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Abstract(s)
Desde a Antiguidade ClĂĄssica Grega, com PlatĂŁo a conceber a imagem como sombra, reflexo e, depois, como representação em geral, atĂ© Ă contemporaneidade, com o conceito aberto de âimagemâ a adquirir novas formas virtuais de projeção de luz a incidir em suportes materiais como a ĂĄgua ou o ar, muito jĂĄ se refletiu sobre a imagem, mas tambĂ©m sobre a sua conceção e papel no mundo contemporĂąneo, cada vez mais global, virtual e, principalmente, mais visual e iconĂłlatra. Os novos meios e processos de produção e consumo de imagens demonstram um desenvolvimento visual. A imagem suscita o uso exagerado de dispositivos e meios de produção/reprodução de imagem e conduz a uma iconolatria moderna, que regista todos os domĂnios da vida humana: os mais privados (imagens Ăntimas publicadas nas redes sociais) e os mais pĂșblicos (fotojornalismo de guerra); os mais banais (selfies) e os momentos e situaçÔes mais Ășnicos (ecografias); os mais credĂveis e os mais manipulados pelo âarranjoâ da imagem pelo Photoshop. Neste artigo, parte-se do pressuposto de que a imagem Ă© um signo; possui o poder de transitividade semĂąntica de evocar realidades e referentes ausentes ou inexistentes. Pretende-se sustentar a tese de que a imagem Ă©, de um modo suficiente e necessĂĄrio, uma imagem-signo e que o seu poder reside na função de representação que ocorre como uma hierofania, i.e. uma ausĂȘncia latente que se manifesta, porque os significados da imagem estĂŁo ocultos ou codificados na prĂłpria imagem.
Since Ancient Greece, with Platoâs conception of image as, first of all, shadow, reflection and, then, as representation in general, to the present day, with the open-concept of âimageâ acquiring new virtual forms of light projection focusing on any material surface such as water or air, much has been reflected about the image, but also about its design and role in the contemporary world, which is increasingly global, virtual and, mostly, visual and iconolater. The new means and processes of production and consumption of images show a visual development. The image incites the overuse of devices and means of production/reproduction of image and leads to a modern iconolatry, which records all aspects of human life: the most private (intimate images published on social networks) and the most public (photojournalism of war); the most banal ( selfies) and the unique moments and situations (echography); the most credible and the most manipulated by the âarrangementâ of the image by Photoshop. I start from the assumption that an image is a sign; it has the power of semantic transitivity of evoking missing or non-existent realities and referents. My purpose is to support the thesis that image is sufficient and necessarily an image-sign and its power is in the representation function that occurs as a hierophany, i.e. a latent absence which manifest itself, because the meanings of the image are hidden or encoded in the image.
Since Ancient Greece, with Platoâs conception of image as, first of all, shadow, reflection and, then, as representation in general, to the present day, with the open-concept of âimageâ acquiring new virtual forms of light projection focusing on any material surface such as water or air, much has been reflected about the image, but also about its design and role in the contemporary world, which is increasingly global, virtual and, mostly, visual and iconolater. The new means and processes of production and consumption of images show a visual development. The image incites the overuse of devices and means of production/reproduction of image and leads to a modern iconolatry, which records all aspects of human life: the most private (intimate images published on social networks) and the most public (photojournalism of war); the most banal ( selfies) and the unique moments and situations (echography); the most credible and the most manipulated by the âarrangementâ of the image by Photoshop. I start from the assumption that an image is a sign; it has the power of semantic transitivity of evoking missing or non-existent realities and referents. My purpose is to support the thesis that image is sufficient and necessarily an image-sign and its power is in the representation function that occurs as a hierophany, i.e. a latent absence which manifest itself, because the meanings of the image are hidden or encoded in the image.
Description
Keywords
iconocracia imagem ideologia poder da imagem retĂłrica
Citation
Barroso, Paulo M.A imagem como ausĂȘncia, Revista Vista â Revista de Cultura Visual , 1, 50-71, 2017.