Mapa para um lugar algures

• Author(s): Pinheiro, Daniel Antunes, 1980-
• Date: 2013
• Persistent ID: http://hdl.handle.net/10451/8456
• Origin: Repositório da Universidade de Lisboa
• Subject(s): Fotografia; Arte concreta; Sublime; Mapas
• Document Type: Master thesis
• Language: Portuguese
• Advisor(s): Gamito, Maria João, 1956-
• Contributor(s): Repositório da Universidade de Lisboa

Description

Tese de mestrado, Arte e Multimédia, especialização em Fotografia, Universidade de Lisboa, Faculdade de Belas Artes, 2013

Mapa para um lugar algures is a theoretical and practical dissertation - that affirms the importance of photography made without a camera or lens in a way to ensure the survival of the photographic medium as a photochemical processing in an era where the advent of digital has become a totalitarian practice in the discourses and in photographic works. Why did the experimental images have been put aside from the ontology of photography? Don’t they make part of it’s origins by right, since they settle the essence of light and photo chemical sensitivity’s support? Could it be that the mechanical and optical development of the photographic device over time forced the idea that photography should circumscribe its ontology and its purposes in figuration and reliable copy of reality? What differences exist between an abstract and a concrete image? What place do these images occupy in a hyper democratized contemporary age dominated by digital? In order to answer these questions we will use a chain of concepts divided into four stages that make up this dissertation. In the first part we will relate historically Concrete Art with science and photography, summoning the synergies from that relationship, and that thereby allowed the legitimation of concrete in photography by the light of Gottfried Jager’s statements. In the next chapter we will bring about the concept of contact, converging ideas to the chemical dimension of photography, especially for the kind of photogram. In the third chapter we will develop the concepts of map and sublime, in a sense to associate them with photography, in order to respond and cope with examples of works that explore the boundaries of photography itself, and that carry us into unknown territory. Finally in the last chapter, we will expose the practical component of the dissertation, analyzing it in light of the concepts referenced, as well as its conceptual, formal and procedural purpose