Читать книгу Homo Cypiens - Herlander Elias - Страница 7

Everywhere, reality is always represented in screens, in squares, windows and cut-outs of reality. Whether it's on computers, whether on TV or on our mobile media, we are always watching a version of reality that is micro-presented, an almost playing version of a reality that really exists in. Actually, there are people and events. The cinematic screens we use transform “real reality” into a simulation of windows. Everything looks like a computer game, but in reality people have stories and traditions, opinions and knowledge. Anyway none of this matters now, except to social networks; for these we are living in one of the squares that appear on the screen ― we are part of the social “whole”, we are a part of the digital social fabric. We have transformed the digital media into windows so that individuals share their personal imaginaries, a so exteriorized subjectivity that it leads to the establishment of a public state of “everybody knows, everybody sees, everybody does”, this being considered the norm. But the great question is that the “realities” we consult in social media are already corrupted by the cinematic logic of perspective, framing, angle, color correction, suffering these of amateur handling as it has become obvious over the last few years. So, the massive dynamics of all this leads us to participate in the great film of our life because we are always online, we are audiences who share and consult, after all we are actors and now our performance counts. There is a continuous performance obviously recognizable in a “gamification” of the reality. And outside of this performance no one seems to be out. We are researchers, players and actors. Nobody knows what to want, but everyone wants to appear in the websites which social media turned into. Who could imagine these websites and apps would reach such a magnitude they have today?!

When we see the posts on Instagram it looks like we are watching a movie stars’ diary pretending that everyone has a perfect life. Nobody shares the bad side of life. This hyper-reality is colored pink, and what's more weird is that no one is prepared for the massive dynamics of social media. We see too many people sharing everything, but we are not interested in the majority of the things published in these social media. However, in any case, people publish and consult. These networks are made from people to people and understood by machines and algorithms, besides this one notices that there is a certain tyranny of the model. In social network all information always follows a paradigm, a story-base: there is an article of journalism, a scientific study, always supporting what goes on and that gives rise to publication, including funny posts. The referent is always the reality outside the social medium. In practice, we are getting formatted for the “age of misinformation”. The people themselves misinform one another, so that the random reality seems suspicious. The scale of misinformation is big because as reality follows the photographic and cinematic spectrum, which are realistic, though manipulative, all else is doubtful. From here we can draw an illation ― you are lying having reality as a basis. Fantasy, rumor, lies, mythomania and other elements of the genre grow in tandem with the massive dynamics of the network, because the network is made up of everything ― the objective and the subjective.

The influence that we have of cinema is still very big, after all this is the means of election of the twentieth century according to Manovich (2001), and since we are in the 21st century it is also notorious that we are highly influenced, no longer by the computer model, but by the network model. It is the network that rules as a model in everything: trends, viral codes, new preferences, futurism, and so on. We see reality by the style of the camera or the vídeo camera. For this reason, the idea of ​​a “system-image” prevails due to the immeasurable increase of images. The images all together make up a system-image, and each image connects to more “flow-images”. We are watching the end of the “still” image. All the images, even the photographic ones can have movement, can be cinematic like the live photos of the Apple iPhone. What is happening is that in an image-addicted society flow images function as connecting poles, attraction poles and points of attachment between people. The time when people communicated more by telegram, letter, postal or email is gone. The truth is that now we communicate more through social media and this stems from the fact that we are more prone to visual communication. Or audiovisual. However, as volatility sets in serenity it will unleash its purpose.