In Does Writing Have a Future?, a remarkably perceptive work first published in German in 1987, Vilém Flusser asks what will happen to thought and communication as written communication gives way, inevitably, to digital expression. In his introduction, Flusser proposes that writing does not, in fact, have a future because everything that is now conveyed in writing—and much that...
In Does Writing Have a Future?, a remarkably perceptive work first published in German in 1987, Vilém Flusser asks what will happen to thought and communication as written communication gives way, inevitably, to digital expression. In his introduction, Flusser proposes that writing does not, in fact, have a future because everything that is now conveyed in writing—and much that cannot be—can be recorded and transmitted by other means.
Confirming Flusser’s status as a theorist of new media in the same rank as Marshall McLuhan, Jean Baudrillard, Paul Virilio, and Friedrich Kittler, the balance of this book teases out the nuances of these developments. To find a common denominator among texts and practices that span millennia, Flusser looks back to the earliest forms of writing and forward to the digitization of texts now under way. For Flusser, writing—despite its limitations when compared to digital media—underpins historical consciousness, the concept of progress, and the nature of critical inquiry. While the text as a cultural form may ultimately become superfluous, he argues, the art of writing will not so much disappear but rather evolve into new kinds of thought and expression.
作者简介
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Vilém Flusser (1920–1991) was born in Prague; emigrated to Brazil, where he taught philosophy and wrote a daily newspaper colum; and later moved to France. Among his many books that have been translated into English are The Shape of Things, Towards a Philosophy of Photography, The Freedom of the Migrant, and Writings (Minnesota, 2004).
Vilém Flusser (1920–1991) was born in Prague; emigrated to Brazil, where he taught philosophy and wrote a daily newspaper colum; and later moved to France. Among his many books that have been translated into English are The Shape of Things, Towards a Philosophy of Photography, The Freedom of the Migrant, and Writings (Minnesota, 2004).
Nancy Ann Roth is an arts writer and critic based in the United Kingdom.
Mark Poster is professor of history at University of California, Irvine.
目录
· · · · · ·
An Introduction to Vilém Flusser’s Into the Universe of Technical Images and Does Writing Have a Future?
Mark Poster
Does Writing Have a Future?
Introduction
Superscript
Inscriptions
· · · · · ·
(更多)
An Introduction to Vilém Flusser’s Into the Universe of Technical Images and Does Writing Have a Future?
Mark Poster
Does Writing Have a Future?
Introduction
Superscript
Inscriptions
Notation
Letters of the Alphabet
Texts
Print
Instructions
Spoken Languages
Poetry
Ways of Reading
Deciphering
Books
Letters
Newspapers
Stationeries
Desks
Scripts
The Digital
Recoding
Subscript
Afterword to the Second Edition
Translator’s Afterword and Acknowledgments
Nancy Roth
Translator’s Notes
Index
· · · · · · (收起)
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2 有用 Laputa 2024-05-27 09:23:06 北京
一本带有怀旧氛围的书写的挽歌，弗卢塞尔认为书写不过是树木和计算机之间的过渡地带。它的对象是未来的读者，也就是今天的我们，那些明知书写毫无意义，却仍然书写的人。这本关于书写的百科全书以现象学的方法细致地描述了各种书写的姿态，试图为书写留下注定会被遗忘的记忆。作者认为与线性思维、时间感、因果感和历史感联系在一起的书写必将被写被图像与数字（二者的完美结合正是今天的短视频）所替代。意外的是，作者对书写的衰... 一本带有怀旧氛围的书写的挽歌，弗卢塞尔认为书写不过是树木和计算机之间的过渡地带。它的对象是未来的读者，也就是今天的我们，那些明知书写毫无意义，却仍然书写的人。这本关于书写的百科全书以现象学的方法细致地描述了各种书写的姿态，试图为书写留下注定会被遗忘的记忆。作者认为与线性思维、时间感、因果感和历史感联系在一起的书写必将被写被图像与数字（二者的完美结合正是今天的短视频）所替代。意外的是，作者对书写的衰亡并不悲观，并号召我们应该适应和拥抱图像与数字的世界。 (展开)
1 有用 胖达叔 2023-12-13 21:18:25 湖南
Impressive，主要论点应该是writing伴随着时间和历史意识而诞生，随着电子媒介时代的到来，字母数字的书写也该终结了。作者似乎采用了一种现象学的方法去分析以writing为核心的 方方面面，包括字符、翻书、图书馆的墙等等稀奇古怪又很有启发的内容，洞见可谓遍地都是，但是，他的方法论也非常明显，一方面是西方词源，另一方面是现象学式的还原，正因为如此，他似乎非常抗拒一种合乎规则的学术写作，正如... Impressive，主要论点应该是writing伴随着时间和历史意识而诞生，随着电子媒介时代的到来，字母数字的书写也该终结了。作者似乎采用了一种现象学的方法去分析以writing为核心的 方方面面，包括字符、翻书、图书馆的墙等等稀奇古怪又很有启发的内容，洞见可谓遍地都是，但是，他的方法论也非常明显，一方面是西方词源，另一方面是现象学式的还原，正因为如此，他似乎非常抗拒一种合乎规则的学术写作，正如他自己嘲笑index的时候指出的那样，他的书没有index，他全书除了一些拉丁格言，几乎没有references，不过他应该是故意的。还可以再读。 (展开)
1 有用 独自退场 2021-07-21 07:01:30
这本书（书！）的意义在于弗卢塞尔随处可见的洞见（写作风格足够清晰迅疾，电子时代的先知语言），甚至许多几乎一闪而过，可以以这许多点再自行拓展。不能说弗卢塞尔是从外界指涉文学故而不够深刻，即便以《摄影哲学的思考》《技术图像的宇宙》中的相关解析为前提，毕竟弗卢塞尔研究的对象是媒介，而文学难道可以和媒介-社会没有关系吗？从外部研究，不也同样抵达布朗肖不知道是令人兴奋还是沮丧的观点：不再有杰作、不再有书，也... 这本书（书！）的意义在于弗卢塞尔随处可见的洞见（写作风格足够清晰迅疾，电子时代的先知语言），甚至许多几乎一闪而过，可以以这许多点再自行拓展。不能说弗卢塞尔是从外界指涉文学故而不够深刻，即便以《摄影哲学的思考》《技术图像的宇宙》中的相关解析为前提，毕竟弗卢塞尔研究的对象是媒介，而文学难道可以和媒介-社会没有关系吗？从外部研究，不也同样抵达布朗肖不知道是令人兴奋还是沮丧的观点：不再有杰作、不再有书，也不再有作家和写作了。纸和书都会消失，森林会重新遍布所有水域，于是弗卢塞尔甚至还会说，可能也不再有文字了，因为历史已经终结，但是我们不会回到史前（史前-起源其实是个伪概念，因为历史和书写随文字而起，人不可能真正越过文字而回溯到真正的起源）的魔幻-神话时间，而是回到幼儿园，遗忘写作，重新学习，学什么呢？ (展开)
0 有用 ✧ 2015-05-04 05:10:34
跳著讀完了，作為1987初版的書，作者實在是有遠見。關於閱讀理解的哲學探討也很有意思。
0 有用 muer 2012-08-13 18:48:00
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