Aspects of the Contemporary Production of Brazilian Culture

It is clearly no longer a novelty to say that we live in a world of images. The sense of dejai vu, of feeling we have been there before when we have in fact arrived for the first time, has never been so strong. Every landscape seems one we already know, every highway one we have already traveled upon, every story one we have already heard, and every picture one we have already seen. Overall, everything is reduced to an image broadcast on television or a piece of data available on our computer. The simple act of seeing a movie or watching television, of observing how images possess a total mastery over any piece of data or information, pose relevant questions about contemporary artistic representation. Movement, visibility, simultaneousness of time and space are characteristics of the image, that, ever since the invention of photography-and later of motion pictures-have begun to permeate every form of artistic expression-painting, music, literature-just as they have taken over many of their resources. Today, when the processes of reproduction and distribution seem to have attained their apogee, we are faced with new and provocative questions. Starting from the principle that, according to Walter Benjamin (1986), the forms of human perception are historically determined by, among other factors, the technology of each era, it seems logical to believe that the range of

Aesthetics · Art · Epistemology · Expression (computer science) · Geography · Novelty · Painting · Perception · Photography · Political science · Politics · Representation (politics) · Simple (philosophy) · Sociology · Space (punctuation) · Subject (documents) · Visibility · Visual arts · Computer Science · Cultural, Media, and Literary Studies · History · Law · Psychology

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• The Myth of Mass Culture

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• The Coming of the Post-Industrial Society

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• Capitalismo, modernismo e pós-modernismo

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• Postmodern Currents

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• Culture Industry Reconsidered

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