<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2317-0972</journal-id>
<journal-title><![CDATA[Leitura: Teoria e Prática ]]></journal-title>
<abbrev-journal-title><![CDATA[LTP]]></abbrev-journal-title>
<issn>2317-0972</issn>
<publisher>
<publisher-name><![CDATA[Associação de Leitura do Brasil (ALB)]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2317-09722012000200009</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Flashforward: o futuro é agora]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Pisters]]></surname>
<given-names><![CDATA[Patricia]]></given-names>
</name>
</contrib>
</contrib-group>
<aff id="A09">
<institution><![CDATA[,Departamento de Estudos de Mídia da Universidade de Amsterdã  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>10</month>
<year>2012</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>10</month>
<year>2012</year>
</pub-date>
<volume>30</volume>
<numero>59</numero>
<fpage>62</fpage>
<lpage>75</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_arttext&amp;pid=S2317-09722012000200009&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_abstract&amp;pid=S2317-09722012000200009&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_pdf&amp;pid=S2317-09722012000200009&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Em The Future of the Image (2007)3, Jacques Rancière afirma que as imagens já alcançaram seu destino. Ele defende uma estética da imagem que reconheça o poder contínuo das imagens como registros de marcas da história que nos educam, como interrupções que nos afetam diretamente, e como sinais abertos a combinações do visível e do dizível ad infinitum. Mas será que as afirmações de Rancière também dizem respeito ao destino do cinema? Suas referências cinematográficas, no sentido deleuziano, são em sua maioria imagens-tempo modernas. O destino do filme seria mesmo uma forma de imagem-tempo, ou o “coração” do cinema já teria se mudado para além desse tipo de imagem? Este artigo propõe pensar sobre uma terceira categoria de imagens cinematográficas, a partir da terceira síntese do tempo desenvolvida por Deleuze em Diferença e Repetição. Essa imagem fílmica, que poderia ser chamada de imagem-neuro, conecta-se ao regime impuro das imagens típicas da lógica da base de dados da era digital. Ao comparar Hiroshima, Meu Amor (1959), de Alain Resnais, e a série de televisão FlashForward (2009), analiso as operações temporais da imagem na imagem-tempo nessas imagens de um novo regime, a imagem que pertence ao futuro e que vem dele.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract In The Future of the Image (2007) Jacques Rancière states that the end of images is behind us. He argues for an aesthetics of the image that acknowledges the continuing power of images as educating documentations of traces of history, as directly affecting interruptions, and as open-to-combining signs of the visible and the sayable ad infinitum. But does Rancière’s claim also concern the future of cinema? His cinematic references, in a Deleuzian sense, are mostly to modern time-images. Is the future of film indeed a form of the time-image, or has the ‘heart’ of cinema moved beyond this image-type? This paper proposes to look at a third category of cinematographic images, based in the third synthesis of time as developed by Deleuze in Difference and Repetition. This filmic image, that could be called the neuroimage, is connected to the impure regime of images typical for the database logic of the digital age. By comparing Alain Resnais’s Hiroshima Mon Amour (1959) to the television series FlashForward (2009), I will analyse the temporal operations of the image of the time-image to these images of a new regime of images, the image of and from the future.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Imagem-Tempo]]></kwd>
<kwd lng="pt"><![CDATA[Imagem-Neuro]]></kwd>
<kwd lng="pt"><![CDATA[Cérebro é Tela]]></kwd>
<kwd lng="pt"><![CDATA[Lógica de Banco de Dados]]></kwd>
<kwd lng="pt"><![CDATA[Flashback]]></kwd>
<kwd lng="pt"><![CDATA[Flashforward]]></kwd>
<kwd lng="pt"><![CDATA[Destino da Imagem]]></kwd>
<kwd lng="en"><![CDATA[Time-Image;]]></kwd>
<kwd lng="en"><![CDATA[Neuro-Image]]></kwd>
<kwd lng="en"><![CDATA[Brain is Screen]]></kwd>
<kwd lng="en"><![CDATA[Database Logic]]></kwd>
<kwd lng="en"><![CDATA[Flashback]]></kwd>
<kwd lng="en"><![CDATA[Flashforward]]></kwd>
<kwd lng="en"><![CDATA[Future of the Image]]></kwd>
</kwd-group>
</article-meta>
</front><body><![CDATA[  <font face="Arial, Helvetica, sans-serif"> <h2>Flashforward:  o futuro &eacute; agora.</h2>     <p>&nbsp;</p> <h4>Patricia  Pisters    <br> </h4> </font>      ]]></body><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="journal">
<source><![CDATA[Deleuze Studies]]></source>
<year></year>
<volume>5</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>261-74</page-range></nlm-citation>
</ref>
</ref-list>
</back>
</article>
