In L’inter-code, a pseudo-random algorithm controls the appearance of zones of images and zones of text in mutual exclusion over the screen. The images include animations based on 3D models of objects exhibited in the Musée des Arts et Métiers in Paris: astronomical instruments which measure the infinitely big, a cyclotron which probes the subatomic world and above all, photo cameras adapted to the measure of space (photogrammetry). The images also include footages taken by the German ethnologist Theodor Koch-Grünberg in 1911 while living with the Taulipang tribe in Brazilian Guyana. The texts where extracted from the work of the philosopher Vilém Flusser, Towards a Philosophy of photography, which inspired this work. Strengthened by the soundtrack, this animation opposes Images and Texts in line with the ideas of Vilém Flusser: texts and images confront one another in the representation of the real world. This dialectical relationship, whose synthesis is yet to be discovered, is matched in the video by another opposition: tribal men living in equilibrium with nature, contrasting with the divergences of technical progress. By representing the biased relationship mankind maintains with the real when it is coded by texts and by images, L’inter-code seeks to question photographic image, not as the neutral product of a technique but as a complex construction that embeds a risk: the danger of increasing the distance between mankind and the world he inhabits. L’inter-code questions the possibilities and limits of science and its materialization in technology.
Biomedia and Anthropology of Gestures and Body
The essay is based on two central notions developed by Vilém Flusser: 1) life can be considered as a design project; 2) we are in need of a new anthropology of gestures. It moves from the modern understanding of technology, digital media and its cybernetic regime, to discover biomedia and their ability to invade and conquer bodies, senses and gestures. In the light of this new bio-techno-cultural constellation where media are used to design gestures, old questions about subjectivity, media and communication remain fundamental yet they ought to be reinterpreted.
2. Devil may care: Flusser’s Journey Into Exile and Beyond Reason
Vilém Flusser’s second book, A história do diabo (“History of the devil”), was published in Brazil in 1965 but has yet to be translated into more widely current languages. The present paper aims to summarize the major arguments contained in that early work, situating them in the cultural and intellectual context of the time. Taking Flusser’s personal history of exile as its point of departure, the paper suggests that the issues raised by the book are prescient of important changes in Western thinking over the past thirty years – in particular, the paradigm shift from the rational certainties of modernity to a more fluid notion of ‘reality’ in post-modernity. Flusser’s pioneering grasp of material appearances as “structures of virtuality”, elaborated through language, is indeed prophetic of things taken for granted in the digital era. For the student of Flusser, this important early work provides an insight into the profound unity underlying the multiple facets of his thought and writings.