Abstract: The aim of this paper, guided by Jorge Albuquerque Vieira’s ideas of systemic permanence (2008) and Arlindo Machado’s solid cores and areas of intersection (2010), is to show that photography, in its attempt to endure, migrates to cyberspace (with the Internet as the main environment) transforming – in relation to other systems – into new complexities. We adopt here the systemic permanence cited by Vieira and his 'crisis of stability' process as key parameters of the survival of the photographic system. Keywords: Photography; permanence; hybridization; Internet. Introduction Etymologically, the word 'photography' comes from the Greek phos (light), and grafis (style, brush), and therefore, literally, it means written with light or to write/paint with light. According to the Michaelis Portuguese Dictionary, one of the concepts of the meaning of 'photography' is: the art or process of producing, by the action of light, or any kind of radiant energy, on a sensitized surface, images obtained through a dark chamber. The indexical characteristic of photography (Peirce, pp. 1839-1914) as copy, testimony and representation of a given reality was the main framework in its emergence. Dicionario grego moderno- portugues por rudolf bolting, 668 paginas. Fac-simile da edicao de 1941, ministerio da educacao e cultura, instituto nacional do livro, rio de janeiro 1953, brasil. According to the Michaelis Portuguese Dictionary, one of the concepts of the meaning. The Internet becomes a medium of exchange and mergers for radically. These aspects permeated the second half of the nineteenth century. In parallel, the fragmentary context of the photographic image extends to the second half of the twentieth century and from there, gradually, there has been a shift in paradigm. Photography, electronic now, has become interrelated with other systems, in new (digital) environments and, thus, drives the emergence of a new visuality/complexity. The photographic image, more than ever, is in constant motion. It is a fact that today, with the advent of technology and the increasingly rapid rise of the virtual world, a world created by digital technologies, with emphasis on the 1990s, with the convergence of media in cyberspace, having the Internet as the primary environment, our perception about the photographic image is changing. Such coexistence of cultural systems and their relationships in cyberspace is sprouting a new fertility regarding electronic photography, in an evolutionary context. The picture is contextualized in time, which has been happening since its invention. Current technological innovations show an interpenetration of photography by other technical means, such as electrography, telecommunication, video and computer science. It is in this aspect that the origins of electronics-based photography lie, in the form of a technical and aesthetic reinvention. (Vincent, 2005, pp.322) The Internet becomes a medium of exchange and mergers for radically different communication systems, forming a propitious environment for the emergence of new systemic and cultural exchanges. In cyberspace, the coexistence and interaction of different technological systems reinforces what we know today as hybridization, where two distinct elements come together. With the concept of semiosphere (Yuri Lotman) we can classify as clashes of culture or systems, enabling the formation of a new element. However, some authors, such as Irene Machado (2007), are concerned about the use of the term because, in biology, a hybrid is sterile, and in the explosive virtual environment, where different technology/media systems meet, the term may not be well employed. The emergence of a new element in the photographic system directly involves the very act of REPRESENTING – the primordial essence of the photographic system. The word itself – represent – is complex in meaning (based on its Latin root) as it regards the concepts of evolutionary processes addressed in this article. This is because it simultaneously involves a gesture related to pre-existence, the noema 'it was' according to Roland Barthes (1984) (re-), associates with an examination of that which does not yet exist and of what might come to be (pre-), antecedes novelty, and transforms the act of definition, of establishment, of temporal permanence of the system (sent). Photo Permanence However, the very idea that photography is contextualized in time brings us back to what Jorge Albuquerque Vieira (2008), in his book Theory of Knowledge and Art calls 'Systemic Permanence': The problem of permanence as a basic systemic parameter is a problem in the Universe. The Universe, for some unknown reason, exists. And for another reason also unknown, it tries to continue to exist. We can cite it as a principle. It’s cannot be an ontologically founded proposal, but it is a principle: the universe tends to remain.
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Март 2019
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