Dimensões do tempo pelo olhar da maré — os rastros de duração da pinhole nas fotografias do projeto Mão na Lata

Abstract

This research aims to investigate in which and how many ways traces of temporalities appear in photographs produced with pinhole, a craft technique that encompasses a broader temporal perspective. This paper analyzed the photographs produced by children and teenagers from Mão na Lata, a project in the Maré community, in Rio de Janeiro, which offers pinhole photography workshops, based on the integration with literature and writing as a pedagogical path. Aiming to discuss pinhole photography as a determining technique in the particular relationship with time, the research analyzes photographs from the photobooks Mão na Lata e Berro Dágua: um ensaio fotográfico sobre a obra de Jorge Amado (Altberg, 2006) and Cada dia meu pensamento é diferente (Altberg, 2013a), identifying how the temporal traces left by this wait for pinhole and the integration of languages contribute to strengthening the relationship between boys and girls with themselves and with Maré. Four temporal dimensions are defined that discuss time from a perspective of duration (Lissovsky, 2008), the fabulation of worlds with the interconnected use of pedagogical languages (Altberg, 2006 and 2013a; hooks, 2017; Brizuela, 2014), the relationship with the city (Amormino, Maia, Valle, 2020) and emotional connections through the image, based on the photographic practice of João Roberto Ripper (Gastaldoni, 2020). Based on the theoreticalmethodological paths constructed through these dimensions, the research understands pinhole photography as a path that provides Mão na Lata photographers with a particularized relationship with time, supported by the affective paths of collective and integrated work, which means that the duration that is perpetuated in the images is the result of the perspective constructed by life in Maré.