Photoethnography: the photographic act in intriguing speech graffiti

Abstract

This reseach analyzes the relation of photography with the representation of the picture developed by urban groups through the practice of graffiti as an aspect of the study taking pictures with the process of developing the culture of the individuals in the urban area. The image of graffiti, with its own data signic along with other images in the environment from which the graffiti is done, the environment itself, which also gives shape to the image, make up your visual expression and causes the recipients of all imagery (in addition of the actual creator of the image) thoughts and ideas that will attach to life. And it is with a study photoethnographic this issue that this research seeks to capture these elements through the assumption that the visual practices produced the streets are established as a medium of the contemporary affirming their identity. Search is then a study on the possibility of linking the photographic record of this practice urban, graffiti, with the thoughts that create the image and those generated by it. Since, according to Etienne Samain, every image gives us something to think about. He adds that there's a side thought that it produced photography, painting, drawing, and another, the thought of all those who looked at them, all those viewers who "entered" in them, their thoughts, their fantasies , his delusions, and even their interventions. The image of the graffiti around town, for example, and the influence that generates the sociocultural context of individuals who receive, produce reflections in the field of visual communication ever updated because it is a continuous practice of the streets that reveals, through its membership (color, reliefs, shapes) own meanings that were composed from its creation to the medium (space) chosen to stay. This image adds value to the streets as time passes and as, especially, which is the visual memory of the environment where it is located.The use of photography as a narrative of this process, since its creation, development and composition in a study photoethnographic, designs a new form of "believing" the image and understand how it was built. Therefore, in order to contribute while you search for a critical reflection of photography working in the generation of meanings and values in line with the creative process of the image of graffiti on the streets, the dialogue between the speech and taking pictures of graffiti in the context of artistic production contemporary of both media is one of the axes of this research, which combines study "what" the image does, what it "is" thinking "as" it makes you think and how these thoughts interact with the surfaces they are submitted. This study of the photographic image of the graphite is then based on the triple relationship between the symbolism sought by the creators of the images (graffiti), translated by graphite in various urban spaces, how the image communicates and converses in their environment "original ", and recognition of their identities through photography. Thus, with a focus on technical field work as an instrument to record, understand, and translate the cultural values and aesthetic of these images in your creative process, its memory, and the value attributed to them, we seek to understand "what the picture speaks "and" how to "speak in this dialogue between the individual and cultural activity resulting in the collective sphere. The graffiti artist has a life story that takes to the streets to 'draw' his art. The way it stands, the objects used in his work, the way it deals with the empty spaces that will occupy a selection of them and the organization that provides visual on the site are moments that are beyond the mere display of finished work. Making of taking pictures using a 'fill' the void is to use the image to explain the image, or the image to explain the human being. (AU)