Anatomy of the image and its settlement

Abstract

The reflection tries to show how abstract objectivity assumed by photography is the result of a relativistic comparative, nascent intuition around the cultural turn of late eighteenth, which upsets by the positivist eagerness with which its possibility, indebted to the machinery and the reductive economy of large modern cities, which becomes image and environment is managed.

In the same way that the perspective had been a symbolic action of a modern episteme setting, as it showed Panofsky, rather than a universal objectivity that know that other cultures will be diverted, the propensity of a desire for absolute objectivity in image, articulates a power of physiological inquiry-symbolic rocket that we cannot imagine of form being divided in western culture particularly conclusive at the end of the nineteenth century with the triumph of capitalism and the large cities of the International Exhibitions Therefore can sign up that criticism that opens this optimism, which involve the socalled historical avantgarde, are just that, a deviation from this optimism from positive vision and mechanical economic objectivity imposes and sublimated, and not a consequence of the overcoming of the art, as common and simply believed.

An analysis of the nature of the image calls for investigations of the anthropology that establish its value deviated from the reproductive fact that the liquid in the effusion, worth the paradox, liquid companies that contributes to shaping.