Photography at the time of augmented reality is no longer analogic. It has replaced the silver salts with the computer’s pixels. It has become (could become) the terminal of a hypertext system that can offer to the viewer an infinite number of links. It has become a hyperphotography. Every spot of its surface can become the source of an interpretive itinerary of what is represented on it. An anthropological hyperphotography is based on the idea of augmented reality which enriches it with other media: movies, audio recordings, other photographs or images, comments. The itinerary proposed by a photo augmented reality is no longer linear. In fact it is not even a path but a multiplicity of possible paths. It is an open itinerary that leaves to the photo viewer the freedom to decide the visual pathway and the possibility expand it with the addition of new materials also heterogeneous in nature. The hermeneutical advantages of such a system of images are obvious. For example, each photographed subject can emancipate itself from the silence of its stillness. The pixels that form it can link it not only to other digitized material but also to a self-managed web space where everyone can interact and provide their version of the events. An area of digital remediation of meanings understood as the ability of a medium to contain different other media that contribute to increase the meaning of the image. Starting from the studies of Bolter and Grusin on augmented reality and on the possibility offered to communication by the technologies of digital rimediation, revised in the light of the considerations of Benjamin, Levi- Strauss, de Martino, Fontcuberta, Ritchin, Baudrillard, Geertz, Clifford and other authors, this article discusses the potentials, the limits and the dangers of a medium which, through the production of «of reality», all along represents an anchorage to ethnographic research. In view of these possibilities, digital photography will be the new visual paradigm that uses images to start a broader discussion, multimedial and multi-channeled on the human condition, but it could also fall into dangerous deviations. For example, the danger of an informative «apparatus» (an information technology apparatus) built, influenced and led by the needs of the «power». In the Foucaultian sense of the term: danger linked to the necessity of the «machine», powerful and influencing, which, through an information overload can produce a flattening of the meaning, an insufficiency of meaning and renders all information alike, of equal importance and interchangeable.

La fotografia ai tempi della «realtà aumentata»

ESPOSITO, Vincenzo
2014

Abstract

Photography at the time of augmented reality is no longer analogic. It has replaced the silver salts with the computer’s pixels. It has become (could become) the terminal of a hypertext system that can offer to the viewer an infinite number of links. It has become a hyperphotography. Every spot of its surface can become the source of an interpretive itinerary of what is represented on it. An anthropological hyperphotography is based on the idea of augmented reality which enriches it with other media: movies, audio recordings, other photographs or images, comments. The itinerary proposed by a photo augmented reality is no longer linear. In fact it is not even a path but a multiplicity of possible paths. It is an open itinerary that leaves to the photo viewer the freedom to decide the visual pathway and the possibility expand it with the addition of new materials also heterogeneous in nature. The hermeneutical advantages of such a system of images are obvious. For example, each photographed subject can emancipate itself from the silence of its stillness. The pixels that form it can link it not only to other digitized material but also to a self-managed web space where everyone can interact and provide their version of the events. An area of digital remediation of meanings understood as the ability of a medium to contain different other media that contribute to increase the meaning of the image. Starting from the studies of Bolter and Grusin on augmented reality and on the possibility offered to communication by the technologies of digital rimediation, revised in the light of the considerations of Benjamin, Levi- Strauss, de Martino, Fontcuberta, Ritchin, Baudrillard, Geertz, Clifford and other authors, this article discusses the potentials, the limits and the dangers of a medium which, through the production of «of reality», all along represents an anchorage to ethnographic research. In view of these possibilities, digital photography will be the new visual paradigm that uses images to start a broader discussion, multimedial and multi-channeled on the human condition, but it could also fall into dangerous deviations. For example, the danger of an informative «apparatus» (an information technology apparatus) built, influenced and led by the needs of the «power». In the Foucaultian sense of the term: danger linked to the necessity of the «machine», powerful and influencing, which, through an information overload can produce a flattening of the meaning, an insufficiency of meaning and renders all information alike, of equal importance and interchangeable.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11386/4417054
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