The concern is constantly manifested in different forms in this book due to the ambivalent power of images. It is a persistent attempt to displace the question from what images are to what their ways of doing are, their performativity. Traditionally, the image has been declared unsuitable for criticizing reality, while today it is claimed that we are immersed in a visual culture that demands to be guided by it. Although most of the images that surround us are for consuming objects and not for generating gazes, this does not imply that images are not still artifacts of speculative, poetic and political power.

This text is an invitation to maintain a critical attitude that allows the emergence of new types of conflicts and new ways of seeing. From a sort of counter-intuition, it states that the problem is not the excess of images, but their scarcity, such as those realities that do not have images and are incapable to be imagined. This is an invitation to create other forms of power, to relate what has no relation, exerting in common the power that is shared. Stories must be told, images must be made, and these stories must be believed, as if they were true. For the author, the revolt of forms can occur in these forms of fragile interruption.

Andrea Soto Calderón has a PhD in Philosophy, and currently lives in Barcelona. She is a Professor of Aesthetics and Art Theory, and has developed her research in Valparaíso, Barcelona, Lisbon and Paris. In addition to her teaching activity, she is working on an artistic research project in relation to the functioning of images at the La Virreina Centre de la Imatge museum, located in Barcelona. Her research focuses on the transformations of aesthetic experience in contemporary culture, criticism, artistic research, the study of image and media, and the connection between aesthetics and politics. She has written several academic articles, book chapters and texts for catalogs of artists. Among her most recent publications, her book Le travail des images with Jacques Rancière (Les presses du réel, 2019) stands out.