to slip through the fingers of whoever
intends to
Always in the making,
constantly being re-defined, or
transforming its conditions of possibility,
in its genesis.
For this reason, we sought an
which wouldn't be a thesis about
its being, but rather the thought of its
multiple appearances.
Due to its constitutive relationship with the
we intuit a different type of
perception and
to a new formulation and experience of
A paradigmatic apparatus to other means of
(re)production of images, photography seems
to adhere to the potential of document and instrument
in the investigation of man and his subjectivity,
at the same time that it reveals itself as an excellent
means of
Approaching
the conceptual field of Henri Bergson
and Gilles Deleuze on image,
perception,
memory,
and time,
we intend to extract the fundamental concepts
for the present research,
while from the works Paul Virilio
or Vilém Flusser
we look to obtain the intuition of the
regarding the articulation of these concepts
with the photographic process and image.
We also sought to understand
the characteristics of photography such as
seriality,
or instantaneity.
And, through them,
what
and what precipitates in it not only a
constantly renewed experience of the world but,
above all, a new
By means of reconceptualizing notions such as
image,
perception,
memory,
or time,
and looking into bodies of work
whose expressive medium and
object refer to photography itself,
we sought what in photography seems to reveal
past,
present,
and
— or the whole time — in an instant as an image.
of thought, but still a system,
we also experimented with the
making them intersect different practices of
knowledge to find a possible
form of sensitive
Underlining the idea of (e)vidence
as the synthesis of our research,
we aimed to create a photographic piece that,
by itself,
would affirm its inherent process
and the image it reveals.
tried to show, with and through photography,
a perception, a memory, and a time intrinsically
