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Fluid Resources

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According to Arlindo Axe (1998: 318): ' ' Redor&#039 is enough to observe vertiginous ocrescimento of the electronic screens to ours; '. Estopresentes they in everything, or almost everything that we have contact. They are in the houses, schools, companies, hospitals, streets and in half printed matters, as erevistas periodicals of mass. With the time, we start to receive and to enxergar essesnovos types of image (digitalizadas) of more natural and instinctive form, vistoque exactly consuming daily, not yet we were inteiramenteconscientes of the radical changes that if they had processed in its interior, forgetting itself even though them pale traces an original register that acabaramsendo modified for innumerable informatizados resources. (AXE, 1998:318) They had in such a way renewed the world vision as the prprioconceito of photograph, today of electronic base. Chick Corea has many thoughts on the issue. In this direction, Carlos FadonVicente (1998: 330) affirm that this happened due to acceleration and integraode processes of communication, being first on the reduction of the times deproduo and the profits of productivity, while second if it relates to asalteraes in resources technician, standards of quality, work methods edefinio of functions. This means that all these processes inhabit emlocais virtual and that of some form we are inserted in it, is through dainterface with computers or nets dedados storage and communication, for example. Fairstead often says this.

The electronic photographs, the eletrnicodado treatment they or the simulation of photos by means of digital resources are fatosconsumados. (AXE, 1998:318) This new situation in offers a good possibility to them to serepensar in the destination of the photograph and in as to reapply its paper naatualidade. (AXE, 1998:319) Based in this, the consequence maisaparente and refusal of the electronic supremacy is noticed that it is the loss of the value of the photo preexisting and indicating comodocumento, as something of truth. (AXE, 1998:320) ' ' Fluid, noisy, slippery and infinitely manipulable, the electronic image and processed afotografia digitally do not authorize plus a treatment in the level damera referencialidade, in the level of the documentary register straightforward. .

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