Abstract
Under objectivist communication premise, the political power reproduces its ideology through diverse social layers and pilars that consciously or unconsciously embrace it. Behind this impartiality cloak lives the normalisation of violence and its subsequent permanence over daily life. The epistemological opening of representations put the current social order under dispute. Considering the subjectivity of feelings and emotions as part of the process of raising political awareness, allows us to put Sociomuseology side by side with communitarian practical expertise, including photography. It is discussed here, under these concepts, how important it is for the memory repairing act to be welcomed by the public sphere and making its way to invert historical narratives. Keywords: Representation, Ideology, Museology, Sociomuseology, communication.
Highlights
Nos últimos séculos, vingou a “falácia” da idéia da “perfeita transparência” entre a imagem, sobretudo a fotográfica, e o real, o “dado” (Kossoy, 2008, p. 2)
Se as observarmos como resultado de uma série de decisões de quem as elabora, veremos que carregam seus julgamentos, fruto das suas experiências pessoais, da interpretação individual do mundo
Afinidades entre os museus e a fotografia (Pilar, 2016) já foram estabelecidas e não se esgotam conforme ambas vão se transformando no tempo, tanto pela tecnologia cada vez mais “democrática” e pelo suporte que as imagens fotográficas deram aos movimentos por direitos verdadeiramente iguais ao longo do século XX e sem isolar os atuais estouros populares ao redor do mundo6
Summary
Vingou a “falácia” da idéia da “perfeita transparência” entre a imagem, sobretudo a fotográfica, e o real, o “dado” (Kossoy, 2008, p. 2).
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