摘要：O presente artigo é resultado de experimentação fotográfica realizada com alunos da disciplina de psicologia jurídica de um curso de Direito, dentro do contexto de pesquisa sobre imagem. Em sala de aula foi feito o pedido de que os alunos produzissem imagens sobre a “interface Direito/Psicologia” para posterior projeção e debate sobre as mesmas e seu processo de produção. A experimentação fotográfica visibilizou os diferentes olhares, colocando foco na tensão existente entre as práticas disciplinares e interdisciplinares, na prática interdisciplinar como ferramenta importante na solução de problemas sociais complexos, problematizando, ainda, as práticas contemporâneas em Direito. Entende-se, através das noções de Mikail Bakhtin, que a experimentação fotográfica se colocou como criação estética, enquanto um processo complexo de posicionamentos axiológicos que implicam tomadas de posições em um contexto cultural constituído pela multiplicidade de vozes sociais, onde compreender é uma atividade dialógica. This article is the result of photographic experimentation carried out by students of a forensic psychology course at the Faculty of Law Dom Bosco Porto Alegre ( FDB ), within the context of research on image. This discipline tensions the assumptions of positivist Legal Psychology of the subject as an autonomous, free individual, and voice of reason. In class students were asked to produce images on "Law / Psychology interface" for projection in classroom, discussion about these images and their production process. The photographic experimentation showed different looks, tensions, and refractions that could be seen in the image production process, focusing on the tension between the disciplinary and interdisciplinary practices, and also on interdisciplinary practice as an important tool in solving complex social problems, such as violence against children and youth, social inequalities, divorce, discrimination, homoaffective relations, homeless people, prison system, psychological distress and work of waste pickers. The photos also problematize contemporary practices in law as restorative justice, special testimony and mediation. It is understood, through the concepts of Mikhail Bakhtin, that photographic experimentation stood as aesthetic creation in a complex process involving axiological positions resulting in positions taking in a cultural context constituted by the multiplicity of social voices, where understanding is not a simple passive psychological experience on other people’s action, but a dialogical activity, that in the presence of a text or an image generates many other texts and images.
