Visual Thinking

Graphic Signs of Authority in Late Antiquity and the Early Middle Ages presents a cultural history of graphic signs and examines how they were employed to communicate secular and divine authority in the late antique Mediterranean and early medieval Europe. Visual materials such as the sign of the cross, christograms, monograms, and other such devices, are examined against the backdrop of the cultural, religious, and socio-political transition from the late Graeco-Roman world to that of medieval Europe.

This monograph is a synthetic study of graphic visual evidence from a wide range of material media that have rarely been studied collectively, including various mass-produced items and unique objects of art, architectural monuments and epigraphic inscriptions, as well as manuscripts and charters. This study promises to provide a timely reference tool for historians, art historians, archaeologists, epigraphists, manuscript scholars, and numismatists.

This essay considers aspects of the pedagogy behind the PBS children's show Mister Rogers’ Neighborhood. Too easily sentimentalized--and sometimes satirized--for his exploration of feelings and empathy, Fred Rogers in fact carefully structures each show around an investigation of semiotic, phenomenological and epistemological concerns: the interpretation of images, words, things, events and kinesthetic sensation that allows children (and adults) to locate themselves in their everyday experience.

Its ability to deal with visual information is one of the mind's most powerful capacities.  Visual thinking, high-level manipulation of visual information, is important to computer science because, with the flowering of computer graphics and image processing, it provides the basis for a rich and intuitively satisfying channel of man-machine interaction.  Just as writing evolved to help the verbal mind, so various media have evolved to help the visual mind. I propose that visual thinking involves the internalization of visuo-manipulative activity and of movement through the environment.  We move through the physical environment, sometimes in a familiar place, sometimes in a strange place; we handle objects, sometimes to accomplish a specific task, sometimes simply to inspect the object.  Visual thinking involves imagined locomotion in imagined settings, imagined  manipulation of imagined objects.  The settings and objects may be real, but not present, or they may exist only in imagination.

Sketching is understood as a key factor for creative expression, one the most effective visual thinking tools and so applied for design. Is considered the principal approach by which design engineers externalize their concepts and where the drawings provide visual clues for refinement and revision. Engineering Design researchers as well as professionals agrees the value of sketching to enhance visual thinking and so creativity, but sketching presence in engineering education is so few.

There is a decrease in class hours for graphical subjects in current engineering curricula. Moreover, these even pays more attention to metric geometry and CAD training, and so sketching practice is almost totally displaced by modern computer-aided tools. Our appreciation is that sketching is not valued as a powerful visual thinking tool and seen as an old drawing method, replaced by new computer drafting interfaces. We studied how sketching is valued at engineering schools by students and educators, about their opinions related on the importance of sketching, how they see as a creative tool and how they apply for courses, for teaching and for learning.

It is very important that engineering colleges give students the value of sketching, as well of foster its use, to train the future design engineer “not only in the standard drafting skills, but additionally in the ability to represent concepts that are more abstract and best represented as sketches”. To foster creative problem solving, engineering schools should offer formal courses in sketching and drawing in support of design projects: teaching basic techniques in freehand sketching would help them generate quicker and more effective external visualizations of their ideas, and thus foster their creativity.

RESUMEN Tratando de ir en favor de la corriente de hoy en día, se vuelve indispensable el uso de técnicas didácticas inclusivas a cualquier estilo de aprendizaje, que tengan la capacidad de llegar a todos y a uno mismo. Por tal motivo, en el presente documento se presenta al Pensamiento Visible como una herramienta didáctica efectiva tanto para presentar información nueva por parte del docente, como para evaluar el nivel de comprensión obtenido por el alumno. Se detallan dos rutinas de pensamiento con las que cualquier maestro puede iniciarse con la técnica y los resultados esperados de su aplicación. Finalmente se espera que este sea una herramienta de utilidad para el lector.

There has been no shortage of definitions of the concept of “critical thinking” over the years and the concept has been subject to much detailed scholarly work. In social and educational terms critical thinking is an important topic. Of late, critical thinking has also been widely discussed in the popular media, and the concept has been regarded as one of the most important graduate outcomes expected of a university education. However, despite this, scholars have yet to arrive at a holistic conception of critical thinking—a model of critical thinking as it were—that might usefully underpin the range of considerations about critical thinking that occur in the higher education literature. This paper: (1) reviews the various definitions and approaches to critical thinking, and (2) incorporates them into a single, coherent model. A number
of disagreements in critical thinking scholarship are outlined as ‘axis disputes’ arising from the proposed model.

An edited online collection of essays the author has published over the past two years. The essays argue for a common-sense realist view, and claim that common-sense realism implies, and is implied by, social conservatism. The author maintains that common-sense philosophy is not tenable without recognizing the essential cognitive role of visual thinking, and that the work of the later Wittgenstein can be felicitously exploited to create a synthesis of conservatism, common-sense realism, and a philosophy of the visual.

When studying the relationship between text and image in a single medieval manuscript with a medical topic, it is not uncommon to find large differences between the two media. There are cases where the writing is admittedly accompanied by miniatures, but where these are not reflected in the words: the subject of the figure is mentioned, but there is no descriptive element provided.
These inadequacies prompt us to reflect on this type of image, which was ultimately not designed from the start to be linked, either "intellectually" nor "physically", to a single text and therefore was not devoted to shed light on a single work.
Through the representation of the sea urchin, as it appears in some manuscripts of the De materia medica of Pedanius Dioscorides, I examine here the nature and functions of this kind of image that I call paradigmatic.
This analysis also provides an opportunity to study the anatomical diagrams of Aristotle, from which the representation of the sea urchin would originate, and to consider the role of this type of image in the teaching of medical disciplines in Antiquity.

Systems thinking is considered a much-needed competence to deal better with an increasingly interlinked and complex world. The many streams within systems science have diversified perspectives, theories and methods, but have also complicated the field as a whole. This makes it difficult to understand and master the field. Short introductions to fundamental questions of systems science are rare. This paper is divided into three parts and aims to do the following: (1) to provide a broad overview of the structure and purpose of systems science; (2) to present a set of key systems principles and relate them to theoretical streams; and (3) to describe aspects of systems-oriented methodologies within a general process cycle. Integrative visualizations have been included to highlight the relationships between concepts, perspectives and systems thinkers. Several new attempts have been made to define and organize system concepts and streams in order to provide greater overall coherence and easier understanding.

Kepes (1965), görü- ya da görüş- (vision) kavramını dış dünyaya bıraktığımız asıl yaratıcı dokunuş olarak niteler. Fiziksel ve mekânsal çevremizi şekillendirmede, çağdaş bilimler tarafından ortaya çıkarılan doğanın yeni yönlerini algılamakta ve bunun da ötesinde sanatın ve sanatçının deneyimlenmesinde görünün esas olduğunu ortaya koyar. Bu bağlamda, temel olarak mekânsal işlev ve ögeleri anlama ve belirleme, bunları üç boyutlu uzam içerisinde konumlandırma ve bu işlev ve ögelerin ilişkiselliklerini önceden belirlenmiş bir bağlam içerisinde kurgulama olarak betimleyebileceğimiz mekânsal planlama ve tasarım kavramlarının, görü kavramıyla bağdaşık bir ilişki içerisinde olduğunu söylemek mümkündür. Bu sebeple, meslek alanının en temel görüsü olan mekânı, biçimlendirme arayışında olan ve bu arayış süresince görsel ve imge ağırlıklı ürün ve ara-ürünler üreten tasarımcı ve plancıların, görsel düşünme kavramını tasarım sürecine dahil etmesi önemlidir.

Geçtiğimiz yüzyılın ikinci yarısına kadar, görme ve düşünme eylemleri bütünleşik olarak ele alınmamış ve yazında, görme eyleminin zihin tarafından gerçekleştirilecek düşünme eylemine altlık oluşturacak bir ön-eylem olduğu sıklıkla vurgulanmıştır. Arnheim’in (1965) bu mekanik modele karşısavı ve geliştirdiği görsel düşünme kuramı, iki kavramın bir arada kullanılmasının önünü açmıştır.

Görsel düşünme, düşün-yoğun bir süreç olarak nitelendirebileceğimiz kentsel tasarım ve planlama eğitimi ve pratiği için de önemli bir yer tutmaktadır. Tasarım sürecinin ara ve son ürünü olan görsel temsiller ve imgeler, tüm süreç boyunca zihin süzgecinden geçirilmiş düşüncelerin biçimlendirilmiş ve vücut bulmuş halleridirler. Dolayısıyla; görüler ve görselleştirmelerin tasarım süresince üretilen fikre çatkı yaptığını ve onu belirginleştirdiğini söylemek mümkündür. Bu yüzden çizerek temsil etme – ya da kalem ile düşünme- yöntemi sadece sanatsal bir ifade ediş biçimi değil, aynı zamanda bilgi ve düşünceyi taşıyan iletişimsel bir araçtır. Bu araç, tasarımcının başkaları ile olduğu kadar, kendisi ve tasarımı ile olan iletişiminin de onunu acar. Dolayısıyla, kalem ile düşünme olarak ifade edilen, çizerek temsil etme (ya da düşünme) yöntemi, tasarlanan ürüne katkı yapmakta ve tasarım sürecini daha yaratıcı ve üretken hale getirmektedir.

Bu kuramsal çerçevenin ve görsel düşünme biçiminin bir tasarım öğretisi olarak ele alınması ve düşünsel ve yaratıcı bir yöntem olarak sunulması, tasarım ve planlama eğitiminin de önemli bir kaygısı olmalıdır. Bu kaygı ve bağlam dahilinde yazar, görsel düşünme biçiminin önemini, araç ve yöntemlerini ve tasarım ürün ve sürecine yapacağı olumlu katkıları gözlemek ve deneyimlemek üzere, Planlamaya Giriş: Plancılar için Yaratıcı Düşünce dersi kapsamında bir dizi çalıştay düzenlemiştir. Bu çalıştaylar süresince öğrencilerden, örneklem olarak alınan tasarım projelerini görsel olarak incelemeleri ve fiziksel alt parçalarına ayırmaları, soyutlama ve anlamını değiştirme yöntemleriyle yeni bağlamlar üretmeleri, fiziksel mekânda tekrar eden örüntüleri çizerek keşfetmeleri ve yeniden üretmeleri ve kolektif doku çalışmaları ile var olan bir görsel ürüne tepkisel tutum geliştirmeleri beklenmiştir.

Büyük çoğunluğu 1. Sınıf düzeyinde olan, yaklaşık 85 Şehir ve Bölge Planlama Bölümü öğrencisi ile yürütülen çalıştaylarda, öğrencilerin verilen probleme görsel düşünme yöntemiyle yaklaşmalarının sağlanması, doğru ya da güzel çizme korkusunu aşmaları sağlanarak kalem ile düşünmenin tasarım ürün ve sürecine olan etkisini deneyimlemeleri ve çizerek düşünme yöntemini içselleştirilmiş bir alışkanlık haline getirmeleri gibi kazanımlar elde edilmiştir. Görsel düşünme biçiminin kuramsal çerçevesi ve doğrudan araç ve yöntemlerinin deneyimlenmesi yöntemiyle elde edilen bu bilgi birikimi, tasarım ve planlama eğitimi için verimli açılımlar sunmaktadır.

This article focuses on the cognitive function of the image and the role the visual imagination plays in education and the popularization of science. We will look at the possibilities offered in this field created by the modern, moving and programmable digital media. They provide a highly effective, but still not fully utilized tool in popularizing the complex issues of science. The article discusses examples of both the visualizations of didactic character as well as artistic works which relate to the classic problems of mathematics, physics and philosophy in a creative way.

Visual narratives, such as comics and animations, are becoming increasingly popular as a tool for science education and communication. Combining the benefits of visualization with powerful metaphors and character-driven narratives, comics have the potential to make scientific subjects more accessible and engaging for a wider audience. While many authors have experimented with this medium, empirical research on the effects of visual narratives in science communication remains scarce. This review summarizes the available evidence across disciplines, highlighting the cognitive mechanisms that may underlie the effects of visual narratives. Abstract Public engagement with science and

Ce livre propose une interprétation inédite de la biologie d’Aristote. Il montre que, dans la démarche aristotélicienne, à côté de la pensée discursive, oeuvre une pensée visuelle qui élabore une représentation de l’organisation spatiale du corps vivant, apportant ainsi une contribution décisive à la définition des deux tâches majeures de l’enquête scientifique aristotélicienne: l’explication causale et la détermination des genres.

El objetivo de este artículo es realizar una caracterización del pensamiento del diseño, haciendo una crítica a aquello que se suele llamar “design thinking”, como término de moda en la teoría del diseño envuelto en una retórica empresarial. Para lograr el objetivo en un primer momento rastreamos el pensamiento abductivo y la sabiduría poética para plantear que el diseño crea perceptos, guiado por un pensamiento visual en donde el uso de metáforas cumple una función tan primordial que puede ser remitida tanto a la estética y el arte como al origen de todas las lenguas y las culturas. Por lo tanto, como conclusión, defendemos que más allá del discurso y beneficio de los negocios que instrumentalizan el pensamiento del diseño, éste tiene la capacidad de generar nuevas visiones del mundo y formas inéditas de concebirlo.

Immanuel Kant distinquishes between wisdom and science: "Science is organized knowledge. Wisdom is organized life." But what organizes life?
Granted that at one level nature and society have already organized our life for us, the question remains: how ought we to live our lives? What ought we to make of our selves, how ought we meet our need for love, cope with the fact of death?
In the past religion offered guidance. Our present concern with wisdom is due perhaps to the fact that religion no longer functions in this way, while science is unable to offer what we need. In the absence of religion, Kant thought that our reason could become practical and guide us in organizing our lives. But reason has failed to provide the necessary guidance, made clear by the horrors of the twentieth-century. Philosophy, too, has revealed the limits of reason. Given all this, it is now hard to take comfort in the Enlightenment's faith in reason as the answer to the question "What organizes life?" Is there an alternative answer that does not return us to the old religion or to the Enlightenment?
One alternative answer put forward at the end of World War II was the idea that the organization of life was the task of the individual. But with existentialism, the basic problem of what is to bind freedom remains. If reason fails to provide us with the necessary bond, where are we to look? Could it be that, as Schiller already hinted, wisdom needs art? This paper explores that question with a case study, the work of the American painter Jackson Pollock.
Throughout his life Pollock understood the making of art as a vehicle for discovering how to live, at first through visual thinking with symbolic images, then later through the very process of painting his mature abstract poured canvases. Meeting personal and public crises, he discovered how, in the face of death, to aspire towards an erotic opening, whether to woman, nature, or simply to paint. The specificity of the forms and rhythms in his mature work make them powerful conveyors of mood. Responding to its moods, the viewer encounters Pollock’s struggle between an existential desire for unbound freedom and a longing for totalization and homecoming. Pollock's art is not so much a communication of specific insights as it is makes the person who struggles with his art more wise, by revealing to us something about the meaning of the human condition in an age that has experienced the death of god.

Visual narratives, such as comics and animations, are becoming increasingly popular as a tool for science education and communication. Combining the benefits of visualization with powerful metaphors and character-driven narratives, comics have the potential to make scientific subjects more accessible and engaging for a wider audience. While many authors have experimented with this medium, empirical research on the effects of visual narratives in science communication remains scarce. This review summarizes the available evidence across disciplines, highlighting the cognitive mechanisms that may underlie the effects of visual narratives.

In this article we would like to draw attention to the cognitive potential hidden in an image and in the art which employs it. We will focus on the visualization of basic mathematical objects e.g. irrational numbers. Our starting point will be the easy and intuitive case of the square root of two, as it is observed in the diagonal of a square. Next we will move over to the golden ratio hidden in a regular pentagon. To visualize this irrational number φ we will use a looped, endless animation. Finally, we will have a closer look at the famous number π and we will suggest an attempt to represent it in a clearly visual way.  In the last section of the article we will consider the possibility of representing rational and irrational real numbers by dimensionless points on a straight line.  We will also try to present a straight line on a flat surface which – as we know has length – but has no width. The above issues will enable us to see the extent to which mathematics may be inspirational for art, as well as how art may familiarize us with mathematical issues and explain them.

This study analyzed three different remote sketching paradigms to find recommendations for future remote multidisciplinary co-design systems. These included virtual reality freeform drawing, tablet drawing, and uploading images of paper drawing. Drawing in VR could potentially be useful for convergent ideation and visualizing designs that require large-scale spatial thinking or human-scale interaction. The tablet was shown to be easy to use and applicable for a wide variety of design scenarios and paper showed strength in divergent or sequential ideation. The results indicate that perception of media might affect the use of digital tools-this difference in perception was shown between disciplines. Notably, users of VR for collaboration might need more time to explore and develop skills since the medium is so new. The results of this study contribute to further understanding of how digital media can affect the design process when communication between stakeholders needs to be remote.

The goal of this study was to elicit greater quantity and quality of output in speaking and writing from L2 Spanish students through Visual Thinking Strategies. Previous studies completed in the L1 classroom demonstrate that students exhibit gains when pairing whole-class discussion with writing, thus inspiring this present study. As such, thirty-two Spanish IV (intermediate) students in a rural high school in the United States participated in this study that lasted eight weeks. Control and experimental groups were established to rule out additional variables. Through Visual Thinking Strategies, students in the experimental group discussed authentic artwork on multiple occasions through a teacher-facilitated discussion, followed by individual writing about the piece of artwork. Results of the study showed statistically significant growth among the experimental group in writing through measures of word tokens, word types, word tokens per sentence, and clauses per sentence. Furthermor...

Resumen: El presente artículo propone un análisis que contrasta el discurso con la imagen documental producida como criterio de verdad dentro de contextos definidos por la relación centro-periferia. La administración de la sensibilidad en la imagen desde el discurso dominante historiza una exhibición coherente con el pasado de los territorios salvajes, mientras las experiencias múltiples se resguardan en los ámbitos dispersos de las memorias locales. De esta manera, los imaginarios dominantes continúan distanciando los "bordes" del planeta en medio de la marea informativa actual. A través de las fotografías de Miquel Dewever Plana sobre la problemática del suicidio en jóvenes adolescentes de comunidades indígenas de la Guayana Francesa se avista un ejemplo expositivo de las regiones ultraperiféricas en América Latina, así como la administración de su difusión y exposición en contextos específicos, incluso on-line que terminan separando el acceso a los contenidos en las periferias, mientras se difunden ampliamente en los países centrales. La acción de la fotografía documental a suerte de imagen trinchera será fundamental para comprender el encubrimiento de experiencias vitales de donde fueron tomadas dichas imágenes. Con esto se comprende otra imagen, la que proponen las propias comunidades, que roza otros horizontes de sensibilidad y entendimiento. Palabras clave: Guayana Francesa, fotografía documental, regiones ultra-periféricas, América Latina, comunidades del Amazonas.
Abstract: The present article proposes an analysis that shows a contrast between a discourse and a documentary image produced as a truth criterion within the contexts of sensitization and exposure defined by the relationship between a center and a periphery. The administration of sensibility in the image from a dominant discourse historicizes an exhibition coherent with the past of the savage territories while the multiply experience is sheltered in the disperse areas of local memories. This way the dominant imaginaries continue to distance the edges of the planet in the contemporary information tide. Through the photography of Miquel Dewever Plana focused on the issue of suicides in young teenagers of the indigenous community of the French

La presente reflexión propone un cuestionamiento de las versiones que intentan definir el Caribe. El campo social compuesto por diferentes horizontes presenta discontinuidades aptas para cuestionar cómo y qué vemos en esta construcción cultural, antes de apresurarnos en
una definición incluyente que elimine la potencia de sus diversas densidades. En general, el Caribe se presenta como un paisaje cargado de las herencias de la episteme política, jurídica
y económica de Occidente, que se distingue por el sentido de distancia. Así, se sigue
reconfigurando la funcionalidad de las regiones a partir de marcos hegemónicos de visualidad. Para hacer la crítica a este modelo, se ha traído la presencia de la Guayana Francesa, como una fisura que permite profundizar la gran panorámica que el Caribe presenta más allá de la
visualidad dominante.
Palabras clave: Caribe, visualidad, reconstrucción epistémica, espacio, migración, pensamiento
paisaje.

(sroll down for English abstract)

Dieser Dissertation liegt die Problematik des impliziten verkörperten Wissens im Erkennen und Entdecken mittels visueller Instrumente zu Grunde. Mit Entdeckung ist der Akt des allerersten Erkennens von etwas gemeint, über dessen Existenz oder Beschaffenheit dem Entdecker zuvor keine expliziten Kenntnisse zur Verfügung standen. Eine zentrale These dieser Arbeit besagt, dass dies durch den transmodalen Charakter der empirischen Begriffsbildung gesichert wird. Dieses erkenntnistheoretische Problem wird anhand des Entdeckens von emergenten Mustern urbaner Organisation ausgearbeitet, die aus der Vogelperspektive auf urbanen Echtzeitkarten erscheinen. In der Arbeit werden Trends interaktiver Kartierung aufgezeigt, bei denen unter anderem urbane Sensordaten, Daten aus der Verortung von Personen, Objekten und Information und anwendergenerierte Informationen visualisiert werden. Die Konklusion beinhaltet Ausblicke, an welchen Punkten die anhand der interaktiven Karten gewonnenen Erkenntnisse in Stadtentwicklungsprojekte und in die Entwicklung von ortssensitiven Technologien einfließen können.

This dissertation elaborates on the role of implicit embodied knowledge in recognition and discovery through the use of visual instruments. Discovery refers to the very first act of recognition of something, that''s existence or features were not explicitly known by the discovering person beforehand. According to a central thesis of this work discovery is enabled by the transmodal character of empirical concept formation. This epistemological question is elaborated based on the case of emergent patterns of urban organization that appear on urban real-time maps from the bird''s eye view. Trends of interactive mapping are shown where urban sensor-data, location data of persons, objects, and information, as well as user generated information is visualized. The conclusion contains outlooks how knowledge gained from interactive urban maps can be utilized in urban development projects and in the development of location sensitive technologies.

Autoreferat zawiera opis dzieła habilitacyjnego MathArt, na które składa się sześć instalacji wideo, powstałych w latach 2014–2016: „Reszta”, „Zenon^2”, „Ciałka oznaczone”, „Granice koła”, „Przegięcia i ekstrema” oraz „Obraz wyczerpujący”. Prace te w sposób twórczy odnoszą się do wybranych problemów matematyki, zaś w warstwie formalnej cechują się geometrycznym minimalizmem. Tekst podsumowuje również mój dotychczasowy dorobek artystyczny i naukowy oraz działalność dydaktyczną, edukacyjną i popularyzatorską. W celu ogólnej charakterystyki twórczości artystycznej, w której aspekt poznawczy jest równie istotny co wartość estetyczna dzieła, proponuję tutaj autorski termin: sztuka poznania (cognition art).

Der Begriff des Zeigens ist in den Geistes- und Kulturwissenschaften verstärkt und dauerhaft relevant geworden. Gegen Sprachfixierung und Präsenzvergessenheit als doppeltes Erbe des linguistic turn fasst er die Eigenart visueller, körper- und raumbasierter Medien ebenso wie eine Dimension der Aisthesis, die nicht im Symbolischen aufgeht. Die Beiträge des Bandes bilden einen aktuellen Querschnitt einer sich weiterentwickelnden Debatte: von philosophisch-systematischen Grundlagen über die Analyse technischer und sozialer Dispositive, die Revision von Bild- und Evidenzkonzepten bis hin zu Gesprächen aus der Praxis.

Mit Beiträgen von Hanne Loreck, Dieter Mersch, Michaela Ott, Markus Rautzenberg, Ulrich Richtmeyer, Robert Schade, Philipp Stoellger, Sabine Wirth. Und Interviews mit Franco Moretti und Thomas Hettche.

Why are Geometric Proofs (Usually) “Non-Visual”? We asked this question as a way to explore the similarities and differences between diagrams and text (visual thinking versus language thinking). Traditional text-based proofs are considered (by many to be) more rigorous than diagrams alone. In this paper we focus on human perceptual-cognitive characteristics that may encourage textual modes for proofs because of the ergonomic affordances of text relative to diagrams. We sug- gest that visual-spatial perception of physical objects, where an object is perceived with greater acuity through foveal vision rather than peripheral vision, is similar to attention navigating a conceptual visual-spatial structure. We suggest that at- tention has foveal-like and peripheral-like characteristics and that textual modes appeal to what we refer to here as foveal-focal attention, an extension of prior work in focused attention.

Podríamos emprender largas conversaciones sobre las diferentes formas en las que podemos materializar nuestros aprendizajes y cuestionar sus ventajas y desventajas.
MaKITnando Ando surge de la idea de materializar una guía práctica que nos ayuda a recurrir a un material muy valioso para hacer comunidad, en cualquier momento, bien desmenuzado y ejemplificado para tener noción de cómo llevar a cabo un proyecto paso a pasito.

Fue una idea conjunta para sintetizar los aprendizajes que hemos intercambiado a lo largo del curso "Desarrollo comunitario y gestión" en la Facultad de Arquitectura de la Universidad Autónoma de Yucatán.

Una de las razones que encontramos para escribir en comunidad esta guía es lo mucho que nos mueve la idea de comprender los procesos de desarrollo comunitario y gestión, así como todo lo que este tema involucra.

Queremos lograr que nuestra guía sirva para alcanzar un análisis detallado de la comunidad y sus dinámicas. Como equipo deseamos realizar trabajos fructíferos y satisfactorios, siempre teniendo como objetivo principal un aprendizaje que genere impactos positivos.