Lina Scheynius - Leftovers

There are advantages too large to realize itself within an initial process.

When we have students that this more clearly, or at least should. In study groups seek the introductory and then scrutinize a matter and so we seek learning.

This is the power of being an apprentice, as stated by the CIA in the post about Breno Rotatori (now recognized by the Award Porto Seguro). But the best thing is that this is not just an initial step in identifying university, but this quest for a personal screen what we produce, as if the self-referencing in a story was the climax of what began as pure referral, sum of intake processes, and now digested.

At this point we discover that this is not just a top line, but a step in this process and it is insight that resides compression has already been walked. Permeated by the vastness of tools, techniques, methods and possibilities, the path then turns experimentation, searching, and understanding to make up some domain of these variables (or what every one is subjectively your ideal domain). We can then abandon the primacy of the conscious technical debate to move forward in the discourse about content: what it contains and what is contained.

How Rosangela Renno said here : "because I am very impressed with a certain change of" focus "of the discussions on imaging techniques, especially photography. There is no question over both, the technical details of the photographic medium. Today the discussion is more focused on the concept and it interests me because I'm curious to see where all this is going. " We can then talk about what we are in what we do not simply about how we do.

Inherent in the process of creation is the issue, the thing that forces us to understand what we do outside of us, almost a float that flirts with the old struggle for the synthesis. According to the American composer Philip Glass , this process is gradual and respect some kind of naturalness. "To me is desperate to watch a young man trying to conceptualize the understanding of its creation before developing it," and ends by giving his own process "in my symphonies, there for the last acts, something happens that makes me realize oh, it was about Then I composed ... the wait is fighting for complementation of anguish "

But what if the frame does not fit what you want to tell? And if we remove this conditional and deal with this issue in a timely manner, turning the question and when?

The time behind the lens, hidden in the mechanical process, protected from exposure even when the work is said to end is lost altogether? But if you lose, who loses? Who photographed or who sees the picture?

It is as if the work was the physical representation of the iceberg cliché, those 10% visible and latency hidden, submerged, not hatched. What was the moment before the moment? How important this is not photography? How can it hatch, emerge, shine?

While the answer is not enough left over thoughts of others that soothe the anguish filling gaps, such as Jack Kerouac that enhances the best features of this iceberg in On the Road: "We were amazed, we were leaving confusion and nonsense behind and we performed the only noble function of our time: to keep moving. And we moved. "

With the benefit of all unexplained reminded me of the best photographic discovery of the year: Lina Scheynius and moments that go beyond what is photography.

Lina Scheynius - red