Abstract

In the field of U.S. art history, the photography specialization is fairly new and the discourse is dominated by a handful of voices like Walter Benjamin and Roland Barthes, while Vilém Flusser has been virtually ignored. This essay examines the trilogy of “technical image” texts Flusser wrote in the 1980s—Towards a Philosophy of Photography, Into the Universe of Technical Images, and Does Writing Have a Future? —and beyond these, locating the seeds of Flusser’s “photophilosophy” in his use of information and communications theory to develop concepts like “image,” “apparatus,” “program,” and “information.” It considers the U.S. art historical bias toward writers like Jean Baudrillard, Paul Virilio, and the “control society” ethos of Gilles Deleuze and Flusser’s proposal that technical images and photography criticism could provide models for creative disruption of apparatus and finally, “human freedom.” Placed in the current moment, with its crises of environment, technology, economy, and geopolitics, this essay considers Flusser’s writing as a form of ethics and politics in which photography serves as a model for thinking about history, culture, revolution, and consciousness.