NINFA'S SURVIVAL IN THE NETWORKING ERA (in the context of Culture and Modern and Contemporary Art)
survival of images; mounting and editing; rhizome; nymph; representations of the feminine.
Based on the theory of the survival of images, proposed by historian and philosopher Aby Warburg (1866–1929), this thesis explores some forms, formulas and image condensations that reappear throughout the history of art. In line with the non-linear, rhizomatic and transdisciplinar nature of Warburg’s research methodology, updated by Georges Didi-Huberman,these images reaper and become evident in various production strategies of modern and contemporary art, as well as in the virtual environments. In this way, we propose to use the same random and combinatorial forms used on the internet, in permanent dialogue with classic and modern images, as well as in other cultural contexts, in order to discuss a variety of representations of the feminine, contextualized in the works of Brazilian artists Berna Reale and Rosana Paulino. Thus, this research intends not just simply to add one more panel to Warburg’s famous Atlas Mnemosyne, or one more nymph to the erudite Didihubermanian pantheon, but to continue exploring and expanding the methodological potentialities linked to
the concept of the survival of images. From there, we explore the relationship between art and photography (technique widely used by Warburg in the elaboration of his panels), as photography continues to be a central ally of various forms of art creation strategies and of image circulation on the context of the Internet and of visual contemporary culture.