Emmanuel Alloa
Emmanuel Alloa has been Professor of Aesthetics and Philosophy of Art at the University of Fribourg since 2019. He studied philosophy, history and art history in Freiburg (Germany), Padua, Berlin and Paris. In 2009, he received his doctorate from the University of Paris I-Panthéon and the Free University of Berlin with a binational dissertation in philosophy. He taught at the Département d’arts plastiques in Paris 8, was a postdoctoral fellow at Eikones (centre for image research at the University of Basel), and assistant professor for philosophy at the University of St. Gallen. Various visiting professorships and fellowships have taken him to various international institutions such as the Italian Academy for Advanced Studies at Columbia University (New York), the Universidad San Nicolás de Hidalgo (Mexico), the UFMG (Federal University of Minas Gerais), Belo Horizonte (Brazil), the IKKM (International College for Research in Cultural Technology and Media) at the Bauhaus University of Weimar, the University of Vienna and the University of California Berkeley. His work has received several awards, including the Latsis Prize 2016 and the Aby Warburg Science Prize 2019.
Articles of Emmanuel Alloa
Dans l’univers des images techniques – en VF
Although a growing number of Vilém Flusser’s texts have been made available in France, where he spent the last part of his life, the decisive book Ins Universum der technischen Bilder, from 1985, is still missing. Written two years after Für eine Philosophie der Fotografie, his most influential book -- translated into French in 1996, Ins Universum der technischen Bilder is arguably one of Flusser’s theoretically most ambitious books. It aims to describe the entire history of visualization techniques. Both foreshadowing the development of digitization processes to come and harking back to the earliest moments of civilization, this book will make the full potential of the thought-provoking ideas already available in French more readily understandable than they were at the time of their publication. This French translation by Pierre Rusch will facilitate a new understanding of this crucial phase in Flusser’s oeuvre, where the insights into the automated character of the photographic images are taken to the level of a phenomenology of technical gestures, with “abstracting” and “concretizing” as their key operations.