An image in power in the paradigm of Post-history and the predominance of audiovisual media is a technical image which replaces the reality and even its link towards reality ([23:51, Television image and political space in the light of the Romanian Revolution] “There is no reality behind the image. There are realities in the image.”). It is experienced as reality. This type of image stems from the 2nd iteration of magic that replaces the processual world which by linear writing enabled the history [10:59, ibid]. The processual world was granted by sciences and politics and originally tended to replace the (first) magic world operating with images.[23:04, ibid] What happened in Romania (so called Romanian revolution) needs according to Flusser to be understood not as a history nor as a political event but as an aesthetic phenomenon, as a result of magic, a happening or a technical voodoo [24:15, ibid]. The real experience is in the image.

A technical image is a programmed product of an image-making apparatus operated by a skilled operator. It is an indirect product of scientific texts (Technical image, in Za filosofii fotografie, 2013; p.17). In a sensory way a technical image seemingly addresses its spectator similarly to a traditional image and likewise a text seems to carry a message but it is radically different. This synthetic image doesn't operate with symbols like a traditional image neither does intend to decipher the images of the world and express them in notions like text but it is a result of symptoms of this world. It can't be understood by a circular eye movement as in the case of a traditional image neither by following a text line with a linear eye movement [06:10, On Human History as Tv Drama, 1991, M. Bielicky]. If traditional images are displayed in its surface and are bidimensional and a text carries one single dimension of line, a technical image has no dimension at all because it is based on numbers, reduced to pixels. The technical image is coded by numbers and as such it represents a characteristic product of a post-historical society itself no longer governed by texts but by indecipherable numbers forming codes, programs, machines (computer) and apparatuses. These numeric encryptions require a special knowledge of equations upon which they are built but they are generally inaccessible to a literate mass (15:40, ibid). Apparatuses are thus black boxes which swallow the history and spit out the post-history (Our images, in Postdějiny, 2018; p. 67).