ABSTRACT
This chapter suggests that digital born photography is both ail indicator of and a catalyst for a virtual and incorporeal visuality that constitutes an alternative to the perspectival, oculocentric and linear visual schemas inherited from the renaissance. This new visual regime disposes of the mono-centred grid of Brunelleschi's perspective in favour of a grid of fibre-optic cables, wifi transmitters, Retina displays and electric power wires. Visual culture has now entered a phase in which computers and not humans are the ones who process, sort, store, archive and distribute images. It is not only the case that photography is more-than-visual since becoming digital and networked, but also that the visuality of digital photography is augmented by the resonance of this instantaneous transformation, by the ability to affect and be affected by the unpredictable diversity and simultaneity of the network. The digital image allows for the non-visual within the visual to become manifest as a diagram of the diversity of fragments.
