You must be a subscriber to view the main content of this page. Please subscribe to an option that fits your needs and get access to core content! If you are already a subscriber just sign in below. If you have purchased a subscription via Offline payment, the content will be unlocked upon receiving your payment.
Images as Mediated Realities
Vilém Flusser and Harun Farocki in Meta-dialogue
Doi: https://doi.org/10.47659/m4.026.ess
- Vol. 3, no. 1
- 2018
- August 6, 2020
A critical gaze and an investigative guise are necessary in a time where the uneven boundaries between “the real” and the phantasmagoric are blurred into our conceptions of reality. We are surrounded by interfaces, screens, virtual spaces and infinite networks. Technologic advancements departing from the photographic medium have the potential to change our relations to our surroundings and our conceptions of ourselves through images. We are no longer merely receivers of images, we are active producers of them; In the 1980’s, philosopher Vilém Flusser and filmmaker Harun Farocki were already engaged in questions aimed at understanding our relationship to images and our responsibility towards the production images. Both urged their readers and spectators to engage in dialogue, to understand the phenomenon of photography and its direct correlations to mass communication structures.
- Keywords: codes, communication theory, reality, responsibility, technical image
Summary
Author
References
PDF
Close
A critical gaze and an investigative guise are necessary in a time where the uneven boundaries between “the real” and the phantasmagoric are blurred into our conceptions of reality. We are surrounded by interfaces, screens, virtual spaces and infinite networks. Technologic advancements departing from the photographic medium have the potential to change our relations to our surroundings and our conceptions of ourselves through images. We are no longer merely receivers of images, we are active producers of them; In the 1980’s, philosopher Vilém Flusser and filmmaker Harun Farocki were already engaged in questions aimed at understanding our relationship to images and our responsibility towards the production images. Both urged their readers and spectators to engage in dialogue, to understand the phenomenon of photography and its direct correlations to mass communication structures.
- Keywords: codes, communication theory, reality, responsibility, technical image
Summary
Author
References
PDF
Close
A critical gaze and an investigative guise are necessary in a time where the uneven boundaries between “the real” and the phantasmagoric are blurred into our conceptions of reality. We are surrounded by interfaces, screens, virtual spaces and infinite networks. Technologic advancements departing from the photographic medium have the potential to change our relations to our surroundings and our conceptions of ourselves through images. We are no longer merely receivers of images, we are active producers of them; In the 1980’s, philosopher Vilém Flusser and filmmaker Harun Farocki were already engaged in questions aimed at understanding our relationship to images and our responsibility towards the production images. Both urged their readers and spectators to engage in dialogue, to understand the phenomenon of photography and its direct correlations to mass communication structures.
- Keywords: codes, communication theory, reality, responsibility, technical image
- Cover photo: Harun Farocki: Eye/Machine III (Auge/Maschine III), 2003.
Reality is becoming increasingly mediated by autonomous entities, whose systems locate themselves within a blackbox.
Reading Time: 6 minutes
Reading Time: 6 minutes
Share on facebook
Share on twitter
Share on linkedin
- Cover photo: Harun Farocki: Eye/Machine III (Auge/Maschine III), 2003.
Share on facebook
Share on twitter
Share on linkedin
Similar
- By subject: augmented reality
- Article
Increase in the ways to detect digital photo-manipulation puts digital forensics in the position of re-establishing “reality” as a referential point by tracing every step of the process of alteration, turning the dubitative image into one that is doubt-free once its metadata has been analysed.
- Interview
We are basically told how to feel about things, but when that happens in real life there is no script, there is no music, and sometimes really horrific things can unfold in a very, very ordinary way. In a way what is really horrifying about it, is that it is just normal life, except that really bad shit happens.
