If we consider photography as a memory prosthesis, in today’s hypervisual world this function has been overwhelmed by the very saturation of images we face every day. The artifact has become an infinite visual torrent, from which only natural memory and the archive will rescue that which is worth saving.

Depending on the environment, we will be exposed to a greater or lesser number of images, with which we will establish different levels of relationship: from the family photograph on the dresser in the corridor whose presence may serve to reaffirm our role in the family environment, to the advertisement that could function as a catalyst mechanism for the behavior and aspirations of the individual as a member of the community. Who has known/experienced chemical or analog photography, will have no problem in recognizing how the function, diffusion and archive of photography has changed with the appearance of the digital image, the development of social networks and accessibility to the Internet, proclaiming selfie, not so much as a tool of personal knowledge, but as a preferred strategy of social (re)affirmation.

The advertising image has invaded the space of cities and has disrupted the referential value of photography, which has now become an effective instrument for generating expectations, arousing passions and promoting the profile of the individual as “homo consumericus”, the gear of a society that translates its well-being into percentages of growth.

In the large numbers, the digital image has devalued the value of photography: In the family sphere, the archive has become an “archaeological” element, and the benefit achieved in the diffusion has been seriously compromised in its persistence. The manipulation of the image is celebrated in social networks and virtualization is revealed as the definitive disconnection between photography and reality.

The flow of images to which we expose ourselves daily make up a complex and changing landscape, an environment of hyper visual stimulation that turns us into spectators in front of a screen through which a succession of images, selected by some capricious algorithm with pretensions of becoming the new memory prosthesis, runs swiftly.

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