Storie di fantasmi

The constant analysis on the relationship between machines, human beings and images in the context of late modernity led Harun Farocki to understand before and better than any others that the guiding principle of rationalization had an unexpected (more or less) destiny not only in the ever increasing replacement of the human being with the machines, but also in the progressive separation of the images from their original anthropomorphic matrix, towards a language almost entirely autonomous, not anymore depending on a human ratio. The “eye machine” produces images that don’t tell any “story” but monitor, analyze, record, process reality through languages (operational), codes (digital), and forms of storage (big data) that only other machines can read, understand and interpret. And how as Farocki guessed since the early twenty-first century, the first problem that this kind of visual production imposes is the human presence, its visibility within "metaphorical" pictures that "think" and act differently from human beings, their logic and limits.