Writing with the light - photos - in the digital age involves a thorough review of the ontological status of photography, here understood in its complexity of techno-social phenomenon. Indeed, we can say that our relationship with the instrument, between this world and their subject-have remained the same between before and after digital analog? Certainly not. The shift in the paradigm shift, goes back a few years ago and the transformation induced in the production of a mechanical system is final and irreversible, despite resistance from purists, nostalgic and neo-Luddites. With this, you do not want to misunderstand the cultural and economic value delivered by the chain of extinct photo analog, however, continues its manifestations, but confined to increasingly small niche of aristocratic lovers, usually backed by an obstinate cunning merchant. Indeed, it would enhance even more expressive potential, influences and inflections that the language of photography and has taken as its own in recent times. The as there is nothing mysterious or esoteric, simply recognizes the innovative and leading digital liquid matter, which are now made all things - from simple to complex - live and give life to our world. E 'target in this regard, the widespread phenomenon of virtualization or global, in a continuous flow of bits, wraps and distorts the structure of identity systems, organizations, relationships and individual actions. Analog photography and the rules that govern the spread over the practice portraiture, is no longer active, except in areas of conservation of the archives or in the narrow and elite core of activists Fine-Art print with silver salts . A new world of images without the subject, timeless and deals with this memory of anyone producing gestures of communication. The eye that records with a click is in everyone's pockets. A prosthesis needed to be in the world: the mobile phone has its own most evolved performances unfolding immeasurable volumes of digital material, mostly photographic texture. The high degree of connectivity between networked applications software - it is clear that we are in the domain of 'Information Technology - transceivers and interconnection between hardware , produces the illusion of ubiquity that we are often unable to escape, conceding the appeal subliminally. The fact is, however, that the scenario in which it acts is that of the contemporary social communication and learning is widespread, with increasing regulatory influence, so-called Social Networks . We like it or not, the anthropological condition of humanity, "global" - the segment privileged who can afford it - will have a hybrid character and neutral, derived from the symbiosis with the technological tool. In this context, the new photo, the one who changed the skin and substance, from chemical processing of emulsions in the darkroom, computer processing of information gathered by the camera sensor, test language capabilities unimaginable in earlier times. The subject of the image is now composed of immaterial entities, marked by the common mind unreadable code, but executable by a processor. Turn on appearances, that is made visible on the surface of a backlit display, turn on infinite possibilities of use, or at least as many reflect the will of poietic who became deeply involved in digital processing of synthetic image through sophisticated instrumentation software available today. Everything strengthen not only the theory of a "first analog" and a "post digital", but precludes the photographic world - system of technologies, languages, social relations and culture - every opportunity to return to the pre-digital past. And if, by the civil service of traditional photography, is already talk of lies and false in relation to one or multiple ideas of truth, the photographic act - more and more common, widespread and frequent because relatively expensive - buy, with the option post-production, a marked value manipulative. From representation to simulation, the step was short.
Lorenzo Amador
