Networks, Society, and Polis: Epistemological Approaches on Mediatization

Ana Paula da Rosa 198 a reverberation of their themes. In this sense, it is interesting to think that circulation is not restricted to products that cir- culate or develop the potential for circularity (back and forth), but manifests in the struggle for the production of meaning which takes place within the scope of the media dispositifs . The images that make up our field of observation can be under - stood as agents of interactional circuits since, with each new publication, there are repercussions, reworkings, different in- terpretations that result in strains, ratifications, or erasures of the image’s strength. Thus, we support the theoretical hypoth- esis that circulation is constituted as a relation of attribution of value (ROSA, 2016b; 2017). It is verifiable in the creation of circuits because only the images perceived and grasped as the relevant ones tend to remain in circulation, which demon- strates that, with every new insertion, those pictures are en- hanced, potentialized. In part, this explains why some images disappear, although they are available for access. This disap- pearance can result in one of the types of operation-images that we will see ahead: the residue. In our view, the force of adherence of determined im- ages allows them to develop the power to fixate, each time they are re-inserted in circulation. Though, what about images that are no longer inserted and are still present? In this case, we must turn our attention to the idea of ​circulation and not to the material product – that is, a photograph or video. If we recover the notion of circulation as work in this space of time for the production of meaning, we will notice that material images are no longer inserted 5 when the immaterial ones gain strength and acquire the condition to circulate as decals or emblems, when images integrate the imaginary, and, thus, become autonomous. When we talk about the attacks or the war in Syria, we have al- ready filled our view with photographs and videos of children, all a little alike Aylan Kurdi, all a little like the child we were, all a kind of appeal, usually without the proper historical-political context in depth. The image invades us, and, in this case, the eyes do not blink, but they also do not stop. 5 Often, they only stop being inserted after a continuous process of presentation, replication and rework.