A efemeridade na tecnocultura: escavações em aplicativos de imagens feitas para sumir

Abstract

This thesis aims to be an exercise in communicational vision about the constitution of ephemerality as a technocultural quality. From an investigative drawing composed by the Bergsonian Intuitive Method, by the Archeology of the Media and by the Benjaminian Constellations, we divide our action into two central parts. In the first one, we take an archaeological look at the object, understanding it while becoming, and searching in other temporal contexts, points related to events, devices and experiences, with a view to constructing an enlarged layer of the corpus, called by us as morphogenesis of the present. Advancing to what we call the focused layer of the corpus, referring to the contemporary context, it was possible to perform the excavation procedure under three platforms in particular, Instagram, Facebook and Snapchat, in search of condensed formations of the object. After a comprehensive overfly on all these constitutive aspects of the object, we created four distinct constellations, The Look of the Other, Marks of Time and Control, Disguises of the Present and Paradoxes, in which it was possible to show the main ways of building ephemeral images, as well as to point out the constructs that constitute it. In the end, we find that the ephemeral image manifests itself through images-flow and images-speculation, two conceptual proposals delivered with the thesis and that reverberate our expanded vision about the image that understands it as virtuality capable of updating itself in various ways and in multiple platforms. Audiovisualidades have provided us a broadening of our spectrum of observation, revealing aspects of the object embedded in both traditionally read and imaged surfaces (photography and video) and in action experiences in platforms (use flows). Finally, in the second stage of the method, we return to the virtual one that impelled us at the beginning of the research, to rethink it from the conditions of experience with objects and arrive at the concept of ephemeral digital imagery, a complex quality that essentially congregates modes of uses and aesthetics identified by us as the preeminent of ephemerality.