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article .research-hypotheses h3{font-size:1.17rem!important}#research-r13-release.iict-journal article .research-hypotheses p{font-size:1rem!important}}\n\n\/* IICT VISUALES FINAL 20261106 *\/\n#research-r13-release.iict-journal article .iict-journal-table thead{display:table-header-group!important;position:static!important;inset:auto!important;width:auto!important;height:auto!important;overflow:visible!important;clip:auto!important;clip-path:none!important;visibility:visible!important;opacity:1!important}\n#research-r13-release.iict-journal article .iict-journal-table table caption{position:sticky!important;left:0!important;width:min(42rem,calc(100vw - 5rem))!important;max-width:100%!important;white-space:normal!important;overflow-wrap:break-word!important;hyphens:auto!important}\n@media(max-width:700px){#research-r13-release.iict-journal article .iict-journal-table tbody th{width:clamp(8rem,42vw,14rem)!important;max-width:14rem!important;white-space:normal!important}}\n\/* \/IICT VISUALES FINAL *\/\n<\/style>\n<nav class=\"research-languages\" aria-label=\"Language\"><a href=\"#r13-es\">Espa\u00f1ol<\/a><a href=\"#r13-en\">English \u00b7 full article<\/a><a href=\"#r13-fr\">Fran\u00e7ais \u00b7 article int\u00e9gral<\/a><\/nav><!-- IICT-CITE-CSS --><style>.iict-citation{display:block!important;max-width:780px!important;margin:2.8rem auto!important;padding:1.6rem 1.7rem!important;border-block:1px solid #b6a06b!important;border-left:2px solid #a58a47!important;background:#edf0e7!important;color:#344c53!important;grid-column:1\/-1!important}.iict-citation h2{display:block!important;margin:0 0 1.1rem!important;font:400 1.65rem\/1.25 Georgia,serif!important;color:#264b61!important;text-align:left!important;letter-spacing:0!important}.iict-citation p,.iict-citation blockquote{display:block!important;margin:0 0 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#a58a47;outline-offset:4px}@media(max-width:650px){.iict-citation{padding:1.3rem 1.1rem!important;margin:2rem auto!important}.iict-citation h2{font-size:1.5rem!important}.iict-citation blockquote{font-size:1rem!important}}<\/style><!-- \/IICT-CITE-CSS --><article id=\"r13-es\" lang=\"es\"><p class=\"eyebrow\">Investigaciones del Totonacapan \u00b7 Paisaje y saberes<\/p><h1>Oficios, medicina, fotograf\u00eda y educaci\u00f3n: comunidades que sostienen saberes<\/h1><p class=\"research-deck\">Una herramienta se guarda. Un criterio se aprende con otras personas y se vuelve a poner a prueba.<\/p><div class=\"research-abstract\"><h2>En pocas palabras<\/h2><p>Un taller, una consulta, un archivo, una radio y una escuela conservan conocimientos de maneras distintas. Este art\u00edculo sigue casos documentados de Papantla, la costa veracruzana y la sierra para entender qu\u00e9 relaciones permiten que esos saberes contin\u00faen.<\/p><p>Los impresos de La Bola de Oro, las im\u00e1genes del doctor Buil, la memoria de Margarita Reyes Parra y los estudios sobre salud, educaci\u00f3n y comunicaci\u00f3n se leen seg\u00fan su procedencia. Documento, recuerdo familiar e investigaci\u00f3n de campo aportan pruebas diferentes.<\/p><\/div><figure class=\"research-visual e-photo \"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r13-talla-papantla-museo-2015.jpg\" width=\"1280\" height=\"851\" alt=\"Peces y otros animales tallados en cedro por un artesano de Papantla, expuestos en un museo.\" loading=\"lazy\"><figcaption><strong>Un oficio y una autor\u00eda reconocibles<\/strong>Talla en cedro de Raul de Jesus Espinoza Vasquez, de Papantla, Veracruz. Fotografiada en la exposici\u00f3n La Zoolog\u00eda en el Arte Mexicano, Museo de Arte Popular, Ciudad de M\u00e9xico \u00b7 18.07.2015.<br>AlejandroLinaresGarcia \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:LaZoologiaMAP055.JPG\">Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\">CC BY-SA 4.0<\/a>.<\/figcaption><\/figure><section id=\"r13-es-b0\"><h2>1. El oficio se reconoce en lo que permite hacer<\/h2><p class=\"e-main\">Un anuncio de La Bola de Oro fechado en 1904 ofrece reparaci\u00f3n de alhajas y un surtido de anteojos, lentes, armazones y accesorios. Es una evidencia concreta de la combinaci\u00f3n de plater\u00eda y servicios de \u00f3ptica en Papantla. El impreso permite estudiar c\u00f3mo se presentaba el taller ante su p\u00fablico: qu\u00e9 ofrec\u00eda y con qu\u00e9 promesa de calidad. No contiene, por s\u00ed solo, el historial completo de sus trabajadores ni un programa de ense\u00f1anza.<\/p><p class=\"e-main\">La historia publicada del Instituto sit\u00faa ese taller junto a la memoria de la relojer\u00eda y de la Posada Humboldt. Son l\u00edneas que se ampl\u00edan mediante documentos propios, sin convertirlas en la historia de todos los oficios regionales. La fecha de un negocio y la constituci\u00f3n jur\u00eddica de una asociaci\u00f3n pertenecen a registros diferentes. El inter\u00e9s aqu\u00ed es seguir capacidades y relaciones de trabajo, conservando la identidad y la cronolog\u00eda de cada experiencia.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r13-es-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r13-es-s10\">[10]<\/a><\/p><\/section><figure class=\"research-visual e-photo e-document\"><a href=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bola-1904-scaled.jpg\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bola-1904-scaled.jpg\" width=\"2560\" height=\"1487\" alt=\"Anuncio de La Bola de Oro de 1904, con servicios de plater\u00eda y art\u00edculos de \u00f3ptica, conservado \u00edntegro.\" loading=\"lazy\"><\/a><figcaption><strong>1904 \u00b7 una oferta de servicios documentada<\/strong>Fondo hist\u00f3rico La Bola de Oro \u00b7 A8-01. Reproducci\u00f3n \u00edntegra del original en espa\u00f1ol. Autor gr\u00e1fico no consignado. Pulsar la imagen permite leer el documento completo.<\/figcaption><\/figure><section id=\"r13-es-b1\"><h2>2. Aprender tambi\u00e9n es aprender a juzgar<\/h2><p class=\"e-main\">Reconocer una aver\u00eda, elegir un material o decidir cu\u00e1ndo detener una intervenci\u00f3n exige algo m\u00e1s que nombrar herramientas. En un modelo de aprendizaje de oficio, la observaci\u00f3n se acompa\u00f1a de ensayo, correcci\u00f3n y responsabilidad sobre el resultado. Una fotograf\u00eda puede mostrar una mesa de trabajo; una secuencia comentada por quien realiza la tarea permite comprender mejor por qu\u00e9 cambia un gesto o se descarta una soluci\u00f3n.<\/p><p class=\"e-main\">Esta es una propuesta de lectura de los casos, no el resultado de nuevas entrevistas en talleres. Para documentar una relaci\u00f3n maestro\u2013aprendiz conviene identificar a las personas, la tarea compartida, las correcciones y las ocasiones de pr\u00e1ctica. Tambi\u00e9n importa qui\u00e9n aporta materiales, qui\u00e9n dispone de tiempo para ense\u00f1ar y qu\u00e9 trabajo permite vivir del oficio. La continuidad depende de esas condiciones, adem\u00e1s de la voluntad de conservar una t\u00e9cnica.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r13-es-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r13-es-s6\">[6]<\/a><\/p><\/section><section id=\"r13-es-b2\"><h2>3. Jos\u00e9 Buil: medicina, laboratorio e im\u00e1genes<\/h2><p class=\"e-main\">Una postal puede recuperar una historia cuando conserva sus fechas y su recorrido. Gina Rodr\u00edguez Hern\u00e1ndez estudia en Alquimia a Jos\u00e9 Buil Belenguer a trav\u00e9s de tarjetas, colecciones y recuerdos familiares. Sigue una postal con matasellos de 1937 y una pieza filat\u00e9lica, una doble tarjeta m\u00e1xima, enviada en 1940. Ambas permiten relacionar imagen, sello y circulaci\u00f3n postal. Al recuperar destinatario y procedencia, objetos que podr\u00edan parecer estampas an\u00f3nimas vuelven a tener contexto.<\/p><p class=\"e-main\">La autora recoge tambi\u00e9n la memoria de su nieto sobre el m\u00e9dico, la farmacia, el cuarto oscuro y las pel\u00edculas Path\u00e9 Baby de 9,5 mm. Este testimonio hace visible una convivencia entre pr\u00e1cticas cient\u00edficas, t\u00e9cnicas y familiares. Su valor no exige convertir cada recuerdo en una prioridad hist\u00f3rica demostrada. La afirmaci\u00f3n familiar sobre una primera aplicaci\u00f3n de penicilina, por ejemplo, necesitar\u00eda registros cl\u00ednicos y comparaci\u00f3n independiente; aqu\u00ed no se presenta como un hecho establecido.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r13-es-s2\">[2]<\/a><\/p><\/section><section class=\"d-reading\" id=\"archivo-buil-fotografias\"><style>#archivo-buil-fotografias .buil-grid{display:grid!important;grid-template-columns:repeat(auto-fit,minmax(min(100%,19rem),1fr));gap:1.5rem;margin:1.5rem 0}#archivo-buil-fotografias figure.buil-photo{float:none!important;display:block!important;width:100%!important;max-width:100%!important;margin:0!important;padding:0!important;background:#fffcf4;border:1px solid #d4c8af;box-sizing:border-box}#archivo-buil-fotografias .buil-photo img{display:block!important;width:100%!important;height:auto!important;max-width:100%!important;object-fit:contain!important;margin:0!important}#archivo-buil-fotografias .buil-photo figcaption{display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 var(--sans,Arial,sans-serif)!important;color:#344e59;text-align:left!important}#archivo-buil-fotografias .buil-photo figcaption a{display:block;font-size:12px!important;margin-top:.55rem}#archivo-buil-fotografias summary{cursor:pointer;color:#254761;padding:1rem 0;border-top:1px solid #ab8d49}#archivo-buil-fotografias .buil-credit{font-size:12px!important;line-height:1.6!important}<\/style><p class=\"eyebrow\">Memoria fotogr\u00e1fica \u00b7 Colecci\u00f3n de trece capturas<\/p><h3>Rostros, celebraciones y vuelo: mirar el archivo de Buil<\/h3><p>Los collares, los bordados, las cintas de un tocado o la manera de reunirse en una calle permiten acercarse a la vida de una comunidad. Estas im\u00e1genes fotogr\u00e1ficas aportadas por Iv\u00e1n muestran esos detalles: retratos y escenas colectivas que invitan a detener la mirada.<\/p><p>Jos\u00e9 Buil Belenguer fue m\u00e9dico, fot\u00f3grafo y cineasta aficionado en Papantla. El estudio publicado por el INAH recorre su trabajo con postales, fotograf\u00edas y pel\u00edculas Path\u00e9 Baby de 9,5 mm. D\u00e9cadas despu\u00e9s, el archivo familiar aliment\u00f3 <em>La l\u00ednea paterna<\/em> (1995), de Jos\u00e9 Buil y Maryse Sistach, que re\u00fane memoria familiar, im\u00e1genes antiguas y una mirada posterior sobre el territorio.<\/p><div class=\"buil-grid\"><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-12-370_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-03-12-370_com.google.android.youtube-scaled.jpg\" alt=\"Dos mujeres: tocados, collares y vestimenta en un retrato compartido. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>01 \u00b7 Dos mujeres: tocados, collares y vestimenta en un retrato compartido.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-12-370_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-04-27-937_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-04-27-937_com.google.android.youtube-scaled.jpg\" alt=\"Los Voladores en lo alto del poste, antes del descenso. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>08 \u00b7 Los Voladores en lo alto del poste, antes del descenso.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-04-27-937_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-14-37-33-659_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-14-37-33-659_com.google.android.youtube-scaled.jpg\" alt=\"Una comitiva recorre la calle: la celebraci\u00f3n como encuentro colectivo. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>04 \u00b7 Una comitiva recorre la calle: la celebraci\u00f3n como encuentro colectivo.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-14-37-33-659_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-18-311_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-03-18-311_com.google.android.youtube-scaled.jpg\" alt=\"Retrato sentado: una mujer con el cabello largo y un recipiente sobre el regazo. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>09 \u00b7 Retrato sentado: una mujer con el cabello largo y un recipiente sobre el regazo.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-18-311_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><\/div><details><summary>Ver las otras nueve capturas: retratos, tocados y escenas de comunidad<\/summary><div class=\"buil-grid\"><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-14-41-43-839_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-14-41-43-839_com.google.android.youtube-scaled.jpg\" alt=\"Retrato al aire libre: collares y detalles de la indumentaria. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>02 \u00b7 Retrato al aire libre: collares y detalles de la indumentaria.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-14-41-43-839_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-14-40-31-963_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-14-40-31-963_com.google.android.youtube-scaled.jpg\" alt=\"Un grupo de ni\u00f1os y hombres con sombreros, reunido en el espacio p\u00fablico. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>03 \u00b7 Un grupo de ni\u00f1os y hombres con sombreros, reunido en el espacio p\u00fablico.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-14-40-31-963_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-14-37-43-115_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-14-37-43-115_com.google.android.youtube-scaled.jpg\" alt=\"Banderas, una multitud y las escaleras del pueblo. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>05 \u00b7 Banderas, una multitud y las escaleras del pueblo.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-14-37-43-115_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-04-03-839_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-04-03-839_com.google.android.youtube-scaled.jpg\" alt=\"Retrato frontal de un danzante con tocado floral y banda bordada. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>06 \u00b7 Retrato frontal de un danzante con tocado floral y banda bordada.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-04-03-839_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-04-13-951_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-04-13-951_com.google.android.youtube-scaled.jpg\" alt=\"Retrato de un joven danzante con tocado y vestimenta ceremonial. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>07 \u00b7 Retrato de un joven danzante con tocado y vestimenta ceremonial.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-04-13-951_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-39-316_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-03-39-316_com.google.android.youtube-scaled.jpg\" alt=\"Retrato de perfil: flores, espejos y cintas en el tocado. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>10 \u00b7 Retrato de perfil: flores, espejos y cintas en el tocado.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-39-316_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-47-844_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-03-47-844_com.google.android.youtube-scaled.jpg\" alt=\"Retrato frontal: la banda bordada y el tocado forman parte del conjunto. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>11 \u00b7 Retrato frontal: la banda bordada y el tocado forman parte del conjunto.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-47-844_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-55-811_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-03-55-811_com.google.android.youtube-scaled.jpg\" alt=\"Otro retrato de perfil permite observar las cintas del tocado. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>12 \u00b7 Otro retrato de perfil permite observar las cintas del tocado.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-55-811_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><figure class=\"buil-photo\" style=\"margin:0!important;float:none!important;width:100%!important;max-width:100%!important;padding:0!important\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-31-262_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-03-31-262_com.google.android.youtube-scaled.jpg\" alt=\"Retrato junto a plantas: collares y detalles de la vestimenta. Captura documental en blanco y negro.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption style=\"display:block!important;padding:1rem!important;margin:0!important;font:400 14px\/1.6 Arial,sans-serif!important\"><span>13 \u00b7 Retrato junto a plantas: collares y detalles de la vestimenta.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026%2F11%2FScreenshot_2026-06-03-15-03-31-262_com.google.android.youtube-scaled.jpg&amp;origen=1327&amp;idioma=es\" target=\"_blank\" rel=\"noopener\" style=\"display:block!important;margin-top:.6rem!important;font-size:12px!important\">Ampliar y explorar relacionados \u2197<\/a><\/figcaption><\/figure><\/div><\/details><p class=\"buil-credit\">Capturas aportadas por Iv\u00e1n, identificadas por \u00e9l como procedentes de la pel\u00edcula vinculada al Dr. Jos\u00e9 Buil Belenguer. Se conservan en blanco y negro y sin recreaci\u00f3n generativa. La fecha y autor\u00eda de cada toma se precisar\u00e1n al cotejarlas con la copia del filme; la fecha de la captura digital no fecha la escena.<\/p><details><summary>Fuentes y lectura del archivo<\/summary><p><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/alquimia\/article\/download\/1479\/1429\/2705\" target=\"_blank\" rel=\"noopener\">Gina Rodr\u00edguez Hern\u00e1ndez, INAH: \u00abCuriosidades filat\u00e9licas y charros de Papantla, el singular caso de Jos\u00e9 Buil Belenguer\u00bb<\/a>. Estudia las piezas y la trayectoria del m\u00e9dico y fot\u00f3grafo.<\/p><p><a href=\"https:\/\/www.filmoteca.unam.mx\/exhibiciones\/muestra-del-dia-mundial-del-patrimonio-audiovisual\/la-linea-paterna\/\" target=\"_blank\" rel=\"noopener\">Filmoteca UNAM: <em>La l\u00ednea paterna<\/em><\/a>. Sit\u00faa la recuperaci\u00f3n cinematogr\u00e1fica del archivo familiar.<\/p><p><a href=\"https:\/\/elojoquepiensa.cucsh.udg.mx\/index.php\/elojoquepiensa\/article\/view\/84\" target=\"_blank\" rel=\"noopener\">Salvador Velazco: \u00abLa l\u00ednea paterna, palimpsesto f\u00edlmico\u00bb<\/a>. Analiza c\u00f3mo conviven el material antiguo y la mirada posterior del documental. Esta distinci\u00f3n permite leer las im\u00e1genes sin confundir la fecha de una pel\u00edcula con la de todas sus tomas.<\/p><\/details><p><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/voladores-y-otras-ceremonias-expresiones-que-cruzan-pueblos\/\">Seguir leyendo: Voladores y otras ceremonias \u2192<\/a><\/p><\/section><section class=\"d-reading\" id=\"r13-es-timeline\"><p class=\"eyebrow\">Cronolog\u00eda de las fuentes<\/p><h3>Experiencias distintas, documentos de \u00e9pocas diferentes<\/h3><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Las fechas no forman una \u00fanica instituci\u00f3n centenaria\" style=\"--journal-table-min:32rem\"><table><caption>Las fechas no forman una \u00fanica instituci\u00f3n centenaria<\/caption><thead><tr><th scope=\"col\">Fecha<\/th><th scope=\"col\">Evidencia<\/th><th scope=\"col\">Alcance<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">1904<\/th><td data-label=\"Evidencia\">Anuncio de La Bola de Oro<\/td><td data-label=\"Alcance\">Oferta de plater\u00eda y \u00f3ptica.<\/td><\/tr><tr><th scope=\"row\">1937 \/ 1940<\/th><td data-label=\"Evidencia\">Postales estudiadas en Alquimia<\/td><td data-label=\"Alcance\">Objetos y circulaci\u00f3n; se distinguen de los recuerdos familiares.<\/td><\/tr><tr><th scope=\"row\">Hacia 1960<\/th><td data-label=\"Evidencia\">Memoria de Carmen sobre Margarita<\/td><td data-label=\"Alcance\">Testimonio atribuido; cronolog\u00eda por corroborar.<\/td><\/tr><tr><th scope=\"row\">1994<\/th><td data-label=\"Evidencia\">Fundaci\u00f3n de XECTZ seg\u00fan INPI<\/td><td data-label=\"Alcance\">Inicio de una emisora, no medida de audiencia.<\/td><\/tr><tr><th scope=\"row\">2012<\/th><td data-label=\"Evidencia\">CAI en el registro UNESCO<\/td><td data-label=\"Alcance\">Reconocimiento de una pr\u00e1ctica de salvaguardia concreta.<\/td><\/tr><tr><th scope=\"row\">2014 \/ 2025<\/th><td data-label=\"Evidencia\">Cr\u00f3nicas de la Universidad Veracruzana<\/td><td data-label=\"Alcance\">Encuentro e infraestructura educativa fechados.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><p class=\"c-datanote\">Elaboraci\u00f3n editorial a partir de las referencias del art\u00edculo. No implica una filiaci\u00f3n jur\u00eddica, colaboraci\u00f3n institucional o sucesi\u00f3n entre todos los casos.<\/p><\/section><section id=\"r13-es-b3\"><style id=\"iict-visual-essays-20261106\">\n#main figure.iict-viz{box-sizing:border-box;width:100%;max-width:100%;margin:2.3rem auto!important;padding:clamp(20px,3vw,34px)!important;border:1px solid #cfc3a9!important;border-top:3px solid #a68b46!important;border-radius:2px!important;background:linear-gradient(135deg,#fffcf4,#f5efdf)!important;color:#254761!important;box-shadow:0 18px 30px -32px #17314480;overflow:visible!important;float:none!important;clear:both;isolation:isolate;break-inside:avoid;}\n#main figure.iict-viz *,#main figure.iict-viz *::before,#main figure.iict-viz *::after{box-sizing:border-box}#main figure.iict-viz>header{display:block!important;width:100%!important;margin:0 0 1.35rem!important;padding:0!important;border:0!important;background:none!important}#main figure.iict-viz 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h4{font-size:16px!important}#main figure.iict-viz.viz-vanilla .viz-cell p{font-size:15px!important}}<\/style>\n<figure class=\"iict-viz viz-archive\" id=\"iict-viz-r13-es\" lang=\"es\" aria-labelledby=\"iict-viz-r13-es-title\"><header><div class=\"viz-kicker\"><span>Cuadernos visuales<\/span><span>R13 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r13-es-title\">Cada huella conserva una clase de informaci\u00f3n<\/h3><p>Relacionar las pruebas sin pedirles que respondan todas las preguntas.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Un impreso<\/h4><p>Los anuncios de La Bola de Oro muestran servicios ofrecidos en una fecha.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Una memoria familiar<\/h4><p>El recuerdo de Margarita conserva una experiencia atribuida a Carmen.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>Una investigaci\u00f3n<\/h4><p>Los estudios sobre cuidado, escuela y radio explican casos con m\u00e9todos propios.<\/p><\/div><\/div><figcaption>La procedencia acompa\u00f1a a cada afirmaci\u00f3n; el documento y el recuerdo se leen con su alcance.<span class=\"viz-source\">S\u00edntesis visual original del Instituto \u00b7 <a href=\"#r13-es-sources\">Fuentes y contraste<\/a><\/span><\/figcaption><\/figure>\n<aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r13-es\" lang=\"es\" aria-labelledby=\"iict-reading-r13-es-title\"><span class=\"reading-kicker\">Una historia concreta<\/span><h3 id=\"iict-reading-r13-es-title\">Una peque\u00f1a perforaci\u00f3n tambi\u00e9n cuenta una historia<\/h3><p>El formato Path\u00e9-Baby de 9,5 mm tiene una se\u00f1al material reconocible: la perforaci\u00f3n est\u00e1 en el centro de la pel\u00edcula, entre las im\u00e1genes. La Cin\u00e9math\u00e8que fran\u00e7aise explica que esa disposici\u00f3n aprovechaba una superficie relativamente grande para cada fotograma. El detalle ayuda a comprender la referencia a las pel\u00edculas familiares del doctor Buil recogida por Gina Rodr\u00edguez Hern\u00e1ndez. <a class=\"reading-ref\" href=\"#iict-reading-r13-es-source\" aria-label=\"Ver fuentes y contraste\">\u2197<\/a><\/p><p>Una medida deja as\u00ed de ser un tecnicismo aislado y se vuelve una pregunta para el archivo: qu\u00e9 soporte tenemos, con qu\u00e9 equipo se registr\u00f3 y c\u00f3mo puede identificarse. Reconocer el formato orienta la investigaci\u00f3n; la historia de cada rollo seguir\u00e1 necesitando fechas, procedencia y voces que conozcan sus im\u00e1genes.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/media\/catalogue-des-appareils\/glossaire.pdf\">Cin\u00e9math\u00e8que fran\u00e7aise \/ CNC \u00b7 Glossaire, Path\u00e9-Baby, p. 47<\/a> \u00b7 <a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/collection\/camera-film-9-5-mmap-98-2086.html\">Cin\u00e9math\u00e8que fran\u00e7aise \u00b7 c\u00e1mara AP-98-2086<\/a> \u00b7 <a href=\"#r13-es-sources\">Fuentes y contraste<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r13-a-es\" lang=\"es\" aria-labelledby=\"iict-plate-r13-a-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 I<\/p><h3 id=\"iict-plate-r13-a-es-title\">Una pel\u00edcula estrecha, una imagen relativamente amplia<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r13-a-es-art-title iict-plate-r13-a-es-art-desc\"><title id=\"iict-plate-r13-a-es-art-title\">Una pel\u00edcula estrecha, una imagen relativamente amplia<\/title><desc id=\"iict-plate-r13-a-es-art-desc\">1. 9,5 mm: el ancho del formato Path\u00e9-Baby. 2. La perforaci\u00f3n se sit\u00faa entre los fotogramas, en el centro. 3. El soporte ayuda a formular preguntas sobre proyecci\u00f3n, conservaci\u00f3n y contexto. Detalle orientativo del soporte seg\u00fan la Cin\u00e9math\u00e8que fran\u00e7aise; fotogramas dibujados, sin reproducir pel\u00edculas del fondo Buil.<\/desc><defs><pattern id=\"iict-plate-r13-a-es-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r13-a-es-grain)\"\/><rect x=\"265\" y=\"68\" width=\"220\" height=\"325\" rx=\"2\" fill=\"#ddd1ad\" stroke=\"#b49c62\" stroke-width=\"2\"\/><rect x=\"282\" y=\"84\" width=\"186\" height=\"136\" rx=\"1\" fill=\"#8fa5a1\" stroke=\"#6a8988\" stroke-width=\"2\"\/><path d=\"M284 198 L319 140 L358 181 L407 117 L466 198\" fill=\"none\" stroke=\"#d3dcca\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"282\" y=\"244\" width=\"186\" height=\"136\" rx=\"1\" fill=\"#8fa5a1\" stroke=\"#6a8988\" stroke-width=\"2\"\/><path d=\"M284 358 L319 300 L358 341 L407 277 L466 358\" fill=\"none\" stroke=\"#d3dcca\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"355\" y=\"226\" width=\"40\" height=\"12\" rx=\"3\" fill=\"#f8f4e9\" stroke=\"#9e8a56\" stroke-width=\"2\"\/><line x1=\"265\" y1=\"46\" x2=\"485\" y2=\"46\" stroke=\"#ae8e4b\" stroke-width=\"2\" \/><line x1=\"265\" y1=\"37\" x2=\"265\" y2=\"55\" stroke=\"#ae8e4b\" stroke-width=\"2\" \/><line x1=\"485\" y1=\"37\" x2=\"485\" y2=\"55\" stroke=\"#ae8e4b\" stroke-width=\"2\" \/><text x=\"375\" y=\"32\" fill=\"#8d753f\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">9.5 mm<\/text><path d=\"M485 232 H605 V213\" fill=\"none\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"624\" cy=\"187\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"624\" y=\"195\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"149\" cy=\"269\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"149\" y=\"277\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"621\" cy=\"320\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"621\" y=\"328\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><path d=\"M485 335 H598\" fill=\"none\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/svg><ol class=\"plate-legend\"><li>9,5 mm: el ancho del formato Path\u00e9-Baby.<\/li><li>La perforaci\u00f3n se sit\u00faa entre los fotogramas, en el centro.<\/li><li>El soporte ayuda a formular preguntas sobre proyecci\u00f3n, conservaci\u00f3n y contexto.<\/li><\/ol><figcaption class=\"plate-caption\">Detalle orientativo del soporte seg\u00fan la Cin\u00e9math\u00e8que fran\u00e7aise; fotogramas dibujados, sin reproducir pel\u00edculas del fondo Buil. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r13-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>4. Una fotograf\u00eda conserva una relaci\u00f3n con su contexto<\/h2><p class=\"e-main\">Una imagen guarda un objeto, una persona o un paisaje. El archivo permite volver sobre ella con preguntas: \u00bfcu\u00e1ndo, d\u00f3nde, por qui\u00e9n y para qu\u00e9 se produjo? Las orientaciones del Sistema Nacional de Fototecas relacionan el cuidado material con el conocimiento de los soportes \u2014los materiales o formatos de las im\u00e1genes\u2014 y con su documentaci\u00f3n. En un archivo familiar, quienes reconocen rostros, lugares o situaciones aportan muchas veces identificaciones que no est\u00e1n escritas.<\/p><p class=\"e-main\">Para poder volver a una imagen, su ficha debe reunir autor\u00eda, fecha o intervalo, lugar, soporte, procedencia, descripci\u00f3n y condiciones de uso. Si cambia una identificaci\u00f3n, conviene guardar lo que se sab\u00eda antes y la prueba que llev\u00f3 a corregirlo. Mostrar una reproducci\u00f3n no exige publicar todos los datos personales del expediente. La copia digital facilita consultar esa huella; el objeto original conserva su lugar y los derechos de las personas retratadas siguen necesitando atenci\u00f3n propia.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r13-es-s3\">[3]<\/a><\/p><\/section><section class=\"d-reading\" id=\"r13-es-trace\"><p class=\"eyebrow\">Una huella que puede volver a consultarse<\/p><h3>Del objeto a una pregunta compartida<\/h3><ol class=\"r-flow\"><li><strong>Identificar<\/strong>Qu\u00e9 es, qui\u00e9n lo hizo, cu\u00e1ndo y de d\u00f3nde procede.<\/li><li><strong>Contrastar<\/strong>Relacionar la huella con otras fuentes y con quienes pueden interpretarla.<\/li><li><strong>Compartir y practicar<\/strong>Acordar atribuci\u00f3n, usos y ocasiones para seguir aprendiendo.<\/li><\/ol><p class=\"c-datanote\">Propuesta editorial de trabajo, no norma oficial. Se apoya en la lectura de archivos y en los casos de transmisi\u00f3n documentados.<\/p><\/section><section id=\"r13-es-b4\"><h2>5. Cuidar: usos, transmisi\u00f3n y memoria familiar<\/h2><p class=\"e-main\">\u00bfC\u00f3mo se aprende a cuidar? Pascual Alexander Jim\u00e9nez Cabrera y sus coautores estudiaron en 2013 la transmisi\u00f3n de conocimientos de medicina tradicional en Riachuelos y Hueytepec, en Tecolutla. Aplicaron 53 cuestionarios a jefes de familia y cuatro entrevistas a informantes. Fue un dise\u00f1o no experimental: observaron sin realizar un experimento y seleccionaron participantes por accesibilidad y participaci\u00f3n voluntaria. El estudio describe aprendizajes familiares y relaciones con la atenci\u00f3n m\u00e9dica local. Documentar usos y saberes no demuestra por s\u00ed solo que un tratamiento sea eficaz y seguro; eso requiere pruebas distintas.<\/p><p class=\"e-main\">Otra escala de evidencia es la memoria familiar. Carmen Vargas Carrera recuerda a su abuela, Margarita Reyes Parra, como m\u00e9dica formada en la UNAM, llegada a Papantla hacia 1960, con consultorio en el Hotel Taj\u00edn y visitas a rancher\u00edas. Su relato, ya publicado con atribuci\u00f3n en El Instituto, sit\u00faa el servicio a las personas en el centro de aquella experiencia. Se conserva como testimonio de Carmen: la titulaci\u00f3n, las fechas y los lugares precisan todav\u00eda documentos independientes. No se mezcla su \u00e9poca con los impresos de 1904 ni con la trayectoria del doctor Buil.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r13-es-s4\">[4]<\/a> <a class=\"research-cite\" href=\"#r13-es-s5\">[5]<\/a><\/p><\/section><section id=\"r13-es-b5\"><h2>6. La escuela y el taller organizan aprendizajes diferentes<\/h2><p class=\"e-main\">El Centro de las Artes Ind\u00edgenas ofrece un caso documentado de ense\u00f1anza totonaca. La UNESCO lo seleccion\u00f3 en 2012 para el Registro de buenas pr\u00e1cticas de salvaguardia. Su descripci\u00f3n recoge casas-escuelas especializadas y una Casa de los Mayores, con transmisi\u00f3n en lengua propia, pr\u00e1ctica creativa y cuidado de plantas y materiales necesarios para las artes. El reconocimiento se refiere a esa experiencia concreta y a su contribuci\u00f3n a la salvaguardia.<\/p><p class=\"e-main\">Comparar ese modelo con un taller familiar permite reconocer preguntas compartidas sin hacerlos equivalentes: qui\u00e9n orienta, d\u00f3nde se practica, c\u00f3mo se relacionan lengua y t\u00e9cnica y qu\u00e9 sostiene los materiales. Cada espacio tiene gobierno, fines y participantes propios. La comparaci\u00f3n se centra en sus modos de ense\u00f1anza y en la responsabilidad de quienes los hacen posibles.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r13-es-s6\">[6]<\/a><\/p><\/section><section id=\"r13-es-b6\"><h2>7. La palabra viaja por radio y por la universidad<\/h2><p class=\"e-main\">La ficha del INPI fecha la fundaci\u00f3n de XECTZ, La Voz de la Sierra Norte, en Cuetzalan, el 21 de agosto de 1994. Identifica el n\u00e1huatl y el totonaco como lenguas de transmisi\u00f3n y relaciona el proyecto con solicitudes de atenci\u00f3n de grupos sociales y comunitarios. La radio hace circular palabras y contenidos m\u00e1s all\u00e1 de una reuni\u00f3n presencial. La cobertura t\u00e9cnica descrita por una emisora y la escucha efectiva de una poblaci\u00f3n son, sin embargo, medidas diferentes.<\/p><p class=\"e-main\">En educaci\u00f3n superior hay otras formas de encuentro. La Universidad Veracruzana documenta un intercambio entre UVI Totonacapan y UACM del 12 al 14 de mayo de 2014, con trabajo comunitario y siembra compartida. En 2025 informa de nuevas aulas y una sala de juicios orales en Espinal, junto a una visita al Proyecto Milpa. Son hechos fechados de instituciones distintas: muestran espacios y actividades de aprendizaje, sin demostrar por s\u00ed solos el efecto duradero sobre cada participante.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r13-es-s7\">[7]<\/a> <a class=\"research-cite\" href=\"#r13-es-s8\">[8]<\/a> <a class=\"research-cite\" href=\"#r13-es-s9\">[9]<\/a><\/p><\/section><section id=\"r13-es-b7\"><figure class=\"iict-plate\" id=\"iict-plate-r13-b-es\" lang=\"es\" aria-labelledby=\"iict-plate-r13-b-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 II<\/p><h3 id=\"iict-plate-r13-b-es-title\">La imagen tiene un anverso y una historia de circulaci\u00f3n<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r13-b-es-art-title iict-plate-r13-b-es-art-desc\"><title id=\"iict-plate-r13-b-es-art-title\">La imagen tiene un anverso y una historia de circulaci\u00f3n<\/title><desc id=\"iict-plate-r13-b-es-art-desc\">1. Qui\u00e9n: identificar autor\u00eda y personas retratadas. 2. D\u00f3nde y cu\u00e1ndo: conservar lugar, fecha y sus incertidumbres. 3. C\u00f3mo lleg\u00f3: seguir el soporte, el archivo y los usos posteriores. Ficha visual de lectura documental, aplicada a una fotograf\u00eda dibujada; no es una nueva pieza hist\u00f3rica.<\/desc><defs><pattern id=\"iict-plate-r13-b-es-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r13-b-es-grain)\"\/><g transform=\"translate(227 188) scale(1)\"><g transform=\"rotate(-8)\"><rect x=\"-133\" y=\"-111\" width=\"266\" height=\"232\" rx=\"3\" fill=\"#f6efde\" stroke=\"#b8a781\" stroke-width=\"2\"\/><rect x=\"-115\" y=\"-92\" width=\"230\" height=\"152\" rx=\"1\" fill=\"#bccaba\" stroke=\"#99aa98\" stroke-width=\"2\"\/><path d=\"M-113 50 L-51 -31 L-3 13 L47 -54 L114 50Z\" fill=\"#a5b395\" stroke=\"#8d9d80\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-90 87 H60\" fill=\"none\" stroke=\"#c6b692\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><\/g><g transform=\"translate(533 208) scale(1)\"><g transform=\"rotate(7)\"><rect x=\"-120\" y=\"-110\" width=\"240\" height=\"220\" rx=\"3\" fill=\"#eee5d0\" stroke=\"#b8a781\" stroke-width=\"2\"\/><line x1=\"-96\" y1=\"-76\" x2=\"-12\" y2=\"-76\" stroke=\"#b9ac8c\" stroke-width=\"2\" \/><line x1=\"-96\" y1=\"-40\" x2=\"87\" y2=\"-40\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"-13\" x2=\"87\" y2=\"-13\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"14\" x2=\"87\" y2=\"14\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"41\" x2=\"87\" y2=\"41\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"68\" x2=\"87\" y2=\"68\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><path d=\"M-99 85 Q-45 60 17 85\" fill=\"none\" stroke=\"#9c957a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><\/g><circle cx=\"139\" cy=\"331\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"139\" y=\"339\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"80\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"88\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"615\" cy=\"347\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"615\" y=\"355\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Qui\u00e9n: identificar autor\u00eda y personas retratadas.<\/li><li>D\u00f3nde y cu\u00e1ndo: conservar lugar, fecha y sus incertidumbres.<\/li><li>C\u00f3mo lleg\u00f3: seguir el soporte, el archivo y los usos posteriores.<\/li><\/ol><figcaption class=\"plate-caption\">Ficha visual de lectura documental, aplicada a una fotograf\u00eda dibujada; no es una nueva pieza hist\u00f3rica. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r13-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>8. Sostener una comunidad exige relaciones concretas<\/h2><p class=\"e-main\">Los casos permiten distinguir tres operaciones relacionadas: practicar un saber, transmitir un criterio y conservar una huella verificable. El artesano que realiza una pieza, la persona que ense\u00f1a a reconocer un material y quien identifica una fotograf\u00eda aportan capacidades distintas. La continuidad mejora cuando esos aportes pueden encontrarse y cuando quienes participan deciden qu\u00e9 comparten, c\u00f3mo se atribuye y qu\u00e9 condiciones necesita el trabajo para seguir.<\/p><p class=\"e-main\">Las Posadas y las comunidades de pr\u00e1ctica del Instituto se sit\u00faan en ese terreno de encuentro. La p\u00e1gina Comunidad y cooperaci\u00f3n desarrolla sus formas de participaci\u00f3n y sus l\u00edmites de representaci\u00f3n. La tarea que se desprende de esta investigaci\u00f3n es concreta: reunir documentos con procedencia, escuchar a sus portadores, distinguir lo probado de lo recordado y facilitar nuevas ocasiones de aprendizaje. El archivo conserva rastros; las relaciones permiten volver a hacer algo con ellos.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r13-es-s10\">[10]<\/a><\/p><\/section><details class=\"research-evidence\" id=\"r13-es-sources\"><summary><span class=\"evidence-kicker\">Investigaci\u00f3n abierta<\/span><strong>Fuentes y contraste<\/strong><span class=\"evidence-subtitle\">Abrir el m\u00e9todo, las diferencias entre fuentes y las referencias verificables.<\/span><\/summary><div class=\"evidence-content\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Qu\u00e9 afirmamos, con qu\u00e9 evidencia y hasta d\u00f3nde llega.\" style=\"--journal-table-min:32rem\"><table><caption>Qu\u00e9 afirmamos, con qu\u00e9 evidencia y hasta d\u00f3nde llega.<\/caption><thead><tr><th scope=\"col\">Pregunta<\/th><th scope=\"col\">Fuentes y observaciones<\/th><th scope=\"col\">Contraste e interpretaci\u00f3n<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">\u00bfQu\u00e9 prueba el anuncio de 1904?<\/th><td data-label=\"Fuentes y observaciones\">El documento A8-01 ofrece plater\u00eda, reparaci\u00f3n de alhajas y art\u00edculos de \u00f3ptica. La Historia del Instituto relaciona ese taller con trayectorias de relojer\u00eda y hospedaje.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">El anuncio prueba una oferta fechada; el relato institucional re\u00fane una trayectoria m\u00e1s amplia. No se deducen del anuncio todas las fechas de introducci\u00f3n de t\u00e9cnicas ni la constituci\u00f3n de la asociaci\u00f3n actual. Registros laborales y comerciales permitir\u00edan precisar qui\u00e9n ense\u00f1\u00f3 qu\u00e9, a qui\u00e9n y cu\u00e1ndo.<\/td><\/tr><tr><th scope=\"row\">\u00bfQu\u00e9 sabemos del doctor Buil y con qu\u00e9 fuentes?<\/th><td data-label=\"Fuentes y observaciones\">Rodr\u00edguez Hern\u00e1ndez, Alquimia, pp. 72\u201379, analiza postales y recoge la memoria del nieto: farmacia, cuarto oscuro y pel\u00edculas. Una tarjeta circulada en 1940 puede estudiarse por sus sellos, destinatario y mensaje.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Los objetos y el testimonio se complementan, pero no prueban lo mismo. El recuerdo de una primera aplicaci\u00f3n de penicilina no se convierte en prioridad demostrada. Har\u00edan falta expedientes cl\u00ednicos fechados y comparaci\u00f3n con otros servicios; el art\u00edculo conserva esa atribuci\u00f3n sin certificarla.<\/td><\/tr><tr><th scope=\"row\">\u00bfDigitalizar equivale a conservar?<\/th><td data-label=\"Fuentes y observaciones\">Valdez Mar\u00edn (2000), presentaci\u00f3n de SINAFO, vincula conservaci\u00f3n con identificaci\u00f3n material. La lectura de Buil muestra el valor de volver a conectar im\u00e1genes con colecciones, familiares y circulaci\u00f3n.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">La copia permite acceso; conocer soporte, procedencia y contexto sostiene otras preguntas. La ficha propuesta es una herramienta editorial de esta investigaci\u00f3n, no una norma oficial atribuida al INAH. Para una identificaci\u00f3n nueva se conservar\u00edan evidencia, autor\u00eda de la revisi\u00f3n y estado anterior.<\/td><\/tr><tr><th scope=\"row\">\u00bfRegistrar usos demuestra eficacia m\u00e9dica?<\/th><td data-label=\"Fuentes y observaciones\">Jim\u00e9nez Cabrera y coautores (2015), materiales y m\u00e9todos: campo de 2013, 53 cuestionarios y cuatro entrevistas en Riachuelos\/Hueytepec, con unidades accesibles y voluntarias. Describe transmisi\u00f3n familiar y atenci\u00f3n mixta.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Un estudio no experimental de pr\u00e1cticas no es un ensayo cl\u00ednico ni una medida representativa de todo el territorio. El art\u00edculo analiza circulaci\u00f3n de conocimientos, no prescribe tratamientos. Eficacia y seguridad requieren investigaci\u00f3n espec\u00edfica; frecuencia de uso, confianza y resultado cl\u00ednico son variables diferentes.<\/td><\/tr><tr><th scope=\"row\">\u00bfC\u00f3mo se incorpora la memoria de Margarita?<\/th><td data-label=\"Fuentes y observaciones\">El relato publicado en El Instituto atribuye a Carmen Vargas Carrera recuerdos sobre su abuela, llegada hacia 1960, formaci\u00f3n UNAM, consultorio y visitas a rancher\u00edas. No se dispone aqu\u00ed de diploma, c\u00e9dula ni anuncios contempor\u00e1neos cotejados.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Se conserva el relato como testimonio identificado, separado de la evidencia de 1904 y de la \u00e9poca del doctor Buil. No se resuelven por inferencia diferencias entre localizaciones recordadas. Documentos de \u00e9poca y una entrevista fechada podr\u00edan precisar la cronolog\u00eda. La recreaci\u00f3n visual no se toma como retrato probatorio.<\/td><\/tr><tr><th scope=\"row\">\u00bfEscuela, taller y casa ense\u00f1an de la misma manera?<\/th><td data-label=\"Fuentes y observaciones\">UNESCO, expediente 00666\/decisi\u00f3n 7.COM 9.2 de 2012, describe casas-escuelas y Casa de los Mayores del CAI. El estudio de Tecolutla documenta aprendizaje dom\u00e9stico; el anuncio de 1904 acredita servicios, no una pedagog\u00eda completa.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Se comparan funciones, sin convertir espacios distintos en un modelo \u00fanico ni extender un reconocimiento UNESCO a otros actores. Las preguntas compartidas son orientaci\u00f3n, pr\u00e1ctica, lengua y condiciones materiales. Para conocer el aprendizaje de cada taller har\u00edan falta observaci\u00f3n y testimonios autorizados propios.<\/td><\/tr><tr><th scope=\"row\">\u00bfUn medio o un edificio prueban un aprendizaje?<\/th><td data-label=\"Fuentes y observaciones\">INPI fecha XECTZ en 1994 y declara lenguas y cobertura. La UV documenta un intercambio de 2014 y aulas, sala de juicios orales y visita al Proyecto Milpa en 2025.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Son evidencias de medios, espacios y actividades, no medidas equivalentes de audiencia, comprensi\u00f3n o continuidad. Una evaluaci\u00f3n de aprendizaje requerir\u00eda seguimiento a participantes y preguntas definidas. No se atribuyen esas iniciativas al Instituto ni se transforma una futura reuni\u00f3n anunciada en actividad ya realizada.<\/td><\/tr><tr><th scope=\"row\">\u00bfCu\u00e1ndo podemos hablar de comunidad de pr\u00e1ctica?<\/th><td data-label=\"Fuentes y observaciones\">Los casos anteriores re\u00fanen herramientas, personas, instituciones y registros con fechas diferentes. El marco de lectura de este art\u00edculo pregunta por tarea compartida, correcci\u00f3n, transmisi\u00f3n, sustento y decisi\u00f3n sobre lo que se comparte.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">La presencia de un objeto o de un grupo en una foto no basta para demostrar aprendizaje mutuo sostenido. La propuesta es anal\u00edtica y se explicita como tal. Cuadernos de trabajo, secuencias comentadas, acuerdos y testimonios permitir\u00edan probar relaciones concretas sin absorber a todos los actores en una sola historia institucional.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>Referencias y alcance de lectura<\/h3><ol class=\"research-sources\"><li id=\"r13-es-s1\"><a href=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bola-1904-scaled.jpg\">Fondo hist\u00f3rico La Bola de Oro \u00b7 1904 \u00b7 Taller de Plater\u00eda: alhajas, anteojos, lentes y armazones \u00b7 documento A8-01<\/a><br>Reproducci\u00f3n \u00edntegra del anuncio propio, medio 36. Evidencia de oferta de servicios en esa fecha; no acredita por s\u00ed solo todas las fechas de introducci\u00f3n de t\u00e9cnicas ni una plantilla completa de trabajadores.<\/li><li id=\"r13-es-s2\"><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/alquimia\/article\/download\/1479\/1429\/2705\">Gina Rodr\u00edguez Hern\u00e1ndez \u00b7 Curiosidades filat\u00e9licas y charros de Papantla, el singular caso de Jos\u00e9 Buil Belenguer \u00b7 Alquimia, pp. 72\u201379 \u00b7 fecha de edici\u00f3n no verificada en esta consulta<\/a><br>Le\u00eddos pasajes primarios indexados sobre postal de 1937, doble m\u00e1xima de 1940 y testimonio del nieto acerca de medicina, fotograf\u00eda y Path\u00e9 Baby. Acceso directo al PDF devolvi\u00f3 403\/timeout; no se afirma lectura \u00edntegra. La prioridad de penicilina es recuerdo atribuido, no hecho demostrado.<\/li><li id=\"r13-es-s3\"><a href=\"https:\/\/mediateca.inah.gob.mx\/islandora_74\/islandora\/object\/libro%3A588\/datastream\/OBJ\/view\">Juan Carlos Valdez Mar\u00edn \u00b7 2000 \u00b7 \u00bfC\u00f3mo cuidar mis negativos fotogr\u00e1ficos? \u00b7 Cuadernos del Sistema Nacional de Fototecas 1 \u00b7 INAH \u00b7 ISBN 970-18-4921-3<\/a><br>Le\u00eddos presentaci\u00f3n de Rosa Casanova, autor\u00eda y datos de primera edici\u00f3n por texto primario indexado; contrastados con cat\u00e1logo institucional INAH. Se usa el v\u00ednculo entre conocer, documentar y conservar; no se ofrece aqu\u00ed un manual de intervenci\u00f3n f\u00edsica.<\/li><li id=\"r13-es-s4\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S2007-09342015000801791&#038;script=sci_arttext\">Pascual Alexander Jim\u00e9nez Cabrera, Mart\u00edn Hern\u00e1ndez Ju\u00e1rez, Gildardo Espinosa S\u00e1nchez, Guillermo Mendoza Castel\u00e1n y Marcia Bell Torrijos Almaz\u00e1n \u00b7 2015 \u00b7 Los saberes en medicina tradicional y su contribuci\u00f3n al desarrollo rural: estudio de caso Regi\u00f3n Totonaca, Veracruz \u00b7 Revista Mexicana de Ciencias Agr\u00edcolas 6(8), 1791\u20131805<\/a><br>Le\u00eddos resumen, materiales y m\u00e9todos, resultados sobre transmisi\u00f3n, atenci\u00f3n mixta y conclusiones. Campo de 2013 en Riachuelos\/Hueytepec, 53 cuestionarios y cuatro entrevistas, muestreo por juicio\/accesibilidad y voluntarios. Dise\u00f1o no experimental; no ensayo cl\u00ednico ni prevalencia representativa de todo el Totonacapan.<\/li><li id=\"r13-es-s5\"><a href=\"https:\/\/totonacapan.com\/?page_id=39\">Carmen Vargas Carrera \u00b7 memoria familiar de Margarita Reyes Parra \u00b7 relato atribuido publicado en El Instituto, consultado el 05.11.2026<\/a><br>Es un testimonio oral comunicado por Carmen y reproducido con atribuci\u00f3n. Titulaci\u00f3n UNAM, llegada hacia 1960, consultorio y visitas permanecen pendientes de corroboraci\u00f3n documental independiente. La ilustraci\u00f3n all\u00ed publicada es una recreaci\u00f3n IA; no se utiliza como fotograf\u00eda hist\u00f3rica ni se reproduce aqu\u00ed.<\/li><li id=\"r13-es-s6\"><a href=\"https:\/\/ich.unesco.org\/es\/BSP\/xtaxkgakget-makgkaxtlawana-el-centro-de-las-artes-indigenas-y-su-contribucion-a-la-salvaguardia-del-patrimonio-cultural-inmaterial-del-pueblo-totonaca-de-veracruz-mexico-00666\">UNESCO \u00b7 2012 \u00b7 Xtaxkgakget Makgkaxtlawana: Centro de las Artes Ind\u00edgenas \u00b7 expediente 00666 \u00b7 decisi\u00f3n 7.COM 9.2<\/a><br>Le\u00edda la descripci\u00f3n institucional primaria indexada: casas-escuelas, Casa de los Mayores, lengua y materiales. Selecci\u00f3n en el Registro de buenas pr\u00e1cticas de salvaguardia. La p\u00e1gina directa solicita verificaci\u00f3n humana, no eludida.<\/li><li id=\"r13-es-s7\"><a href=\"https:\/\/ecos.inpi.gob.mx\/xectz\/\">INPI \u00b7 XECTZ, La Voz de la Sierra Norte \u00b7 ficha institucional consultada el 05.11.2026<\/a><br>Le\u00eddos historia, fundaci\u00f3n 21.08.1994, lenguas y cobertura declarada mediante texto primario indexado; el acceso directo expir\u00f3. Cobertura t\u00e9cnica no equivale a audiencia medida.<\/li><li id=\"r13-es-s8\"><a href=\"https:\/\/www.uv.mx\/uvi\/noticias\/la-uvi-totonacapan-y-la-uacm-plantel-san-lorenzo-tezonco-realizan-el-segundo-encuentro-e-intercambio-de-experiencias-saberes-sentires-y-utopias\/\">Daniel H. Vargas \u00b7 Universidad Veracruzana \u00b7 15.05.2014 \u00b7 Segundo Encuentro e Intercambio de Experiencias, Saberes, Sentires y Utop\u00edas, UVI\u2013UACM<\/a><br>Le\u00edda la cr\u00f3nica institucional completa del encuentro de 12\u201314.05.2014 y antecedente de noviembre de 2013. Acredita las actividades relatadas; la propuesta de una tercera reuni\u00f3n no se convierte en prueba de que ocurri\u00f3.<\/li><li id=\"r13-es-s9\"><a href=\"https:\/\/www.uv.mx\/prensa\/general\/uv-intercultural-totonacapan-cuenta-con-sala-de-juicios-orales\/\">Paola Cort\u00e9s P\u00e9rez \u00b7 Universidad Veracruzana \u00b7 11.03.2025 \u00b7 UV-Intercultural Totonacapan cuenta con Sala de Juicios Orales<\/a><br>Le\u00eddo texto de la noticia sobre aulas, sala y visita al Proyecto Milpa. Es evidencia institucional de infraestructura y actividades de esa fecha, no evaluaci\u00f3n de resultados educativos. Fotograf\u00eda de C\u00e9sar Pisil Ramos no reutilizada.<\/li><li id=\"r13-es-s10\"><a href=\"https:\/\/totonacapan.com\/?page_id=411\">Instituto Internacional de Cultura del Totonacapan \u00b7 Historia de la instituci\u00f3n \u00b7 p\u00e1gina p\u00fablica consultada el 05.11.2026<\/a><br>Le\u00eddos los apartados de taller, oficios y Posada Humboldt como orientaci\u00f3n hacia el expediente hist\u00f3rico. Es relato institucional con fuentes propias; no una validaci\u00f3n externa de todos sus enunciados.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r13-es-source\" lang=\"es\"><h4>Una peque\u00f1a perforaci\u00f3n tambi\u00e9n cuenta una historia<\/h4><p>La ficha t\u00e9cnica contextualiza el formato mencionado por Rodr\u00edguez Hern\u00e1ndez. No identifica un aparato o rollo concreto como perteneciente a Buil ni acredita su estado de conservaci\u00f3n.<\/p><p><a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/media\/catalogue-des-appareils\/glossaire.pdf\">Cin\u00e9math\u00e8que fran\u00e7aise \/ CNC \u00b7 Glossaire, Path\u00e9-Baby, p. 47<\/a> \u00b7 <a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/collection\/camera-film-9-5-mmap-98-2086.html\">Cin\u00e9math\u00e8que fran\u00e7aise \u00b7 c\u00e1mara AP-98-2086<\/a> \u00b7 <a href=\"#iict-reading-r13-es\">Volver al pasaje<\/a><\/p><\/section>\n<\/details><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=57\">Comunidades de pr\u00e1ctica: Comunidad y cooperaci\u00f3n \u2192<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=411\">Consultar la Historia de la instituci\u00f3n \u2192<\/a><\/nav><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#research-hub-es\">Volver a Investigaciones del Totonacapan \u2192<\/a><\/nav><p class=\"research-version\">Edici\u00f3n documental \u00b7 ES \/ EN \/ FR \u00b7 05.11.2026 \u00b7 v1.0<\/p><!-- IICT-CITE R13 es --><aside class=\"iict-citation\" id=\"citar-r13-es\" aria-labelledby=\"citar-r13-es-title\"><h2 id=\"citar-r13-es-title\">C\u00f3mo citar este art\u00edculo<\/h2><p class=\"iict-citation-label\">Referencia bibliogr\u00e1fica sugerida<\/p><blockquote class=\"iict-citation-reference\">Instituto Internacional de Cultura del Totonacapan. \u00abOficios, medicina, fotograf\u00eda y educaci\u00f3n: comunidades que sostienen saberes\u00bb. <cite>Cuadernos de investigaci\u00f3n<\/cite>, <strong>R13<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-es\">https:\/\/totonacapan.com\/?page_id=1327#r13-es<\/a>.<\/blockquote><p><strong>Referencia interna:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-es\">R13<\/a>. Para citar un pasaje concreto, a\u00f1ade el t\u00edtulo de su secci\u00f3n.<\/p><p><a href=\"https:\/\/totonacapan.com\/?page_id=1225#normas-citacion-es\">Criterios de citaci\u00f3n del Instituto \u2192<\/a><\/p><\/aside><!-- \/IICT-CITE R13 es --><\/article><details class=\"research-lang-version\" id=\"r13-en-version\"><summary>Read the full English article<\/summary><article id=\"r13-en\" lang=\"en\"><p class=\"eyebrow\">Totonacapan Research \u00b7 Landscape and knowledge<\/p><h1>Crafts, medicine, photography and education: communities that sustain knowledge<\/h1><p class=\"research-deck\">A tool can be kept. Judgement is learned with other people and put to the test again.<\/p><div class=\"research-abstract\"><h2>At a glance<\/h2><p>A workshop, a consultation, an archive, a radio station and a school preserve knowledge in different ways. This article follows documented cases from Papantla, the Veracruz coast and the mountains to understand the relationships enabling that knowledge to continue.<\/p><p>La Bola de Oro\u2019s printed materials, Dr Buil\u2019s images, memories of Margarita Reyes Parra and studies of health, education and communication are read according to their provenance. Documents, family recollections and field research provide different kinds of evidence.<\/p><\/div><figure class=\"research-visual e-photo \"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r13-talla-papantla-museo-2015.jpg\" width=\"1280\" height=\"851\" alt=\"Fish and other animals carved in cedar by a Papantla craftsperson, displayed in a museum.\" loading=\"lazy\"><figcaption><strong>A craft and an identifiable maker<\/strong>Cedar carving by Raul de Jesus Espinoza Vasquez of Papantla, Veracruz. Photographed at La Zoolog\u00eda en el Arte Mexicano, Museo de Arte Popular, Mexico City \u00b7 18 July 2015.<br>AlejandroLinaresGarcia \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:LaZoologiaMAP055.JPG\">Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\">CC BY-SA 4.0<\/a>.<\/figcaption><\/figure><section id=\"r13-en-b0\"><h2>1. A craft becomes visible through what it enables<\/h2><p class=\"e-main\">A La Bola de Oro advertisement dated 1904 offers jewellery repairs and a range of spectacles, lenses, frames and accessories. It provides specific evidence of silversmithing combined with optical services in Papantla. The printed document allows us to study how the workshop presented itself to customers: what it offered and what quality it promised. On its own, it does not contain a complete history of its workers or a teaching programme.<\/p><p class=\"e-main\">The Institute\u2019s published history places that workshop alongside memories of watchmaking and the Posada Humboldt. These lines of inquiry are extended through their own documents without becoming a history of every regional craft. The date of a business and the legal constitution of an association belong to different records. The focus here is on following capabilities and working relationships while preserving each experience\u2019s identity and chronology.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r13-en-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r13-en-s10\">[10]<\/a><\/p><\/section><figure class=\"research-visual e-photo e-document\"><a href=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bola-1904-scaled.jpg\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bola-1904-scaled.jpg\" width=\"2560\" height=\"1487\" alt=\"Complete 1904 La Bola de Oro advertisement for silversmithing and optical goods.\" loading=\"lazy\"><\/a><figcaption><strong>1904 \u00b7 a documented offer of services<\/strong>La Bola de Oro historical collection \u00b7 A8-01. Full reproduction of the Spanish original. Graphic author not recorded. Open the image to read the complete document.<\/figcaption><\/figure><section id=\"r13-en-b1\"><h2>2. Learning includes learning to judge<\/h2><p class=\"e-main\">Recognising a fault, choosing a material or deciding when to stop an intervention requires more than naming tools. In a craft-learning model, observation is accompanied by practice, correction and responsibility for the result. A photograph can show a workbench; a sequence explained by the person carrying out the task can reveal why a gesture changes or a proposed solution is rejected.<\/p><p class=\"e-main\">This is a framework for reading the cases, rather than a finding from new workshop interviews. Documenting a master\u2013apprentice relationship means identifying the people, the shared task, corrections and opportunities to practise. It also matters who supplies materials, who has time to teach and what work provides a livelihood. Continuity depends on these conditions as well as the wish to preserve a technique.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r13-en-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r13-en-s6\">[6]<\/a><\/p><\/section><section id=\"r13-en-b2\"><h2>3. Jos\u00e9 Buil: medicine, laboratory work and images<\/h2><p class=\"e-main\">In Alquimia, Gina Rodr\u00edguez Hern\u00e1ndez studies Jos\u00e9 Buil Belenguer through postcards, collections and family recollections. A postcard postmarked in 1937 and a philatelic item, a double maximum card, mailed in 1940 trace connections between images, stamps and postal circulation. The analysis restores context to objects that might otherwise look like anonymous pictures when separated from their recipient and provenance.<\/p><p class=\"e-main\">The author also records his grandson\u2019s memories of the doctor, pharmacy, darkroom and 9.5 mm Path\u00e9 Baby films. This testimony reveals scientific, technical and family practices existing alongside one another. Its value does not require turning every recollection into a proven historical first. The family claim concerning a first use of penicillin, for example, would require clinical records and independent comparison; it is not presented here as an established fact.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r13-en-s2\">[2]<\/a><\/p><\/section><p class=\"r-small\"><a href=\"#archivo-buil-fotografias\">Explore thirteen photographic captures from the film associated with the Buil archive: portraits, celebrations and Voladores.<\/a> Supplied by Iv\u00e1n; individual dates and credits await comparison with the film.<\/p><section class=\"d-reading\" id=\"r13-en-timeline\"><p class=\"eyebrow\">A timeline of sources<\/p><h3>Different experiences, records from different periods<\/h3><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"These dates do not form one century-old institution\" style=\"--journal-table-min:32rem\"><table><caption>These dates do not form one century-old institution<\/caption><thead><tr><th scope=\"col\">Date<\/th><th scope=\"col\">Evidence<\/th><th scope=\"col\">Scope<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">1904<\/th><td data-label=\"Evidence\">La Bola de Oro advertisement<\/td><td data-label=\"Scope\">Silversmithing and optical services offered.<\/td><\/tr><tr><th scope=\"row\">1937 \/ 1940<\/th><td data-label=\"Evidence\">Postcards studied in Alquimia<\/td><td data-label=\"Scope\">Objects and circulation, distinguished from family memories.<\/td><\/tr><tr><th scope=\"row\">Around 1960<\/th><td data-label=\"Evidence\">Carmen\u2019s memories of Margarita<\/td><td data-label=\"Scope\">Attributed testimony; chronology awaiting corroboration.<\/td><\/tr><tr><th scope=\"row\">1994<\/th><td data-label=\"Evidence\">XECTZ founding according to INPI<\/td><td data-label=\"Scope\">A station\u2019s beginning, not an audience measurement.<\/td><\/tr><tr><th scope=\"row\">2012<\/th><td data-label=\"Evidence\">CAI in UNESCO\u2019s register<\/td><td data-label=\"Scope\">Recognition of a particular safeguarding practice.<\/td><\/tr><tr><th scope=\"row\">2014 \/ 2025<\/th><td data-label=\"Evidence\">Universidad Veracruzana accounts<\/td><td data-label=\"Scope\">Dated encounter and educational infrastructure.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><p class=\"c-datanote\">Editorial synthesis from the article\u2019s references. It does not imply legal descent, institutional collaboration or succession between all cases.<\/p><\/section><section id=\"r13-en-b3\"><figure class=\"iict-viz viz-archive\" id=\"iict-viz-r13-en\" lang=\"en\" aria-labelledby=\"iict-viz-r13-en-title\"><header><div class=\"viz-kicker\"><span>Visual notebooks<\/span><span>R13 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r13-en-title\">Each trace preserves a kind of information<\/h3><p>Connect evidence without expecting it to answer every question.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>A printed document<\/h4><p>La Bola de Oro advertisements show services offered at a particular date.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>A family memory<\/h4><p>Memories of Margarita preserve an experience attributed to Carmen.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>A research study<\/h4><p>Studies of care, school and radio explain cases using their own methods.<\/p><\/div><\/div><figcaption>Provenance accompanies each claim; documents and memories are read within their scope.<span class=\"viz-source\">Original visual synthesis by the Institute \u00b7 <a href=\"#r13-en-sources\">Sources and comparison<\/a><\/span><\/figcaption><\/figure>\n<aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r13-en\" lang=\"en\" aria-labelledby=\"iict-reading-r13-en-title\"><span class=\"reading-kicker\">A closer story<\/span><h3 id=\"iict-reading-r13-en-title\">A small perforation tells a story too<\/h3><p>The 9.5 mm Path\u00e9-Baby format has a recognizable physical feature: its perforation sits in the centre of the film, between images. The Cin\u00e9math\u00e8que fran\u00e7aise explains that this arrangement allowed a relatively large area for each frame. The detail helps make sense of Gina Rodr\u00edguez Hern\u00e1ndez\u2019s reference to Dr Buil\u2019s family films. <a class=\"reading-ref\" href=\"#iict-reading-r13-en-source\" aria-label=\"See sources and comparison\">\u2197<\/a><\/p><p>A measurement thus becomes a question for the archive: what material is this, what equipment recorded it, and how can it be identified? Recognizing a format guides research; each reel\u2019s history still needs dates, provenance and people who know its images.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/media\/catalogue-des-appareils\/glossaire.pdf\">Cin\u00e9math\u00e8que fran\u00e7aise \/ CNC \u00b7 Glossaire, Path\u00e9-Baby, p. 47<\/a> \u00b7 <a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/collection\/camera-film-9-5-mmap-98-2086.html\">Cin\u00e9math\u00e8que fran\u00e7aise \u00b7 c\u00e1mara AP-98-2086<\/a> \u00b7 <a href=\"#r13-en-sources\">Sources and comparison<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r13-a-en\" lang=\"en\" aria-labelledby=\"iict-plate-r13-a-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 I<\/p><h3 id=\"iict-plate-r13-a-en-title\">A narrow film, a relatively large image<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r13-a-en-art-title iict-plate-r13-a-en-art-desc\"><title id=\"iict-plate-r13-a-en-art-title\">A narrow film, a relatively large image<\/title><desc id=\"iict-plate-r13-a-en-art-desc\">1. 9.5 mm: the width of the Path\u00e9-Baby format. 2. The perforation sits centrally between frames. 3. The carrier raises questions about projection, preservation and context. Indicative carrier detail following the Cin\u00e9math\u00e8que fran\u00e7aise; drawn frames, without reproducing Buil collection footage.<\/desc><defs><pattern id=\"iict-plate-r13-a-en-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r13-a-en-grain)\"\/><rect x=\"265\" y=\"68\" width=\"220\" height=\"325\" rx=\"2\" fill=\"#ddd1ad\" stroke=\"#b49c62\" stroke-width=\"2\"\/><rect x=\"282\" y=\"84\" width=\"186\" height=\"136\" rx=\"1\" fill=\"#8fa5a1\" stroke=\"#6a8988\" stroke-width=\"2\"\/><path d=\"M284 198 L319 140 L358 181 L407 117 L466 198\" fill=\"none\" stroke=\"#d3dcca\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"282\" y=\"244\" width=\"186\" height=\"136\" rx=\"1\" fill=\"#8fa5a1\" stroke=\"#6a8988\" stroke-width=\"2\"\/><path d=\"M284 358 L319 300 L358 341 L407 277 L466 358\" fill=\"none\" stroke=\"#d3dcca\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"355\" y=\"226\" width=\"40\" height=\"12\" rx=\"3\" fill=\"#f8f4e9\" stroke=\"#9e8a56\" stroke-width=\"2\"\/><line x1=\"265\" y1=\"46\" x2=\"485\" y2=\"46\" stroke=\"#ae8e4b\" stroke-width=\"2\" \/><line x1=\"265\" y1=\"37\" x2=\"265\" y2=\"55\" stroke=\"#ae8e4b\" stroke-width=\"2\" \/><line x1=\"485\" y1=\"37\" x2=\"485\" y2=\"55\" stroke=\"#ae8e4b\" stroke-width=\"2\" \/><text x=\"375\" y=\"32\" fill=\"#8d753f\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">9.5 mm<\/text><path d=\"M485 232 H605 V213\" fill=\"none\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"624\" cy=\"187\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"624\" y=\"195\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"149\" cy=\"269\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"149\" y=\"277\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"621\" cy=\"320\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"621\" y=\"328\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><path d=\"M485 335 H598\" fill=\"none\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/svg><ol class=\"plate-legend\"><li>9.5 mm: the width of the Path\u00e9-Baby format.<\/li><li>The perforation sits centrally between frames.<\/li><li>The carrier raises questions about projection, preservation and context.<\/li><\/ol><figcaption class=\"plate-caption\">Indicative carrier detail following the Cin\u00e9math\u00e8que fran\u00e7aise; drawn frames, without reproducing Buil collection footage. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r13-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>4. A photograph preserves a relationship with its context<\/h2><p class=\"e-main\">An image may record an object, a person or a landscape; the archive allows renewed questions about when, where, by whom and for what purpose it was made. Guidance from the National Photographic Archive System connects material care with knowledge of photographic supports \u2014 the materials or formats of the images \u2014 and their documentation. A family archive also holds identifications often available only from people who recognise faces, places or situations.<\/p><p class=\"e-main\">A useful record connects an image with its authorship, date or date range, place, support, provenance, description and conditions of use. If an identification changes, it is valuable to retain what was previously known and the evidence motivating the correction. Publishing a reproduction does not require disclosing every personal detail in the file. A digital copy facilitates access to a trace; it neither replaces the original object nor automatically settles the rights of those depicted.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r13-en-s3\">[3]<\/a><\/p><\/section><section class=\"d-reading\" id=\"r13-en-trace\"><p class=\"eyebrow\">A trace that can be consulted again<\/p><h3>From an object to a shared question<\/h3><ol class=\"r-flow\"><li><strong>Identify<\/strong>What it is, who made it, when and where it came from.<\/li><li><strong>Compare<\/strong>Connect the trace with other sources and people able to interpret it.<\/li><li><strong>Share and practise<\/strong>Agree on attribution, uses and opportunities to keep learning.<\/li><\/ol><p class=\"c-datanote\">An editorial working proposal, not an official standard. Based on archival reading and documented transmission cases.<\/p><\/section><section id=\"r13-en-b4\"><h2>5. Care: practices, transmission and family memory<\/h2><p class=\"e-main\">In 2013, Pascual Alexander Jim\u00e9nez Cabrera and his coauthors studied the transmission of traditional medical knowledge in Riachuelos and Hueytepec, Tecolutla. They used 53 household-head questionnaires and four informant interviews, with a non-experimental design \u2014 observing rather than conducting an experiment \u2014 and selection based on accessibility and voluntary participation. The study describes family learning and relationships with local medical care. It documents practices and knowledge; establishing a treatment\u2019s effectiveness and safety requires evidence different from recording its use.<\/p><p class=\"e-main\">Family memory provides another scale of evidence. Carmen Vargas Carrera remembers her grandmother, Margarita Reyes Parra, as a doctor trained at UNAM who arrived in Papantla around 1960, with a practice at the Hotel Taj\u00edn and visits to rural settlements. Her account, already published with attribution in The Institute, places service to people at the centre of that experience. It is retained as Carmen\u2019s testimony: qualifications, dates and locations still require independent documents. Her period is not conflated with the 1904 printed materials or Dr Buil\u2019s career.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r13-en-s4\">[4]<\/a> <a class=\"research-cite\" href=\"#r13-en-s5\">[5]<\/a><\/p><\/section><section id=\"r13-en-b5\"><h2>6. Schools and workshops organise different forms of learning<\/h2><p class=\"e-main\">The Centre for Indigenous Arts provides a documented case of Totonac education. UNESCO selected it in 2012 for the Register of Good Safeguarding Practices. Its description includes specialised school-houses and a House of Elders, linking transmission in the community\u2019s language with creative practice and care for plants and materials needed for the arts. The recognition concerns that specific experience and its contribution to safeguarding.<\/p><p class=\"e-main\">Comparing this model with a family workshop reveals shared questions without making them equivalent: who guides, where practice happens, how language and technique relate, and what sustains materials. Each setting has its own governance, purposes and participants. The comparison focuses on their ways of teaching and the responsibility of the people who make them possible.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r13-en-s6\">[6]<\/a><\/p><\/section><section id=\"r13-en-b6\"><h2>7. Words travel through radio and university learning<\/h2><p class=\"e-main\">INPI dates the founding of XECTZ, The Voice of the Sierra Norte, in Cuetzalan to 21 August 1994. Its entry identifies Nahuatl and Totonac as broadcasting languages and connects the project with requests from social and community groups. Radio circulates words and content beyond an in-person gathering. A station\u2019s stated technical coverage and a population\u2019s actual listening, however, are different measures.<\/p><p class=\"e-main\">Higher education offers other forms of encounter. Universidad Veracruzana documents an exchange between UVI Totonacapan and UACM on 12\u201314 May 2014, including community work and planting together. In 2025 it reports new classrooms and an oral-trial courtroom in Espinal, alongside a visit to the Milpa Project. These are dated events involving distinct institutions: they establish learning spaces and activities without by themselves demonstrating lasting effects on each participant.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r13-en-s7\">[7]<\/a> <a class=\"research-cite\" href=\"#r13-en-s8\">[8]<\/a> <a class=\"research-cite\" href=\"#r13-en-s9\">[9]<\/a><\/p><\/section><section id=\"r13-en-b7\"><figure class=\"iict-plate\" id=\"iict-plate-r13-b-en\" lang=\"en\" aria-labelledby=\"iict-plate-r13-b-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 II<\/p><h3 id=\"iict-plate-r13-b-en-title\">An image has a face and a circulation history<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r13-b-en-art-title iict-plate-r13-b-en-art-desc\"><title id=\"iict-plate-r13-b-en-art-title\">An image has a face and a circulation history<\/title><desc id=\"iict-plate-r13-b-en-art-desc\">1. Who: identify makers and portrayed people. 2. Where and when: preserve place, date and uncertainties. 3. How it arrived: follow the carrier, archive and later uses. Visual documentary reading aid applied to a drawn photograph; not a newly discovered historical item.<\/desc><defs><pattern id=\"iict-plate-r13-b-en-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r13-b-en-grain)\"\/><g transform=\"translate(227 188) scale(1)\"><g transform=\"rotate(-8)\"><rect x=\"-133\" y=\"-111\" width=\"266\" height=\"232\" rx=\"3\" fill=\"#f6efde\" stroke=\"#b8a781\" stroke-width=\"2\"\/><rect x=\"-115\" y=\"-92\" width=\"230\" height=\"152\" rx=\"1\" fill=\"#bccaba\" stroke=\"#99aa98\" stroke-width=\"2\"\/><path d=\"M-113 50 L-51 -31 L-3 13 L47 -54 L114 50Z\" fill=\"#a5b395\" stroke=\"#8d9d80\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-90 87 H60\" fill=\"none\" stroke=\"#c6b692\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><\/g><g transform=\"translate(533 208) scale(1)\"><g transform=\"rotate(7)\"><rect x=\"-120\" y=\"-110\" width=\"240\" height=\"220\" rx=\"3\" fill=\"#eee5d0\" stroke=\"#b8a781\" stroke-width=\"2\"\/><line x1=\"-96\" y1=\"-76\" x2=\"-12\" y2=\"-76\" stroke=\"#b9ac8c\" stroke-width=\"2\" \/><line x1=\"-96\" y1=\"-40\" x2=\"87\" y2=\"-40\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"-13\" x2=\"87\" y2=\"-13\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"14\" x2=\"87\" y2=\"14\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"41\" x2=\"87\" y2=\"41\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"68\" x2=\"87\" y2=\"68\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><path d=\"M-99 85 Q-45 60 17 85\" fill=\"none\" stroke=\"#9c957a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><\/g><circle cx=\"139\" cy=\"331\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"139\" y=\"339\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"80\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"88\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"615\" cy=\"347\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"615\" y=\"355\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Who: identify makers and portrayed people.<\/li><li>Where and when: preserve place, date and uncertainties.<\/li><li>How it arrived: follow the carrier, archive and later uses.<\/li><\/ol><figcaption class=\"plate-caption\">Visual documentary reading aid applied to a drawn photograph; not a newly discovered historical item. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r13-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>8. Sustaining a community requires concrete relationships<\/h2><p class=\"e-main\">The cases distinguish three connected operations: practising knowledge, transmitting judgement and preserving a verifiable trace. The craftsperson making an object, the person teaching how to recognise a material, and someone identifying a photograph contribute different capabilities. Continuity is strengthened when these contributions can meet and participants decide what to share, how it is credited and what conditions their work needs to continue.<\/p><p class=\"e-main\">The Institute\u2019s Posadas and communities of practice occupy this ground of encounter. Its Community and Cooperation page explains forms of participation and the limits of representation. The task emerging from this research is practical: assemble documents with provenance, listen to knowledge holders, distinguish evidence from recollection and facilitate new opportunities to learn. Archives preserve traces; relationships enable people to do something with them again.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r13-en-s10\">[10]<\/a><\/p><\/section><details class=\"research-evidence\" id=\"r13-en-sources\"><summary><span class=\"evidence-kicker\">Open research<\/span><strong>Sources and comparison<\/strong><span class=\"evidence-subtitle\">Open the methods, differences between sources and verifiable references.<\/span><\/summary><div class=\"evidence-content\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Claims, evidence and the reach of each finding.\" style=\"--journal-table-min:32rem\"><table><caption>Claims, evidence and the reach of each finding.<\/caption><thead><tr><th scope=\"col\">Question<\/th><th scope=\"col\">Sources and observations<\/th><th scope=\"col\">Comparison and interpretation<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">What does the 1904 advertisement establish?<\/th><td data-label=\"Sources and observations\">Document A8-01 offers silversmithing, jewellery repairs and optical goods. The Institute\u2019s History connects the workshop with watchmaking and accommodation histories.<\/td><td data-label=\"Comparison and interpretation\">The advertisement establishes a dated offer; the institutional narrative assembles a broader trajectory. It does not establish every technique\u2019s introduction date or the present association\u2019s constitution. Employment and commercial records could clarify who taught what, to whom and when.<\/td><\/tr><tr><th scope=\"row\">What do we know about Dr Buil, and from what?<\/th><td data-label=\"Sources and observations\">Rodr\u00edguez Hern\u00e1ndez, Alquimia, pp. 72\u201379, analyses postcards and records the grandson\u2019s memories of pharmacy, darkroom and films. A card mailed in 1940 can be studied through stamps, recipient and message.<\/td><td data-label=\"Comparison and interpretation\">Objects and testimony complement one another but establish different things. The recollection of a first penicillin application is not turned into a proven priority. Dated clinical records and comparison with other services would be needed; the article preserves the attribution without certifying it.<\/td><\/tr><tr><th scope=\"row\">Does digitising mean preserving?<\/th><td data-label=\"Sources and observations\">Valdez Mar\u00edn (2000), SINAFO introduction, connects preservation with identifying material supports. The Buil study reveals the value of reconnecting images with collections, relatives and circulation.<\/td><td data-label=\"Comparison and interpretation\">A copy provides access; support, provenance and context sustain other questions. The proposed record is this research\u2019s editorial tool, not an official INAH standard. New identifications would retain evidence, review authorship and the earlier state.<\/td><\/tr><tr><th scope=\"row\">Does recording use demonstrate medical effectiveness?<\/th><td data-label=\"Sources and observations\">Jim\u00e9nez Cabrera and coauthors (2015), materials and methods: 2013 fieldwork, 53 questionnaires and four interviews in Riachuelos\/Hueytepec, using accessible and volunteer units. Describes family transmission and mixed care.<\/td><td data-label=\"Comparison and interpretation\">A non-experimental study of practices is neither a clinical trial nor a representative estimate for the whole territory. This article studies knowledge circulation, not treatment prescriptions. Effectiveness and safety need specific research; use frequency, trust and clinical outcome are different variables.<\/td><\/tr><tr><th scope=\"row\">How is Margarita\u2019s memory included?<\/th><td data-label=\"Sources and observations\">The account published in The Institute attributes to Carmen Vargas Carrera memories of her grandmother, arrival around 1960, UNAM training, practice and rural visits. No independently checked diploma, professional registration or contemporary advertisement is available here.<\/td><td data-label=\"Comparison and interpretation\">The account remains identified testimony, separate from 1904 evidence and Dr Buil\u2019s period. Differences between remembered locations are not settled by inference. Period documents and a dated interview could clarify chronology. A visual recreation is not treated as an evidential portrait.<\/td><\/tr><tr><th scope=\"row\">Do schools, workshops and homes teach alike?<\/th><td data-label=\"Sources and observations\">UNESCO, file 00666\/decision 7.COM 9.2 of 2012, describes CAI school-houses and the House of Elders. The Tecolutla study documents domestic learning; the 1904 advertisement establishes services, not a complete pedagogy.<\/td><td data-label=\"Comparison and interpretation\">Functions are compared without merging different spaces into one model or extending UNESCO recognition to other actors. Shared questions concern guidance, practice, language and material conditions. Understanding each workshop would require its own observation and authorised testimony.<\/td><\/tr><tr><th scope=\"row\">Does a medium or building establish learning?<\/th><td data-label=\"Sources and observations\">INPI dates XECTZ to 1994 and states languages and coverage. UV documents an exchange in 2014 and classrooms, an oral-trial courtroom and a Milpa Project visit in 2025.<\/td><td data-label=\"Comparison and interpretation\">These establish media, spaces and activities, not equivalent measurements of audience, understanding or continuity. Learning evaluation would require participant follow-up and defined questions. Those initiatives are not attributed to the Institute, nor is an announced future meeting treated as an event already held.<\/td><\/tr><tr><th scope=\"row\">When can we speak of a community of practice?<\/th><td data-label=\"Sources and observations\">These cases bring together tools, people, institutions and records from different periods. The article\u2019s reading framework asks about shared tasks, correction, transmission, livelihoods and decisions about sharing.<\/td><td data-label=\"Comparison and interpretation\">An object or group in a photograph is insufficient to demonstrate sustained mutual learning. The framework is explicitly analytical. Workbooks, explained sequences, agreements and testimony could establish particular relationships without absorbing every actor into one institutional history.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>References and reading scope<\/h3><ol class=\"research-sources\"><li id=\"r13-en-s1\"><a href=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bola-1904-scaled.jpg\">Fondo hist\u00f3rico La Bola de Oro \u00b7 1904 \u00b7 Taller de Plater\u00eda: alhajas, anteojos, lentes y armazones \u00b7 documento A8-01<\/a><br>Full reproduction of the collection\u2019s advertisement, media 36. Evidence of services offered at that date; it does not by itself establish every technique\u2019s introduction date or a complete workforce.<\/li><li id=\"r13-en-s2\"><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/alquimia\/article\/download\/1479\/1429\/2705\">Gina Rodr\u00edguez Hern\u00e1ndez \u00b7 Curiosidades filat\u00e9licas y charros de Papantla, el singular caso de Jos\u00e9 Buil Belenguer \u00b7 Alquimia, pp. 72\u201379 \u00b7 fecha de edici\u00f3n no verificada en esta consulta<\/a><br>Primary indexed passages read on the 1937 postcard, 1940 double maximum card and the grandson\u2019s testimony about medicine, photography and Path\u00e9 Baby. Direct PDF access returned 403\/timeout; full reading is not claimed. Penicillin priority remains attributed recollection, not an established fact.<\/li><li id=\"r13-en-s3\"><a href=\"https:\/\/mediateca.inah.gob.mx\/islandora_74\/islandora\/object\/libro%3A588\/datastream\/OBJ\/view\">Juan Carlos Valdez Mar\u00edn \u00b7 2000 \u00b7 \u00bfC\u00f3mo cuidar mis negativos fotogr\u00e1ficos? \u00b7 Cuadernos del Sistema Nacional de Fototecas 1 \u00b7 INAH \u00b7 ISBN 970-18-4921-3<\/a><br>Rosa Casanova\u2019s introduction, authorship and first-edition metadata read through primary indexed text and checked against INAH\u2019s catalogue. Used for the connection between knowing, documenting and preserving; no physical treatment manual is offered here.<\/li><li id=\"r13-en-s4\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S2007-09342015000801791&#038;script=sci_arttext\">Pascual Alexander Jim\u00e9nez Cabrera, Mart\u00edn Hern\u00e1ndez Ju\u00e1rez, Gildardo Espinosa S\u00e1nchez, Guillermo Mendoza Castel\u00e1n y Marcia Bell Torrijos Almaz\u00e1n \u00b7 2015 \u00b7 Los saberes en medicina tradicional y su contribuci\u00f3n al desarrollo rural: estudio de caso Regi\u00f3n Totonaca, Veracruz \u00b7 Revista Mexicana de Ciencias Agr\u00edcolas 6(8), 1791\u20131805<\/a><br>Abstract, materials and methods, transmission findings, mixed care and conclusions read. Fieldwork in Riachuelos\/Hueytepec in 2013: 53 questionnaires and four interviews, judgement\/accessibility and volunteer sampling. Non-experimental; neither a clinical trial nor a representative prevalence estimate for all Totonacapan.<\/li><li id=\"r13-en-s5\"><a href=\"https:\/\/totonacapan.com\/?page_id=39\">Carmen Vargas Carrera \u00b7 memoria familiar de Margarita Reyes Parra \u00b7 relato atribuido publicado en El Instituto, consultado el 05.11.2026<\/a><br>Oral testimony communicated by Carmen and reproduced with attribution. UNAM qualification, arrival around 1960, practice and visits still await independent documentary corroboration. The illustration on that page is an AI recreation; it is not used as historical photography or reproduced here.<\/li><li id=\"r13-en-s6\"><a href=\"https:\/\/ich.unesco.org\/es\/BSP\/xtaxkgakget-makgkaxtlawana-el-centro-de-las-artes-indigenas-y-su-contribucion-a-la-salvaguardia-del-patrimonio-cultural-inmaterial-del-pueblo-totonaca-de-veracruz-mexico-00666\">UNESCO \u00b7 2012 \u00b7 Xtaxkgakget Makgkaxtlawana: Centro de las Artes Ind\u00edgenas \u00b7 expediente 00666 \u00b7 decisi\u00f3n 7.COM 9.2<\/a><br>Primary indexed institutional description read: school-houses, House of Elders, language and materials. Selected for the Register of Good Safeguarding Practices. Direct page requests human verification, not bypassed.<\/li><li id=\"r13-en-s7\"><a href=\"https:\/\/ecos.inpi.gob.mx\/xectz\/\">INPI \u00b7 XECTZ, La Voz de la Sierra Norte \u00b7 ficha institucional consultada el 05.11.2026<\/a><br>History, founding on 21 August 1994, languages and declared coverage read through primary indexed text; direct access timed out. Technical coverage is not measured audience.<\/li><li id=\"r13-en-s8\"><a href=\"https:\/\/www.uv.mx\/uvi\/noticias\/la-uvi-totonacapan-y-la-uacm-plantel-san-lorenzo-tezonco-realizan-el-segundo-encuentro-e-intercambio-de-experiencias-saberes-sentires-y-utopias\/\">Daniel H. Vargas \u00b7 Universidad Veracruzana \u00b7 15.05.2014 \u00b7 Segundo Encuentro e Intercambio de Experiencias, Saberes, Sentires y Utop\u00edas, UVI\u2013UACM<\/a><br>Full institutional account read of the 12\u201314 May 2014 encounter and November 2013 antecedent. Establishes the reported activities; a proposed third meeting is not treated as proof that it took place.<\/li><li id=\"r13-en-s9\"><a href=\"https:\/\/www.uv.mx\/prensa\/general\/uv-intercultural-totonacapan-cuenta-con-sala-de-juicios-orales\/\">Paola Cort\u00e9s P\u00e9rez \u00b7 Universidad Veracruzana \u00b7 11.03.2025 \u00b7 UV-Intercultural Totonacapan cuenta con Sala de Juicios Orales<\/a><br>News text read on classrooms, courtroom and the visit to the Milpa Project. Institutional evidence of infrastructure and activities at that date, not an educational-outcome evaluation. C\u00e9sar Pisil Ramos\u2019s photograph is not reused.<\/li><li id=\"r13-en-s10\"><a href=\"https:\/\/totonacapan.com\/?page_id=411\">Instituto Internacional de Cultura del Totonacapan \u00b7 Historia de la instituci\u00f3n \u00b7 p\u00e1gina p\u00fablica consultada el 05.11.2026<\/a><br>Workshop, crafts and Posada Humboldt sections read as a guide to the historical dossier. An institutional account with its own sources, not external validation of every statement.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r13-en-source\" lang=\"en\"><h4>A small perforation tells a story too<\/h4><p>The technical record contextualizes the format mentioned by Rodr\u00edguez Hern\u00e1ndez. It does not identify a particular camera or reel as Buil\u2019s or establish its condition.<\/p><p><a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/media\/catalogue-des-appareils\/glossaire.pdf\">Cin\u00e9math\u00e8que fran\u00e7aise \/ CNC \u00b7 Glossaire, Path\u00e9-Baby, p. 47<\/a> \u00b7 <a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/collection\/camera-film-9-5-mmap-98-2086.html\">Cin\u00e9math\u00e8que fran\u00e7aise \u00b7 c\u00e1mara AP-98-2086<\/a> \u00b7 <a href=\"#iict-reading-r13-en\">Return to the passage<\/a><\/p><\/section>\n<\/details><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=57\">Communities of practice: Community and Cooperation \u2192<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=411\">Read the History of the Institute \u2192<\/a><\/nav><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#research-hub-en\">Return to Totonacapan Research \u2192<\/a><\/nav><p class=\"research-version\">Documentary edition \u00b7 ES \/ EN \/ FR \u00b7 05.11.2026 \u00b7 v1.0<\/p><!-- IICT-CITE R13 en --><aside class=\"iict-citation\" id=\"citar-r13-en\" aria-labelledby=\"citar-r13-en-title\"><h2 id=\"citar-r13-en-title\">How to cite this article<\/h2><p class=\"iict-citation-label\">Suggested bibliographic reference<\/p><blockquote class=\"iict-citation-reference\">Instituto Internacional de Cultura del Totonacapan. \u00abCrafts, medicine, photography and education: communities that sustain knowledge\u00bb. <cite>Research notebooks<\/cite>, <strong>R13<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-en\">https:\/\/totonacapan.com\/?page_id=1327#r13-en<\/a>.<\/blockquote><p><strong>Internal reference:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-en\">R13<\/a>. For a specific passage, add its section title.<\/p><p><a href=\"https:\/\/totonacapan.com\/?page_id=1225#normas-citacion-en\">The Institute\u2019s citation guidance \u2192<\/a><\/p><\/aside><!-- \/IICT-CITE R13 en --><\/article><\/details><details class=\"research-lang-version\" id=\"r13-fr-version\"><summary>Lire l\u2019article int\u00e9gral en fran\u00e7ais<\/summary><article id=\"r13-fr\" lang=\"fr\"><p class=\"eyebrow\">Recherches sur le Totonacapan \u00b7 Paysages et savoirs<\/p><h1>M\u00e9tiers, m\u00e9decine, photographie et \u00e9ducation : des communaut\u00e9s qui font vivre les savoirs<\/h1><p class=\"research-deck\">Un outil se conserve. Le discernement s\u2019apprend avec d\u2019autres personnes et se remet \u00e0 l\u2019\u00e9preuve.<\/p><div class=\"research-abstract\"><h2>L\u2019essentiel<\/h2><p>Un atelier, une consultation, des archives, une radio et une \u00e9cole conservent les connaissances de fa\u00e7ons diff\u00e9rentes. Cet article suit des cas document\u00e9s de Papantla, de la c\u00f4te de Veracruz et de la sierra pour comprendre les relations qui permettent \u00e0 ces savoirs de perdurer.<\/p><p>Les imprim\u00e9s de La Bola de Oro, les images du docteur Buil, la m\u00e9moire de Margarita Reyes Parra et les \u00e9tudes sur la sant\u00e9, l\u2019\u00e9ducation et la communication sont lus selon leur provenance. Document, souvenir familial et enqu\u00eate de terrain apportent des preuves diff\u00e9rentes.<\/p><\/div><figure class=\"research-visual e-photo \"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r13-talla-papantla-museo-2015.jpg\" width=\"1280\" height=\"851\" alt=\"Poissons et autres animaux sculpt\u00e9s dans le c\u00e8dre par un artisan de Papantla, expos\u00e9s au mus\u00e9e.\" loading=\"lazy\"><figcaption><strong>Un m\u00e9tier et une cr\u00e9ation identifiables<\/strong>Sculpture en c\u00e8dre de Raul de Jesus Espinoza Vasquez, de Papantla, Veracruz. Photographi\u00e9e \u00e0 l\u2019exposition La Zoolog\u00eda en el Arte Mexicano, Museo de Arte Popular, Mexico \u00b7 18.07.2015.<br>AlejandroLinaresGarcia \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:LaZoologiaMAP055.JPG\">Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\">CC BY-SA 4.0<\/a>.<\/figcaption><\/figure><section id=\"r13-fr-b0\"><h2>1. Le m\u00e9tier se reconna\u00eet \u00e0 ce qu\u2019il permet de faire<\/h2><p class=\"e-main\">Une publicit\u00e9 de La Bola de Oro dat\u00e9e de 1904 propose la r\u00e9paration de bijoux ainsi qu\u2019un assortiment de lunettes, verres, montures et accessoires. Elle fournit une preuve pr\u00e9cise de la combinaison de l\u2019orf\u00e8vrerie et des services d\u2019optique \u00e0 Papantla. Cet imprim\u00e9 permet d\u2019\u00e9tudier la mani\u00e8re dont l\u2019atelier se pr\u00e9sentait \u00e0 sa client\u00e8le : ses offres et ses promesses de qualit\u00e9. Il ne contient pas, \u00e0 lui seul, l\u2019histoire compl\u00e8te de ses travailleurs ni un programme d\u2019enseignement.<\/p><p class=\"e-main\">L\u2019histoire publi\u00e9e de l\u2019Institut rapproche cet atelier de la m\u00e9moire de l\u2019horlogerie et de la Posada Humboldt. Ces pistes se d\u00e9veloppent \u00e0 partir de leurs documents propres, sans devenir l\u2019histoire de tous les m\u00e9tiers r\u00e9gionaux. La date d\u2019un commerce et la constitution juridique d\u2019une association rel\u00e8vent de registres diff\u00e9rents. Il s\u2019agit ici de suivre des capacit\u00e9s et des relations de travail en conservant l\u2019identit\u00e9 et la chronologie de chaque exp\u00e9rience.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r13-fr-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r13-fr-s10\">[10]<\/a><\/p><\/section><figure class=\"research-visual e-photo e-document\"><a href=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bola-1904-scaled.jpg\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bola-1904-scaled.jpg\" width=\"2560\" height=\"1487\" alt=\"Publicit\u00e9 int\u00e9grale de La Bola de Oro, 1904, proposant orf\u00e8vrerie et articles d\u2019optique.\" loading=\"lazy\"><\/a><figcaption><strong>1904 \u00b7 une offre de services document\u00e9e<\/strong>Fonds historique La Bola de Oro \u00b7 A8-01. Reproduction int\u00e9grale de l\u2019original espagnol. Auteur graphique non indiqu\u00e9. Ouvrir l\u2019image pour lire le document complet.<\/figcaption><\/figure><section id=\"r13-fr-b1\"><h2>2. Apprendre, c\u2019est aussi apprendre \u00e0 juger<\/h2><p class=\"e-main\">Reconna\u00eetre une panne, choisir un mat\u00e9riau ou d\u00e9cider d\u2019arr\u00eater une intervention demande davantage que de nommer les outils. Dans un mod\u00e8le d\u2019apprentissage du m\u00e9tier, l\u2019observation s\u2019accompagne d\u2019essais, de corrections et d\u2019une responsabilit\u00e9 sur le r\u00e9sultat. Une photographie peut montrer un \u00e9tabli ; une s\u00e9quence comment\u00e9e par la personne qui effectue la t\u00e2che permet de mieux comprendre pourquoi un geste change ou une solution est \u00e9cart\u00e9e.<\/p><p class=\"e-main\">Il s\u2019agit d\u2019une proposition de lecture des cas, et non du r\u00e9sultat de nouveaux entretiens en atelier. Documenter une relation ma\u00eetre\u2013apprenti suppose d\u2019identifier les personnes, la t\u00e2che partag\u00e9e, les corrections et les occasions de pratiquer. Il importe aussi de savoir qui fournit les mat\u00e9riaux, qui dispose du temps n\u00e9cessaire pour enseigner et quel travail permet de vivre du m\u00e9tier. La continuit\u00e9 d\u00e9pend de ces conditions autant que de la volont\u00e9 de conserver une technique.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r13-fr-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r13-fr-s6\">[6]<\/a><\/p><\/section><section id=\"r13-fr-b2\"><h2>3. Jos\u00e9 Buil : m\u00e9decine, laboratoire et images<\/h2><p class=\"e-main\">Dans Alquimia, Gina Rodr\u00edguez Hern\u00e1ndez \u00e9tudie le cas de Jos\u00e9 Buil Belenguer \u00e0 travers des cartes postales, des collections et des souvenirs familiaux. Une carte portant un cachet de 1937 et une pi\u00e8ce philat\u00e9lique, une double carte maximum, envoy\u00e9e en 1940 permettent de suivre les liens entre image, timbre et circulation postale. L\u2019analyse restitue leur contexte \u00e0 des objets qui pourraient sembler anonymes une fois s\u00e9par\u00e9s de leur destinataire et de leur provenance.<\/p><p class=\"e-main\">L\u2019autrice recueille aussi les souvenirs de son petit-fils concernant le m\u00e9decin, la pharmacie, la chambre noire et les films Path\u00e9 Baby de 9,5 mm. Ce t\u00e9moignage rend visible une coexistence entre pratiques scientifiques, techniques et familiales. Sa valeur n\u2019exige pas de transformer chaque souvenir en premi\u00e8re historique d\u00e9montr\u00e9e. L\u2019affirmation familiale d\u2019une premi\u00e8re utilisation de la p\u00e9nicilline, par exemple, demanderait des dossiers cliniques et une comparaison ind\u00e9pendante ; elle n\u2019est pas pr\u00e9sent\u00e9e ici comme un fait \u00e9tabli.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r13-fr-s2\">[2]<\/a><\/p><\/section><p class=\"r-small\"><a href=\"#archivo-buil-fotografias\">Voir treize captures photographiques du film associ\u00e9 aux archives Buil : portraits, f\u00eates et Voladores.<\/a> Transmises par Iv\u00e1n ; les dates et cr\u00e9dits de chaque prise de vue restent \u00e0 pr\u00e9ciser par comparaison avec le film.<\/p><section class=\"d-reading\" id=\"r13-fr-timeline\"><p class=\"eyebrow\">Chronologie des sources<\/p><h3>Des exp\u00e9riences distinctes, des documents de p\u00e9riodes diff\u00e9rentes<\/h3><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Ces dates ne constituent pas une seule institution centenaire\" style=\"--journal-table-min:32rem\"><table><caption>Ces dates ne constituent pas une seule institution centenaire<\/caption><thead><tr><th scope=\"col\">Date<\/th><th scope=\"col\">Preuve<\/th><th scope=\"col\">Port\u00e9e<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">1904<\/th><td data-label=\"Preuve\">Publicit\u00e9 de La Bola de Oro<\/td><td data-label=\"Port\u00e9e\">Offre d\u2019orf\u00e8vrerie et d\u2019optique.<\/td><\/tr><tr><th scope=\"row\">1937 \/ 1940<\/th><td data-label=\"Preuve\">Cartes postales \u00e9tudi\u00e9es dans Alquimia<\/td><td data-label=\"Port\u00e9e\">Objets et circulation, distincts des souvenirs familiaux.<\/td><\/tr><tr><th scope=\"row\">Vers 1960<\/th><td data-label=\"Preuve\">M\u00e9moire de Carmen sur Margarita<\/td><td data-label=\"Port\u00e9e\">T\u00e9moignage attribu\u00e9 ; chronologie \u00e0 corroborer.<\/td><\/tr><tr><th scope=\"row\">1994<\/th><td data-label=\"Preuve\">Fondation de XECTZ selon l\u2019INPI<\/td><td data-label=\"Port\u00e9e\">D\u00e9but d\u2019une radio, non mesure de son audience.<\/td><\/tr><tr><th scope=\"row\">2012<\/th><td data-label=\"Preuve\">CAI au registre de l\u2019UNESCO<\/td><td data-label=\"Port\u00e9e\">Reconnaissance d\u2019une pratique pr\u00e9cise de sauvegarde.<\/td><\/tr><tr><th scope=\"row\">2014 \/ 2025<\/th><td data-label=\"Preuve\">Chroniques de l\u2019Universit\u00e9 de Veracruz<\/td><td data-label=\"Port\u00e9e\">Rencontre et infrastructures \u00e9ducatives dat\u00e9es.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><p class=\"c-datanote\">Synth\u00e8se \u00e9ditoriale \u00e0 partir des r\u00e9f\u00e9rences de l\u2019article. N\u2019implique ni filiation juridique, ni collaboration institutionnelle, ni succession entre tous les cas.<\/p><\/section><section id=\"r13-fr-b3\"><figure class=\"iict-viz viz-archive\" id=\"iict-viz-r13-fr\" lang=\"fr\" aria-labelledby=\"iict-viz-r13-fr-title\"><header><div class=\"viz-kicker\"><span>Carnets visuels<\/span><span>R13 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r13-fr-title\">Chaque trace conserve un type d\u2019information<\/h3><p>Relier les preuves sans leur demander de r\u00e9pondre \u00e0 toutes les questions.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Un imprim\u00e9<\/h4><p>Les annonces de La Bola de Oro montrent des services propos\u00e9s \u00e0 une date donn\u00e9e.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Une m\u00e9moire familiale<\/h4><p>Le souvenir de Margarita conserve une exp\u00e9rience attribu\u00e9e \u00e0 Carmen.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>Une recherche<\/h4><p>Les \u00e9tudes sur le soin, l\u2019\u00e9cole et la radio expliquent des cas selon leurs m\u00e9thodes.<\/p><\/div><\/div><figcaption>La provenance accompagne chaque affirmation ; document et souvenir se lisent selon leur port\u00e9e.<span class=\"viz-source\">Synth\u00e8se visuelle originale de l\u2019Institut \u00b7 <a href=\"#r13-fr-sources\">Sources et confrontation<\/a><\/span><\/figcaption><\/figure>\n<aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r13-fr\" lang=\"fr\" aria-labelledby=\"iict-reading-r13-fr-title\"><span class=\"reading-kicker\">Une histoire concr\u00e8te<\/span><h3 id=\"iict-reading-r13-fr-title\">Une petite perforation raconte aussi une histoire<\/h3><p>Le format Path\u00e9-Baby de 9,5 mm poss\u00e8de un signe mat\u00e9riel reconnaissable : la perforation se trouve au centre de la pellicule, entre les images. La Cin\u00e9math\u00e8que fran\u00e7aise explique que cette disposition r\u00e9servait une surface relativement grande \u00e0 chaque photogramme. Ce d\u00e9tail \u00e9claire la mention des films familiaux du docteur Buil recueillie par Gina Rodr\u00edguez Hern\u00e1ndez. <a class=\"reading-ref\" href=\"#iict-reading-r13-fr-source\" aria-label=\"Voir sources et comparaison\">\u2197<\/a><\/p><p>Une mesure devient ainsi une question d\u2019archive : quel support avons-nous, avec quel appareil fut-il enregistr\u00e9 et comment l\u2019identifier ? Reconna\u00eetre le format oriente la recherche ; l\u2019histoire de chaque bobine demande encore dates, provenance et personnes connaissant ses images.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/media\/catalogue-des-appareils\/glossaire.pdf\">Cin\u00e9math\u00e8que fran\u00e7aise \/ CNC \u00b7 Glossaire, Path\u00e9-Baby, p. 47<\/a> \u00b7 <a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/collection\/camera-film-9-5-mmap-98-2086.html\">Cin\u00e9math\u00e8que fran\u00e7aise \u00b7 c\u00e1mara AP-98-2086<\/a> \u00b7 <a href=\"#r13-fr-sources\">Sources et confrontation<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r13-a-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r13-a-fr-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Carnet illustr\u00e9 \u00b7 I<\/p><h3 id=\"iict-plate-r13-a-fr-title\">Une pellicule \u00e9troite, une image relativement ample<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r13-a-fr-art-title iict-plate-r13-a-fr-art-desc\"><title id=\"iict-plate-r13-a-fr-art-title\">Une pellicule \u00e9troite, une image relativement ample<\/title><desc id=\"iict-plate-r13-a-fr-art-desc\">1. 9,5 mm : largeur du format Path\u00e9-Baby. 2. La perforation se situe au centre, entre les images. 3. Le support invite \u00e0 interroger projection, conservation et contexte. D\u00e9tail indicatif du support d\u2019apr\u00e8s la Cin\u00e9math\u00e8que fran\u00e7aise ; images dessin\u00e9es, sans reproduire les films du fonds Buil.<\/desc><defs><pattern id=\"iict-plate-r13-a-fr-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r13-a-fr-grain)\"\/><rect x=\"265\" y=\"68\" width=\"220\" height=\"325\" rx=\"2\" fill=\"#ddd1ad\" stroke=\"#b49c62\" stroke-width=\"2\"\/><rect x=\"282\" y=\"84\" width=\"186\" height=\"136\" rx=\"1\" fill=\"#8fa5a1\" stroke=\"#6a8988\" stroke-width=\"2\"\/><path d=\"M284 198 L319 140 L358 181 L407 117 L466 198\" fill=\"none\" stroke=\"#d3dcca\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"282\" y=\"244\" width=\"186\" height=\"136\" rx=\"1\" fill=\"#8fa5a1\" stroke=\"#6a8988\" stroke-width=\"2\"\/><path d=\"M284 358 L319 300 L358 341 L407 277 L466 358\" fill=\"none\" stroke=\"#d3dcca\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"355\" y=\"226\" width=\"40\" height=\"12\" rx=\"3\" fill=\"#f8f4e9\" stroke=\"#9e8a56\" stroke-width=\"2\"\/><line x1=\"265\" y1=\"46\" x2=\"485\" y2=\"46\" stroke=\"#ae8e4b\" stroke-width=\"2\" \/><line x1=\"265\" y1=\"37\" x2=\"265\" y2=\"55\" stroke=\"#ae8e4b\" stroke-width=\"2\" \/><line x1=\"485\" y1=\"37\" x2=\"485\" y2=\"55\" stroke=\"#ae8e4b\" stroke-width=\"2\" \/><text x=\"375\" y=\"32\" fill=\"#8d753f\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">9.5 mm<\/text><path d=\"M485 232 H605 V213\" fill=\"none\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"624\" cy=\"187\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"624\" y=\"195\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"149\" cy=\"269\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"149\" y=\"277\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"621\" cy=\"320\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"621\" y=\"328\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><path d=\"M485 335 H598\" fill=\"none\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/svg><ol class=\"plate-legend\"><li>9,5 mm : largeur du format Path\u00e9-Baby.<\/li><li>La perforation se situe au centre, entre les images.<\/li><li>Le support invite \u00e0 interroger projection, conservation et contexte.<\/li><\/ol><figcaption class=\"plate-caption\">D\u00e9tail indicatif du support d\u2019apr\u00e8s la Cin\u00e9math\u00e8que fran\u00e7aise ; images dessin\u00e9es, sans reproduire les films du fonds Buil. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r13-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>4. Une photographie conserve un lien avec son contexte<\/h2><p class=\"e-main\">L\u2019image peut enregistrer un objet, une personne ou un paysage ; les archives permettent de redemander quand, o\u00f9, par qui et dans quel but elle a \u00e9t\u00e9 produite. Les orientations du Syst\u00e8me national de phototh\u00e8ques associent le soin mat\u00e9riel \u00e0 la connaissance des supports, les mat\u00e9riaux ou formats des images, et \u00e0 leur documentation. Les archives familiales r\u00e9unissent aussi des identifications que peuvent souvent apporter seules les personnes reconnaissant des visages, des lieux ou des situations.<\/p><p class=\"e-main\">Une fiche utile relie l\u2019image \u00e0 son auteur, sa date ou son intervalle de datation, son lieu, son support, sa provenance, sa description et ses conditions d\u2019usage. Si une identification change, il importe de conserver ce que l\u2019on savait et la preuve ayant motiv\u00e9 la correction. Publier une reproduction n\u2019oblige pas \u00e0 diffuser toutes les donn\u00e9es personnelles du dossier. La copie num\u00e9rique facilite la consultation d\u2019une trace ; elle ne remplace pas l\u2019objet original et ne r\u00e8gle pas automatiquement les droits des personnes repr\u00e9sent\u00e9es.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r13-fr-s3\">[3]<\/a><\/p><\/section><section class=\"d-reading\" id=\"r13-fr-trace\"><p class=\"eyebrow\">Une trace que l\u2019on peut consulter \u00e0 nouveau<\/p><h3>De l\u2019objet \u00e0 une question partag\u00e9e<\/h3><ol class=\"r-flow\"><li><strong>Identifier<\/strong>Ce que c\u2019est, qui l\u2019a produit, quand et d\u2019o\u00f9 cela provient.<\/li><li><strong>Confronter<\/strong>Relier la trace \u00e0 d\u2019autres sources et aux personnes pouvant l\u2019interpr\u00e9ter.<\/li><li><strong>Partager et pratiquer<\/strong>Convenir de l\u2019attribution, des usages et des occasions de continuer \u00e0 apprendre.<\/li><\/ol><p class=\"c-datanote\">Proposition \u00e9ditoriale de travail, non norme officielle. Appuy\u00e9e sur la lecture des archives et les cas de transmission document\u00e9s.<\/p><\/section><section id=\"r13-fr-b4\"><h2>5. Soigner : pratiques, transmission et m\u00e9moire familiale<\/h2><p class=\"e-main\">En 2013, Pascual Alexander Jim\u00e9nez Cabrera et ses coauteurs ont \u00e9tudi\u00e9 la transmission des savoirs de m\u00e9decine traditionnelle \u00e0 Riachuelos et Hueytepec, dans la municipalit\u00e9 de Tecolutla. Ils ont r\u00e9alis\u00e9 53 questionnaires aupr\u00e8s de chefs de famille et quatre entretiens avec des informateurs, selon un dispositif non exp\u00e9rimental, observant sans mener d\u2019exp\u00e9rience, avec s\u00e9lection selon l\u2019accessibilit\u00e9 et la participation volontaire. L\u2019\u00e9tude d\u00e9crit des apprentissages familiaux et leurs liens avec les soins m\u00e9dicaux locaux. Elle documente des pratiques et des savoirs ; \u00e9tablir l\u2019efficacit\u00e9 et la s\u00e9curit\u00e9 d\u2019un traitement exige d\u2019autres preuves que l\u2019enregistrement de son usage.<\/p><p class=\"e-main\">La m\u00e9moire familiale repr\u00e9sente une autre \u00e9chelle de preuve. Carmen Vargas Carrera se souvient de sa grand-m\u00e8re, Margarita Reyes Parra, comme d\u2019une m\u00e9decin form\u00e9e \u00e0 l\u2019UNAM, arriv\u00e9e \u00e0 Papantla vers 1960, avec un cabinet \u00e0 l\u2019Hotel Taj\u00edn et des visites dans les hameaux ruraux. Son r\u00e9cit, d\u00e9j\u00e0 publi\u00e9 avec attribution dans la rubrique L\u2019Institut, place le service aux personnes au centre de cette exp\u00e9rience. Il est conserv\u00e9 comme t\u00e9moignage de Carmen : formation, dates et lieux n\u00e9cessitent encore des documents ind\u00e9pendants. Son \u00e9poque n\u2019est confondue ni avec les imprim\u00e9s de 1904 ni avec la trajectoire du docteur Buil.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r13-fr-s4\">[4]<\/a> <a class=\"research-cite\" href=\"#r13-fr-s5\">[5]<\/a><\/p><\/section><section id=\"r13-fr-b5\"><h2>6. L\u2019\u00e9cole et l\u2019atelier organisent des apprentissages diff\u00e9rents<\/h2><p class=\"e-main\">Le Centre des arts autochtones offre un cas document\u00e9 d\u2019enseignement totonaque. L\u2019UNESCO l\u2019a s\u00e9lectionn\u00e9 en 2012 pour le Registre des bonnes pratiques de sauvegarde. Sa description pr\u00e9sente des maisons-\u00e9coles sp\u00e9cialis\u00e9es et une Maison des Anciens, associant transmission dans la langue propre, pratique cr\u00e9ative et entretien des plantes et mat\u00e9riaux n\u00e9cessaires aux arts. La reconnaissance concerne cette exp\u00e9rience pr\u00e9cise et sa contribution \u00e0 la sauvegarde.<\/p><p class=\"e-main\">Comparer ce mod\u00e8le \u00e0 un atelier familial fait appara\u00eetre des questions communes sans les rendre \u00e9quivalents : qui guide, o\u00f9 pratique-t-on, quels liens unissent langue et technique, et comment sont entretenus les mat\u00e9riaux ? Chaque espace poss\u00e8de sa gouvernance, ses objectifs et ses participants. La comparaison porte sur leurs modes d\u2019enseignement et sur la responsabilit\u00e9 des personnes qui les rendent possibles.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r13-fr-s6\">[6]<\/a><\/p><\/section><section id=\"r13-fr-b6\"><h2>7. La parole circule par la radio et par l\u2019universit\u00e9<\/h2><p class=\"e-main\">L\u2019INPI date la fondation de XECTZ, La Voix de la Sierra Norte, \u00e0 Cuetzalan, du 21 ao\u00fbt 1994. Sa notice identifie le nahuatl et le totonaque comme langues de diffusion et relie le projet aux demandes de groupes sociaux et communautaires. La radio fait circuler paroles et contenus au-del\u00e0 d\u2019une rencontre en pr\u00e9sence. La couverture technique annonc\u00e9e par une station et l\u2019\u00e9coute effective d\u2019une population demeurent toutefois des mesures diff\u00e9rentes.<\/p><p class=\"e-main\">L\u2019enseignement sup\u00e9rieur offre d\u2019autres formes de rencontre. L\u2019Universit\u00e9 de Veracruz documente un \u00e9change entre l\u2019UVI Totonacapan et l\u2019UACM du 12 au 14 mai 2014, avec travail communautaire et semis partag\u00e9s. En 2025, elle annonce de nouvelles salles de cours et une salle d\u2019audiences orales \u00e0 Espinal, accompagn\u00e9es d\u2019une visite au Projet Milpa. Ces faits dat\u00e9s concernent des institutions distinctes : ils attestent des espaces et des activit\u00e9s d\u2019apprentissage sans d\u00e9montrer \u00e0 eux seuls leurs effets durables sur chaque participant.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r13-fr-s7\">[7]<\/a> <a class=\"research-cite\" href=\"#r13-fr-s8\">[8]<\/a> <a class=\"research-cite\" href=\"#r13-fr-s9\">[9]<\/a><\/p><\/section><section id=\"r13-fr-b7\"><figure class=\"iict-plate\" id=\"iict-plate-r13-b-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r13-b-fr-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Carnet illustr\u00e9 \u00b7 II<\/p><h3 id=\"iict-plate-r13-b-fr-title\">Une image poss\u00e8de une face et une histoire de circulation<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r13-b-fr-art-title iict-plate-r13-b-fr-art-desc\"><title id=\"iict-plate-r13-b-fr-art-title\">Une image poss\u00e8de une face et une histoire de circulation<\/title><desc id=\"iict-plate-r13-b-fr-art-desc\">1. Qui : identifier l\u2019auteur et les personnes repr\u00e9sent\u00e9es. 2. O\u00f9 et quand : conserver lieu, date et incertitudes. 3. Comment elle est arriv\u00e9e : suivre support, archives et usages ult\u00e9rieurs. Aide visuelle de lecture documentaire appliqu\u00e9e \u00e0 une photographie dessin\u00e9e ; ce n\u2019est pas une nouvelle pi\u00e8ce historique.<\/desc><defs><pattern id=\"iict-plate-r13-b-fr-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r13-b-fr-grain)\"\/><g transform=\"translate(227 188) scale(1)\"><g transform=\"rotate(-8)\"><rect x=\"-133\" y=\"-111\" width=\"266\" height=\"232\" rx=\"3\" fill=\"#f6efde\" stroke=\"#b8a781\" stroke-width=\"2\"\/><rect x=\"-115\" y=\"-92\" width=\"230\" height=\"152\" rx=\"1\" fill=\"#bccaba\" stroke=\"#99aa98\" stroke-width=\"2\"\/><path d=\"M-113 50 L-51 -31 L-3 13 L47 -54 L114 50Z\" fill=\"#a5b395\" stroke=\"#8d9d80\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-90 87 H60\" fill=\"none\" stroke=\"#c6b692\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><\/g><g transform=\"translate(533 208) scale(1)\"><g transform=\"rotate(7)\"><rect x=\"-120\" y=\"-110\" width=\"240\" height=\"220\" rx=\"3\" fill=\"#eee5d0\" stroke=\"#b8a781\" stroke-width=\"2\"\/><line x1=\"-96\" y1=\"-76\" x2=\"-12\" y2=\"-76\" stroke=\"#b9ac8c\" stroke-width=\"2\" \/><line x1=\"-96\" y1=\"-40\" x2=\"87\" y2=\"-40\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"-13\" x2=\"87\" y2=\"-13\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"14\" x2=\"87\" y2=\"14\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"41\" x2=\"87\" y2=\"41\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><line x1=\"-96\" y1=\"68\" x2=\"87\" y2=\"68\" stroke=\"#c3b89e\" stroke-width=\"1.5\" \/><path d=\"M-99 85 Q-45 60 17 85\" fill=\"none\" stroke=\"#9c957a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><\/g><circle cx=\"139\" cy=\"331\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"139\" y=\"339\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"80\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"88\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"615\" cy=\"347\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"615\" y=\"355\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Qui : identifier l\u2019auteur et les personnes repr\u00e9sent\u00e9es.<\/li><li>O\u00f9 et quand : conserver lieu, date et incertitudes.<\/li><li>Comment elle est arriv\u00e9e : suivre support, archives et usages ult\u00e9rieurs.<\/li><\/ol><figcaption class=\"plate-caption\">Aide visuelle de lecture documentaire appliqu\u00e9e \u00e0 une photographie dessin\u00e9e ; ce n\u2019est pas une nouvelle pi\u00e8ce historique. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r13-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>8. Faire vivre une communaut\u00e9 exige des relations concr\u00e8tes<\/h2><p class=\"e-main\">Ces cas permettent de distinguer trois op\u00e9rations li\u00e9es : pratiquer un savoir, transmettre un discernement et conserver une trace v\u00e9rifiable. L\u2019artisan r\u00e9alisant une pi\u00e8ce, la personne enseignant \u00e0 reconna\u00eetre un mat\u00e9riau et celle qui identifie une photographie apportent des capacit\u00e9s diff\u00e9rentes. La continuit\u00e9 se renforce lorsque ces contributions peuvent se rencontrer et que les participants d\u00e9cident de ce qu\u2019ils partagent, de son attribution et des conditions n\u00e9cessaires pour poursuivre leur travail.<\/p><p class=\"e-main\">Les Posadas et les communaut\u00e9s de pratique de l\u2019Institut se situent sur ce terrain de rencontre. La page Communaut\u00e9 et coop\u00e9ration pr\u00e9cise les formes de participation et les limites de repr\u00e9sentation. La t\u00e2che qui ressort de cette recherche est concr\u00e8te : r\u00e9unir des documents avec leur provenance, \u00e9couter les porteurs de savoirs, distinguer les preuves des souvenirs et faciliter de nouvelles occasions d\u2019apprendre. Les archives conservent des traces ; les relations permettent d\u2019en faire \u00e0 nouveau quelque chose.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r13-fr-s10\">[10]<\/a><\/p><\/section><details class=\"research-evidence\" id=\"r13-fr-sources\"><summary><span class=\"evidence-kicker\">Recherche ouverte<\/span><strong>Sources et confrontation<\/strong><span class=\"evidence-subtitle\">D\u00e9ployer la m\u00e9thode, les diff\u00e9rences entre sources et les r\u00e9f\u00e9rences v\u00e9rifiables.<\/span><\/summary><div class=\"evidence-content\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Affirmations, \u00e9l\u00e9ments probants et port\u00e9e de chaque r\u00e9sultat.\" style=\"--journal-table-min:32rem\"><table><caption>Affirmations, \u00e9l\u00e9ments probants et port\u00e9e de chaque r\u00e9sultat.<\/caption><thead><tr><th scope=\"col\">Question<\/th><th scope=\"col\">Sources et observations<\/th><th scope=\"col\">Confrontation et interpr\u00e9tation<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Que prouve la publicit\u00e9 de 1904 ?<\/th><td data-label=\"Sources et observations\">Le document A8-01 propose orf\u00e8vrerie, r\u00e9paration de bijoux et articles d\u2019optique. L\u2019Histoire de l\u2019Institut rapproche cet atelier des trajectoires de l\u2019horlogerie et de l\u2019h\u00e9bergement.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">La publicit\u00e9 atteste une offre dat\u00e9e ; le r\u00e9cit institutionnel rassemble une trajectoire plus large. Elle ne d\u00e9montre ni toutes les dates d\u2019introduction des techniques ni la constitution de l\u2019association actuelle. Des registres professionnels et commerciaux pr\u00e9ciseraient qui a enseign\u00e9 quoi, \u00e0 qui et quand.<\/td><\/tr><tr><th scope=\"row\">Que savons-nous du docteur Buil et par quelles sources ?<\/th><td data-label=\"Sources et observations\">Rodr\u00edguez Hern\u00e1ndez, Alquimia, pp. 72\u201379, analyse les cartes postales et recueille les souvenirs du petit-fils : pharmacie, chambre noire et films. Une carte envoy\u00e9e en 1940 s\u2019\u00e9tudie par ses timbres, son destinataire et son message.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Objets et t\u00e9moignage se compl\u00e8tent sans prouver les m\u00eames choses. Le souvenir d\u2019une premi\u00e8re p\u00e9nicilline ne devient pas une priorit\u00e9 d\u00e9montr\u00e9e. Dossiers cliniques dat\u00e9s et comparaison avec d\u2019autres services seraient n\u00e9cessaires ; l\u2019article conserve l\u2019attribution sans la certifier.<\/td><\/tr><tr><th scope=\"row\">Num\u00e9riser signifie-t-il conserver ?<\/th><td data-label=\"Sources et observations\">Valdez Mar\u00edn (2000), pr\u00e9sentation du SINAFO, associe conservation et identification mat\u00e9rielle. L\u2019\u00e9tude de Buil montre l\u2019int\u00e9r\u00eat de relier \u00e0 nouveau les images aux collections, aux familles et \u00e0 leur circulation.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">La copie donne acc\u00e8s ; support, provenance et contexte permettent d\u2019autres questions. La fiche propos\u00e9e est un outil \u00e9ditorial de cette recherche, non une norme officielle attribu\u00e9e \u00e0 l\u2019INAH. Toute nouvelle identification conserverait preuve, auteur de la r\u00e9vision et \u00e9tat ant\u00e9rieur.<\/td><\/tr><tr><th scope=\"row\">Recenser un usage d\u00e9montre-t-il une efficacit\u00e9 m\u00e9dicale ?<\/th><td data-label=\"Sources et observations\">Jim\u00e9nez Cabrera et ses coauteurs (2015), mat\u00e9riaux et m\u00e9thode : terrain de 2013, 53 questionnaires et quatre entretiens \u00e0 Riachuelos\/Hueytepec, unit\u00e9s accessibles et volontaires. Description de la transmission familiale et des soins mixtes.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Une \u00e9tude non exp\u00e9rimentale des pratiques n\u2019est ni un essai clinique ni une estimation repr\u00e9sentative de toute la r\u00e9gion. L\u2019article examine la circulation des savoirs, sans prescrire de traitements. Efficacit\u00e9 et s\u00e9curit\u00e9 exigent des recherches pr\u00e9cises ; fr\u00e9quence d\u2019usage, confiance et r\u00e9sultat clinique sont des variables diff\u00e9rentes.<\/td><\/tr><tr><th scope=\"row\">Comment int\u00e9grer la m\u00e9moire de Margarita ?<\/th><td data-label=\"Sources et observations\">Le r\u00e9cit publi\u00e9 dans L\u2019Institut attribue \u00e0 Carmen Vargas Carrera les souvenirs de sa grand-m\u00e8re : arriv\u00e9e vers 1960, formation UNAM, cabinet et visites rurales. Aucun dipl\u00f4me, enregistrement professionnel ou annonce d\u2019\u00e9poque ind\u00e9pendamment v\u00e9rifi\u00e9 n\u2019est disponible ici.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Le r\u00e9cit reste un t\u00e9moignage identifi\u00e9, s\u00e9par\u00e9 des preuves de 1904 et de l\u2019\u00e9poque du docteur Buil. Les diff\u00e9rences entre lieux rem\u00e9mor\u00e9s ne sont pas r\u00e9solues par d\u00e9duction. Documents d\u2019\u00e9poque et entretien dat\u00e9 pourraient pr\u00e9ciser la chronologie. Une recr\u00e9ation visuelle ne sert pas de portrait probant.<\/td><\/tr><tr><th scope=\"row\">L\u2019\u00e9cole, l\u2019atelier et la maison enseignent-ils de m\u00eame ?<\/th><td data-label=\"Sources et observations\">L\u2019UNESCO, dossier 00666\/d\u00e9cision 7.COM 9.2 de 2012, d\u00e9crit les maisons-\u00e9coles et la Maison des Anciens du CAI. L\u2019\u00e9tude de Tecolutla documente l\u2019apprentissage domestique ; la publicit\u00e9 de 1904 atteste des services, non une p\u00e9dagogie compl\u00e8te.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Les fonctions sont compar\u00e9es sans r\u00e9unir ces espaces en un mod\u00e8le unique ni \u00e9tendre une reconnaissance UNESCO \u00e0 d\u2019autres acteurs. Les questions communes portent sur orientation, pratique, langue et moyens mat\u00e9riels. Chaque atelier demanderait ses propres observations et t\u00e9moignages autoris\u00e9s.<\/td><\/tr><tr><th scope=\"row\">Un m\u00e9dia ou un b\u00e2timent prouve-t-il un apprentissage ?<\/th><td data-label=\"Sources et observations\">L\u2019INPI date XECTZ de 1994 et annonce langues et couverture. L\u2019UV documente un \u00e9change de 2014 ainsi que des salles, une salle d\u2019audiences et une visite au Projet Milpa en 2025.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Ce sont des preuves de m\u00e9dias, de lieux et d\u2019activit\u00e9s, non des mesures \u00e9quivalentes d\u2019audience, de compr\u00e9hension ou de continuit\u00e9. \u00c9valuer l\u2019apprentissage demanderait un suivi et des questions d\u00e9finies. Ces initiatives ne sont pas attribu\u00e9es \u00e0 l\u2019Institut ; une rencontre future annonc\u00e9e n\u2019est pas tenue pour r\u00e9alis\u00e9e.<\/td><\/tr><tr><th scope=\"row\">Quand parler de communaut\u00e9 de pratique ?<\/th><td data-label=\"Sources et observations\">Ces cas r\u00e9unissent outils, personnes, institutions et documents de p\u00e9riodes diff\u00e9rentes. Le cadre de lecture de l\u2019article interroge t\u00e2che partag\u00e9e, correction, transmission, subsistance et d\u00e9cisions sur le partage.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Un objet ou un groupe photographi\u00e9 ne suffit pas \u00e0 d\u00e9montrer un apprentissage mutuel durable. Le cadre est explicitement analytique. Carnets de travail, s\u00e9quences comment\u00e9es, accords et t\u00e9moignages pourraient \u00e9tablir des relations pr\u00e9cises sans int\u00e9grer tous les acteurs \u00e0 une histoire institutionnelle unique.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>R\u00e9f\u00e9rences et p\u00e9rim\u00e8tre de lecture<\/h3><ol class=\"research-sources\"><li id=\"r13-fr-s1\"><a href=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bola-1904-scaled.jpg\">Fondo hist\u00f3rico La Bola de Oro \u00b7 1904 \u00b7 Taller de Plater\u00eda: alhajas, anteojos, lentes y armazones \u00b7 documento A8-01<\/a><br>Reproduction int\u00e9grale de la publicit\u00e9 du fonds, m\u00e9dia 36. Preuve des services propos\u00e9s \u00e0 cette date ; elle n\u2019\u00e9tablit pas \u00e0 elle seule toutes les dates d\u2019introduction des techniques ni l\u2019effectif complet.<\/li><li id=\"r13-fr-s2\"><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/alquimia\/article\/download\/1479\/1429\/2705\">Gina Rodr\u00edguez Hern\u00e1ndez \u00b7 Curiosidades filat\u00e9licas y charros de Papantla, el singular caso de Jos\u00e9 Buil Belenguer \u00b7 Alquimia, pp. 72\u201379 \u00b7 fecha de edici\u00f3n no verificada en esta consulta<\/a><br>Passages primaires index\u00e9s lus sur la carte de 1937, la double maximum de 1940 et le t\u00e9moignage du petit-fils concernant m\u00e9decine, photographie et Path\u00e9 Baby. Acc\u00e8s direct au PDF : 403\/expiration ; lecture int\u00e9grale non revendiqu\u00e9e. La priorit\u00e9 de la p\u00e9nicilline reste un souvenir attribu\u00e9.<\/li><li id=\"r13-fr-s3\"><a href=\"https:\/\/mediateca.inah.gob.mx\/islandora_74\/islandora\/object\/libro%3A588\/datastream\/OBJ\/view\">Juan Carlos Valdez Mar\u00edn \u00b7 2000 \u00b7 \u00bfC\u00f3mo cuidar mis negativos fotogr\u00e1ficos? \u00b7 Cuadernos del Sistema Nacional de Fototecas 1 \u00b7 INAH \u00b7 ISBN 970-18-4921-3<\/a><br>Pr\u00e9sentation de Rosa Casanova, auteur et premi\u00e8re \u00e9dition lus par le texte primaire index\u00e9 et confront\u00e9s au catalogue de l\u2019INAH. Utilis\u00e9 pour le lien entre conna\u00eetre, documenter et conserver ; aucun manuel d\u2019intervention physique n\u2019est propos\u00e9 ici.<\/li><li id=\"r13-fr-s4\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S2007-09342015000801791&#038;script=sci_arttext\">Pascual Alexander Jim\u00e9nez Cabrera, Mart\u00edn Hern\u00e1ndez Ju\u00e1rez, Gildardo Espinosa S\u00e1nchez, Guillermo Mendoza Castel\u00e1n y Marcia Bell Torrijos Almaz\u00e1n \u00b7 2015 \u00b7 Los saberes en medicina tradicional y su contribuci\u00f3n al desarrollo rural: estudio de caso Regi\u00f3n Totonaca, Veracruz \u00b7 Revista Mexicana de Ciencias Agr\u00edcolas 6(8), 1791\u20131805<\/a><br>R\u00e9sum\u00e9, mat\u00e9riaux et m\u00e9thode, r\u00e9sultats sur la transmission, soins mixtes et conclusions lus. Terrain de 2013 \u00e0 Riachuelos\/Hueytepec : 53 questionnaires et quatre entretiens, s\u00e9lection raisonn\u00e9e, accessible et volontaire. Dispositif non exp\u00e9rimental ; ni essai clinique ni pr\u00e9valence repr\u00e9sentative de tout le Totonacapan.<\/li><li id=\"r13-fr-s5\"><a href=\"https:\/\/totonacapan.com\/?page_id=39\">Carmen Vargas Carrera \u00b7 memoria familiar de Margarita Reyes Parra \u00b7 relato atribuido publicado en El Instituto, consultado el 05.11.2026<\/a><br>T\u00e9moignage oral communiqu\u00e9 par Carmen et reproduit avec attribution. Formation UNAM, arriv\u00e9e vers 1960, cabinet et visites attendent une corroboration documentaire ind\u00e9pendante. L\u2019illustration de cette page est une recr\u00e9ation IA ; elle n\u2019est ni utilis\u00e9e comme photographie historique ni reproduite ici.<\/li><li id=\"r13-fr-s6\"><a href=\"https:\/\/ich.unesco.org\/es\/BSP\/xtaxkgakget-makgkaxtlawana-el-centro-de-las-artes-indigenas-y-su-contribucion-a-la-salvaguardia-del-patrimonio-cultural-inmaterial-del-pueblo-totonaca-de-veracruz-mexico-00666\">UNESCO \u00b7 2012 \u00b7 Xtaxkgakget Makgkaxtlawana: Centro de las Artes Ind\u00edgenas \u00b7 expediente 00666 \u00b7 decisi\u00f3n 7.COM 9.2<\/a><br>Description institutionnelle primaire index\u00e9e lue : maisons-\u00e9coles, Maison des Anciens, langue et mat\u00e9riaux. S\u00e9lection au Registre des bonnes pratiques de sauvegarde. V\u00e9rification humaine demand\u00e9e sur la page directe, non contourn\u00e9e.<\/li><li id=\"r13-fr-s7\"><a href=\"https:\/\/ecos.inpi.gob.mx\/xectz\/\">INPI \u00b7 XECTZ, La Voz de la Sierra Norte \u00b7 ficha institucional consultada el 05.11.2026<\/a><br>Historique, fondation du 21.08.1994, langues et couverture annonc\u00e9e lus par le texte primaire index\u00e9 ; acc\u00e8s direct expir\u00e9. Couverture technique distincte de l\u2019audience mesur\u00e9e.<\/li><li id=\"r13-fr-s8\"><a href=\"https:\/\/www.uv.mx\/uvi\/noticias\/la-uvi-totonacapan-y-la-uacm-plantel-san-lorenzo-tezonco-realizan-el-segundo-encuentro-e-intercambio-de-experiencias-saberes-sentires-y-utopias\/\">Daniel H. Vargas \u00b7 Universidad Veracruzana \u00b7 15.05.2014 \u00b7 Segundo Encuentro e Intercambio de Experiencias, Saberes, Sentires y Utop\u00edas, UVI\u2013UACM<\/a><br>Chronique institutionnelle compl\u00e8te lue sur la rencontre du 12 au 14.05.2014 et son pr\u00e9c\u00e9dent de novembre 2013. Atteste les activit\u00e9s rapport\u00e9es ; la proposition d\u2019une troisi\u00e8me rencontre ne prouve pas sa r\u00e9alisation.<\/li><li id=\"r13-fr-s9\"><a href=\"https:\/\/www.uv.mx\/prensa\/general\/uv-intercultural-totonacapan-cuenta-con-sala-de-juicios-orales\/\">Paola Cort\u00e9s P\u00e9rez \u00b7 Universidad Veracruzana \u00b7 11.03.2025 \u00b7 UV-Intercultural Totonacapan cuenta con Sala de Juicios Orales<\/a><br>Texte de la nouvelle lu sur les salles, la salle d\u2019audiences et la visite au Projet Milpa. Preuve institutionnelle d\u2019infrastructures et d\u2019activit\u00e9s \u00e0 cette date, non \u00e9valuation des r\u00e9sultats \u00e9ducatifs. Photographie de C\u00e9sar Pisil Ramos non reprise.<\/li><li id=\"r13-fr-s10\"><a href=\"https:\/\/totonacapan.com\/?page_id=411\">Instituto Internacional de Cultura del Totonacapan \u00b7 Historia de la instituci\u00f3n \u00b7 p\u00e1gina p\u00fablica consultada el 05.11.2026<\/a><br>Rubriques atelier, m\u00e9tiers et Posada Humboldt lues pour orienter vers le dossier historique. R\u00e9cit institutionnel avec ses sources propres, non validation externe de tous ses \u00e9nonc\u00e9s.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r13-fr-source\" lang=\"fr\"><h4>Une petite perforation raconte aussi une histoire<\/h4><p>La fiche technique \u00e9claire le format mentionn\u00e9 par Rodr\u00edguez Hern\u00e1ndez. Elle n\u2019attribue pas \u00e0 Buil un appareil ou une bobine pr\u00e9cise et n\u2019\u00e9tablit pas leur \u00e9tat.<\/p><p><a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/media\/catalogue-des-appareils\/glossaire.pdf\">Cin\u00e9math\u00e8que fran\u00e7aise \/ CNC \u00b7 Glossaire, Path\u00e9-Baby, p. 47<\/a> \u00b7 <a href=\"https:\/\/www.cinematheque.fr\/fr\/catalogues\/appareils\/collection\/camera-film-9-5-mmap-98-2086.html\">Cin\u00e9math\u00e8que fran\u00e7aise \u00b7 c\u00e1mara AP-98-2086<\/a> \u00b7 <a href=\"#iict-reading-r13-fr\">Revenir au passage<\/a><\/p><\/section>\n<\/details><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=57\">Communaut\u00e9s de pratique : Communaut\u00e9 et coop\u00e9ration \u2192<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=411\">Consulter l\u2019Histoire de l\u2019Institut \u2192<\/a><\/nav><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#research-hub-fr\">Retour aux Recherches sur le Totonacapan \u2192<\/a><\/nav><p class=\"research-version\">\u00c9dition documentaire \u00b7 ES \/ EN \/ FR \u00b7 05.11.2026 \u00b7 v1.0<\/p><!-- IICT-CITE R13 fr --><aside class=\"iict-citation\" id=\"citar-r13-fr\" aria-labelledby=\"citar-r13-fr-title\"><h2 id=\"citar-r13-fr-title\">Comment citer cet article<\/h2><p class=\"iict-citation-label\">R\u00e9f\u00e9rence bibliographique propos\u00e9e<\/p><blockquote class=\"iict-citation-reference\">Instituto Internacional de Cultura del Totonacapan. \u00abM\u00e9tiers, m\u00e9decine, photographie et \u00e9ducation : des communaut\u00e9s qui font vivre les savoirs\u00bb. <cite>Cahiers de recherche<\/cite>, <strong>R13<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-fr\">https:\/\/totonacapan.com\/?page_id=1327#r13-fr<\/a>.<\/blockquote><p><strong>R\u00e9f\u00e9rence interne:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-fr\">R13<\/a>. Pour un passage pr\u00e9cis, ajoutez le titre de sa section.<\/p><p><a href=\"https:\/\/totonacapan.com\/?page_id=1225#normas-citacion-fr\">R\u00e8gles de citation de l\u2019Institut \u2192<\/a><\/p><\/aside><!-- \/IICT-CITE R13 fr --><\/article><\/details><\/div><script>(function(){function o(){var t=document.getElementById(decodeURIComponent(location.hash.slice(1)));if(!t)return;var p=t;while(p){if(p.tagName===\"DETAILS\")p.open=true;p=p.parentElement;}requestAnimationFrame(function(){t.scrollIntoView({block:\"start\"});});}addEventListener(\"hashchange\",o);o();})();<\/script>\n","protected":false},"excerpt":{"rendered":"<p>Espa\u00f1olEnglish \u00b7 full articleFran\u00e7ais \u00b7 article int\u00e9gral Investigaciones del Totonacapan \u00b7 Paisaje y saberes Oficios, medicina, fotograf\u00eda y educaci\u00f3n: comunidades que sostienen saberes Una herramienta se guarda. Un criterio se aprende con otras personas y se vuelve a poner a prueba. En pocas palabras Un taller, una consulta, un archivo, una radio y una escuela [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":1225,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1327","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1327","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1327"}],"version-history":[{"count":12,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1327\/revisions"}],"predecessor-version":[{"id":1859,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1327\/revisions\/1859"}],"up":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1225"}],"wp:attachment":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1327"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}