In _Natural:Mind_, published for the first time in São Paulo, Brazil, in 1979, Vilém Flusser investigates the paradoxical connection between the concepts of nature and culture through a lively para-phenomenological analysis of natural and cultural phenomena. Can culture be considered natural and nature cultural? If culture is our natural habitat then do we not inhabit nature? These are only some of the questions that are raised in _Natural:Mind_ in order to examine our continual redefinition of both terms and what that (...) means for us existentially. Always applying his fluid and imagistic Husserlian style of phenomenology, Flusser explores different perspectives and relations of items from everyday life. The book is composed of a series of essays based on close observations of familiar objects such as paths, valleys, cows, meadows, trees, fingers, grass, the moon, and buttons. By focusing on things we mostly take for granted, he manages not only to reveal some aspects of their real and obscured nature but also to radically change how we look at them. The ordinary cow will never be seen in the same way again. (shrink)

In _On Doubt_, Vilém Flusser refines Martin Heidegger’s famous declaration that “language is the dwelling of Being.” For Flusser, “the word is the dwelling of being,” because in fact, in the beginning, there was the word. _On Doubt_ is a treatise on the human intellect, its relation to language, and the reality-forming discourses that subsequently emerge. For Flusser, the faith that the modern age places in Cartesian doubt plays a role similar to the one that faith in God played in (...) previous eras—a faith that needs to be challenged. Descartes doubts the world through his proposition _cogito ergo sum_, but leaves doubt itself untouched as indubitable and imperious. His _cogito ergo sum_ may have proved to the Western intellect that thoughts exist, but it did not prove the existence of that which thinks: one can eliminate thinking and yet continue being. Therefore, should we not doubt doubt itself? Should we not try to go beyond this last step of Cartesian doubt and look for a new faith? The twentieth century has seen many attempts to defeat Cartesian doubt, however, this doubt of doubt has instead generated a complete loss of faith, which the West experiences as existential nihilism. Hence, the emergent emptying of values that results from such extreme doubt. Everything loses its meaning. Can this climate be overcome? Will the West survive the modern age? (shrink)

Is there any room left for freedom in a programmed world? This is the essential question that Vilém Flusser asks in _Post-History_. Written as a series of lectures to be delivered at universities in Brazil, Israel, and France, it was subsequently developed as a book and published for the first time in Brazil in 1983. This first English translation of _Post-History_ brings to an anglophone readership Flusser’s first critique of _apparatus_ as the aesthetic, ethical, and epistemological model of present times. (...) In his main argument, Flusser suggests that our times may be characterized by the term “program,” much in the same way that the seventeenth century is loosely characterized by the term “nature,” the eighteenth by “reason,” and the nineteenth by “progress.” In suggesting this shift in worldview, he then poses a provocative question: If I function within a predictable programmed reality, can I rebel and how can I do it? The answer comes swiftly: Only malfunctioning programs and apparatus allow for freedom. Throughout the twenty essays of _Post-History_, Flusser reminds us that any future theory of political resistance must consider this shift in worldview, together with the horrors that Western society has brought into realization because of it. Only then may we start to talk again about freedom. (shrink)

In 1939, a young Vilém Flusser faced the Nazi invasion of his hometown of Prague. He escaped with his wife to Brazil, taking with him only two books: a small Jewish prayer book and Goethe’s _Faust_. Twenty-six years later, in 1965, Flusser would publish _The History of the Devil_, and it is the essence of those two books that haunts his own. From that time his life as a philosopher was born. While Flusser would later garner attention in Europe and (...) elsewhere as a thinker of media culture, _The History of the Devil_ is considered by many to be his first significant work, containing nascent forms of the main themes that would come to preoccupy him over the following decades. In _The History of the Devil_, Flusser frames the human situation from a pseudo-religious point of view. The phenomenal world, or “reality” in a general sense, is identified as the “Devil,” and that which transcends phenomena, or the philosophers’ and theologians’ “reality,” is identified as “God.” Referencing Wittgenstein’s _Tractatus Logico-Philosophicus_ in its structure, Flusser provocatively leads the reader through an existential exploration of nothingness as the bedrock of reality, where “phenomenon” and “transcendence,” “Devil” and “God” become fused and confused. So radically confused, in fact, that Flusser suggests we abandon the quotation marks from the terms “Devil” and “God.” At this moment of abysmal confusion, we must make the existential decisions that give direction to our lives. (shrink)