The second digital revolution—characterized by the preeminence of the internet, social media, and mobile phones—and hypermodern society—characterized by excess and the suffocating effects of consumption—have simultaneously consolidated a post-photographic era. In it, we inhabit the image, and the image inhabits us. Post-photography confronts us with the challenge of the social and political management of a new reality made of images.

But today we are not only immersed in their massive and overwhelming production. As if propelled by the tremendous power of a particle accelerator, photographs circulate online at breakneck speed; they have ceased to play a passive role, and this extraordinary kinetic energy forces them out of their place, out of their confines. Then, without a place, without a refuge, they become unhinged and furious.

While this fury may provoke great uncertainty, it also offers us the opportunity to revisit issues affecting culture, art, communication, and ultimately, the very human condition. Post-photography thus becomes a context for visual thought that underscores the dematerialization of the image and its authorship, dissolving notions of originality and ownership, of truth and memory.

In *The Fury of Images: Notes on Post-Photography*, with his characteristic lucidity and irreverence, Joan Fontcuberta warns us that we have lost sovereignty over images and encourages us to reclaim it.