradition of marine dread associates the ocean with notions such as uncertainty, hybridity and inhumanity. The goal of this presentation is, therefore, to investigate how Lovecraft’s and Flusser’s vision of the seas and its inhabitants conforms to this centuries-old imaginary. Moreover, the talk also addresses some recent transformations in the philosophical perception of the ocean as a place of positive indefiniteness and chaos. By resorting to woks such as David Will’s Dorsality (2008) and Melody Jue’s Wild Blue Media (2020), I intend to sketch an image of the sea that “washes over every human identitarian horizon” (Wills, 2008, p. 20) while simultaneously positively embracing its chaotic nature. My main objective is thus to investigate whether Flusser’s and Lovecraft’s marine monstrosities might be turned on their heads in order to allow for an affirmative and progressive reading not unlike what Walter Benjamin purports to do by appropriating the notion of the inhuman (Unmensch) (Hanssen, 1998). ↑top
Peter Zhang (US)
Flusser and Interlinguality
Peter Zhang is Professor of Communication Studies at Grand Valley State University. His research is interdisciplinary in nature, spanning such fields as media theory, interality studies, techno-ethics, Deleuze studies, Flusser studies, Virilio studies, rhetorical studies, Zen, and I Ching, among other things. He has published a long list of articles in these fields. Currently, he serves as Director of the School of Communications’ Study Abroad Program in London. He has guest edited a special issue of Canadian Journal of Communication, three special section/issues of China Media Research, and a special section of Journal of Multicultural Studies of the Orient on interality studies, and guest co-edited two special issues of Explorations in Media Ecology entitled “Probing the Boundaries of Media Ecology.” ↑top
Birthday toasts and thematic dialogs
with Andreas Ströhl (DE/US)
Dr. Andreas Max Ströhl, born in Munich, West Germany in 1962. M.A. in German Literature, Theater and American Studies, University of Munich in 1987. Journalist. Since 1988 working for the Goethe-Institut. Met Vilém Flusser in Prague in 1991. Published (about) Flusser and taught media theory since. 2003-11 Director of Munich Filmfest. Ph.D. about Flusser in European Ethnology, University of Marburg, Germany, in 2009. Director of the Goethe-Institutes in North America since 2016, based in Washington.
Simone Osthoff is a Brazilian born and US-based scholar focusing her research on experimental art practices and decolonial histories. She is Professor of Art and Critical Studies in the School of Visual Arts at the Pennsylvania State University, and holds a Ph.D. from the European Graduate School. Osthoff is a Fulbright Fellow and frequent participant and organizer of symposia. Among her publications is Performing the Archive: The Transformation of the Archive in Contemporary Art from a Repository of Documents to an Art Medium.
Masafumi Fukagawa (JP)
Masafumi Fukagawa is curator of photography, design and contemporary art, member of AICA JAPAN the Japanese section of the International Association of Art Critics (AICA = Association Internationale des Critiques d’Art) and translator of „Vilém Flusser: Towards a Philosophy of Photography“ ( Keiso-shobo 1999 Tokyo)
Aaron Jaffe, Michael Miller et al (US)
Aaron Jaffe is Frances Cushing Ervin Professor of American Literature at FSU. He has published Modernism and the Culture of Celebrity, The Way Things Go: An Essay on the Matter of Second Modernism, and other work in modern and contemporary literature, media, and theory.
Bislang sind drei Themencluster für Diskussionsrunden vorgeschlagen worden:
– Telematische Gesellschaft
◦ Alltagsleben mit sozialer Distanzierung
◦ Transformationen in der Bildung / Pädagogik
◦ Transformationen in der Wirtschaft, Prekarisierung, Fragmentierung der Arbeit
– Flusser & die Blockchain
◦ digitales Gedächtnis
◦ Geld als Information
◦ Blockchain als Apparat
– Krise der Institutionen
◦ die Universität in der Krise
◦ die sich verändernde Rolle von Kunst und Kunstinstitutionen
andere Themencluster sind willkommen
– Es sind Workshops geplant zu:
◦ Hypertext und „die Schrift“, Flussers zwei computerbasierte Publikationsprojekte
– experimentelle Sitzungen:
◦ Harmonie und Komplexität
◦ Radio und Archive
und eine spezielle Gesprächsrunde für französische Flusserianer en français!
und mehrere Präsentationen zu Neuerscheinungen über oder von Flusser Wer Interesse an einer Teilnahme hat, sollte sich hier anmelden.