‘The second digital revolution - characterised by the pre-eminence of the Internet, social networks and mobile telephony - and the hypermodern society - characterised by excess and the asphyxiation of consumption - have consolidated in unison 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 its massive and overwhelming production. As if propelled by the tremendous power of a particle accelerator, photographs circulate on the web at breakneck speed; they have ceased to play a passive role and this extraordinary kinetic energy makes them leave their place, their frame. Then, without room, without a place to retreat to, they become unhinged and furious. Although this fury may provoke great uncertainty, it also gives us the opportunity to update a reflection on questions that affect culture, art, communication and, in short, the human condition itself. Post-photography thus becomes a context of visual thought that endorses the dematerialisation of the image and its authorship, and dissolves the notions of originality and ownership, of truth and memory.In La furia de las imágenes. Notes on post-photography, with his usual lucidity and irreverence, Joan Fontcuberta warns us that we have lost sovereignty over images and encourages us to recover it.