FOR A PHILOSOPHY OF THE PINE HOLE PRACTICE IN PHOTOGRAPHY I find extraordinary that the image, otherwise the thought, doesn't impose any opinion to the things. ... looking at a person, an object or the world we develop an authentic relationship an attitude unhooked from any judgment, perceives after all to pure level. The action of the to see is perception and verification the reality or a phenomenon that it has to whether to do with the truth, very more than the thought, in which instead there we lose more easily estranging us from the reality. For me to see always means to bathe myself in the world, to think, instead, to take its distances. And since that my mind works above all to intuitive level, the image is for me the expressive and receptive for excellence. (1) Simplicity is the better way to draw near to the things, to face the problems, to propose solutions, to communicate gathers others; well, it will be also surely the most appropriate methodology to withdraw images from the world. The simplicity in photo is guaranteed from the pine hole: from the small hole, from the hole that it replaces the complicated loens. With this procedure, defined pine hole photography, the recording of the light on the photosensitive materials is direct, not mediate; then, according to the theories semiotiche to us more congenial, we can affirm to have a greater guarantee that it "trace" both bearer of truth, or to establish that the copy of the reality results more photocopy. Less that a photocopy will become with the traditional analogical procedure and still less with that digital (where the manipulation can come to do rhymes with impudence!). According to the sophistic conception, we cannot have doubts: if the simplicity (a hole) it approaches us to the truth, complicanzes, complexities (lens) estrange us from it. Yes, it is time to speculate in depth to give a philosophical form to an inconsistent black hole that reify himself through bright radiations. Without delays we immediately give to affirm that the pine hole is the synthesis (un)materialized of the western thought and the hole of connection with the oriental doctrines. Franco Vaccari writes: "The charm of this type of photographt is that in it the least one of instrumental complication is meeting with the maximum one of magic of the results ... this combination is source of psychophysical comfort, as it is verified every time that good results are gotten with an energy saving." (2) It is the principle of the "lever of Archimede": least employment of energy maximum results. It is the principle of the energetic saving and
	the doctrine of the clean energy that the shiny analyses of Fritjof Capra make on the necessary turn fizzy in the contemporary society. The pin hole camera, to work, doesn't burn energy and it doesn't produce polluting discards: it guarantees us a pure approach, archaic, genuine with the world. Artistically, the works of so many authors testify how to the lower part rate of technology of the pine hole camera makes forehead the tall rate of conceptualism of the ended product. Pine hole pictures enter the vast seam of the poor art with full rights, but to tall rate of creativeness, of the art from the least means but from deep contents. Means - a hole for all - democratize the production and the ownership of the pictures. Particularly, really in the realization of the image, it is alone with the pine hole that we can speak of "equal opportunities." That's right, the hole can be effected on an infinity of materials more or less appreciated (you can see the gold foil recommended by Ansel Adams) with notable differences of cost, but it is always the hole and not the aforesaid material that it carries the bright radiations on the film ... if a lenses is built with cheap material, it is certain that the icon will suffer. The birth of Photography doesn't have "democratized" the portrait, its diffusion has allowed only to a greater number of people to be able to access the image of itself through "the mirror endowed with memory" (daguerreotype) before, the ferrotype and "carte de visite" later; but, kept account of the wages in act in all the various kind of workers, for many people - in the second half of the XIX and in the first decades of the XX centuries of the past millennium - the only possible portrait remained what their relatives granted them from dead. But we leave history for philosophy and we have to reflect about the fact that the democracy, the principle of the equal opportunities is guaranteed by a something immaterial, of imponderable: a hole, as light as an idea, a principle, sharpens! free from every technicality. And it is here that the turn happens and, as we will see more before, the hookup with the oriental world. Technicality is instead a western product bent on the conquest of external world; the attainment of the happiness and the inside equilibrium depend on the possession of the material good of consumption. Also the official photography is polluted by this mechanism of dominion and it has become a predatory action and of manipulation more than a tool of vision. Man has always been, for instance, the use of the room obscura: "Really yesterday, Milord, while we were turning through the park with the dark room, you was, perhaps, too busy in looking for some picturesque perspective and for this you has not observed with attention what it was happening." ( 3) In the history of photography, the ideological consecration of the predatory action happened with the bressonian theory of the decisive moment. The method of Paul Strand is suitable for pine hole shooting: "Strand doesn't pursue an instant, rather it encourages an event to be revealed itself as a history thet can be encouraged to tell itself ... he works very, very slow ... His camera is not free to wander about ... The point in which it decides to put it is not where something may be happened ... but there where a certain number of events ... he turns its subjects into narrators." (4 ) To know how to listen to the others and the things was the wise suggestion suggested by
	Plutarco, never so necessary as today, especially in the television political debates: "Silence is therefore sure ornament for a youth in every circumstance, but it is really true in particular way when, listening to another, it avoids to get excited or to bark to every affirmation of his, and even if the discourse is not him too pleasant, he is patient and he attends that who is discoursing he has reached conclusion; and not as soon as that has ended, it bewares him immediately to invest him of objections ... Who starts immediately countering it ends up not listening and not to be listened." (5) Pine Hole Photography creates the conditions (long times of exposure) for a listening prolonged of the surrounding world stimulating ours slow but effective passage to look at to see according to the Huxley conception for which the art of the to see (the vision) is given by the whole sensation/selection/perception. (6) Then to take over the other fundamental requisite to combine to the listening for better perceiving and to see: the time. A series of aphorisms by Peter Handke put us on the good road: "To reflect on the time, to perceive the space: do you know a purer sense of life?...'To gain time' it is a nice expression; however I don't earn time expediting me … I have need every time of time until the movement of the leaves in the wind and their noise they mean what they is, and they mean to me what I am me. The man's right number one is therefore for me: I need time ... I owe (I am able) to give meaning to the world with the slowness." (7) It is with other terms the Heidegger recommendation of liberation from the harassing thought of the time: "To waste time and, do it give him a clock!" (8) The fear to waste time and the anxiety to earn time they are typical existential situations of the western world where production and consumption are super speeding up and therefore also the images are consumed to a dizzy rhythm. Whole world is crossed to high speed. Wim Wenders wrote some years ago: "The signs in the landscape become less and less visible. Once time these immense regions were crossed by a car, then the trains arrived, from which we looked landscape with well other speed, subsequently the airplanes, and from that moment, we could not be distinguished more ... walking afoot we see in different way that crossing a region by a car, and then take pictures from the car window, as they almost all do after all, without not even staying; or to take an airplane and to reach a precise hour in a precise place, but without in reality to have taken a trip, because we arrive and enough.ecomes worse and worse obviously. People arrive only by now, but after all they have never moved. They shoot pictures to become convinced themselves to back to be found him in a datum place." ( 9) Recently Marc Augé has confirmed the concept: "They are the texts disseminated on the run to enunciate the landscape and to explain its secret beauties. The cities are not crossed anymore, but the important points are signalled by the placards that they bring writings real comments. The traveller is somehow distributed to stay and also to look." (10) The French researcher Augé, anthropologist of the contemporary ways, has given us deep reflections on the modern trip,
	on the most diffused form, confirmed of the today's knowledge of the places: "... the actual practice of the tourism has more to whether to do with the communication that with the trip. Cultural tourism increases knowledge, the sporting tourism it puts in fit, but without to them the idea of an essential transformation of the being is associated never. The ideal of the communication is the instantaneousness, while the traveller take it easy, conjugating times, he hopes, he remembers ... the tourist consumes his own life, the traveller writes it." (11) Pine hole photography facilitates the observation because the pine hole time is necessarily prolonged: the attention toward the others and toward the places can be never hasty, she can't be all in a predatory shot, By this way looking turns him into seeing and the action of the to observe becomes reflection. Emotions become more intense, dense as all the emulsions submitted to overexposure or overdevelopment: "Here is not enough light - he has said -, let's go out. We are gone out and we direct toward the thornbushes, where there is a table in the middle of the grass. In that place she has looked at the sky still covered with clouds. Two or three minutes, she has calculated to tall voice, then, with care, she has placed the box on the edge of the table. To the center of one of the long sides there was a white and rectangular bandaid of those that put on a small bladder or a scorching.The bandaid was framed by black adhesive ribbon. With her cautious fingers she has removed the white bandaid so that to discover an opening, a hole. Then she has taken me by the hand. We have been standing there in front of the camera. We have moved there naturally, but not more than the thornbushes in the wind. The minutes passed. While we were being firm there, we reflected the light, and what reflected it entered the dark box through the black hole. - It will be our picture - she said -, and we have remained to wait confident." (12) The way of slowness drives us toward the inside, it reveals us a more introspective vision, mysticism, ascetic, more imponderable (oriental vision), less predictable, technologically unconscious, of conscious uncertainty and of attended. But also in the ideas of the western ancient world we can already individualize two divergent theoretical positions that help us: platonic and socratic doctrine. From the platonic myth of the cavern, from the recognition of the world through the comparison with the archetypes - the sample of the models - that pre-exist in our memory, the mechanisms of exposure of the automatic cameras were born, up to the sophisticated devices of control of any digital modern equipment. The platonic thought pushes us toward the technicality, the dominion of the external world, the intellectual arrogance ... the digital one: the maximum one of the globalization and of the standardized consumerism! The socratic message, brought to the footlight by the Austrian philosopher Karl Popper as example of democratic ideology to follow for the actual and future generations, it pushes us toward a reflection or internal search, in the open of compromise of different and the alternative choices. The pine hole symbolizes the maximum of transgression to the pre-estabished rules, of the artistic and social nonconformism.
	Thursday, June 24 th 2004, extended on one I lay down in front of lazy waves, stunned by the heat of the sun, I observe the pages of Repubblica newspaper lifted by the breeze in the half morning: It goes out in the bookstore: "... And the turtle won, a manual that teaches to win the stress "climbing march" but without risking marginalizing ... to slow down, the art that changes your life... You always hold under monitoring your speed ... Fairies so that there is a space in your day when you can extinguish all the technologies ... You had to find a time for at least one of these hobbies that can make you slow down: painting, gardening or yoga." And a common amateur, that has available for his "hobby of the life" only the stolen minutes to the family and the vacations, that he loves photography to the point that doesn't have sense anymore to live without it, (as the super stressed out or iper distressed Antonino Paraggi, the protagonist of the Calvino's novel "A photographer's adventure") it has to devote himself for strength to the gardening? No and then no!, the practice of pine hole assists us: the art of the long times in photography! The long times gotten not with the aid of the laying B or T (derived technological), but with the natural narrow passage of the pine hole. Its naturalal slowness will be the most effective antidote to the anxiety of the technology, to the drug of the fast time and the super activies, to the existential anguish for the lack of time. "Festina lente"- hasty slowly - they sustained the ancient: they will draw advantage of it the creativeness, the imagination, the spontaneity and the meditation on the human existence. (traduzione di Massimo Pavan) Vincenzo Marzocchini BIBLIOGRAPHICAL NOTES (1) Wim Wenders, THE ACT OF SEING, Ed. Ubulibri 1992 (2) Franco Vaccari, "Slow Photo", in LA FOTOGRAFIA STENOPEICA Storia Tecnica Estetica delle riprese stenoscopiche, di Vincenzo Marzocchini, Ed. Agora35 2004 (3) Johann Wolfang Goethe, LE AFFINITÀ ELETTIVE, Ed. La Biblioteca di Repubblica 2004 (4) John Berger, SUL GUARDARE, Ed. Bruno Mondadori 2003 (5) Plutarco, L'ARTE DI ASCOLTARE, Ed. Arnoldo Mondadori 1995 (6) Aldous Huxley, L'ARTE DEL VEDERE, Ed. Adelphi 2000 (7) Peter Handke, ALLA FINESTRA SULLA RUPE, DI MATTINA, Ed. Garzanti 2003 (8) Martin Heidegger, ILCONCETTO DI TEMPO, Ed. Adelphi 2000 (9) Wim Wenders, THE ACT OF SEING, op. cit. (10) Marc Augé, NONLUOGHI, Ed. Eléuthera 2002 (11)Marc Augé, ROVINE E MACERIE / Il Senso del tempo, Ed. Bollati Boringhieri