Digital and Image: The Genealogy of New Visuality

Relevance of the study. Contemporary visuality are saturated with elements of digital aesthetics. Products of mass creativity are grouped and form a number of microcultures with many self-names. The short life of these images requires research, since they deal with the sensuality of the present, which means they can become the key to understanding digital reality. Purpose. To characterize the phenomena of the new visuality of digital aesthetics, defined by the author as dirty digital. Tasks. To establish the ontological specificity of digital imagery and to identify the main distinguishing features of the new visuality, considered in the light of actual problems of aesthetics, media and communication. Methods. The study is based on a combination of contemporary aesthetics methodologies and media theories. Research result. The value of anonymous low-quality images distributed on the Internet lies in the fact that they force the material medium to come to the surface of the screen: properties, qualities, material limitations of digital media. This eruption reports that any image is complex, it is not so much a representation of sociocultural everyday life or ideology; how much is an indication of the ability of the imagination to create and master social reality through embodiment. A dirty digital image is no longer something that is simply created and drawn on a computer. This is an object intended for reuse, it is what makes the imagination work, and around what a transition from the viewer to the producer can take place. Digital aesthetics is material because it is included in the metabolic processes of the imagination of contemporary culture. Conclusions. The new digital visuality is not so much involved in representing the outside world as it is experimenting with our vision. The primary task of the researcher turns out to be a critical look at the previous categorial apparatus, since here the affective, and therefore the aesthetic experience precedes the cognitive one. The comprehension of new visuality is possible from criticism of the existing criteria of the visual, namely from appeal to the aesthetic experience and the actual categories formed by it. Therefore, it is necessary to investigate the trend towards the spread of digital imagery, focusing on its ontological effects. In the case of an ontological perspective, it is necessary to resist the notion that the digital world of experience must necessarily be represented in binary form; since it would be more appropriate not to reduce the material world to the digital, but rather, rather the digital world to lead to the material, in its potentiality and processuality. The digital image reveals our feelings to us, and the new sensuality of the digital age that is in its formation - the sensuality of bodily co-presence in many worlds at the same time and their co-construction.

Keywords

Authors

References