Abstract

With the concept of the technical image, Flusser indicates a historical shift in the structure of Western society.1 Technical images, as found in photographs, films, videos, computer terminals, and television screens, designate images produced by an apparatus designed to create programmed information. Contrary to traditional images which carry significance through representation as seen in paintings, technical images are surfaces that operate according to “inverted vectors of meaning.”2 The meaning of a technical image is not found in what the image signifies but in what it projects. In other words, technical images are less about the representation of the world and more about modeling the subject’s relation to and vision of reality. As such, technical images are “instructional programs” designed to inculcate significance, shape behavior, and direct subjects on how to make sense of the world.3 The surfaces of technical images move away from a mimetic representation of the real to inscribe concepts as connotative, as opposed to denotative, forms of signification. However, traditional images and technical images are not entirely disconnected from one another. Together they shape the posthistorical phase of humanity, a phase in which humans’ relationship to reality is increasingly conditioned and modulated by embedded codification. This codification is produced by apparatuses that calculate probability. These apparatuses are opaque because they no longer require the knowledge of their operation by the subject that handles them. In other words: traditional images are “observations of objects,” while technical images are “computation of concepts.”4