Excerto para análise_18 março '16

“The [digital] ‘image’ is now created, or more precisely computed, independently of any sight that might precede it. We continue to call what we see pictures or images, but they are qualitatively different from their predecessors. An analogue photograph is a print created from a negative, every molecule of which has reacted to light. Even the highest resolution digital photograph is a sampling of what hits the sensor rendered into computer language and computed into something we can see.

Furthermore, what we are experiencing with the Internet is the first truly collective medium, a media commons if you like. It makes no sense to think of the web as a purely individual resource. You might paint and not show anyone the results. If you put something online, you want people to engage with it. (…) The point here is not simply the scale of the digital commons, impressive though that is. It is certainly not always the quality of the results, which are highly variable. It is the open nature of the experiment.

And that is why, despite the endless junk, the Internet matters. There is a new ‘us’ on the Internet, and using the Internet, that is different from any ‘us’ that print culture or media culture has seen before. (…) Trying to understand the imaged and imagined communities created by global forms of experience is (…) central to visual culture. The new communities that are emerging on- and offline [point towards the fact that] people are reimagining how they belong and what that looks like.”

Nicholas Mirzoeff, How to See the World (2015), 20-22.

Releia o capítulo introdutório desta obra e comente o excerto, tendo em conta o impacto das duas alterações aqui apresentadas para a cultura visual contemporânea.

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