Resumo: O texto faz uma análise crítica da imagem digital tendo em vista os percursos e desvios do processo de assimilação da fotografia analógica pela base técnica numérica. Parte-se da filosofia do aparato de Flusser e do conceito de emulação de Foucault para pensar a digitalização ocorrida, na década de 1990, como um projeto industrial que visava, sobretudo, à emulação do analógico pelas tecnologias digitais. Passado esse momento histórico de transformações tecnológicas, uma análise distanciada permite levantar a hipótese de que a imagem fotográfica digital passa a assumir uma posição intersticial, entre a fulguração indicial e os algoritmos computacionais. De acordo com tal perspectiva, esse estado de impureza da imagem se tornaria, então, um elemento potencializador da criação artística, na medida em que abre um novo campo de exploração estética.Palavras-chave: teoria da imagem; fotografia; arte; imagem digital; Vilém Flusser. Abstract:The impurity of images: aesthetic interstices between analog and digital photography -A critical analysis is made of the digital image, given the incompleteness of the process of assimilation of analog photography by numerical technologies. Vilém Flusser's philosophical apparatus and Foucault's concept of emulation are employed here to interpret the digitization that occurred in the 1990s as an industrial project that was aimed primarily at the emulation of analog technologies by digital ones. After this historical moment of technological transformations, a detached analysis allows one to hypothesize that the digital photographic image begins to assume an interstitial position between indexical fulguration and computational algorithms. This perspective allows for a better understanding of image production in art, which does not entirely deny the indexicality of photography, but also refuses to ignore other possible contemporaneous modes of existence of the image.Keywords: image theory; digital image; art; photography; Vilém Flusser. IntroduçãoAs câmeras fotográficas que utilizamos hoje, sejam elas profissionais, compactas ou aquelas incorporadas nos dispositivos móveis, mantêm em seus antecedentes
This essay resumes Arlindo Machado’s main critiques of the ontology of photography to discuss the anthropocentrism that marks the classic theory and hypothesize other ways of thinking about the technical image, based on the ontological division between the world (Nature), the human (Man), and technique. As a consequence of this critique, the text argues that the recognition of the materiality of the processes of image production and circulation would imply the emergence of multiple and heterogenous ontologies of the image. As such, the image crystalizes a specific way of understanding the word, which the artist encodes in their work. This conceptualization leads to the enhancement of the performative aspect that the image assumes in contemporary culture.
The case study of Degenerative Cultures explores how the layering of different forms of logic offers an opportunity for rethinking our human systems and hypothetically remixing the epistemological roots of society—through interventions into our technological systems. In Degenerative Cultures, the living organism Physarum polycephalum partners with an artificial intelligence that compiles and corrupts an archive of human texts. In the iterative art installation, which incorporates the growth cycles of microbiological organisms, protists as well as fungi cover up and effectively remix human texts. Human knowledge, contained within the philosophy books used in the project, becomes the substrate for organic growth. The living organisms grow over an actual book, and the AI, referred to as a “digital fungus,” corrupts texts on the Internet. The artists’ experiment, which links microbiological growth logic to artificial intelligence, is one step in rethinking how human knowledge may become layered and ultimately corrupted and rerouted—a forking of sorts—through integration with nonhuman logic systems, including microbiological and artificial intelligences. By orienting this work to remix theory, the article offers the hypothesis of a multispecies recombination that could, in utopian terms, reformulate the epistemological basis of modernity. In order to pursue this hypothesis, the art collective Cesar & Lois asks what role remix plays in the ongoing emergence of artificial intelligence and machine learning.
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