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Photovoice como estratégia participativa de promoção da saúde de universitários durante a pandemia
Get PDFThis study aimed to describe the perception of university students about the pandemic through a strategy using PhotoVoice. This is a qualitative, descriptive-exploratory study. 11 university students participated, invited through the dissemination of a link through social media. The methodology used was the participatory health promotion strategy using PhotoVoice. Two individual interviews were carried out to collect photographs and reports about the experience with the pandemic, as well as coping strategies. Data analysis took place through the intersection between the ethnographic model and content analysis. Three themes were identified: the pandemic, when university students reported the negative feelings aroused; the home office, which became a reality in the lives of university students during this period; and coping, which identified the adaptive strategies used. It is concluded that the PhotoVoice strategy made it possible to describe the perception of university students about the pandemic.Este estudo teve como objetivo descrever a percepção dos universitários sobre a pandemia, com a ferramenta PhotoVoice, que se constitui uma estratégia participativa de promoção da saúde. Trata-se de um estudo qualitativo, descritivo-exploratório, baseado no método de Pesquisa-Ação Participativa. A amostra foi composta por 11 universitários, convidados por meio da divulgação de um link pelas mídias sociais. Foram realizadas duas entrevistas individuais para coletar fotografias e relatos sobre a vivência com a pandemia, bem como as estratégias de enfrentamento. A análise dos dados se deu pela intersecção entre o modelo etnográfico e a análise de conteúdo. Identificou-se três temáticas: a pandemia, que abordou os sentimentos despertados na pandemia; o home office, que discorreu sobre a necessidade de adaptação a novos recursos tecnológicos; e o enfrentamento, que identificou as estratégias de enfrentamento utilizadas. Conclui-se que a estratégia do PhotoVoice possibilitou descrever a percepção dos universitários sobre a pandemia
(Im)possibilidades do Programa Integrado de Educação e Formação (PIEF) no caminho da inclusão
Get PDFToday, schools are intended to be spaces and communities in which all differences are respected and where everyone has a response adjusted to their real needs. In this article, we present the results of a study that started from the question “Is the Integrated Education and Training Program in line with current national policies in terms of inclusion?” which was operationalised with the following objectives: i) to know the perspective of different actors on the Integrated Education and Training Program in a school located in an Educational Territory of Priority Intervention and in a school not integrated into an Educational Territory of Priority Intervention; ii) understand if there are differences in the response of schools, given the specific nature of these territories. The investigation was carried out in two schools, using different data collection techniques: semi-structured interviews, direct observation of classes and document analysis. The results, supported by the triangulation of different sources, lead us to consider that Program as a socio-educational measure that enhances social inclusion and school inclusion, as well as the existence of differences in the two groupings in terms of timetables, in the composition of classes, in the constitution and articulation of technical-pedagogical teams, in pedagogical practices and the relationship between students and teachers and staff.Pretende-se hoje que as escolas sejam espaços e comunidades nas quais todas as diferenças sejam respeitadas e onde todos/as tenham uma resposta ajustada às suas reais necessidades. Neste artigo apresentamos os resultados de um estudo que partiu da questão “O Programa Integrado de Educação e Formação encontra-se alinhado com as atuais políticas nacionais, em matéria de inclusão?”, que foi operacionalizada nos seguintes objetivos: i) conhecer a perspetiva de diferentes atores sobre o Programa Integrado de Educação e Formação numa escola situada num Território Educativo de Intervenção Prioritária e numa escola não integrada em Território Educativo de Intervenção Prioritária; ii) perceber se existem diferenças nas respostas das escolas, atendendo à natureza específica destes territórios. A investigação desenvolveu-se em duas escolas, recorrendo a diferentes técnicas de recolha de dados: entrevistas semiestruturadas, observação direta de aulas e análise documental. Os resultados sustentados na triangulação das diferentes fontes levam-nos a considerar aquele Programa uma medida socioeducativa que potencia a inclusão social e escolar e a existência de diferenças nos dois agrupamentos nos horários, na constituição das turmas, na constituição e articulação das equipas técnico-pedagógicas, nas práticas pedagógicas e na relação dos/as alunos com professores/as e funcionários/as
Museu como espaço de formação cultural docente: O que os museus do Rio de Janeiro oferecem aos/às professores/as
Get PDFTeachers’ cultural training is a subject that has been causing growing interest in academia. This paper focuses on the museum, a space for non-formal education, as an educational and formative place whose potential is under-exploited. The article presents part of a research conducted in 2020 and aims to understand how museums have become a space for teacher training and their expectations regarding what museums offer. Based on data generated by a questionnaire addressed to teachers of early childhood education and primary schools in the city of Rio de Janeiro and the dialogue with authors from the field, the text presents inputs to think about how this meeting has been occurring and cues so that the museum becomes a potent locus of continuous training. The data indicate that, although teachers still perceive the museum as a complementary space to teaching, there is a growing recognition of the importance of cultural equipment for human development that transforms teaching practice beyond the school curriculum.A formação cultural de professores é um tema que tem provocado interesse crescente no meio académico. Este artigo centra-se no museu, espaço de educação não formal, como um lugar educativo e formativo, cujo potencial está subaproveitado. O artigo apresenta parte de uma pesquisa realizada em 2020 e tem como foco compreender de que maneira os museus se têm constituído em espaço de formação de professores e quais as expectativas destes em relação ao que os museus têm para oferecer. A partir de dados gerados por um questionário dirigido a professores/as da educação infantil e ensino primário da cidade do Rio de Janeiro e a interlocução com autores/as da área, o texto apresenta subsídios para pensar de que maneira esse encontro vem ocorrendo e pistas para que o museu se constitua em lugar potente de formação continuada. Os dados indicam que, embora o museu ainda seja identificado pelos/as professores/as como espaço complementar ao ensino, há um crescente reconhecimento da importância dos equipamentos culturais para uma formação humana, que transforme a prática docente para além do currículo escolar
Other Interpretations on Tower H
No full textThe essay ‘Other Interpretations on Tower H’ is the result of a keen interest in exploring the multiple interpretative possibilities concerning a specific abandoned residential building in Rio’s Barra da Tijuca district. Tower H was part of modernist architect Oscar Niemeyer’s ‘Centro da Barra’ project (1969), developed in this up-and-coming neighbourhood at that time. The research for this text began in 2021, while the tower was under structural inspection. As a result of it, I identified ‘ambiguous’ and ‘open’ aspects of the building that relate to Ignasi de Solà- Morales’ terrain vague concept. The recent demolition of the tower’s sealing surface and the subsequent excavation of a landfilled area next to the tower have changed the city’s perception and memory fluxes of the building: from the past to the present; from closed to exposed interiors; from covered to excavated landfilled sand that was buried since the tower construction. All of this brings back memories of the neighbourhood’s landscape not only during the presence of this imposing building but also prior to its existence. A photographic experiment promoted a tactical experience inside this enigmatic architectural object. Additionally, it analysed displacement operations from the last two years, allowing new interpretations on this landmark
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront
No full textThis article focuses on the transition of the natural landscape of Thessaloniki’s east waterfront to the artificial urban landscape that draws a straight line between water and land, while noting the developing rigid homogeneous multistorey buildings as a background image of the city in contrast to the former porosity and architectural variety of the late 19th-early 20th century mansions. The transition is captured either as a commentary on the new landscape or as a memoir of a lost era by cinematographers, such as Takis Kanellopoulos in his film “Parenthesis” (1968) and Theo Angelopoulos in his film “Eternity and a Day” (1998) and photographers of the 1960’s such as Socratis Iordanidis and Yiannis Stylianou.
Cover image: Theo Angelopoulos, Populated manmade waterfront, Film still, Eternity and a Day, Thessaloniki, 199
White buildings, Red Dust: Brasilia in Ektachrome Colour
Get PDFBrasília’s red dust is everywhere. Regularly tinting the white surfaces of Brasília’s modernist buildings red, a great effort of human labor is required every day to maintain their intended autonomy. Dust clouds first appeared in February 1957 due to massive earthworks and the clearing of the original landscape. While large tractors and caterpillars aggressively manipulated the ground following the forms of Lucio Costa’s Pilot Plan, a formless entropic dispersal of red soil microparticles filled the air. As the floating dust spread over Brasília’s construction site, it also filled the printed pages of newspapers and magazines. This article intends to discuss how dust tainted the representation of Brasília. As modernist architecture confronted the landscape, dust introduced a distortion in the pure image of Brasília, threatening not only the whiteness of the upcoming architectures but also contaminating drawings, cameras, lenses, printed photographs, clothes and lungs. While most of the architectural black and white photos of Brasília tended to produce clean images, the introduction of the newest color film Ektachrome by photojournalists made earthworks and dust visible. Associated with grainy reproduction in illustrated magazines and speckles of dust in the negatives themselves, the images enhanced the perception of Brasília’s total environmental design. If dust is, according to Richard Meyer, “an environment in miniature, a physical archive of our material surroundings,” this article analyzes how these fine particles of solid matter and their accidental reproduction, operated as visual dissonances that confuse the modern distinction between nature and culture.
Cover image: Mário Fontenelle, Clearing, c.a. 1958, Arquivo Público do Distrito Federa
As Ações de Praga: desenhar, caminhar e o corpo que narra
Get PDFEste artigo explora o gesto de caminhar como potenciador de uma performance de reconhecimento e confronto com a história e geografia de uma cidade. Investiga-se a caracterização deste gesto através do desenho, em particular no recurso ao storyboard como estratégia protocolar e documental de uma ação. O artigo é escrito na dupla perspetiva de um desenhador que caminha e de um investigador que observa e acompanha os resultados dessa ação. O gesto de caminhar é pensado como uma técnica do corpo, na aceção de Marcel Mauss, e gesto produtor de espaço e tempo, onde as narrativas performativas se formulam. O artigo explora a relação entre o gesto de caminhar e o conceito geográfico de Throwntogetherness de Doreen Massey, na caracterização da cidade como um lugar de convergências de trajetórias não relacionadas, e o desenho como estratégia de documentação dessas trajetórias
Song of the Path
Get PDF“How walking and drawing intersect” is an account by walking artist Rosie Montford of her experience of walking and drawing in landscape. Themes of travel, creativity and immersion become interwoven through a meandering walk of sketchbook and practice that a trip to Greece, in order to participate in the Made of Walking 2019 gathering, where this intersection is most keenly felt.
Pausing to draw whilst out walking is shown as a way of locating oneself in the landscape by “losing” oneself in it and yet finding oneself at one in the space. Starting on the Pelion Peninsula and drawing from the actual path ahead; travelling on to Meteora, to walk the old monks’ routes, through woodland to the distant monasteries perched high on the rocks. On Lake Prespes, crossing over to the island of Agios Achillios, a location later shared with participants making a collaborative drawing from the bridge for thewalkshop: “Looking for echoes of the body in landscape”. And finally, a walk along a narrow track on a high promontory down to a remote beach, where struggling with how to make the return ascent, a drawing reveals a route. This group of related studies led on to a series of prints and drawings on the theme: ‘The Song of the Path.
Exploring Radical Pedagogies: Utopia (H)As The Future In Architectural Education
Get PDFFor architects, mere spatial visualization has ceased to suffice. They are now mandated to formulate fresh narratives pertaining to pioneering modes of engagement within novel sociocultural contexts. In turn, Architectural education, responsible for training the future builders of the world, plays a significant role in response to these demands and in creating a more sustainable, equitable, and fair built environment. However, mismatches between existing educational structures and evolving needs signal the necessity for reevaluating teaching practices.
In the 1960s and 1970s, the proximity between the concepts radical and utopia to Architectural education led to pioneering pedagogical experiments, representing a significant innovation in the field. The importance of their revival has found resonance in recent theories, sowing the seeds of future pedagogical ecologies at a time when the future of pedagogical radicalism faces new challenges. Thus, and at a time when Architectural education faces a significant crisis, this article strives to (re)unite the concepts of radical and utopia, which have drifted apart from the academic realm, underscoring the necessity of their rooting in Architectural training and practice by understanding and validating their potential.
When delving into the topic of radical pedagogies in Architectural education, by superficially analysing the process behind their construction, a cohesive framework of criteria that underpin these initiatives can be inferred: their critical, revolutionary, reformist, and transgressive nature as well as the nearly symbiotic presence — varying in degrees of intensity and with rare exceptions — of utopia at their core. In this context, the present study reveals the definition of a qualitative “Utopian Lens" towards the production of a taxonomy, built from a comprehensive review of published case studies.
This reflection, with a specific focus on eagle-eye the presence of utopia at their core, highlights fundamental elements within the structure of these approaches, allowing a categorized reading of the corpus of analysis, showcasing recuring patterns within the scope of the ongoing research. This process provided a collection that shows that utopia can be conveyed through radical pedagogies as a (1) Drive, across various types of (2) Thought, taking on multiple (3) Forms while embracing a wide array of diverse yet complementary (4) Principles.
Cover page: Creation of models for project presentation to the community. (Source: Collage by the Author