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Daniel Irrgang

Daniel Irrgang is a research fellow at Weizenbaum Institute, Berlin. His work focusses on diagrammatics from a media theoretical perspective, on HCI paradigms as well as on media archaeology, media art and epistemology. He holds a PhD in media studies with a thesis on diagrammatics and expanded mind. Currently, he is working on a critique of transhumanist and Californian Ideology narratives. Daniel is coordinator of the research seminar “Critical Zones” with Bruno Latour at the Karlsruhe University of Arts and Design, which conceptually prepared the exhibition with the same name at the ZKM Karlsruhe. Further information and publications: www.danielirrgang.net

Articles of Daniel Irrgang

Telepresence and the decay of private space (in times of crisis)

Telepresence (PDF 211 KB)

Flusser-Quellen. Teil I: Vorwort des Vilém Flusser Archivs, Oktober 2017

Flusser-Quellen (Flusser-Sources) is a comprehensive list of all of Vilém Flusser’s texts published between 1960 and 2002. It includes essays, book chapters, books CDs in seven different languages. It also contains a list of all interviews and videos directly related to his person and his work. Flusser-Quellen was developed by Klaus Sander in collaboration with the Vilém Flusser Archive and Andreas Müller-Pohle’s European Photography. The original plan was to publish this material as a volume of Müller-Pohle’s Editions of Flusser, together with a CD-ROM version. The material can be accessed here: http://s3.amazonaws.com/arena-attachments/1485097/d85714e287d539db39da46f0e5198b20.pdf?1512484296

Vorwort (PDF 316.59 KB)

Die Briefe zwischen Vilém Flusser und Felix Philipp Ingold, 1981–1990

This article examines the correspondence between Vilém Flusser and Felix Philipp Ingold, a professor of cultural and social history of Russia, besides being a well-known poet, writer, and translator. In this extensive correspondence (1981–1990), both scholars reflect upon and criticize each other’s work, in a very productive manner. Especially Flusser, who was challenged to be more precise about central terms of his cultural philosophy, and media/communication theory. The article gives an overview of the last topics discussed by them. However, because it could not equality examine all concepts in depth, it focus upon the correspondence that helped Flusser clarify his concept of technical/synthetic image – which remains, nevertheless, an ambivalent term.

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