Flusser's contribution to the development of image theory in the context of the media.

• Grant number: 10/05862-2
• Support Opportunities: Scholarships in Brazil - Post-Doctoral
• Start date: April 01, 2011
• End date: March 31, 2013
• Field of knowledge: Applied Social Sciences - Communications - Visual Communication
• Principal Investigator: Norval Baitello Junior
• Grantee: Víctor Manuel Silva Echeto
• Host Institution: Pró-Reitoria de Pós-Graduação (PRPG). Pontifícia Universidade Católica de São Paulo (PUC-SP). São Paulo , SP, Brazil

Abstract

The images now lose materiality and become impalpable support behind the screens. This requires a review of theoretical and methodological frameworks that allow an in-depth study, archaeological and cultural transformations of the image. In this context, the study intends to investigate, under the theory of media, Flusser's contributions to the development of a theory of the image.Thus, we will investigate, from what Flusser calls the four powers (the power of action, power of attorney, power design and power of imagination), the importance acquired by the notions of objects, imaging technique, tangible or things, the intangible or non-things, employees, information pure, holograms, the creativity programs, three-dimensional display of the zero-dimensional.The goal of this research, therefore, is to investigate the status of the image in contemporary society. To both questions will focus on the materiality of the loss that occurs in the visual image, built on the issue of technology and look "digital" according to the theoretical approaches developed by Flusser. However, for this, one must take into account the one hand, his early theoretical approaches, closer to the phenomenology of language developed in Brazil about the power of action, the power of representation and power of conception. Moreover, in the works of the last decade of life the theory of the image (the power of imagination) assumes a central position in the work of Flusser. In short, we will investigate how the author changes her image theory of a framework whose main reference was the consumer society, the environment of the post-show, simulation and virtuality and scanning, which produces, ultimately, autonomy or self-referentiality of the image technique.