Self-translation as Reading.  In my contribution, I would like to discuss the relationship of self-translation and reading focusing mainly (but not only) on the work of the Czech-Brazilian writer and philosopher Vilém Flusser (1920-1991) who (self)translated systematically all of his texts in order to test their inner coherence, style and aesthetic  quality. Translation is perhaps the strongest form of reading and ultimately much more effective and thorough than any simple revision which remains within the limits of a single language, University of  Iowa 28.3.2019.

From Threshold to Threshold: Liminal Spaces of Translation (Keynote address), December 10 2018, Chinese University of Hong Kong

Zwischen Berg und Ebene: Zur Entstehung von Vilém Flussers Begriffspaar Dialog/Diskurs, Meran 24.11.2018.

Best of Flusser Studies 2005-2017 (together with Gustavo Bernardo), Sao Paulo, Annablume 2018

This selection presents some of the most inspiring essays published between 2005 and 2017 in the multilingual online journal Flusser Studies, based in the Università della Svizzera Italiana in Lugano (Switzerland). The choice was not easy. First, we wanted to preserve the fundamentally multilingual orientation of the journal, which is based on Flusser’s own plurilingual writing practice constantly shifting between Portuguese, German, English and French. In this sense, four essays written in Portuguese and German respectively, and six in English have been included. Furthermore, languages and speakers have been mixed: we can find Germans writing in Portuguese and Brazilians writing in German. Secondly, we wanted to document the history of the journal by trying to include essays from the very first issue to the last few ones. This history is closely connected to the people that have been making Flusser Studies over the years, and their very specific, if not unique points of view. Thirdly, we wanted to document the broad thematic orientation of the international research that has been collected in the last twelve years, which ranges from dialogue to doubt, from Guimarães Rosa to Franz Kafka, from Martin Buber to Martin Heidegger and Sigmund Freud, from photography to music, and from the apparatus to the Holocaust, to mention only a few. These editorial decisions have led to a very dense narrative of interrelated subjects but at the same time have forced us to renounce many other possible choices. (from the introduction