Poéticas do sensível no campo expandido do (pós-) fotográfico
Data
2023-09-22
Autores
Oliveira, Gabriel Brito Bueno de 
Orientadores
Filho, Osvaldo fontes
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
Esta pesquisa propõe percorrer certas intermitências visuais promovidas pelo digital turn e o trabalho que uma fotografia expandida motiva junto à materialidade da imagem e a seu registro do tempo por força do deslocamento que promove de uma indicialidade de fundo. A noção de “campo expandido” (bem como de seu subconjunto, a “pós-fotografia”) aqui trabalhada aponta para uma encruzilhada entre indeterminações, abre perspectivas de narrativas visuais diferenciadas, cria tensões entre modos diversos de representação, aponta, enfim, para uma inespecificidade da imagem contemporânea. O que se focaliza, pois, é uma mudança de estatuto, de percepção e de possibilidade formal, indicativa de uma livre migração dos media. Razão porque um dos objetivos desta pesquisa seja examinar um pensar próprio ao manuseio de imagens: reenquadramentos, recuperações de arquivos, lampejos de imaginação, enfim, procedimentos capazes de criar novas possibilidades estéticas, portanto mundos possíveis, para renovadas sensibilidades e sentidos. As poéticas visuais aqui percorridas, demonstrativas dessas novas possibilidades formais, apontam ainda para um trabalho com temporalidades que se entrelaçam, que assumem o anacronismo ao tecerem novas redes de produção de memória. Razão porque evocamos a intermitência das imagens pós-fotográficas que relampejam memórias e onde found footage e found photography ecoam impertinências visuais junto ao frame realocado para fora das “grandes narrativas” legitimadoras das especificidades artísticas. Este trabalho se quer na forma de uma heurística, assentado sobre uma lógica da incerteza - preconizada por Georges Didi-Huberman para toda escrita em história da arte -, heurística que procura dialogar com um campo expandido do fotográfico. A noção de pós-fotografia, usada aqui como uma das categorias da inespecificidade assumida pela estética contemporânea, permite falar de uma verdade da ficção, de uma imagem-ficção, de uma imagem-como-mundo-possível. Para além da negação da fotografia em sua trajetória de linguagem consolidada, busca-se mostrar como o rompimento teórico (e procedural) de uma imagem-traço possibilita um olhar generoso para com a imagem em sua fisicalidade, com o desconcerto inerente ao fato de ali encontrar algo da ordem de uma indeterminação e precariedade com dons de potencialidade criativa. Nosso empenho será, pois, o de mostrar como o trabalho fotográfico em campo expandido, com o consequente desassossego das indeterminações presentes nas fronteiras da indicialidade fotográfica, permite uma renovada poética do sensível.
This research proposes to go through certain visual intermittences promoted by the digital turn and the work that a post-photography motivates together with the materiality of the image and its registration of time by virtue of the displacement it promotes from a background indexicality. The notion of post-photography (as well as it’s subset, the post-photography) worked here points to a crossroads between indeterminations, opens perspectives of differentiated visual narratives, creates tensions between different modes of representation. What is focused, therefore, is a change in status, perception and formal possibility, indicative of a free migration of the media. This is why one of the objectives of this research is to examine a way of thinking specific to the handling of images: reframing, file retrievals, flashes of imagination, in short, procedures capable of creating new aesthetic possibilities, therefore possible worlds, for renewed sensibilities and senses. The visual poetics covered here, demonstrating these new formal possibilities, also point to a work with temporalities that intertwine, which assume anachronism when weaving new networks of memory production. This is why we evoke the intermittency of post-photographic images that ash memories and where found footage and found photography echo visual impertinences along with the frame relocated outside the “great narratives” that legitimize artistic practices and propositions. This work takes the form of a heuristic, based on a logic of uncertainty - advocated by Georges Didi-Huberman for all writing in art history -, a heuristic that seeks to dialogue with a renewed theoretical eld of photography. The notion of post-photography, by the way, allows us to speak of a truth of fiction, of an image-fiction, of an image-as-possible-world. In addition to the negation of photography in its consolidated language trajectory, it seeks to show how the theoretical rupture of a trace-image enables a generous look at what is little perceived in the photographic image, a look at the image in its materiality, with the bewilderment inherent in the fact of finding there something of the order of an unreasonable image, an indeterminacy and precariousness with gifts of creative potential. Our commitment will be, therefore, to show how the concept of post-photography; as the consequent uneasiness of the indeterminacies present on the frontiers of photographic indiciality allows a renewed poetics of the sensitive.
This research proposes to go through certain visual intermittences promoted by the digital turn and the work that a post-photography motivates together with the materiality of the image and its registration of time by virtue of the displacement it promotes from a background indexicality. The notion of post-photography (as well as it’s subset, the post-photography) worked here points to a crossroads between indeterminations, opens perspectives of differentiated visual narratives, creates tensions between different modes of representation. What is focused, therefore, is a change in status, perception and formal possibility, indicative of a free migration of the media. This is why one of the objectives of this research is to examine a way of thinking specific to the handling of images: reframing, file retrievals, flashes of imagination, in short, procedures capable of creating new aesthetic possibilities, therefore possible worlds, for renewed sensibilities and senses. The visual poetics covered here, demonstrating these new formal possibilities, also point to a work with temporalities that intertwine, which assume anachronism when weaving new networks of memory production. This is why we evoke the intermittency of post-photographic images that ash memories and where found footage and found photography echo visual impertinences along with the frame relocated outside the “great narratives” that legitimize artistic practices and propositions. This work takes the form of a heuristic, based on a logic of uncertainty - advocated by Georges Didi-Huberman for all writing in art history -, a heuristic that seeks to dialogue with a renewed theoretical eld of photography. The notion of post-photography, by the way, allows us to speak of a truth of fiction, of an image-fiction, of an image-as-possible-world. In addition to the negation of photography in its consolidated language trajectory, it seeks to show how the theoretical rupture of a trace-image enables a generous look at what is little perceived in the photographic image, a look at the image in its materiality, with the bewilderment inherent in the fact of finding there something of the order of an unreasonable image, an indeterminacy and precariousness with gifts of creative potential. Our commitment will be, therefore, to show how the concept of post-photography; as the consequent uneasiness of the indeterminacies present on the frontiers of photographic indiciality allows a renewed poetics of the sensitive.