A maximização do mínimo: uma estética para tempos hipersaturados

• Autor(a) principal: Dabdab, Roberta
• Data de Publicação: 2010
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/5290
• topic: Imagem digital; Arte digital; Fotografia; Imagens fotograficas; Processamento de imagem -- Tecnicas digitais; Digital image; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

The following research is aimed at digital images. Its central hypothesis is that new communication technologies make possible the redimensioning of ways to see and interpret images, given their ambiguous character, as Flusser shows, in their semiotic process of informing . From a theoretical point of view, the research is based on the work of Vilém Flusser, Nicolas Borriaud, Philippe Dubois, Anne Cauquelin, and Ruth Horak to explore the cognitive, philosophical and creative processes and impacts in the creation of digital images. It is presumed, according to Flusser, that the technological creation depends on complicity with the equipment and, in this sense, its critical interest must be in the subversion and resistance against the machine, making new visualizations possible. In this perspective, we have elected as the subject of the research images that deal with the concept of compression - a procedure in post-production of digital images that diminishes their information load through reduction of the system and the programming as a proposal for deautomizing the sight. From a methodological point of view, it brings a mapping and critical analysis of artists that work in this aesthetic tendency, on the border of arts and communication, like Vik Muniz, Giselle Beiguelman and Yoko Ono. As a secondary point, a collection of images will be presented that the researcher names Emptied Photography , a process developed in post-production in which the most possible compression of digital matter is reached through the interference in the pixels dimensions of images on Photoshop software, which relates to the theoretical presumptions of the research. It is concluded, finally, that digital images are constant producers of languages, enriching the world with other forms of cognitive and perceptive agents that produce and are shaped by the paradigms of emerging communication processes in the field of digital culture