This book contributes to the work of elucidating the new forms of fascism and authoritarianism that arise today in intimate relation with new mediatic and information technologies. It presents elements of the connection between capitalism and fascism and makes clear how fascism today uses the ambiguity of senses and meanings as its most efficient way of infiltrating our reality and thereby becoming unequivocal. The fascism of ambiguity is a fascism that grows the more the ambiguities and paradoxical dimensions of the contemporary situation become explicit. It departs from some lessons of history regarding both historical fascism and some of the main critical lines and thoughts produced in the beginning of the 20th Century. It shows what is new in today's form of fascism, discussing its connection to techno-mediatic capitalism, to the dynamics of emptying meanings and senses through a technique of rendering them ambiguous and exacerbated. It outlines some guiding thoughts regarding the question of ambiguity and metapolitics today and concludes by proposing two exercises of precision, through the lenses of poetry and music, as a way to resist and counter-act the fascist metapolitics of the ambiguity of meanings and senses.

Communicology is Vilém Flusser's first thesis on his concepts of technical images and technical imagination. In this foundational text he lays the groundwork for later work, offering a philosophical approach to communication as a phenomenon that permeates every aspect of human existence. Clearly organized around questions such as "What is Communication?," "What are Codes?," and "What is Technical Imagination?," the work touches on theater, photography, film, television, and more. Originally written in 1978, but only posthumously published in German, the book is one of the clearest statements of Flusser's theory of communication as involving a variably mediated relation between humans and the world. Although Flusser was writing in the 1970s, his work demonstrates a prescience that makes it of significant contemporary interest to scholars in visual culture, art history, media studies, and philosophy.

Communicology is Vilem Flusser's first thesis on his concepts of technical images and technical imagination. In this foundational text he lays the groundwork for later work, offering a philosophical approach to communication as a phenomenon that permeates every aspect of human existence. Clearly organized around questions such as "What is Communication?," "What are Codes?," and "What is Technical Imagination?," the work touches on theater, photography, film, television, and more. Originally written in 1978, but only posthumously published in German, the book is one of the clearest statements of Flusser's theory of communication as involving a variably mediated relation between humans and the world. Although Flusser was writing in the 1970s, his work demonstrates a prescience that makes it of significant contemporary interest to scholars in visual culture, art history, media studies, and philosophy.

This book contributes to the work of elucidating the new forms of fascism and authoritarianism that arise today in intimate relation with new mediatic and information technologies. It presents elements of the connection between capitalism and fascism and makes clear how fascism today uses the ambiguity of senses and meanings as its most efficient way of infiltrating our reality and thereby becoming unequivocal. The fascism of ambiguity is a fascism that grows the more the ambiguities and paradoxical dimensions of the contemporary situation become explicit. It departs from some lessons of history regarding both historical fascism and some of the main critical lines and thoughts produced in the beginning of the 20th Century. It shows what is new in today’s form of fascism, discussing its connection to techno-mediatic capitalism, to the dynamics of emptying meanings and senses through a technique of rendering them ambiguous and exacerbated. It outlines some guiding thoughts regarding the question of ambiguity and metapolitics today and concludes by proposing two exercises of precision, through the lenses of poetry and music, as a way to resist and counter-act the fascist metapolitics of the ambiguity of meanings and senses.

In Language and Reality, originally published in Sao Paulo, Brazil, in 1964, Vilem Flusser continues his philosophical and theoretical exploration into language. He begins to postulate that language is not simply a map of the world but also the driving force for projecting worlds and enters then into a feedback with what is projected. Flusser's thesis leads him to claim, in a seemingly missed encounter of a dialogue with Wittgenstein, that language is not limited to its ontological and epistemological aspects but rather is at the service of its aesthetic. Traversing a diverse area of research and ruminations on cybernetics to poetry, music, the visual arts, religion, and mysticism, Language and Reality can be viewed as a vital transitional work in Flusser's emerging thought that will eventually lead to his works in the 1970s and 1980s concerning what we would later consider media theory, design, and digital culture.

"Science is interesting precisely because it relates to me. It is a human function just as much as breathing is: it is an existential interest. And an entirely objective science would be uninteresting, inhuman. The search for scientific objectivity is revealing itself in its continual advancement not as a search for "purity," but as pernicious madness. The present essay demands that we give up the ideal of objectivity in favour of other intersubjective scientific methods." ---- "De te fabula narratur." Thus starts this paranaturalist treatise by Vilem Flusser. Author of the seminal Towards a Philosophy of Photography (1984) and "Ins Universum der Technischen Bilder" (1985), Flusser introduces us here to an infernal creature from the oceanic abysses, our long lost relative, who slowly emerges, not from the oceans, but from our own depths to gaze spitefully into our eyes and reflect back at us our own existence. ---- Originally published only in German in 1987, this version has been edited and translated by Rodrigo Maltez Novaes, Ph.D. candidate at the European Graduate School, Saas-Fee, under the supervision of Prof. Dr. Siegfried Zielinski, from the original, unpublished and extended Brazilian-Portuguese version of the manuscript recently found at the Vilem Flusser Archive at the Universitat der Kunst, Berlin. This edition is also accompanied by a selection of previously unpublished excerpts from Flusser's correspondence with Milton Vargas and Dora Ferreira da Silva, with whom he discussed the development of the present text.

Is there any room left for freedom in a programmed world? This is the essential question that Vilem Flusser asks in Post-History. Written as a series of lectures to be delivered at universities in Brazil, Israel, and France, it was subsequently developed as a book and published for the first time in Brazil in 1983. This first English translation of Post-History brings to an anglophone readership Flusser's first critique of apparatus as the aesthetic, ethical, and epistemological model of present times. In his main argument, Flusser suggests that our times may be characterized by the term "program," much in the same way that the seventeenth century is loosely characterized by the term "nature," the eighteenth by "reason," and the nineteenth by "progress." In suggesting this shift in worldview, he then poses a provocative question: If I function within a predictable programmed reality, can I rebel and how can I do it? The answer comes swiftly: Only malfunctioning programs and apparatus allow for freedom. Throughout the twenty essays of Post-History, Flusser reminds us that any future theory of political resistance must consider this shift in worldview, together with the horrors that Western society has brought into realization because of it. Only then may we start to talk again about freedom.