维尔姆·弗卢瑟的《如果?》关于设计激进的未来

Anke Finger
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摘要

虽然维尔姆·弗卢瑟关于(媒体)哲学和传播的著作在全球范围内拥有广泛的读者,但另一个“弗卢瑟”一直存在,也许是交织在一起的,那就是“痴迷的未来学家”。未来学家弗卢瑟不仅想象或预测与我们一起、在我们中间、为我们而展开的媒体技术宇宙,而且在他坚持认为“交流就是人类学”的过程中,他还想象了未来可能世界的场景。在他不为人知的著作《安格诺曼:爱的人生》(1989)中,英文译本是What If?在《寻找图像的二十二种场景》(2023)中,他设计了一个充满噩梦和奇迹的人类世草图。如果什么?提供了对激流人类世的激进未来的洞察,这与投机性设计有关,与弗卢瑟的设计概念“狡猾”或狡猾有关,与艺术和失败与合理,“好”计算或可计算性之间的巨大创造潜力有关。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Vilém Flusser’s What If? On Designing Radical Futures
While Vilém Flusser’s writings on (media) philosophy and communication have found a wide readership across the globe, another ‘Flusser’ has been present all along, interwoven perhaps, namely that of the ‘obsessive futurologist’. Flusser, the futurologist, does not only imagine or predict media-technological universes unfolding with, among, and for us, but he, in his insistence that ‘communication is anthropology’, also imagines scenarios of possible worlds to come. In his little-known book Angenommen: Eine Szenenfolge (1989), available in English translation as What If? Twenty-Two Scenarios in Search of Images (2023), he designs sketches of an Anthropocene fraught with nightmares and wonders. What If? offers insight into the radical futures of a slipstream Anthropocene that have to do with speculative design, with Flusser’s concept of design as ‘crafty’ or slippery, and with art and the immense creative potential of failure versus reasonable, ‘good’ computing or calculability.
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