Thirteenth International Conference on The Image

Abstract

Photography fixes the present, its dynamics/flows/appearances, and makes the past, its visualities, the image that the various types of framing and context, techniques and technologies, made possible to fix analog or digitally. The preservation of this memory spring, of the document, urges: as a singular species and as sets, a “magic mountain”: the construction of urbanity. This same urbanity, which enables the existence of space and urban being, is quite visible during the process of creation and work in Art and Science. It is a permanent essay, enhancing the emergence of what is seen and what is not seen, what is tangible and material, but also of what is poetic/intangible/immaterial, navigating through the invisibilities. Photography as a weapon to combat oblivion and as a working instrument of humanity’s memory remains the great revolution in the field of image capable of underlining the wonder of the production and realization of the human species, a fundamental part of its documentation and fingerprint in the traces of ever new futures. The great transformation goes beyond the natural prominence of the “I” in the photographic act— all photography is subjective because it depends on the interaction between subject/machine/medium. But it is also this natural subjectivity, present in production, that will always be present in information/dissemination/access/interpretation, as an object, as a document. Between subject and community, between disciplinary and other concomitate areas, between academia and communities, in this constant learning in service, we bequeath new generations the weapon that contradicts the wide road of oblivion.