Iconoclasm as a Critique of the Digital Scopic Regime

Autores
Roldán, Eugenia María; Molina, Manuel
Año de publicación
2024
Idioma
inglés
Tipo de recurso
artículo
Estado
versión publicada
Descripción
When faced with the diagnosis of a digital scopic regime defined by the ubiquity of images, iconoclasm emerges as a possible critical approach. By adapting what Spanish author José Luis Brea (2010) called “The three eras of the image”, this paper outlines three eras of iconoclasm. The first era defines iconoclasm as an act of destruction in the age of matter-images. Since Byzantium, iconoclasm has been understood as the destruction of images as-sociated with the plastic supports of iconic paintings, sculptures, and architecture, as well as the prohibition of their worship and the blocking of their material circulation. The second era describes iconoclasm as a montage procedure in the history of film-images. As a tech-nique, we would be facing a way of making films out of fragments that destroy the unity of the cinematographic image. In the third era, that of electronic-image, we are dealing with a contradiction regarding iconoclasm. On the one hand, images are now superabundant, to the point of their selfcancellation insofar as they become unconsumable: they are not many, they are infinite, ungraspable to any human gaze. Besides, in this iconoclasm turned system, the image loses its specific qualities, i.e. its aesthetic potential, and is impoverished to sur-veillance technology. On the other hand, at the end of the article, we trace perspectives to recover in the dialectic of iconoclasm its critical potential. Each era presents a case of local iconoclasm, allowing the exposition of the unequal north/south geopolitics immanent to the ocularcentric regime of modernity.
Fil: Roldán, Eugenia María. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Instituto de Humanidades. Universidad Nacional de Córdoba. Instituto de Humanidades; Argentina
Fil: Molina, Manuel. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Instituto de Humanidades. Universidad Nacional de Córdoba. Instituto de Humanidades; Argentina
Materia
ICONOCLASM
SCOPIC REGIME
SCREENS
CRITIQUE
Nivel de accesibilidad
acceso abierto
Condiciones de uso
https://creativecommons.org/licenses/by-nd/2.5/ar/
Repositorio
CONICET Digital (CONICET)
Institución
Consejo Nacional de Investigaciones Científicas y Técnicas
OAI Identificador
oai:ri.conicet.gov.ar:11336/263271
Acceder
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spelling Iconoclasm as a Critique of the Digital Scopic RegimeRoldán, Eugenia MaríaMolina, ManuelICONOCLASMSCOPIC REGIMESCREENSCRITIQUEhttps://purl.org/becyt/ford/6.3https://purl.org/becyt/ford/6https://purl.org/becyt/ford/6.4https://purl.org/becyt/ford/6When faced with the diagnosis of a digital scopic regime defined by the ubiquity of images, iconoclasm emerges as a possible critical approach. By adapting what Spanish author José Luis Brea (2010) called “The three eras of the image”, this paper outlines three eras of iconoclasm. The first era defines iconoclasm as an act of destruction in the age of matter-images. Since Byzantium, iconoclasm has been understood as the destruction of images as-sociated with the plastic supports of iconic paintings, sculptures, and architecture, as well as the prohibition of their worship and the blocking of their material circulation. The second era describes iconoclasm as a montage procedure in the history of film-images. As a tech-nique, we would be facing a way of making films out of fragments that destroy the unity of the cinematographic image. In the third era, that of electronic-image, we are dealing with a contradiction regarding iconoclasm. On the one hand, images are now superabundant, to the point of their selfcancellation insofar as they become unconsumable: they are not many, they are infinite, ungraspable to any human gaze. Besides, in this iconoclasm turned system, the image loses its specific qualities, i.e. its aesthetic potential, and is impoverished to sur-veillance technology. On the other hand, at the end of the article, we trace perspectives to recover in the dialectic of iconoclasm its critical potential. Each era presents a case of local iconoclasm, allowing the exposition of the unequal north/south geopolitics immanent to the ocularcentric regime of modernity.Fil: Roldán, Eugenia María. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Instituto de Humanidades. Universidad Nacional de Córdoba. Instituto de Humanidades; ArgentinaFil: Molina, Manuel. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Instituto de Humanidades. Universidad Nacional de Córdoba. Instituto de Humanidades; ArgentinaGeorge Enescu University of Arts2024-06info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/263271Roldán, Eugenia María; Molina, Manuel; Iconoclasm as a Critique of the Digital Scopic Regime; George Enescu University of Arts; Studies on Visual Arts and Communication; 11; 1; 6-2024; 15-232393-1221CONICET DigitalCONICETenginfo:eu-repo/semantics/altIdentifier/url/https://journalonarts.org/previous-issues/vol-11-1-june-2024/info:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nd/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-09-03T10:01:01Zoai:ri.conicet.gov.ar:11336/263271instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-09-03 10:01:01.501CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse
dc.title.none.fl_str_mv Iconoclasm as a Critique of the Digital Scopic Regime
title Iconoclasm as a Critique of the Digital Scopic Regime
spellingShingle Iconoclasm as a Critique of the Digital Scopic Regime
Roldán, Eugenia María
ICONOCLASM
SCOPIC REGIME
SCREENS
CRITIQUE
title_short Iconoclasm as a Critique of the Digital Scopic Regime
title_full Iconoclasm as a Critique of the Digital Scopic Regime
title_fullStr Iconoclasm as a Critique of the Digital Scopic Regime
title_full_unstemmed Iconoclasm as a Critique of the Digital Scopic Regime
title_sort Iconoclasm as a Critique of the Digital Scopic Regime
dc.creator.none.fl_str_mv Roldán, Eugenia María
Molina, Manuel
author Roldán, Eugenia María
author_facet Roldán, Eugenia María
Molina, Manuel
author_role author
author2 Molina, Manuel
author2_role author
dc.subject.none.fl_str_mv ICONOCLASM
SCOPIC REGIME
SCREENS
CRITIQUE
topic ICONOCLASM
SCOPIC REGIME
SCREENS
CRITIQUE
purl_subject.fl_str_mv https://purl.org/becyt/ford/6.3
https://purl.org/becyt/ford/6
https://purl.org/becyt/ford/6.4
https://purl.org/becyt/ford/6
dc.description.none.fl_txt_mv When faced with the diagnosis of a digital scopic regime defined by the ubiquity of images, iconoclasm emerges as a possible critical approach. By adapting what Spanish author José Luis Brea (2010) called “The three eras of the image”, this paper outlines three eras of iconoclasm. The first era defines iconoclasm as an act of destruction in the age of matter-images. Since Byzantium, iconoclasm has been understood as the destruction of images as-sociated with the plastic supports of iconic paintings, sculptures, and architecture, as well as the prohibition of their worship and the blocking of their material circulation. The second era describes iconoclasm as a montage procedure in the history of film-images. As a tech-nique, we would be facing a way of making films out of fragments that destroy the unity of the cinematographic image. In the third era, that of electronic-image, we are dealing with a contradiction regarding iconoclasm. On the one hand, images are now superabundant, to the point of their selfcancellation insofar as they become unconsumable: they are not many, they are infinite, ungraspable to any human gaze. Besides, in this iconoclasm turned system, the image loses its specific qualities, i.e. its aesthetic potential, and is impoverished to sur-veillance technology. On the other hand, at the end of the article, we trace perspectives to recover in the dialectic of iconoclasm its critical potential. Each era presents a case of local iconoclasm, allowing the exposition of the unequal north/south geopolitics immanent to the ocularcentric regime of modernity.
Fil: Roldán, Eugenia María. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Instituto de Humanidades. Universidad Nacional de Córdoba. Instituto de Humanidades; Argentina
Fil: Molina, Manuel. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Instituto de Humanidades. Universidad Nacional de Córdoba. Instituto de Humanidades; Argentina
description When faced with the diagnosis of a digital scopic regime defined by the ubiquity of images, iconoclasm emerges as a possible critical approach. By adapting what Spanish author José Luis Brea (2010) called “The three eras of the image”, this paper outlines three eras of iconoclasm. The first era defines iconoclasm as an act of destruction in the age of matter-images. Since Byzantium, iconoclasm has been understood as the destruction of images as-sociated with the plastic supports of iconic paintings, sculptures, and architecture, as well as the prohibition of their worship and the blocking of their material circulation. The second era describes iconoclasm as a montage procedure in the history of film-images. As a tech-nique, we would be facing a way of making films out of fragments that destroy the unity of the cinematographic image. In the third era, that of electronic-image, we are dealing with a contradiction regarding iconoclasm. On the one hand, images are now superabundant, to the point of their selfcancellation insofar as they become unconsumable: they are not many, they are infinite, ungraspable to any human gaze. Besides, in this iconoclasm turned system, the image loses its specific qualities, i.e. its aesthetic potential, and is impoverished to sur-veillance technology. On the other hand, at the end of the article, we trace perspectives to recover in the dialectic of iconoclasm its critical potential. Each era presents a case of local iconoclasm, allowing the exposition of the unequal north/south geopolitics immanent to the ocularcentric regime of modernity.
publishDate 2024
dc.date.none.fl_str_mv 2024-06
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
http://purl.org/coar/resource_type/c_6501
info:ar-repo/semantics/articulo
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv http://hdl.handle.net/11336/263271
Roldán, Eugenia María; Molina, Manuel; Iconoclasm as a Critique of the Digital Scopic Regime; George Enescu University of Arts; Studies on Visual Arts and Communication; 11; 1; 6-2024; 15-23
2393-1221
CONICET Digital
CONICET
url http://hdl.handle.net/11336/263271
identifier_str_mv Roldán, Eugenia María; Molina, Manuel; Iconoclasm as a Critique of the Digital Scopic Regime; George Enescu University of Arts; Studies on Visual Arts and Communication; 11; 1; 6-2024; 15-23
2393-1221
CONICET Digital
CONICET
dc.language.none.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv info:eu-repo/semantics/altIdentifier/url/https://journalonarts.org/previous-issues/vol-11-1-june-2024/
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
https://creativecommons.org/licenses/by-nd/2.5/ar/
eu_rights_str_mv openAccess
rights_invalid_str_mv https://creativecommons.org/licenses/by-nd/2.5/ar/
dc.format.none.fl_str_mv application/pdf
application/pdf
dc.publisher.none.fl_str_mv George Enescu University of Arts
publisher.none.fl_str_mv George Enescu University of Arts
dc.source.none.fl_str_mv reponame:CONICET Digital (CONICET)
instname:Consejo Nacional de Investigaciones Científicas y Técnicas
reponame_str CONICET Digital (CONICET)
collection CONICET Digital (CONICET)
instname_str Consejo Nacional de Investigaciones Científicas y Técnicas
repository.name.fl_str_mv CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicas
repository.mail.fl_str_mv dasensio@conicet.gov.ar; lcarlino@conicet.gov.ar
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