Abstract
In his lecture Die Krise der Linearität (Crisis of Linearity) at the Bern Kunstmuseum in 1988, Vilèm Flusser described the origins of image production as follows: “Let us take as an example the oldest of the images known to us (that of a pony in Pêche-Merle). It concerns representation on rock faces. The maker of the image stepped away from a pony, looked at it and transmitted what he briefly saw to the memory of the wall. And he did this in such a way that others would recognise what they saw. And he did all these immensely complex things so as to be able to use what he saw as an orientation for future actions — such as the hunt for ponies.”1
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References
Vilèm Flusser, Krise der Linearität, Vortrag Kunstmuseum Bern am 20. März 1988, Benteli, Bern, p. 10, 1988.
Vilèm Flusser, Krise der Linearität, Vortrag Kunstmuseum Bern am 20. März 1988, Benteli, Bern, p. 10, 1988.
Jean Baudrillard, Simulacra and Simulations, in: Selected Writings, Mark Poster (ed.), Polity, Cambridge, p. 170, 1988.
Jorge Luis Borges, On Exactitude in: Science, Collected Fictions, Translated by Andrew Hurley, Penguin, London, 1999.
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Stockburger, A. (2011). 3 Elements. In: Drawing a Hypothesis. Edition Angewandte. Springer, Vienna. https://doi.org/10.1007/978-3-7091-0803-1_15
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DOI: https://doi.org/10.1007/978-3-7091-0803-1_15
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