Editorial Note



Since its inception, the relationship between photography and time has forever been altered. Photography has been understood as the capture of an instant, the freezing of a single moment in time, a fragment of a present past. However, the connection between photography and time is far more complex than the plain concept of past, present and future. When thinking of images, we have come to realise that time can be considered through other qualities such as movement, narrative, metaphor, memory, repetition, processuality and performativity, to name a few possibilities. By understanding that time can be explored outside the physical chronological conventions that are determined by measure and reason, it is possible to enter a symbolic temporal dimension in which subjectivity arises. The subjective expectation and the experiencing of time therefore enable us to reflect on the temporality of the unspeakable, or to perceive the instant time as an immeasurable present, as an untimely time. Furthermore, considering the technical age we live in, the relationship between images and time is no longer possible to be analysed through simple and stable definitions. Rather, our reality is shaped and perceived within an endemic state of uncertainty. 

I am very pleased to introduce the present volume of Archivo Papers Journal entitled “Shaping Time: Photography and the artistic construction of the contemporary” for which I am grateful to all the contributors to this project. I would like to thank Paula Ribeiro Lobo for editing this volume, and the authors for the interesting contributions. I hope this volume provides a useful resource for exploring contemporary critical issues regarding the subject of time and contemporaneity through photography, film and visual culture.



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How to Cite

Pinho, A. C. (2022). Editorial Note. Archivo Papers, 2(1), 7. Retrieved from http://archivopapersjournal.com/ojs/index.php/apj/article/view/32