The black image
work in progress
With the arrival of digital photography, people produce and distribute millions of images through cyberspace every day. Social networks are media where photos proliferate with pandemic accelerations. Once inside the devices, in the overwhelming torrent of Big Data, the images enter the logic of the digit, where there are no subjectivities and everything is operated by numbers, from the program (Flusser), from the very same, from Likes. We can all be equal in the images.
In another era, the photographic image required a transfer.
Thus, knowledge, expectations, and prejudices were taken from one format to another. Analogical photography had a duration itself: it was born in the negative, it aged in the family album. In that life of images, one used to take some time to contemplate meanings.
On the other hand, digital photography today lacks both narrative and destination. There is no permanence in the existence of digital photography: it is omnipresent.
Nor is there naivety in the 'upload-share-like' cycle.
The capitalist logic in which digital images are produced does not operate from an aesthetic perspective but from the performance-based interests of major corporations.
In this situation, how can we overturn the programs of images to transform the ways we relate to others?
Is it possible to create turbulence among images that allow us to glimpse what Roland Barthes wrote, that 'photographs are signs which don't take, which turn, as milk does?
'The black image' is a visual exercise made from the intersection and clustering of images taken from Instagram accounts, . The viewer is invited to use an augmented reality application to explore the ubiquity of digital images and sense the Big Data, a black image that absorbs any individuality.