Frame/Still : a Metadimensionalidade da Imagem enquanto Suspensão de Tempo e Lugar

The proposed theme is based on the intrigue and questioning about the multiple dimensions of the Still (Frame), its origin and intentionality, and the way it evolved from photography (video preview, performance photography) into a work of art itself. This relation, although not very direct, departs from the analysis of the Still as a return to origin and as a materialization contrary to the percussive ideals of its matrix. In this work we will speak of Frame (Still) and - preliminarily - of its role in contemporary art and in the new media, firstly, as a record, and subsequently in its transition to a work of art, an object that creates memory, and as a time suspension mechanism. Here, suspended time arises in relation to the representation that results from the process of memory, which implies "a time" (the facts are dispersed, the experiences are not real anymore, and the images have dissolved). It is, therefore, necessary to resort to the imagination, proceeding to the construction of fictitious representations, images of unstable and incapable ability to fixate themselves (in memory and in time). It intends to observe where and how a Still can be a temporal condensation of a video in its full-metaphoric fullness. Hence, it becomes a sublimation of a sequence of images and not an element of deception to the observer such is the casewhen the Still precedes the viewing of the video, becoming the object of analysis and not a preview of it. The knowledge of the extension of this object in its multiplicity of dimensions in the artistic work will be deepened, as a tool and final object, either for the public or for the artist as a process of conceptual and practical development. How long lasts a frame? How much of a gesture exists in each frame? Will it be in the void of events or in the emptiness between images that the frame lives and expands? Will it be in this interstice, in this limbo, that it creates truth or becomes apostate in the distance it generates? This work proposes to analyze the very facts on which this same object (and vice versa) is based and the way they construct history, on the one hand, assuming themselves as vestiges and on the other as a piece of time that establishes all the synapses between the phases of knowledge, assimilation, and historical reproductio