Photographic formless. Excesses of a technical materiality

Abstract

In the history and theory of photography, ontological models have prevailed that define the object according to an original reference, a signical function that points to the physical contiguity and its reaches in the material inscription of an always exceptionally human sense. The following article analyzes how it becomes possible to think a photograph in post-human terms and how such a perspective shuffles the possibilities of a photographic ontology understood in terms of a dynamic, vibrant and self-poietic materiality. In order to test this way of understanding and delimiting the photographic object a set of photographic artifacts will be analyzed. These artifacts stress the limits of the form and disarticulate any representational pretension that sends to the security of a photographic recognition and to the assurance of a meaningful ideality. Objects that put into operation a photographic excess in which its material thickness reorders the partition of the sensible.

Keywords

• fotografía experimental
• nuevos materialismos
• trans-objetualidad
• estética
• posthumanismo