Media philosopher Vilém Flusser proposed a revolutionary new way of thinking about photography. An analysis of the medium in terms of aesthetics, science and politics provided him with new ways of understanding both the cultural crises of the past and the new social forms nascent within them. Flusser showed how the transformation of textual into visual culture (from the linearity of history into the two-dimensionality of magic) and of industrial into post-industrial society (from work into leisure) went hand in hand, and how photography allows us to read and interpret these changes with particular clarity. Flusser opens with a bold hypothesis that there have been two fundamental turning points in human culture. The first being the invention of linear writing and the second the invention of technical image making, initially through photography. He speaks at length about the ‘apparatus’ of the camera as being a tool that has it’s own ‘program’ that takes precedence over human control. That photographers are playing a game of operating the camera, but always within the programmed rules of the apparatus.
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