The history of the radical photography collective Half Moon Photography Workshop has not so far been the subject of in-depth research in accounts of 1970s British photography. At a moment when ...photography was gradually gaining recognition as an art form, its radical voice and independent stance played a fundamental role in shaping the photographic landscape in Britain. Between 1972 and 1985, Half Moon Photography Workshop initiated pioneering debates on the politics of photographic representation and the reinvention of documentary practices and was instrumental in the emergence of photographic theory. Based on archival research and interviews conducted with some founding members, this detailed history examines the initial project, tensions, and evolution of the organization, which started as the Half Moon Gallery in 1972, became the Half Moon Photography Workshop in October 1975, and eventually Camerawork in 1981, taking the name of its successful photography magazine Camerawork published from 1976. As a gallery, a publishing project, and a resource center equipped with darkrooms open to all, the East End organization acted as a catalyst in the expanding British photographic landscape of the 1970s. The new political context of the 1980s and unresolved internal tensions caused its demise in 1985.
The world is in constant movement and requires us to innovate in the most vulnerable fields, such as education and especially in the marginal sectors of the Amantani island of Lake Titicaca Puno, ...this research demonstrates the effect of applying the photography workshop as Visual communication to improve critical thinking in students of 4th and 5th grade of secondary of the educational institution Agro Artesanal Miguel Grau. The results showed that 100% of the students in the experimental group reached a better level in critical thinking. Antecedentes El Dentro de los antecedentes se ubica a Morales (2014) que publica en la revista actualidades investigativas en educación, relacionado sobre el pensamiento crítico que cobra vigencia no solo en la parte teórica sino también en lo práctico, identificando la carencia de una estructura educativa que cada día es monótona, ante ello, propone el abordaje del pensamiento crítico mediante dos vías, siendo el primero el trabajo en aula, que posibilita encarnar componentes y constructos didácticos en las diferentes disciplinas que propone el currículo, la segunda es el uso de un marco analítico y explicativo en los procesos de investigación didáctica pedagógica, socioeducativa que se concretiza en la postura y valoración crítica que asume el estudiante, sin embargo, este aspecto sigue siendo uno de los mayores retos de la enseñanza aprendizaje de un sistema social basado en una infraestructura obsoleta de la enseñanza tradicional. La segunda: digo quien soy a través de la fotografía, que se centra en la propia identidad, el reconocimiento y la valoración de la diversidad que existe en el entorno del estudiante, en la tercera: la imagen que quiero promover, se concentra el descubrir su imagen personal de cada estudiante, la finalidad está en despojarse de los estereotipos marcados por la publicidad y se logren conectar con su verdadera identidad, que lo hace único e irrepetible de una imagen comercial.
Discute-se a produção e uso de inscrições no percurso de uma pesquisa junto à unidade de atendimento de crianças e adolescentes do Hospital Psiquiátrico São Pedro em Porto Alegre, RS, Brasil. ...Oficinas de mapas e de fotografia foram propostas com o intuito de os jovens produzirem um plano com legitimidade diferenciada quanto aos planos existentes em sua internação hospitalar (prontuários, livro de ocorrência). As diferenças entre a produção de mapas e de fotografias permitiram especificar a noção epistemológica plano de inscrição, na qual estabelecemos três campos de análise: uma posição de observação frente ao plano, as condições técnicas de sua produção e a posição destes planos nos jogos de verdade. Evidenciou-se a necessidade de um questionamento sobre as técnicas envolvidas na produção de conhecimento, já que o uso de artefatos técnicos articula de maneira específica o campo do discurso e as materialidades que o suportam.
The production and use of inscription within research at a unit caring for children and adolescents at the São Pedro Psychiatric Hospital, Porto Alegre, Rio Grande do Sul, Brazil, is discussed. Workshops on maps and photography were proposed, with the aim that the young people could produce a plan with differentiated legitimacy in relation to the existing plans for their hospitalization (medical files and occurrence books). The differences in the production of maps and photographs made it possible to specify the epistemological notion of inscription plans, from which three fields of analysis were established: a position from which to observe the plan, the technical conditions for producing it and the position of such plans in truth games. The need to question the techniques involved in knowledge production was shown, since the use of technical artifacts specifically connects the field of discourse and the material issues that support it.
Se discute la producción y el uso de inscripciones en el curso de una investigación junto a la unidad de atención de niños y adolescentes en el Hospital Psiquiátrico São Pedro, en Porto Alegre, estado de Rio Grande do Sul, Brasil. Talleres de mapas y de fotografías se propusieron con la intención de que produzcan un plano con legitimidad diferenciada en relación a los planos existentes en sus internaciones en el hospital. Las diferencias entre la produccón de mapas y de fotografías han permitido especificar la noción epistemológica plano de inscripción en la cual esteblecemos tres campos de análisis: una posición de observación frente al plano, las condiciones técnicas de su producción y la posición de estos planos en los juegos de verdad. Se ha evidenciado la necesidad de discusión de las técnicas involucradas en la producción de conocimiento ya que el uso de artefactos técnicos articula de manera específica el campo de discurso y las materialidades que lo soportan.
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