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Vilém Flusser, to analyse gestures as forms of manifestation of Being, which uncover reality and Man's way of existing in face of it. Simultaneously, and derived from the above, to understand the emergence of a new consciousness, through the appearance of gestures never before observed, allowing us to perceive that the world is in transformation, as are the categories of thought which we use Vilém Flusser (May 12, 1920 - November 27, 1991) was a Brazilian Czech-born philosopher, writer and journalist.He lived for a long period in São Paulo (where he became a Brazilian citizen) and later in France, and his works are written in many different languages.. His early work was marked by discussion of the thought of Martin Heidegger, and by the influence of existentialism and and thus expresses a freedom' (Flusser 1991,122;Flusser1997, 1999, 2014). Useful for understanding Gehry's conception of drawing as gesture is Flusser's following remark: [t]here is no thinking that would not be articulated by a gesture. Thinking before articula-tion is only virtual, in other words nothing. It realises itself through the Flusser's thinking articulated through a gesture, in this sense, does not refer to writing as an instrument expressing an ideal meaning, but articulation as a gesture. This 'articulation' is not of the same kind as with the semiotic model of a 'code' and the classical sender-receiver model of communication, the medium 'transporting' meaning. The gesture does not separate the material medium from meaning, it rather connects a material practice with thinking — gestures of The present article proposes a dialogue between Vilém Flusser's media theory, especially focusing upon his books Filosofia da Caixa Preta (1983) and Les Gestes (1999), and the artistic projects developed by the French multimedia artist Fred Forest. Each in his own way acted towards the creation of a critical and reflective spirit about the world seen as a "black box." gestures such as writing, loving, and speaking as well as technological gestures such as the gestures of filming, of photography and video. In short, Flusser presents and discusses, embracing a broad perspective, anything from common daily gestures to gestures mediated by machines. What becomes evident in this work is that gestures, whether or not tied to technology, of Seeing (2017), Vilém Flusser's influential theory of gestures distinguishes between 'good and bad gestures' in relation to how they interact with a given apparatus, for instance the camera.4 Bad gestures, in this setting, follow the camera's presumed rules; good gestures imply 'the active resistance of the photographer to become a function of the apparatus she uses. The gesture or acting something while a true gesture only supports. Flusser stresses that distribution apparatuses as well as distribution channels—today also including social media platforms— "impregnate the photograph with the decisive significance for its reception" (1983, 54). In other words, meaning is always encoded, also by the context in which the image is shown. Especially today's Vilém Flusser: The Gesture of FilmingVilém Flusser: The Gesture of Filming Gesturology of Revolution: Petr P