A gênese do arquivo fotográfico de Sebastião Leme: uma leitura da acumulação

Abstract

The genesis and the accumulation of Sebastião Leme's photographic archive are located in one of the extremities of the internal flows of information, designed as channels through where the information spreads in the circuit of the institutions with competence to administer it. Therefore, it is in the left extremity that is located the place of the creation of the information, from a copyright point of view, released, then, of the dynamics where the constituent internal flows of information of the institutional spaces of information are operated. Thus, the qualification of space is the ability they have to overcome their own limits of organization, retrieval and access of information, in public scale. The problem consists of the existence of a archive of images, restricted just to the personal cycle, as exclusive reference of the family affectionate memory, indistinct and tied to their precarious condition of informational support, in a state of latency. Which brings us to formulate the hypothesis that the photographic archive - as genesis and accumulation - requires that its passage is from the personal context to the public sphere, which implies the recognition of its condition of information that is only effective when absorbed by the flow of information.It is when this file will fulfill its existential and informational function, as representation and value. The theoretical and methodological frameworks of research, in the context of information science, lead us to: 1) examine the photographic image at the moment of its genesis, based on its index, icon and symbolic representation, from the point of view of its condition of visual information, 2) consider the photography as a process of individual creation, that expressed its starting from an accumulation that can also join other production types, to example of the testimony and of the autobiographical textual narrative; 3) observe the author's biography, narrative and testimony of himself, as strategies that seek to check probatory values to the creation process and photographic accumulation; 4) (re) establish the links between the constant genetic elements in the process of formation of the photographic archive with their possible interfaces of production of meaning. The methodological theoretical axis leaned on the semiotic, the oral history and the index paradigm, in order of placing the photographic as expression of a wider process that engenders other representation devices and testimony. In the case, Sebastião Leme's photographic archive recovers a ballast of half century, cut time set by the photographer himself, on which we determined our landmarks. This is a photographic production between 1946 to 1996, which focuses on the home city of Marília, interior of São Paulo. However, its crossing mixes to the contemporary photographic production post-1945, heiress of the experimental hybridism of the Photo Bandeirante Cine Club, of which Leme was one of the associates, and of the photojournalism practiced by the illustrated magazines of the time. To this fact we also associated the photographer's inventive capacity in creating a photographic camera of 360° in 1957, being early to the cameras of 360° that would be traded on the market much later, of North American and Swiss origin.