Walking to photograph the invisible: a narrative of experimental creation

Abstract

The choice of photographic framing is an act full of culture, identity, politics, history, and memory, as photography provides a significance of who we are and what happens to us. However, what does the refusal of the camera viewfinder imply? Or, what occurs when we don’t look at the scene to be photographed? Faced with these concerns, this text recounts an artistic experimentation in the production of sensory photography by considering perceptual stimuli as mechanisms to capture the invisible. Inspired by the methods of photographers with visual impairments, stands out a walk through the streets of Porto, Portugal, in the search for the subversion of the automatic programming of the device and the promotion of unlikely images. Authors such as Bavcar (2000, 2003, 2010), Flusser (2011), Derrida (2012), and Didi-Huberman (2010) contribute to a critical interpretation of the experimental creation narrative and point out some paths for expanding seeing.