Fotografia prima e dopo: rotture e continuità intorno alla svolta digitale
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Two successive phases in the advent of digital photography can be discerned. The first involved the digitisation of photographic production, which has become ubiquitous and portable, embedded in mobile phones – a socially legitimated practice in ordinary everyday life. That process demolishes ‘photographic intentionality’ and profoundly modifies the status of the image. The ontological distance between still and moving images blurs to almost nothing. Through an iconic turn, both still and moving images are increasingly challenging alphabetical media’s former absolute dominance in communication and thought. The second phase arrived with the digitisation of the broadcast forms of still and moving images and their immaterial delivery, coming together with social networking. It happened around 2006, when the 9/11 trauma began to subside and telecommunications networks started to improve again, becoming faster and able to transmit images effectively. The last decade has seen users come increasingly to the fore in developing and disseminating creative content. Much of the content has an iconic form and contributes to a particular hybrid aesthetics of user production. For their part, 20th century media agencies, which are almost totally digitised, have sought to transform themselves into social media. The result is a blended communication system: an integrated set of communication channels ranging from the social to the media/broadcast element. Within the contemporary communication system, the photographic act is highly adaptable and persistent.
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