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Abstract(s)
ABSTRACT - The images produced by cameras mounted on the front of projectiles, Farocki designates them as operative-images. The operational function of these images is to serve an automated vision machine,
programmed for the detection of targets and re-orientation of the route of the missiles. The most important feature of technical images, according to Vilém Flusser, is that they materialize certain concepts about the world, precisely the concepts that guided the construction of devices that shape them. Thus, photography, very unlike automatically record impressions of the physical world, transcodes certain scientific theories into images, or to use Flusser´s own words, turns concepts into scenes. We suggest that the final stage, the perfect crime, of visionic technologies would be the production of synthetic images not intended for the biological human eye, as hitherto, but for the artificial vision - vision synthetically prepared by the cybernetic ideology of control. Today is impossible to describe the development of the audiovisual without also talking about the development of virtual imagery and its influence on human behavior or without point to the new industrialization of vision and the growth of a big market for synthetic perception, with all the ethical issues that this entails. Finally, we propose that to understand a significant part of Harun Farocki’s late work would also be useful the concept of neural-image as a component of a networked media practice, related to the ubiquity of digital technologies but also with the presence of surveillance devices in our contemporary visual culture.
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Keywords
Harun Farocki Operative-images Surveillance Synthetic perception Neural image