science, art, code, colour, idol, objectivity, epistemology, method, memory, medium

Vilém Flusser stejně jako Francis Bacon oba směřovali k demaskování klamu objektivity vědy. Bacon představil novou metodu, Flusser se ve snaze ukázat limity té soudobé, spíše této vysmíval. Proto také testoval a experimentoval s různými nestandardními metodami, jazyky a médii. Proto je možno toto jeho nové baconovské organon považovat za neukončitelnou kolektivní snahu o neustálou kritiku a pochyby o výsledcích vědy. Tato snaha je zde demonstrována na jeho svérázném projektu Domu Barev, Casa da Cor, kde je hlavní epistemickou hodnotou a cílem intersubjektivita, ne objektivita.

Vilém Flusser and Francis Bacon both longed to damask the fallacy of science. Bacon introduced a new method; Flusser rather mocked the current one. His effort was to show the limits of cognition by testing and combining multiple methods, styles, fields, languages and coding devices. Therefore, his Baconian Novum Organum is a proposal to a collective project, which is not meant to be ever finished, as the cognition itself should be a projection, a never ending doubting, overlapping and transcoding. If this project was ever finished, humanity would get stuck and disappear as for Flusser humanity also represents a never ending inter-subjective projection, which should fight the entropy of nature. The present paper discusses the idea of continuous intersubjectivity, which might establish new colour universe by encoding new language and reality, and which is extrapolated in his Casa da Cor project.