Dictionary of Arguments

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Author Item Summary Meta data
Rötzer I 70
Cultural Revolution/Flusser: is the reluctance to not want to recognise all these images and sounds as art, since they do not correspond to the modern art concept. Rock music, for example, has a great influence on our behaviour, such as car gears.
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Rötzer I 71
Culture/Flusser: if the selection of sounds is determined by chance, one speaks of nature, it is determined by humans, one speaks of culture.
This selection and design can now be left to machines.
According to Husserl, qualities can no longer be abstracted from quantities.
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Flusser I 66
Mass culture/Flusser: not perceived as a blurring of articulation, but as a more beautiful and colourful world. (Coca-Cola) 'better designed'.
For example, Brazilian coffee pickers eat pizza without protest, which is actually intended for Neapolitan fishermen and e.g. Parisian bank officials wear Texan cowboy hats.
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I 67 - I 70
Existentially, no one benefits from the massification because all people are massified, i.e. no one stands above it. (>Warhol: the Queen doesn't get a better Coke.).
Public opinion can only demand a new soap or a war if the product is already ready.
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I 153
Culture/Flusser: The relationship between masses and elite culture is often misrepresented: it is not about whether a philosopher should publish in "Playboy", but about whether the sketch above can be influenced from the left, i.e. from history!
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I 154
Flusser: it is the question of whether Buddhist monks burning themselves in front of the camera have not recognized themselves better than "committed philosophers", what this is currently about.
Turning the texts around at a critical moment means that they become opaque for the world and transparent for the person who codifies them.
Behind the texts you do not see the world, but the person who wrote them.
At this moment, the danger of falling into the abyss of the madness of the senseless, inaccessible world is arising (Wittgenstein, Kafka)
1. One can fall silent.
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I 155
2. One can try to regain the magical consciousness (Nazism).
3. One can try to give the texts a new meaning.
1. and 2. are useless, because it is impossible to undo alienation.
Third possibility: no longer try to understand one-dimensional processual, linear, but structural, multi-dimensional, figurative. Not historically, but to think phenomenally about processes, cybernetically.
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I 156
The world hides the texts from us in such a way that it does not allow us to see their insignificance. It makes us second-degree illiterate.
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I 205
Supermarket: The supermarket is a rat trap, you have to stand in line and pay a sacrifice for the release from captivity at the cash desk.
The supermarket is the opposite of the real market: it does not allow the exchange of information, it is not a public space but a prison (private in the strictest sense of the word).
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I 249
Culture/Flusser: The improbability of the Concorde ((s) A supersonic passenger plane operated between 1976 and 2003) is different from that of the hen, and this is a fact that we disguise.


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Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution.
The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.

Fl I
V. Flusser
Kommunikologie Mannheim 1996

Rötz I
F. Rötzer
Kunst machen? München 1991

Fl I
V. Flusser
Kommunikologie Mannheim 1996


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Ed. Martin Schulz, access date 2019-05-20
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