The photography in the age of technical incompetence
This article focuses on the controversial “monkey selfie” to raise a question: who shoots pictures today, the man or the camera? Seeking to attain a possible answer, it presents a brief history of the automation process in the photographic act and a critical-analytical outline titled technical incom...
| Autores: | , |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2015 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/20524 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/20524 |
| Access Level: | acceso abierto |
| Palabra clave: | Photography Visual culture Automation of the photographic act Fotografía cultura visual automatización del acto fotográfico Cibercultura Fotografia automação do ato fotográfico |
| Sumario: | This article focuses on the controversial “monkey selfie” to raise a question: who shoots pictures today, the man or the camera? Seeking to attain a possible answer, it presents a brief history of the automation process in the photographic act and a critical-analytical outline titled technical incompetence, in order to understand how the camera automatic modes surpassed the will of the snapper. This discussion has as its main influences the Critical Theory of Benjamin and Flusser, and the contributions of Soulages and Rouillé. From this theoretical-conceptual exercise, it was possible to apprehend that the human intention has been replaced by the devices’ default settings, one of the reasons why photography is still seen as a purely technical construction, affected in its communicative potential. |
|---|