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Nevasca: registo, logo existo. Imagem, memória e sonho
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Desde os seus primórdios, a fotografia encontra-se indissociavelmente ligada à memória. De igual forma, o cinema sempre teve uma relação de proximidade com a experiência do sonho. Essas relações têm evoluído de variadas formas ao longo do tempo, influenciadas pelas metamorfoses sofridas nos meios de produção de imagem, que, por sua vez, trouxeram novas formas de vivência da memória e do sonho. Nesse sentido, torna-se importante perceber de uma forma mais profunda como é que a fotografia e a memória se relacionam, bem como o cinema e o sonho, e como é que as novas tecnologias vêm alterar a experiência dos diferentes tipos de produção de imagem. Este trabalho de projeto apresenta uma análise dessas duas relações particulares entre a fotografia e a memória e o cinema e o sonho de forma a tentar perceber de uma perspetiva comparativista uma possível fusão entre naturezas de produção e experiência da imagem. A pesquisa é baseada na análise de teses de alguns autores que abordaram essas questões, desde Roland Barthes a Gilles Deleuze, passando por Henri Bergson e Edgar Morin, por exemplo, procurando formular novas perguntas e possibilidades de resposta, a partir deles. Verificou-se que o que aproxima a fotografia da memória de uma forma que quase chega a ser perigosa é o paradoxo do tempo que ambos representam a vários níveis, tendo em conta os termos caraterísticos do tempo elaborados por Bergson, nomeadamente a
contração e a duração. E que cada tipo de produção de fotografia levanta uma relação de proximidade/afastamento específico com a memória. A fotografia analógica, apresentando-se enquanto algo aparentemente palpável, parece permitir uma vivência mais segura e duradoura da memória, pelo contrário, a fotografia digital, apesar de democratizar o acesso à fotografia, por ser acessível a um maior número de pessoas, leva a uma produção constante e inquestionada de imagens cujo único propósito muitas vezes
é o serem partilhadas online. Por outro lado, verificou-se um “elo biológico” entre o cinema e o sonho, sendo que muitas vezes são uma e a mesma coisa, ao se fundirem num mesmo tempo e num mesmo plano imagético. O cinema de Apichatpong Weerasethakul provou ser o exemplo exponencial desse elo. A partir dos resultados, foi possível elaborar um livro com fotografias, cartas, sms’s e textos num jogo de constante tensão entre o real (a memória, a fotografia) e o imaginário (o sonho, o cinema) que procura ser ao mesmo tempo um ponto de chegada e um ponto de partida para um questionamento que nunca se esgota e pode ser sempre feito de outros pontos de vista e perspetivas.
Since its beginnings, photography has been inextricably linked to memory. Likewise, cinema has always had a close relationship with the experience of dreaming. These relationships have evolved in different ways over time, influenced by the metamorphoses suffered in the means of image production, which brought new ways of experiencing memory and dreams. In this sense, it is important to understand in a deeper way how photography and memory are related, as well as cinema and dreams and how new technologies have changed the experience of the different types of image production. This project presents an analysis of these two particular relations between photography and memory and cinema and dreams in order to try to perceive from a comparative perspective a possible fusion between natures of production and the experience of images. The research is based on the analysis of the theses by some authors who addressed these issues, from Roland Barthes to Gilles Deleuze, Henri Bergson and Edgar Morin, for example, seeking to ask new questions and possibilities of answers, from them. It was found that what brings photography and memory together in an almost dangerous way is the paradoxes of time that they both represent at various levels, considering the terms of time elaborated by Bergson, namely contraction and duration. And that each type of photography production raises a specific proximity / distance relation with memory. Analog photography, presented as something apparently palpable, seems to allow a safer and more lasting experience of memory, on the contrary, digital photography, despite democratizing access to photography, as it is accessible to a greater number of people, leads to a constant and unquestioned production of images whose sole purpose is often to be shared online. On the other hand, it was found a “biological link” between cinema and dreams, because many times they are one and the same and merge from the same time and imaginary plane. Apichatpong Weerasethakul's cinema proved to be the perfect example of that link. Based on the results, it was possible to create a book with photographs, letters, text messages and texts by playing with the constant tension between the real (memory, photography) and the imaginary (dreams, cinema), that seeks to be at the same time an arrival and a starting point for a questioning that never ends and can always be made from other points of view and perspectives.
Since its beginnings, photography has been inextricably linked to memory. Likewise, cinema has always had a close relationship with the experience of dreaming. These relationships have evolved in different ways over time, influenced by the metamorphoses suffered in the means of image production, which brought new ways of experiencing memory and dreams. In this sense, it is important to understand in a deeper way how photography and memory are related, as well as cinema and dreams and how new technologies have changed the experience of the different types of image production. This project presents an analysis of these two particular relations between photography and memory and cinema and dreams in order to try to perceive from a comparative perspective a possible fusion between natures of production and the experience of images. The research is based on the analysis of the theses by some authors who addressed these issues, from Roland Barthes to Gilles Deleuze, Henri Bergson and Edgar Morin, for example, seeking to ask new questions and possibilities of answers, from them. It was found that what brings photography and memory together in an almost dangerous way is the paradoxes of time that they both represent at various levels, considering the terms of time elaborated by Bergson, namely contraction and duration. And that each type of photography production raises a specific proximity / distance relation with memory. Analog photography, presented as something apparently palpable, seems to allow a safer and more lasting experience of memory, on the contrary, digital photography, despite democratizing access to photography, as it is accessible to a greater number of people, leads to a constant and unquestioned production of images whose sole purpose is often to be shared online. On the other hand, it was found a “biological link” between cinema and dreams, because many times they are one and the same and merge from the same time and imaginary plane. Apichatpong Weerasethakul's cinema proved to be the perfect example of that link. Based on the results, it was possible to create a book with photographs, letters, text messages and texts by playing with the constant tension between the real (memory, photography) and the imaginary (dreams, cinema), that seeks to be at the same time an arrival and a starting point for a questioning that never ends and can always be made from other points of view and perspectives.
Descrição
Palavras-chave
Imagem Memória Fotografia analógica Fotografia digital Arquivo Cinema Sono Sonhos Analog photography Digital photography Memory Archive Cinema Sleep Dreams