Metaimage: The image beyond visual representation

Mangueira, Camila; Fava, Fabrício

doi:10.14236/ewic/EVA2023.20

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Metaimage: The image beyond visual representation

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proceedings-article

Author(s): Camila Mangueira , Fabrício Fava

Publication date (Print): July 2023

Conference name: Proceedings of EVA London 2023 (EVA 2023)

Conference theme: Since 1990, the EVA London Conference has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences in the field of digital visualisation. The papers and abstracts in this volume cover areas such as the arts, culture, heritage, museums, music, performance, visual art, and visualisation, as well as related interdisciplinary areas, in combination with technology. The latest research and work by early career researchers, established scholars, practitioners, research students, and visual artists, can be found in this volume, published in full colour.

Conference date: 10–14 July 2023

Keywords: Metaimage, Self-referentiality, Digital culture, Creation processes

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Abstract

Advances in technologies and digital media give rise to complex apparatuses and systems increasingly implicated in image production processes. In the context of computational and algorithmic revolution, computational systems can produce images and interpret distinct processes related to them. In this sense, we examine the notion of self-reference as a contemporary phenomenon of image and which implications are related to the emergence of new logic and functions of representation. Then, we draw attention to the need to expand the idea of image as a visual representation presenting the notion of metaimage. From a systemic and semiotic perspective to image, we underline metaimage as a cultural phenomenon stretched by the digital culture. The paper discusses inter-transdisciplinary relevant works in the Arts, Design, and Media that feature the metaimage phenomena. It highlights the scope of the technical image's systems, functions, and positions through technological transformations: from a visual representation to process and operation.

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Camila Mangueira

Fabrício Fava

Conference

Publication date: July 2023

Publication date (Print): July 2023

Pages: 118-125

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[0001]i2ADS

Avenida Rodrigues de Freitas, 265, 4049-021 Porto | Portugal

[0002]i2ADS/FBAUP

Avenida Rodrigues de Freitas, 265, 4049-021 Porto | Portugal

Article

DOI: 10.14236/ewic/EVA2023.20

SO-VID: aa8bbf9e-24ec-4677-9a84-157915206148

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2023

Conference acronym: EVA 2023

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Conference location: London

Conference date: 10–14 July 2023

Conference sponsor: Electronic Workshops in Computing (eWiC)

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2023.20

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

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Andersen, C. U., and Pold, S. Bro. (2018) The Metainterface. The Art of Platforms, Cities, and Clouds. MIT Press, Cambridge.
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Bellour, R. (1997) Entre-imagens: foto, cinema, vídeo. Papirus, Campinas.
Bolter, D. J., and Grusin, R. (1999) Remediation: Understanding New Media. MIT Press, Cambridge.
Carvalhais, M. (2016). Artificial Aesthetics: Creative Practices in Computational Art and Design. U. Porto Edições, Porto.
Couchot, E. (2003) A Tecnologia da Arte: Da Fotografia à Realidade Virtual. Editora da UFRGS, Porto Alegre.
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Espada, H. (2014) Geraldo de Barros e a fotografia. Ed. IMS, Rio de Janeiro.
Flusser, V. (1983) Towards a philosophy of photography. Reaktion Books, London.
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Comments

Comment on this article

[1] Alessandria, J. (1996) Imagen y metaimagem. Universidad, Faculdad de Filosofia y Letras, Buenos Aires.

[2] Andersen, C. U., and Pold, S. Bro. (2018) The Metainterface. The Art of Platforms, Cities, and Clouds. MIT Press, Cambridge.

[3] Baca, M. (ed.) (2008) Introduction to metadata: pathways to digital information. Getty Information Institute, Los Angeles.

[4] Bayer, Herbert, Ise Gropius, Walter Gropius (ed.). (1938) Bauhaus 1919-1928. The Museum of Modern Art. New York Graphic Society: New York.

[5] Baudrillard, J. (1994) Simulacra and simulation. Ann Arbor, Michigan.

[6] Bellour, R. (1997) Entre-imagens: foto, cinema, vídeo. Papirus, Campinas.

[7] Bolter, D. J., and Grusin, R. (1999) Remediation: Understanding New Media. MIT Press, Cambridge.

[8] Carvalhais, M. (2016). Artificial Aesthetics: Creative Practices in Computational Art and Design. U. Porto Edições, Porto.

[9] Couchot, E. (2003) A Tecnologia da Arte: Da Fotografia à Realidade Virtual. Editora da UFRGS, Porto Alegre.

[10] Crawford, K., and Paglen, T. (2019) #26 Training Humans. Fondazione Prada, Milan.

[11] Debord, G. (1997) A sociedade do espetáculo. Contraponto, Rio de Janeiro.

[12] Espada, H. (2014) Geraldo de Barros e a fotografia. Ed. IMS, Rio de Janeiro.

[13] Flusser, V. (1983) Towards a philosophy of photography. Reaktion Books, London.

[14] Flusser, V. (2007) O mundo codificado: por uma filosofia do design e da comunicação. Cosac Naify, São Paulo.

[15] Flusser, V. (2011) Into the universe of technical images. The University of Minnesota Press, Minessota.

[16] Galloway, A. (2012) The Interface Effect. Polity, Cambridge.

[17] Gombrich 1960, apud Menna, F. (1977) La opción analítica en el arte moderna. Gustavo Gilli, Barcelona.

[18] Guasch, A. M. (2000) El arte último del siglo XX: del posminimalismo a lo multicultural. Alianza Editorial, Madrid.

[19] Herbert Bayer, Ise Gropius, Walter Gropius (ed.). (1938) Bauhaus 1919-1928. The Museum of Modern Art. New York Graphic Society: New York.

[20] Hoel, A. S. (2018) Operative Images. Inroads to a New Paradigm of Media Theory. In Feiersinger, L, Friedrich, K., and Queisner, M. (eds.). Image – Action – Space: Situating the Screen in Visual Practice. de Gruyter, Berlin.

[21] Hoelzl, I., and Marie, R. (2015) Softimage: towards a new theory of the digital image. Intellect and Chicago University Press, Bristol and Chicago.

[22] Kember, S. (2013) Ambient intelligent photography. In Martin Lister (ed.). The Photographic Image in Digital Culture. Routledge.

[23] Machado, A. (2000) El Paisaje Mediático. Libros de Rojas, Buenos Aires.

[24] Machado, A. (2001) O quarto iconoclasmo e outros ensaios hereges. Contracapa, Rio de Janeiro.

[25] Mangueira, C. (2016) O pensamento fotográfico. PhD Thesis, Catholic University of Sao Paulo, São Paulo.

[26] Mangueira, C. (2018) As dinâmicas fotográficas no contexto das folhas de contato. In Silveira, I. O. (ed.). IV CLISEM – Ação Comunicativa em Foco. Gênio Criador Editora, São Paulo.

[27] Mangueira, C., Fava, F., and Carvalhais, M. (2020) Digital Image as a Semiotic Agent. Journal of Science and Technology of the Arts, 12.1, 11-17.

[28] Manovich, L. (2002) ‘Metadata, mon amour’. http://manovich.net/index.php/projects/metadata-mon-amour (retrieved 16 January 2023)

[29] Manovich, L. (2013) Software takes command: extending the language of new media. Bloomsbury Academic, New York.

[30] Marshall, Jim. (2004). Proof. San Francisco: Chronicle Books.

[31] Menna, F. (1977) La opción analítica en el arte moderna. Gustavo Gilli, Barcelona.

[32] Mirzoeff, N. (1999) An introduction to visual culture. Routledge.

[33] Mitchell, W. J. (1994) Picture Theory: Essays on Verbal and Pictorial Representation. The University of Chicago Press, Chicago.

[34] Moholy-Nagy, L. (1967) Painting, photography, film. Janet Seligman (trad.). Lund Humphries, London.

[35] Mueller, J. E. (2015) Intermediality in the Age of Global Media Networks: Including Eleven Theses on its Provocative Power for the Concepts of "Convergence," "Transmedia Storytelling" and "Actor Network Theory". Substance 44, 3, 19-52.

[36] Müller-Pohle, A. (1985) Information Strategies. European Photography 21, Photography: Today/Tomorrow, 6.

[37] Nake, F. (2016) The disappearing masterpiece. xCoAx 2016: proceedings of the fourth conference on computation, communication, aesthetics, and X, Bergamo, 7-8 July 2016, 11-26, i2ADS, Porto.

[38] Nöth, W. (2001) Máquinas Semióticas. Galáxia, 1, 51-73.

[39] Nöth, W. (2007) The death of photography in self-reference. In Nöth, W., and Bishara, N. (eds.). Self-Reference in the Media. Mouton de Gruyter, Berlin.

[40] Nöth, W., and Bishara, N. (2007) Self-Reference in the Media. Mouton de Gruyter, Berlin.

[41] Nöth, W., and Ljungberg, C. (2003) The Crisis of Representation: Semiotic Foundations and Manifestations in Culture and the Media. Special Issue of Semiotica, 143, 1–4.

[42] Nöth, Winfried. (2007) Metapictures and self-referential pictures. In W. Nöth, and Bishara N. (eds.). Self-Reference in the media. Mouton de Gruyter, Berlin.

[43] Plaza, J. (1993) As imagens de terceira geração: tecno-poéticas. In Parente, A. (ed.). Imagem-máquina. Editora 34, São Paulo.

[44] Plaza, J., and Tavares, M. (1998) Processos criativos com os meios eletrônicos: poéticas digitais. Hucitec, São Paulo.

[45] Santaella, L., and Nöth, W. (1997) Imagem: Cognição, Semiótica e Mídia. Iluminuras, São Paulo.

[46] Soon, W., and Cox, G. (2020) Aesthetic programming: a handbook of software studies. Open Humanities Press, London.

[47] The Getty Research Institute. Primary Forms. In Bauhaus: Building The New Artist. https://www.getty.edu/research/exhibitions_events/exhibitions/bauhaus/new_artist/form_color/form/ (retrieved 01 January 2023).

[48] Wolf, W. (2009) Metareference across media: the concept, its transmedial potentials and problems, main forms and functions. Metareference Across Media: theory and case studies, 4, 1-85.

[49] Youngblood, G. (1970) Expanded Cinema. E.P. Dutton, New York.

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Metaimage: The image beyond visual representation

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