C’è ancora spazio per la libertà dell’uomo in un mondo in cui l’immagine si fa sempre più simbolo vuoto, in cui la tecnologia e le macchine si impossessano sempre di più del nostro quotidiano e i nostri pensieri e i nostri desideri sembrano robotizzarsi ogni giorno che passa?

Muovendo da questa fondamentale domanda, Flusser si avventura nell’analisi di una disciplina imprendibile, dai contorni sfumati, in cui il confine tra tecnica e arte, tra riproduzione ed espressione, risulta per definizione ambiguo. Ridotta al mero statuto di duplicazione della realtà, svuotata del suo senso primario di “ricostruzione del mondo”, la fotografia è per Flusser l’emblema della pericolosa deriva che oggi rischia di travolgere gli esseri umani: quello di essere schiavi di una tecnica priva di fondamento. Ecco il perché di una filosofia della fotografia:
"solo attraverso un suo ripensamento l’uomo potrà scongiurare la minaccia di asservimento alle macchine e ridare spazio a quella libertà e a quel senso che nell’era postindustriale sembra avere smarrito."

Chi oggi non possiede una macchina fotografica? Ma, se è vero che chi sa scrivere sa anche leggere, non è detto che chi sa fare le foto sappia anche decifrarle. 

[...]È qui che, secondo Flusser, la filosofia potrebbe essere un faro: vigilando la pratica della ricerca della felicità, illuminando i fotografi sperimentali, quelli consapevoli che immagine-apparecchio-programma-informazione sono gli elementi con cui confrontarsi, quelli che tentano di creare foto impreviste, di contrastare i programmi, di “giocare” con l’apparecchio, ma che non sempre comprendono che in questo loro gioco stanno tentando di dare una risposta alla questione della libertà nell’universo moderno dominato dagli apparecchi.[...]


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Vilém Flusser tritt für eine neue Betrachtungsweise der Fotografie ein. Die Analyse der Fotografie vor dem Hintergrund ästhetischer, wissenschaftlicher und ökonomischer Aspekte dient ihm als Schlüssel zur Untersuchung der gegenwärtigen Kulturkrise. Flusser zeigt auf, dass sowohl der Umbruch von der Text- zur Bildkultur, als auch der Umbruch von der industriellen in die nachindustrielle Gesellschaft, Hand in Hand geht. Seine Ausgangshypothese lautet, dass in der menschlichen Kultur zwei Einschnitte beobachtbar sind: 

• Die Erfindung der linearen Schrift
• Die Erfindung der technischen Bilder

Der Autor äußert den Verdacht, dass sich die Struktur unserer Kultur nachhaltig ändert bzw. in Betracht ist sich zu verändern. Nach Flusser verändern sich demzufolge die Grundstrukturen unseres Daseins und dabei handelt es sich nicht um die klassische Form der Entfremdung, sondern um eine existentielle Revolution und mit dieser hat sich eine jede Philosophie der Fotografie zu befassen. Der Foto-Apparat (als Maschine verstanden) illustriert die Robotisierung der Arbeit zur Befreiung des Menschen fürs Spiel (homo faber wird zum homo ludens) und da der Fotoapparat Bilder automatisch erzeugt, wird er als ein intelligentes Werkzeug betrachtet. 
Das Bild, der Apparat, das Programm und die Information sind Grundsteine einer jeden Philosophie der Fotografie. Die Grundbausteine bilden die zentralen Elemente einer Definition von Fotografie.
"Sie ist ein automatisch, von programmierten Apparaten im Verlauf eines auf Zufall beruhenden Spiels notwendigerweise erzeugtes und distribuiertes Bild eines magischen Sachverhalts, dessen Symbole ihre Empfänger für ein unwahrscheinliches Verhalten informieren." (Flusser 2000, 69) Diese Definition klammert den Menschen als freien Agenten aus. Insofern ist man herausgefordert zu zeigen, dass diese Definition falsch ist - sie reizt zum Widerspruch.
Flusser äußert die Forderung, dass die Philosophie der Fotografie die Fotografen nach der Freiheit ausfragen und ihre Praxis auf der Suche nach Freiheit durchleuchten muß. Für ihn ist Freiheit gegen den Apparat zu spielen und lediglich die sogenannten experimentellen Fotografen sind sich tatsächlich dessen bewusst, dass Bild, Apparat, Programm und Information Grundprobleme sind, mit denen man sich auseinandersetzen muß.
Insofern ist die Philosophie der Fotografie notwendig, um die fotografische Praxis ins Bewusstsein zu heben. Die Philosophie der Fotografie hat aufzuzeigen, dass Freiheit im Bereich der automatischen, programmatischen und programmierenden Apparate keinen Platz hat und wie es dennoch möglich ist, für Freiheit Raum zu schaffen.
Die Philosophie der Fotografie hat die Aufgabe über Möglichkeiten der Freiheit in einer von Apparaten beherrschten Welt nachzudenken.
Die Philosophie der Fotografie ist notwendig, da sie eine der einzigen Formen von Revolution ist, die dem Menschen noch offen steht.

------------Aus: http://homepage.univie.ac.at/frank.hartmann/seminar/Phil_Fotografie.html

The Image
Images are mediations between the world and human beings. Human beings 'ex-ist', i.e. the world is not immediately accessible to them and therefore images are needed to make it comprehensible. However, as soon as this happens, images come between the world and human beings. They are supposed to be maps but they turn into screens: Instead of representing the world, they obscure it until human beings' lives finally become a function of the images they create. Human beings cease to decode the images and instead project them, still encoded, into the world 'out there', which meanwhile itself becomes like an image - a context of scenes, of state of things. This reversal of function of the image can be called 'idolatry'; we can observe the process at work in the present day: The technical images currently all around us are in the process of magically reconstructing our 'reality' and turning it into a 'global image scenario'. Essentially this is a question of 'amnesia'. Human beings forget they created the images in order to orient themselves in the world. Since they are no longer able to decode them, their lives become a function of their own images: Imagination has turned into hallucination. 9-10

The struggle of writing against the image - historical consciousness against magic - runs throughout history. With writing, a new ability was born called 'conceptual thinking' which consisted of abstracting lines from surfaces, i.e. producing and decoding them. Conceptual thought is more abstract than imaginative thought as all dimensions are abstract from phenomena - with the exception of straight lines. Thus with the invention of writing, human beings took one step further back from the world. Texts do not signify the world; they signify the images they tear up. Hence, to decode texts means to discover the images signified by them. The intention of texts is to explain images, while that of concepts is to make ideas comprehensible. In this way, texts are a metacode of images.

This raises the question of the relationship between texts and images - a crucial question for history. In the medieval period, there appears to have been a struggle on the part of Christianity, faithful to the text, against idolaters or pagans; in modern times, a struggle on the part of textual science against image-bound ideologies. The struggle is a dialectical one. To the extent that Christianity struggled against paganism, it absorbed images and itself became pagan; to the extent that science struggled against ideologies, it absorbed ideas and itself became ideological. The explanation for this is as follows: Texts admittedly explain images in order to explain them away, but images also illuminate texts in order to make them comprehensible. Conceptual thinking admittedly analyze magical thought in order to clear it out of the way, but magical thought creeps into conceptual thought so as to bestow significance on it. In the course of this dialectical process, conceptual and imaginative thought mutually reinforce one another. In other words, images become more and more conceptual, texts more and more imaginative. Nowadays, the greatest conceptual abstraction is to be found in conceptual images (in computer images, for example); the greatest imagination is to be found in scientific texts. Thus, behind one's back, the hierarchy of codes is overturned. Texts, originally a metacode of images, can themselves have images as a metacode.

That is not all, however. Writing itself is a mediation - just like images - and is subject to the same internal dialectic. In this way, it is not only externally in conflict with images but is also torn apart by an internal conflict. If it is the intention of writing to mediate between human beings and their images, it can also obscure images instead of representing them and insinuate itself between human beings and their images. If this happens, human beings become unable to decode their texts and reconstruct the images signified in them. If the texts, however, become incomprehensible as images, human beings' lives become a function of their texts. There arises a state of 'textolatry' that is no less hallucinatory than idolatry. Examples of textolatry, of 'faithfulness to the text', are Christianity and Marxism. Texts are then projected into the world out there, and the world is experienced, known and evaluated as a function of these texts. A particularly impressive example of the incomprehensible nature of texts it provided nowadays by scientific discourse. Any ideas we may have of the scientific universe (signified by these texts) are unsound: If we do form ideas about scientific discourse, we have decoded it 'wrongly': anyone who tries to imagine anything, for example, using the equation of the theory of relativity, has not understood it. But as, in the end, all concepts signify ideas, the scientific, incomprehensible universe is an 'empty' universe.

Textolatry reached a critical level in the nineteenth century. To be exact, with it history came to an end. History, in the precise meaning of the world, is a progressive transcoding of images into concepts, a progressive elucidation of ideas, a progressive disenchantment (taking the magic out of things), a progressive process of comprehension. If texts become incomprehensible, however, there is nothing left to explain, and history has come to an end. During this crisis of texts, technical images were invented: in order to make texts comprehensible again, to put them under a magic spell - to overcome the crisis of history. 11-13

The Technical Image
Technical images are difficult to decode, for a strange reason. To all appearances, they do not have to be decoded since their significance is automatically reflected on their surface - just like fingerprints, where the significance (the finger) is the cause and the image (the copy) is the consequence. The world apparently signified in the case of technical images appears to be their cause and they themselves are a final link in a causal chain that connects them without interruption to their significance: The world reflects the sun's and other rays which are captured by means of optical, chemical and mechanical devices on sensitive surfaces and as a result produce technical image, i.e. they appear to be on the same level of reality as their significance. What one sees on them therefore do not appear to be symbols that one has to decode but symptoms of the world through which, even if indirectly, it is to be perceived.

This apparently non-symbolic, objective character of technical images leads whoever looks at them to see them not as images but as windows. Observers thus do not believe them as they do their own eyes. Consequently they do not criticize them as images, but as ways of looking at the world (to the extent that they criticize them at all). Their criticism is not an analysis of their production but an analysis of the world. 14-15

The function of technical images is to liberate their receivers by magic from the necessity of thinking conceptually, at the same time replacing historical consciousness with a second-order magical consciousness and replacing the ability to think conceptually with a second-order imagination. This is what we mean when we say that technical images displace texts.

Texts were invented in the second millennium BC in order to take the magic out of images, even if their inventor may not have been aware of this; the photograph, the first technical image, was invented in the nineteenth century in order to put texts back under a magic spell, even if its inventors may not have been aware of this. The invention of the photograph is a historical event as equally decisive as the invention of writing. With writing, history in the narrower sense begins as a struggle against idolatry. With photography, 'post-history' begins as a struggle against textolatry. 17-18

Technical images are surfaces that function in the same way as dams. Traditional images flow into them and become endlessly reproducible: They circulate within them (for example in the form of posters). Scientific texts flow into them and are transcoded from lines into states of things and assume magical properties (for example in the form of models that attempt to make Einstein's equation comprehensible). And cheap texts, a flood of newspaper articles, flyers, novels, etc. flow into them, and the magic and ideology inherent within them are translated into the programmed magic of technical images (for example in the form of photo-novels). Thus technical images absorb the whole of history and form a collective memory going endlessly round in circles.

Nothing can resist the force of this current of technical images - there is no artistic, scientific or political activity which is not aimed at it, there is no everyday activity which does not aspire to be photographed, filmed, videotaped. For there is a general desire to be endlessly remembered and endlessly repeatable. All events are nowadays aimed at the television screen, the cinema screen, the photograph, in order to be translated into a state of things. In this way, however, every action simultaneously loses its historical character and turns into a magic ritual and an endlessly repeatable movement. The universe of technical images, emerging all around us, represents the fulfillment of the ages, in which action and agony go endlessly round in circles. Only from this apocalyptic perspective, it seems, does the problem of photography assume the importance it deserves. 19-20


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http://www.so-rimlee.com/literature-supernova/2011/5/16/vilem-flusser-towards-a-philosophy-of-photography-excerpts.html