Flusser 2013 - Revision history

Wtrettien: /* Return */

2013-12-22T19:56:48Z

Return

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	== Return ==		== Return ==

			:"To rupture the alienated symbolization and return to the concrete experience of our own death in the Other. To return, in sum, to being Human." (167)

Wtrettien: /* Our Relations */

2013-12-22T19:56:02Z

Our Relations

← Older revision		Revision as of 19:56, 22 December 2013
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	== Our Relations ==		== Our Relations ==

			:"No matter what I am, I am in relation to any other, and if I assume myself as 'I,' I do it because some random other calls me 'you.' … If, thanks to an effort of abstraction, i mange to 'suspend' every definition, I will not have discovered any 'absolute' nucleus that I could call 'the essence of myself' ('soul,' 'identity'), but I will have discovered that the term 'I' designates a type of imaginary hook, upon which hang the relations that I am. I will discover that once there elations that attach me to the social net are abstracted, I am strictly ''nothing''." (152)

	== Return ==		== Return ==

Wtrettien: /* Our School */

2013-12-22T19:51:14Z

Our School

← Older revision		Revision as of 19:51, 22 December 2013
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	:"Thus the school of the future will not be able to cover-up this openness toward beauty within any of the disciplines that it irradiates without running the risk of its own entropy, and it will not be able to allow for this openness without running the risk of its own overcoming by man." (147)		:"Thus the school of the future will not be able to cover-up this openness toward beauty within any of the disciplines that it irradiates without running the risk of its own entropy, and it will not be able to allow for this openness without running the risk of its own overcoming by man." (147)

			:"The ''original unity of truth, good and beauty'' become reestablished by the apparatus, but this time under the form of 'know-how,' of ''technology''. With this strategy, the apparatus aim to recover the creative dimension of man, which threatens them. The school of the future should be an institute of technology; creativity at the service of apparatus." (148)

	== Our Relations ==		== Our Relations ==

	== Return ==		== Return ==

Wtrettien: /* Our School */

2013-12-22T19:49:52Z

Our School

← Older revision		Revision as of 19:49, 22 December 2013
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	== Our School ==		== Our School ==

			:"In Platonic terms: the school, originally a place for philosophy, became, in modern society, a place for active life and will become in the future the place for the economic slavery of the eternal return. According to the restructuring of the school, everyone shall become slaves and ''totalitarian society'' will have been established." (146)

			:"Thus the school of the future will not be able to cover-up this openness toward beauty within any of the disciplines that it irradiates without running the risk of its own entropy, and it will not be able to allow for this openness without running the risk of its own overcoming by man." (147)

	== Our Relations ==		== Our Relations ==

	== Return ==		== Return ==

Wtrettien: /* Our Inebriation */

2013-12-22T19:47:49Z

Our Inebriation

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	:"Every intelligent action today is a strategy of delay in the face of the stupidity of progress. Not only of this progress, but also of every progress. Because every progress is the realization of a program, which seeks the end of the game. Delay and hesitancy are the only methods in order to postpone the end of the game: so neither Cesar nor Spartacus, but Fabius Cunctator." (128)		:"Every intelligent action today is a strategy of delay in the face of the stupidity of progress. Not only of this progress, but also of every progress. Because every progress is the realization of a program, which seeks the end of the game. Delay and hesitancy are the only methods in order to postpone the end of the game: so neither Cesar nor Spartacus, but Fabius Cunctator." (128)

	== Our Inebriation ==		== Our Inebriation ==

			:"Drugs are a medium for overcoming cultural mediation in order to reach immediate experience. Drugas are ''the mediation of the immediate''." (132)

	== Our School ==		== Our School ==

Wtrettien: /* Our Dread */

2013-12-22T19:46:54Z

Our Dread

← Older revision		Revision as of 19:46, 22 December 2013
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	"''Boredom is the demystification of the apparatus.''" (121)		"''Boredom is the demystification of the apparatus.''" (121)

	== Our Dread ==		== Our Dread ==

			:"Every intelligent action today is a strategy of delay in the face of the stupidity of progress. Not only of this progress, but also of every progress. Because every progress is the realization of a program, which seeks the end of the game. Delay and hesitancy are the only methods in order to postpone the end of the game: so neither Cesar nor Spartacus, but Fabius Cunctator." (128)

	== Our Inebriation ==		== Our Inebriation ==

Wtrettien: /* Our Wait */

2013-12-22T19:43:55Z

Our Wait

← Older revision		Revision as of 19:43, 22 December 2013
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	:"Apparatus have codified the world in order to entertain us. They have turned the world 'spectacular.' They are now seeking to sensationalize our own death. They have already sensationalized the deaths of others. They have overcome mourning. They have turned the death of others into kitsch. They will turn our own death into kitsch. Once this has been reached, we will have been reprogrammed. Our unhappy consciousness will finally rest. Programmed life hall be totally entertaining. This is the aim of the programs with which we are collaborating." (114)		:"Apparatus have codified the world in order to entertain us. They have turned the world 'spectacular.' They are now seeking to sensationalize our own death. They have already sensationalized the deaths of others. They have overcome mourning. They have turned the death of others into kitsch. They will turn our own death into kitsch. Once this has been reached, we will have been reprogrammed. Our unhappy consciousness will finally rest. Programmed life hall be totally entertaining. This is the aim of the programs with which we are collaborating." (114)

	== Our Wait ==		== Our Wait ==

			:"In the industrial society time is a ''straight line'': a sequence of events that flows univocally, and that never repeats. No day is a repetition of the previous one, every harvest is singular and if there is life after death, it will be different from the one we know. Linear time i'historical:' it progresses toward the new. It comes from the past and demands the future. AS it flows, it drags things with it. Every lost moment is definitely an opportunity lost forever. Every moment urges. Every act is irreparable. It will be the cause of unpredictable but necessary effects, that is irrevocable. Nothing is, everything becomes. That is why there is no present. The present is nothing more than a point without dimension on the straight line of time. It has already passed as it happened. It is the time of ''historical'' life, and its model is the one of ''causality''." (119)

			:"In the post-industrial society time is an ''abyss'': a vortex in the present that sucks everything. The present is the totality of the real. In it all virtualities are realized." (119)

			post-industrial -- "Wherever we look, there, the future is. There is no more progress, or Avant-garde. Every act is a gesture through which I reach for the future in order to present it. No matter in which direction I act. And there is no past as in the linear model: what happens is not he yesterday but the tomorrow. The past is nothing but an aspect of the present. Things that have been presented are stored in the present." (120)

			:"Hence, the post-industrial model of time has the following dynamic: wherever I am, there, the present is. '''I am a vortex that sucks in the future in order to present it and transform it into the past. I am the abyss into which time precipitates itself. I am the vacuity.''' And I experience such vacuity that I am when nothingness presents itself during the intervals in my functionality." (120)

			"''Boredom is the demystification of the apparatus.''" (121)

	== Our Dread ==		== Our Dread ==

Wtrettien: /* Our Diversion */

2013-12-22T19:37:29Z

Our Diversion

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 :"We are chess players who are aware that it is a game, but for whom to live means to play chess." (105-6)
 == Our Diversion ==
 == Our Wait ==

Wtrettien: /* Our Game */

2013-12-22T19:22:46Z

Our Game

← Older revision		Revision as of 19:22, 22 December 2013
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	== Our Game ==		== Our Game ==

			:"Social problems no longer present themselves in the form of: what are the forces that move society? Nor in the form of: what are the purposes that move society? But in the form of: why are the strategies that are at play?" (99-100)

			filmmaking as methodical doubt (101)

			filmmaker as God (102) -- filmmaker's "post-historical transcendence"
			* "It is true that he plays with history and that he splices and glues it, but history, as raw material, offers resistance to his manipulating gesture. It imposes its own game rules. The important thing to grasp in this is not the classic resistance that every object offers, or its 'perfidy.' THe important thing is not the resistance offered to the filmmaker by the actors, scriptwriters, and light technicians. The resistance that counts here is of a new type. As he manipulates the filmstrip, the filmmaker must take into consideration the structure of the apparatus in function of which he is operating. He must consider the technical, financial, ideological and 'aesthetic' demands of the apparatus, in sum: its program. The filmmaker produces programs in function of meta-progerams." In that he distinguishes himself from God. In that he is a programmed programmer, a played player. He transcends history, but transcends it in function of programmed events. He is a functionary, he is not emancipated." (103)

			:"All the programmers, futurologists, apparatchiks, researches of public opinion, marketing executives, ministers for planning etc., execute similar gestures. '''For all of them, events and history are nothing more than raw material to be manipulated with a splicer and glue.''' All of them aim to transform history into program. All of them are restricted to specific game rules, and they formulate their strategies in function of these. All of them function." (103)

			:"'''To live comes to mean to be part of absurd games.''' Every question in relation to the meaning of games becomes metaphysics in the pejorative sense. To want to know if this or that televised program is 'live' or videotaped, or if the character on the screen is a politician or an actor representing a politician, becomes an 'empty' question. In face of every program, the question that emerges is not: 'how real is it?' but 'how does it function?' The question of reality and falsity becomes a question in relation to the produced effect. What interests us in programs is not ''input'' but the ''output''." (105)

			:"We are chess players who are aware that it is a game, but for whom to live means to play chess." (105-6)

	== Our Diversion ==		== Our Diversion ==

Wtrettien: /* Our Images */

2013-12-22T19:14:43Z

Our Images

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	:"The dominant ''media'' are now the images and no longer the texts. A powerful ''counter-revolution of images against text'' is underway. However, it is necessary to discern that in this counter-revolution, it is a case of an entirely different type of image that never existed before. The images that program us are ''post-alphabetic'' and not pre-alphabetic, as are the images of the past." (92)		:"The dominant ''media'' are now the images and no longer the texts. A powerful ''counter-revolution of images against text'' is underway. However, it is necessary to discern that in this counter-revolution, it is a case of an entirely different type of image that never existed before. The images that program us are ''post-alphabetic'' and not pre-alphabetic, as are the images of the past." (92)

			:"Images must be explained or told, because as with every mediation between man and the world, they are subjected to an internal dialectic. They represent the world to man but simultaneously interpose themselves between man and the world. As far as they represent the world, they are like maps; instruments for orientation in the world. As far as they interpose themselves between man and the world, they are like screens, like coverings of the world. Writing was invented when the concealing and alienating function of images threatened to overshadow the orienting function. Or when images threatened to transform men into its instruments instead of serving as instruments for men." (92-3)

			:"The first scribes were ''iconoclasts''. They sought to break and pierce the image that had become opaque, in order to turn them once again transparent for the world. So that the images could once again serve as maps, instead of being 'worshipped'. The scribes' revolutionary engagement is clearly seen in Plato and the prophets: they ''demythologized'' images." (93)

			:"For image-consciousness the world is a ''context of scenes'': it is experienced and known via bi-dimensional mediations or surfaces. For textual-consciousness the world is a ''context of processes'': it is experienced and known via the mediation of lines." (93)

			:"Texts, as all other mediation, including images, obey an internal dialectic. They represent the world and conceal the world, they are instruments to orient but form opaque walls in libraries. They de-alienate and alienate man. Man may forget the orienting function of texts, which is their intended aim, and may start to act in function of them. This inversion of the relation 'text-man,' such 'textolatry,' characterizes our history in its last stages. Political ideologies are examples of this type of madness." (94-5)

			:"Technical images are essentially different form traditional images. Traditional images are produced by ''men'' and technical images by ''apparatus''." (95)

			:"Apparatus are black boxes that are programmed to devour ''symptoms'' of scenes and to spew out these symptoms in the form of images. Apparatus ''transcode'' symptoms into images. The apparatus' program derives from texts: for example from chemical and optical equations. So that apparatus transcode symptoms into images in function of texts. They are boxes that devour history and spew out post-history." (96)

			:"It is not that history has stopped 'developing.' On the contrary: ''it turns faster'' than before, because it is being sucked into the apparatus. Events precipitate themselves toward the apparatus with accelerated speed, because they are being sucked and partially provoked by the apparatus. All of history, politics, art, science and technique are thus motivated by the apparatus, in order to be transcoded into their opposite: into a televised program. The apparatus has become the aim of history. It has become a dam for linearly progressive time. ''The fullness of times.'' History transcoded into program becomes eternally repetitive." (97)

	== Our Game ==		== Our Game ==