The #image and the #subject: the perception of image from Instagram
DOI:
https://doi.org/10.5216/vis.v13i1.33657Abstract
This paper is part of a dissertation submitted to the Graduate Program in Arts at UFPA. It aims to examine the relationship between image and memory on Instagram. Thereto, I have identified the universe of image and its interaction with the individual, by dialoguing with the modifications in regard to its constitution from the development of mobile devices such as smartphones and tablets, the most common means by which one can use Instagram. With this in mind, I have emphasized the relationship of people on social networks through these interconnection areas. However, we can perceive a path to an individualized relationship with other social actors, where the groups are assembled in a self-referential way. Thus, relationships become more fluid and less presential. The research highlights the issue of memory phenomenon beginning from the image and adopts phenomenology as its methodological approach since it represents the construction of an imaginary based on life experiences.
Keywords: Image, Instagram, social networkingDownloads
References
ALVES, Rubem. Retratos de amor. Campinas-SP, Papirus, 2002
ARGAN, Giulio Carlo. Arte Moderna, São Paulo, Companhia das Letras, 1992
ARNHEIM, Rudolf. Arte e percepção visual: uma psicologia da visão criadora: nova versão, São Paulo, Pioneira Thomson Learning, 2005
AUMONT, Jacques. A Imagem, Campinas – SP, Papirus, 1993
BAUDRILLARD, Jean. Simulacros e Simulação. Lisboa, Relógio d’Água, 1991
BENJAMIN, Walter. Magia e técnica, arte e política: ensaios sobre literatura e história da cultura. São Paulo: São Paulo, Brasiliense, 1994.
CATALÀ-DOMÈNECH. Josep M. A forma do real, São Paulo, Summus, 2011
COUCHOT, Edmond. Da Representação à Simulação: Evolução das Técnicas e das Artes da Figuração. In: (Org.), A. P. Imagem-Máquina: A Era das Tecnologias do Virtual. Tradução de Rogério Luz. p. 37 – 47, Rio de Janeiro: Ed. 34, 1993
DELEUZE, Gilles. Bergsonismo, São Paulo, Editora 34, 2012
______________. A Imagem-tempo, São Paulo, Brasiliense, 2005
DUBOIS, Philippe. O ato fotográfico e outros ensaios, Campinas-SP, Papirus, 1993
FLUSSER, Vilém. Filosofia da caixa preta: ensaios para futura filosofia da fotografia, São Paulo, AnnaBlume, 2011
FOSTER, Jonathan K. Memória, Porto Alegre, L&PM, 2011
HALBWACHS, Maurice. A Memória Coletiva, São Paulo, Centauro, 2003
KOSSOY, Boris. Realidades e ficções na trama fotográfica, São Paulo, Ateliê Editorial, 2009
KOSSOY, Boris. Fotografia & História, São Paulo, Ateliê Editorial, 2001.
MERLEAU-PONTY. Maurice. Fenomenologia da Percepção, São Paulo, Martins Fontes, 1999
PARENTE, André. Os Paradoxos da Imagem-Máquina. In: (Org.), A. P. Imagem-Máquina: A Era das Tecnologias do Virtual. Tradução de Rogério Luz. p. 7 – 33, Rio de Janeiro: Ed. 34, 1993
SANTAELLA, Lucia. Imagem: cognição, semiótica, mídia, São Paulo, Iluminuras, 2012
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License .
Authors who publish in this journal agree to the following terms:
a. Authors retain the copyright and grant the journal the right of first publication, with the work simultaneously licensed under the Creative Commons Attribution 4.0 License which allows the sharing of work with acknowledgment of authorship and initial publication in this journal.
b. Authors are authorized to take additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (eg publish in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
c. Authors are allowed to publish and distribute their work online (eg in institutional repositories or on their personal page) after the initial publication in this journal, as this can generate productive changes, as well as increase the impact and citation of the published work ( See The Effect of Free Access).
Every effort has been made to identify and credit the rights holders of the published images. If you have rights to any of these images and have not been correctly identified, please contact the Visuals magazine and we will publish the correction in one of the next issues.