The texts retake and systemize some developed teses already before for Burke. One of them is of that history always privileged the written documentation, leaving of side the visual sources. The historians are skeptical how much to the use of images as historical evidence, affirming that they frequently are ambiguous and can be ‘ ‘ lidas’ ‘ in many ways. historians argue that the present ambiguity is practically inserted in all the texts. The proposal of these historians is exactly to encourage the use of the evidence of the image, this ‘ ‘ eyewitness of histria’ ‘ , they retake the questions of the subjectivity, boarded in chapter 1, when mentioning authors contemporaries as Foucault, that searched more dynamic and less bordering slight knowledge on the citizen. Santaella conceives the different ways of subjetivao, as assay, as ethical and aesthetic process, that they search to produce existence ways unknown.

By the way, this ticket of this text seems to bring us a semitico diagram, since we know that the semiotics is preceded first by the aesthetic one and later for the ethics. To each chapter they go thickening the diverse manifestations of the body that incarnate different symptoms until arriving at the volatile body, excessive, afflicted, amputated, siliconizado, enxuto, erotizado, firm, longilneo, considering and supporting by the society of spectacle. The fashion, that together with blew up in the middles of century XX the mass culture, is seen as fancy and seductive frivolidade, as in the event of fashion Fashion Week, that presented a parade in which to the models they dressed torn clothes of full paper in passarela. We perceive that the photograph as any another source of register, by itself does not constitute a source of necessary information and complete, separately it is as a lowermost one I break up of history, needing to interact with other complements or sources, want are written, it wants are visual or of other natures for a true appreciation of its registers. ‘ is known that; ‘ an image valley for a thousand palavras’ ‘ , but this phrase alone makes sensible if in fact the interpreter to obtain to extract the biggest amount of words occulted in the photograph, not only on ones to the first visual contact. The photograph memorized with allegiance a parcel of the reality that if pointed out in the field of the objective.

When we observe a photograph, we must have the conscience of that the interpretation of the Real will be forced.