The sites of erótico content are top of access as any research on the behavior of internautas world measures. In accordance with given of company north American of research in InterNet Hitwise, published for Leaf of S.Paulo in June of 2004, while 18.8% of the north American that they had had access the InterNet in the searched period had visited sites that propagate pornography, 5.5% of internautas had entered in the main sites of search in the same interval.

Another dimension of the ciberpornografia, this impossible one to quantify, is the circulation of eróticas images saw and mail. A culture of the exchange exists changes of would lower that it feeds substantial part of the box of messages of the users of InterNet in any part of the globe. It was focando this aspect of the net culture that the artist Philip Bed developed a series of works on the current relations between citizen and information, on the agencies of the world contemporary with the universe of imagem.

Begining for One and three photos (After Kosuth), of 2003, the workmanship that gave origin to the series, for thus saying. Presented in 35ª Annual of the Faap, the work shows to a photograph of a woman seminua in a insinuante pose, the same image overlapped for its binary code simplified (gotten by means of its reduction the possible so great minor), and one calhamaço of A4 paper I contend the codification in binary language of the displayed photograph.

The reference is One and three chairs (1965), of Joseph Kosuth, emblem of the conceptual art that if constitutes of a chair, a photograph of the chair and a photographic magnifying of the definition that the dictionary offers of vocábulo. Art as speech. If, with Kosuth, we understand that art is text, in a first confrontation with the workmanship of Philip Bed, we perceive that the digital way adds new texts to the repertoire of the art.

The triad object representation language, that if explicitava in the confrontation of witnesses enters the three chairs of Kosuth, is less explicit when the three photos of the work of Philip are overcome Bed. A time that can be seen in its materiality and its potentiality, the three photos are objects, are representations and are language, concomitantly. In the exposition of Bed na gallery Helm, in São Paulo, One and three photos (After Kosuth) function as preamble for the current production of the artist.

To be continue if the binary Nakeds da Pixel series, eróticas appropriations of photos that circulate pela InterNet na retrabalhadas form of Spam with the use of softwares that image calculates the average between pixels of one determined area da, Route à abstraction, of 2004, in that one same image can be seen at four different moments gave calculation, the nakeds da history da art, enrolled na same logic, and Nakeds (2005), that they are between its more recent works.

Before dealing with the displayed workmanships, that deserve a withheld analysis, let us speak of the contribution of Bed for a critical one of the net culture. Being valid if a routine of the InterNet in the enterprise and corporative universe the ad circulation is very common nauseum of ponographic photos in short definition (to speed up the transit and to accent the descartabilidade of the images) - the artist put the naked the relations between the man and its devices of visão.

Felipe Bed plays with the codes of the digital photograph. If the analogical photograph could be considered, according to Roland Barthes (1), as "an emanation of the referring one", the digital image extinguishes this utopia of transparency. Being manipulated it or not, only by containing the manipulation possibility (that, by signal, already it was also contained in the scope of the analogical photo, fact that is only evident from the advent of the image digital).

Not exists manipulation in photographs of Bed in the direction of alteração/adulteração of "the original" image. Its almost abstract mosaics concentrate the same information contained in pixels "original". The procedure is more clearly when one another work of the artist is overcome, who is not in the sample of the gallery Leme. The series What it seduces you? it shows counterfeited products, as a Nike tennis, a penxs Mont Blanc and a stock market Louis Vuitton, photographed with such I select technician that seem authentic.

What the artist seems to want to prove is that the photographic image is not, in itself, Real or enganosa, that it only can be determined by its pretension to the immediacy (2) or by the desire of the observer for one such immediacy. Arguing the digital photograph in its workmanship Remediation, Bolter and Grusin they write: "a photograph that if presents to be seen without express irony the desire for the immediacy, while that a photograph that calls the attention for its photographic statute becomes if a representation of this desejo".

Is the transparency desire that is in question: for who it wants to see the Nike, the Mont Blanc or the stock market legitimate Louis Vuitton, the notion of a world mediated for the advertising and venda of false images is not placed. Perhaps as well as who exchange pornography daily in the net it does not attempt against for the differentiation enters "an emanation of the referring one" and a handful of data in the form of pixels in its screen. A photograph that calls the attention for its statute mediation, as the images of the series Pixel de Cama, constitute a representation or critical to the this desire of transparency.

Whit this series, the artist still cheats to represent implications of the torrent of information with that if it deals today and of the exacerbação of our escópica pulsão with the advent of the InterNet.The obsceno one of photographs all becomes if metaphor of the obscenity of the invasion of the privacy for and any Spam and pop up indesejado, for espionage mechanisms on line, that they monitor our interests and desires escancarando to the other people's voyerismo, the agencies of the government and the departments of marketing. In the eagerness of everything to see, the InterNet user finishes being not seen the one that would like to think that is.

The artist counts that it tried "to return" to the intervention for the net an only time: re inserted in the ciberpornografia circuit the same photos that had received, but transformed into archives of Word, where if it read the sequence of its binary codes. What they must have thought the addressees of the Spam? If they would have given account of that, ahead of that archive of text, they were accurately visualizing the same information contained in the archives of image of same name ("gostosa01", "gostosa02" etc.)?

One visits to the exposition of Philip Bed in the gallery Helm leaves clearly that, although the inspiration to come of the digital culture, the dialogue of the artist is same with the history of the art. After working on the appropriate images to the net, Bed started to use nakeds of artists as Van Gogh (as in the workmanship above), Gauguin, Picasso and Courbet to apply them the same logic, considering an interesting parallel between art and pornography, in that of they have seemed when the subject is the transparency desire.

Notes:
1 In the Clear Chamber (1980), translated for the New publishing company Border. Rio De Janeiro, 1984.
2 Translation of the English term "immediacy", something as "immediate mediation", in opposition "hypermediacy" (hipermediação), as teorizado for Jay David Bolter and Richard Grusin in Remediation - Understanding New Media. MIT Press, Cambridge, 1999