Over the last two decades, I have focused my study and professional practice on processes of participant observation and research-action within the scope of the University’s 3rd mission. Miscegenation with the various academic and professional communities working in various public institutions related to the issues of the City has alerted me to different, but complementary, problems associated with the vast theme of iconographic and textual documentation and the systems that enable its archiving, information and interpretation, raising awareness about the urgency of an increasingly transdisciplinary perspective on the matter, with the ultimate goal of universal access.
The endogamy of the different disciplinary areas prevents, or can prevent, a global view and traps us in webs that distort perception of the parts securing the dominion of the Whole. The communicating vessels and the intellectual transversalities become decisive in allowing these same disciplinary areas to generate synergies among themselves and contribute toward their affirmation in society, expanding the public sphere of knowledge. الربح الحقيقى من الانترنت Compartmentalized views of issues, themes and problems substantially sever the possibility of understanding this whole and, in this sense, everything in the field of Knowledge that aims to promote transdisciplinarity is clearly a significant advancement.
One of the issues I struggle with in my scientific-artistic interpretation of the City and Society in Portugal is the frequent dispersion of information, its visibility and, above all, its invisibility. That is the singular case of photography and photographic documents. Often contrary to the documentary organization resulting from the processes indexed to its (public or private) production, there is a tendentially negative division of documents by type, disaggregating the physical and intellectual union of information, hindering its interpretation and consequent organized publication.

For years, especially between the 1970s and 1990s, there was a physical separation of photographics documents from other information –something “new”, which contradicted the “tradition” of “collections” that was part of the regular practices of institutions and of building individual, family or “authorial” memories. In many cases, this action prevented the interpretation of creative processes and disfigured possible interpretive keys of moments associated with their production. موقع مراهنات عالمي
The slow process of forming “modern urbanity ” in Portugal has already spanned three centuries and remains (fortunately) in the form of an open narrative. لعبة روليت مجانيه The protagonists of the various periods – usually pursuing ephemeral manifestations of power that history does not ordinarily recognise, but that the ages are recovering – leave their trails, marking the transience of their time and power.
Photography fixes the present, its dynamics, flows and appearances, and extends the past, more specifically its visualities, the image that various types of framing and context, techniques and technologies were able to fix analogically or digitally. The preservation of this source of memory, of the document, is urgent: not only as a singular species but, as a whole, a “Magic Mountain” that is the construction of urbanity. This same urbanity, which enables the existence of space and the urban being, is quite visible during the process of creation and work in Art and Science. It is a permanent essay, enhancing the emergence of what is seen and what is not seen, of what is tangible and material, but also of what is poetic, intangible, immaterial, navigating between the more or less narrow shores of the rivers of invisibility. Photography as a weapon to combat oblivion and as a working tool of humanity’s memory remains the great revolution in the field of image, capable of underlining the wonder of human production and achievement, a essential part of its documentation and fingerprint in the vestiges of ever new futures.
The great transformation surpasses the natural prominence of the “I” in the photographic act— all photography is, in itself, subjective, precisely because it depends on the interaction between the subject, the machine and the medium. But it is also this natural subjectivity, present, as mentioned, in production, that will always be present in information, in dissemination, access and interpretation, as an object, as a document. Between the subject and the community, between the disciplinary field and concurrent fields, between Academia and the Communities, in this constant in-service learning, we bequeath to the new and
very new generations the weapon that opposes the wide road of oblivion.


I believe that projects such as CONTRAST, by bringing together a diverse set of critical thinking, photographic projects interconnecting teaching/learning, teaching/research and their resonance in communities, bring value to the public exhibition of documentation as a weapon in the fields of Architecture, Art, Design and Photography and transversal areas, namely in the field of Human Sciences.

By creating synergies between different schools, CONTRAST works with the eternal question of being and not being, of existing or appearing, of visibility and invisibility, in the sphere of the common, hoping that, as I say in the text, it will reduce the “wide road of oblivion”.