Most-historical Apparatus : “AI” and the Crisis of Linearity
This paper analyzes machine learning-based services such as LLMs and AI-image generation through Vilém Flusser's account of linearity, causality, and rationality as historically specific cultural techniques. It argues that these technological applications do not suspend linear thinking but operationalize it at scale through ramified, sequential procedures that remain strictly causal. The apparent non-linearity of probabilistic generation of media artifacts such as text, image and video belongs to the level of experience, not to the functioning of the apparatus. Rationality persists within these technological media as program. The contemporary crisis of rationality is therefore not its disappearance but its withdrawal from conscious critique into automated systems controlled by institutional power. The paper argues that the foundational democratic intuitions which emerged with the development of linear writing and linear rationality have been historically constrained by extra-rational exercise of power. Only through the radical democratisation of that power can the emancipatory potential promised of hyper-rational so-called “AI" be realized.
, ( ) , On Vilém Flusser’s Idiosyncratic Use of Commas and Round Brackets
This essay explores a dimension of Vilém Flusser’s writing and thinking that has not received any attention so far: his idiosyncratic use of punctuation. Punctuation marks are more than just a way of structuring sentences. They can also be seen as gestures, as embodiments of specific mental attitudes. In this sense, Flusser’s frequent combination of round brackets included within commas articulates a fundamental tension in his thinking. These punctuation clusters are the very site where two contrary tendencies of his thinking meet and collide: the constant creative push forward and the continuous flow of the ongoing reflection, on the one hand, and the persistent urge to stray off from the main path through frequent associative eruptions on the other. It is the conflict between circles and lines, between the sprawl of tangential offshoots and the continuous attempt to impose linearity by chopping off the outgrowths, the tension between losing oneself in writing and the wish to keep in control. As Flusser calls it in “The Gesture of Writing”, it is the tenacious struggle between the ramifications of the ‛branching thought tree’ and the formal compulsion of the ‛Mesopotamian brick’. The essay also contains a detailed analysis of Flusser’s “The Gesture of Writing”, “Le geste d’écrire” and “O gesto de escrever” that shows how the use of this specific punctuation cluster evolves in the process of self-translation.
O último romântico: alguns apontamentos sobre a importância do romantismo alemão na formação do pensamento de Vilém Flusser
This essay is an attempt to place Vilém Flusser’s critique of the apparatus and technique within a broader context and, above all, to reflect on its roots. This approach offers an analysis of some concepts of the philosophy of the early German Romantics, specifically the Jena group, highlighting parallels in Flusser’s work: the importance of the notions of the fragment as an essential element of human thought and the cycle as its expression, demonstrating the precariousness of constructing large philosophical systems. The essay also focuses on the Romantic critique of a linear historical progress as well as on the theory of language, highlighting its poetic potential.