Due to the rapid development of machine learning technologies, vision machines that automate visual perception have been made possible. Trevor Paglen (2019) coins the notion of “invisible images” in order to define those images that inhabit this new ecosystem of vision machines in which images are produced by machines and for machines. In this new context, the traditional concepts that have defined our understanding of images become obsolete. This demands new concepts to think visual phenomena beyond the humanist domain of representation. This article attempts a twofold task. First, it argues that Simondon’s “allagmatic” method (2015) offers a fruitful ground for a post-representational study of invisible images. Second, it shows that if we adopt the “allagmatic” viewpoint, we surpass the domain of the humanities in which the study of images has been traditionally framed (Panofsky, 1987). The final section suggests that this new approach is closer to the critical post-humanities (Braidotti, 2018) than to the digital humanities (Berry, 2012).
La Allagmática En Cuanto Disciplina Poshumanista: Nuevas Metodologías Para El Estudio De Las Imágenes En El Contexto De Las Máquinas De Visión Algorítmica
Celis Bueno, Claudio
2020-01-01
Abstract
Due to the rapid development of machine learning technologies, vision machines that automate visual perception have been made possible. Trevor Paglen (2019) coins the notion of “invisible images” in order to define those images that inhabit this new ecosystem of vision machines in which images are produced by machines and for machines. In this new context, the traditional concepts that have defined our understanding of images become obsolete. This demands new concepts to think visual phenomena beyond the humanist domain of representation. This article attempts a twofold task. First, it argues that Simondon’s “allagmatic” method (2015) offers a fruitful ground for a post-representational study of invisible images. Second, it shows that if we adopt the “allagmatic” viewpoint, we surpass the domain of the humanities in which the study of images has been traditionally framed (Panofsky, 1987). The final section suggests that this new approach is closer to the critical post-humanities (Braidotti, 2018) than to the digital humanities (Berry, 2012).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
