“…De igual modo, se cuestionan las teorías clásicas de la información (incluso, la cibernética), para proponer el énfasis en el receptor, quien se individúa en el proceso, dado que siempre hay grados de indeterminación y la interpretación sucede a la manera de una invención, algo que no estaba antes y deviene afectando el sistema (cf. Blanco & Rodríguez, 2015;Carrozzini, 2015). El conocer como individuación (del mundo y del sujeto) no puede pensarse sin lo preindividual como motor de un proceso que comienza en la sensación y desemboca en la ciencia, a medida que se estabiliza y se somete a prueba.…”
“…De igual modo, se cuestionan las teorías clásicas de la información (incluso, la cibernética), para proponer el énfasis en el receptor, quien se individúa en el proceso, dado que siempre hay grados de indeterminación y la interpretación sucede a la manera de una invención, algo que no estaba antes y deviene afectando el sistema (cf. Blanco & Rodríguez, 2015;Carrozzini, 2015). El conocer como individuación (del mundo y del sujeto) no puede pensarse sin lo preindividual como motor de un proceso que comienza en la sensación y desemboca en la ciencia, a medida que se estabiliza y se somete a prueba.…”
“…Gilbert Simondon, a philosopher who was well aware of Bergson's writing on affect and images, seems to countenance something of this challenge in his primary thesis on “individuation,” wherein he writes that:A very contrasted photograph, that is to say with a very violent light and shade effect, or an out of focus one can have more value and intensity than the same photograph in a perfect graduation…. (Simondon, 2005, p. 242 in Carrozzini, , p. 46)…”
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confidence: 99%
“…A very contrasted photograph, that is to say with a very violent light and shade effect, or an out of focus one can have more value and intensity than the same photograph in a perfect graduation…. (Simondon, 2005, p. 242 in Carrozzini, , p. 46)…”
This piece intervenes by developing an understanding of the nonhuman power of images. It does so by attending to a different style of thought for approaching images and imaging practices: that is, as something composed of and open to a much wider ecology of experience. Engaging with a recent geographical concern with the affective power of images, it argues for the need to affirm in imaging a specific intensive power to defamiliarise human‐centred frames of thought used to think about the active powers of images.
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