If the lack of emptiness, of air in the systematic configuration of the digital space through the screen led me to reverse it, the relational mode of social networks through the screens encourages me to reinvest the off-screen. Digital humanism is under construction, which leads me to investigate the nature of the continuities and the extent between the physical space and the digital space.
A portrait head belongs to the history of memorial art, based on resemblance. It brings together a multitude of details to arrive at a singularity which makes a head resemble only itself. The representation of a head includes the face and the profile and represents physical space, of the here and now, inscribed in the linear time line.
The digital profile is a representation that refers to what we potentially are, in a probabilistic way. It results from algorithmic calculations developed from digital traces, a sort of duplicate of an individual’s digital behaviorism. By choosing the word “profile,” the word “face” is put aside, absent. Physical resemblance is not the subject of a digital profile. (Profile comes from forensic medicine for the identification of the missing subject. In this sense the profile presupposes the disappearance of the subject.) The function of a digital profile is to shorten the time of evaluating what suits us or not, the time of choice, the time of uncertainty.
The body and the gaze are not necessarily on the same line of exchange and encounter. The gaze carries emotions, availability, escape or opposition, it can also be the door to emptiness. But the ubiquitous gaze, a reflection of everywhere and nowhere, is the one that results from the desire for ubiquity nourished by the screen and flooding the body and the mind. It illustrates dissociation.
