The Symposium

The ReMEDIAting Flusser symposium seeks to bring together scholars in media studies, art and cultural studies and international Flusser specialists to dialogue about Vilém Flusser’s work, his philosophy, and to engage each other in discussions on arts and humanities in the digital age. As a Digital Humanities project, this symposium seeks to take Flusser scholarship and the representation of Flusser’s work one step further: for three days, participants will work collaboratively to create a script to reMEDIAte Flusser’s main ideas and concepts online. The final product will be published online in a multi-media format using Scalar in order to explore new forms of digital scholarship.


The goals of the symposium are:

- to present short papers (15-20 minutes) on Flusser’s range of concepts

- to interconnect these concepts in new ways using digital media

- to “translate” Flusser’s concepts into available digital forms such as games, networks, hypertext, visuals, film, and audio, among others

- to create the script for an easily accessible visualization of Flusser’s concepts (translation, ludic elements, history, discourse and dialogue, code, and more)



About Vilém Flusser

The work of the Brazilian media and cultural philosopher Vilém Flusser (1920-1991), author of innumerable essays in several languages and of influential and wide-ranging books such as Towards a Philosophy of Photography, Vampyrotheutis Infernalis, Post-History, The History of the Devil, Into the Universe of Technical Images, and Gestures, has garnered renewed and vibrant interest in academia and beyond. Many of these texts are in the process of being translated into English. As a result, Flusser scholarship, so far thriving in Germany and Brazil, is finding another home in English-speaking countries with interested readers from a variety of disciplines.

An interdisciplinary, indeed, anti-territorial thinker, Flusser investigated the natural sciences, literature, culture, history, art, and media, considering how we pose the questions that continue to present us with new areas of inquiry. As a media theorist, he is just as often cited as other pivotal 20th-century thinkers such as Walter Benjamin or Marshall McLuhan. As a commentator on art, he is frequently credited with contributing to the ‘scenes’ in bio- or genetic art and to work in video and multi-media.  Ultimately, as a Jew — who fled Prague in 1939, was forced into a new culture in Brazil, and left again for France in the early seventies — he contributed to hotly debated matters such as history after Auschwitz, migration, Diaspora, and cultural identity.