Quarenta clics em Curitiba - análise das relações entre fotografia e haicai no fotolivro de Paulo Leminski e Jack Pires

Abstract

Quarenta Clics em Curitiba is composed by forty black-and-white photographs by Jack Pires combined to forty poems by Paulo Leminski, disposed in loose sheets of identical dimensions. Each of Pires’s photographs appear in the sheet side by side with a poem by Leminski, whose literary proposition is identified with the haicai, a poetry genre originated in Japan. Their experience can be described as semiotic and intermediatic exercises in which the emphatically pronounced indexicality owns its nature to the relationship between a photograph, interested in capturing the decisive moment, and the haicai poetry. The poems and photos linked work as indexical cut offs of the space-time in a non-hierarchic and deprived of attention focus Curitiba. The characteristical triviality of Leminski’s haicais is potentialized by Pires’s photographs. Based on the intermedial studies and C. S. Peirce’s theory of signs, this work proposes a model to explain the relationship between verbal poetry and photography in Quarenta Clics. The results presented in this work are the preliminary development of this model.