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The author proposes, in the six essays of this her brand-new book, a reflection on the status of image in the contemporary world. Since the emergence of photography, and after cinema, the universe of technical images did not know a process of transformation as radical as that of our time. Images have become the main interfaces of daily mediation, occupying communication, affective relationships, infrastructure, surveillance aesthetics and body scan systems in the city. Speaking of image policies, she argues that images are, in addition to the transmission of ideas and languages, the very field of political tensions and disputes of today. Beiguelman associates the invention and massive distribution of smartphones with a new surveillance regime, no longer instituted by the state, but the result of the systematic capture of personal data, deliberately offered by users to social media platforms the datasphere. The countless production of images in the feeds and stories of social networks, surveillance cameras and official records configure, according to her, a new aesthetic of surveillance. Digital image, selfies, memes, image aging apps, Waze and Google Maps, deep fakes videos, body scanning, the internet of things, facial recognition machines, artificial intelligence, gable protest projections in cities, digital censorship, all these novelties from the contemporary world are analyzed by Giselle Beiguelman to describe (and even guide the reader to recognize in the world around him/her) the role of the image in social relations today

This paper describes the overdose situation of documentary production fostered by social networks and its impact on the traditional forms of storage and the contemporary memory culture. It situates the specificity of net art in its connection to dynamic and systemic environments of flow, over which there is no control, implying new conservation parameters and investigates the particular aesthetics. It problematizes the political in-stances that have turned the Internet into a surveillance environment, denying access to older sites and affecting the preservation of online art. In the end, it presents how we are working with Museum of Contempo-rary Art of the University of Sao Paulo (MAC-USP), in the development of a methodology to deal with net art pieces in the museological universe. The discussion is based on the case of The Book after the Book website (1999), which required a series of updates and reprogramming of codes in the process of migration to the museum collection. Based on this experi-ence, we suggest a reflection about net art museums as museums of the unfinished, unrepaired and unrecovered. This strategy may allow dealing with irreversible losses, without counting on the following process of dis-appearance of the artworks.

How are images made, and how should we understand the capacities of digital images? This book investigates images as well as the technologies that host them. Its three chapters discuss the boundaries that images cross and blur between humans, machines, and nature and the ways in which images are political, material, and visual. Exploring these boundaries of images, this book places itself at the limits of the visual and beyond what can be seen, understanding these as starting points for the production of new and radically different ways of knowing about the world and its becomings.