Flusser Studies 31 – July 2021 / Special Issue - Flusser et la France
Bec’s Sulfanograde / Os sulfanogrados de Louis Bec / Les Sulfanogrades de Louis Bec
Orthonature Paranature de Vilém Flusser / Vilém Flusser’s Orthonature Paranature
Orthonature and Paranature
Vampyroteuthis Infernalis, le podcast comme format de recherche-création
For this special issue of Flusser Studies on Vilém Flusser's relations with France, I would like to propose a research-creation format, which is embodied in a podcast that is part of the Bio Is The New Black series. The podcast is a creation based on reading the Vampyroteuthis Infernalis and research conducted at the Vilém Flusser Archive in Berlin under the supervision of Anita Jóri. Bio Is The New Black is a podcast around design, biology and technology that invites artists, designers, philosophers, scientists and engineers to explore the multiple ethical, critical and creative questions that arise with bio-manufacturing technologies.
II. D’autres amis français de Vilém Flusser
Une conversation / Letters: Hervé Fischer - Vilém Flusser 1976 - 1982
Vilém Flusser et Abraham Moles: le fond et la forme d’une “affinité combative”
III. Flusser en France
Premier discours, premier article et première interview de Flusser en français : au su-jet de la 12 e Biennale de São Paulo
Présentation de Vilém Flusser à l`assemblée générale de l´AICA le 13 septembre 1972
Thèmes révolutionnaires pour la Biennale de Sao-Paulo 1973 / Revolutionary themes for the São Paulo Biennale 1973
Interview: La Biennale de Sao Paulo transformée en laboratoire collectif
Les Rendez-vous manqués. Flusser, la France et la photographie
L'échec des Rencontres de Robion (1981/82) : Un tournant pour Vilém Flusser? / The Failure of the 1981/82 Robion Encounters: A Turning Point for Vilém Flusser?
IV. Publier en France
Flusser, La Force du Quotidien, Mame, 1973. Histoire d’une édition et d’une occasion manquée
Parution en français de Mutations dans les Relations Humaines? De la Communicologie
The forthcoming publication of the French typescript (written 1986) of Flusser’s book Communicology constitutes an important step in the program of French publications of Flusser’s works. Until now known only in its 1996 German version as Kommunikologie. Umbruch der Menschlichen Beziehungen? (the English typescript has not yet been published), the French title reverses the order of title and subtitle: Mutations dans les Relations Humaines ? De la Communicologie.
The publisher, Marc Partouche, worked with Flusser and Louis Bec on several projects in the 80s, among them the exhibition Le vivant et l’artificiel in Avignon in 1984. While Flusser was alive, Partouche published a few of Flusser’s essays in various journals and Flusser gave him several French typescripts, asking him to prepare them for publication.
In this book, Flusser pursues and deepens his pioneering thinking on media, and artificial intelligence, reflections already present in his previous works, making it one of his most important and visionary writings.
Le diable, l’absurde et la philosophie / Extrait de L'Histoire du diable de Vilém Flus-ser: La conversation
This essay, a short introduction to the French translation of Vilém Flussers The History of the Devil, deals with some of the main aspects of the book, including the notion of sin and the figure of the devil, but also the dangers of nationalism, Marxism, the theoretical shortcomings of existentialism and Flusser’s interest in Buddhism. The accompanying extract from The History of the Devil, paragraph 6.4. Conversation, which is the last part of chapter 6. Envy and Greed, focuses on the notion of conversation, which is absolutely central to Flusser’s thinking. Its future ramifications extend to the concept of dialogue and go as far as the telematic society.
V. Au sujet de Flusser
Appareil et caméras chez Vilèm Flusser, objections et critique
This essay deals with the notion of apparatus, which together with the concept of program are the two salient characteristics of post-history. The paper also explores the notion of the “photographable” (photographiable) in its relationship to the possibilities defined by the camera.
Vilém Flusser et la recherche-création
This essay deals with the Flusserian notion of research-creativity. The author reexamines Vilém Flusser’s work looking for theoretical connections and hidden connections between the time the texts were written and the present. Flusser’s vision is linked to the artistic scene in Brazil in the 1950s and 1960s, but also to his experiences in Europe in the 1970s and 1980s.
Aveuglement théorique et insouciance éthique : Sur quelques faiblesses congénitales chez les sectateurs français de l'image... photographique en particulier
Édition française de Dans l’Univers des Images Techniques
Pour un design circulaire. Commentaire de l'article "Considérations écologiques" de Vilém Flusser
VI. Des photographes
Bernard Plossu: Die Wissenschaft des Ungenauen / Bernard Plossu: The Science of the Imprecise / Bernard Plossu: La science de l’imprécis
For a Philosophy of Photography is undoubtedly Flusser’s best-known book in France. Having met for my research many experimental photographers in the Flusserian sense of the term, I had found that, while a few were already familiar with this book, many discovered Flusser’s thinking only in the course of our discussions. Therefore, I asked about fifteen photographers from the French scene who I consider experimental to say in a few words how Flusser had been important to them. Eight responded, usually the youngest. Juliana Borinski was especially sensitive to her dimension as a cosmopolitan migrant. Driss Aroussi, Isabelle Le Minh and Lionel Bayol-Thémines had known Flusser for a long time, and were often inspired by him. Mustapha Azeroual and Laure Tiberghien discovered an echo of their work in his writings. Jean-Baptiste Perrot recounts the revelation that the discovery of his thoughts was for him. Finally, Denis Bernard, starting out from a picture of Flusser himself, focuses on the gesture of the photographer and questions the epistemological status of the image. Each of them chose an example of their work to accompany the written statement.