Made available in DSpace on 2016-04-18T21:31:40Z (GMT). No. of bitstreams: 2 Sergio Luiz da Cunha1.pdf: 1291301 bytes, checksum: f64a61d9ffc332ddc49432e2a9b16c3f (MD5) Sergio Luiz da Cunha2.pdf: 3108547 bytes, checksum: 10736f8c90201e211e889b95c68c7030 (MD5) Previous issue date: 2008-02-14 / The present dissertation research, reports the experience of the Implantation experts teachers in the Arts on the First Years of the Fundamental Teaching (1st to 4th grades). Developed by the Municipal Education of Cajamar city, in São Paulo painstaking by it s Pedagogical Workshop in sixteen Municipal Public Nets, this coordinated by ass Art Pedagogical Assistant. This is a public politics that inserts on the Initials Years the Art Teaching, privileging the four languages: Visual Arts, Music, Dance and Theater. Each one of the Languages were worked in projects with semestral periodicity, all of them articulated in the art conception, while Knowledge and Language, embassy in the fruition, production and contextualized. This research is focused in two Municipal Public Schools and in addition in its teachers and students. The biggest objective of this job was to contribute with teacher s work and his Formation, and for that, there were realized orientations, analysis, discussions and reflex in its Arts Workshops, which discuss conceptions in Arts workshops which discuss in conceptions of the knowledge instruction in that are behind the classes. There were a lot of observations in concern of the teacher s formation, how do they prepared their classes, how do they think of the Art for the child. That means, what in base is relevant in the, art knowing. The research with this, evaluates how these orientations were received by the teachers, how did it come to the schools and to the students. Each one of the chapters aborts the questions connected to the art and its knowing in the Municipal Public Net of Cajamar SP, the places which are already traked, the developed projects the teachers profile, the art and the teaching of the students. A short abstract, of the teaching historical of the Brazil Art. It s necessary to project that in any way this dissertation intends to creates new methodology to the Art teaching, that intends to exposed how was the implantation and formation teachers experts process in the area in the first Teaching Fundamental Years. / A presente pesquisa de dissertação de mestrado relata a experiência da Implantação de Professores Especialistas na área de Arte nos anos iniciais do Ensino Fundamental (1ª a 4ª séries), desenvolvido pela Diretoria Municipal de Educação de Cajamar, em São Paulo, aplicada por meio de sua Oficina Pedagógica em dezesseis escolas da Rede Pública Municipal, coordenada por um Assistente Pedagógico de Arte. Trata-se de uma política pública que insere nos anos iniciais, o ensino de Arte, privilegiando as quatro linguagens: Artes Visuais, Música, Dança e Teatro. Cada uma das linguagens foi trabalhada em projetos com periodicidade semestral, todos articulados na concepção de arte enquanto conhecimento e linguagem, embasados nos momentos de fruição, produção e contextualização. Esta pesquisa centra o olhar em duas escolas da Rede Pública Municipal e, consequentemente, em seus professores e alunos. O maior objetivo deste trabalho foi de contribuir com o trabalho do professor e sua formação, para tanto, foram realizadas orientações, análises, discussões e reflexões em Oficinas de Arte que tocavam em concepções de ensino e de aprendizagem que estão por trás das aulas. Foram muitas as observações no que diz respeito à formação dos professores, como eles elaboram suas aulas, como pensam a arte para crianças, ou seja, o que de fato é relevante no ensino da Arte. Com isso, a pesquisa avalia como essas orientações foram recebidas pelos professores, como chegaram às escolas e aos alunos. Cada um dos capítulos aborda questões ligadas à arte e seu ensino, apresentando o documento de Implantação do Ensino de Arte na Rede Pública Municipal de Cajamar SP, os caminhos já trilhados, os projetos desenvolvidos, o perfil dos professores, a arte e o letramento dos alunos, um breve resumo do Histórico do Ensino da Arte no Brasil. Faz-se necessário salientar que de forma alguma esta dissertação pretende criar novas metodologias para o ensino de Arte, muito menos esgotar o assunto, mas pretende revelar como foi o processo de implantação e formação de professores especialistas da área nos anos iniciais do Ensino Fundamental.

L'évolution des pratiques d'enseignement des arts visuels et arts plastiques dans le cadre de la commande institutionnelle préconise le recours à l'œuvre d'art authentique. Par ailleurs, l'enseignement des arts doit contribuer, au-delà de ses apports propres aux « apprentissages fondamentaux » aussi bien culturels que techniques.La mise en place et en œuvre, l'exploitation de la situation de rencontre avec l'œuvre ainsi définie requiert de la part des enseignants un ensemble de compétences qui demandent à être éclairées et problématisées. La recherche porte sur la genèse de gestes professionnels, sur le rapport à l'œuvre et le développement de compétences professionnelles, ainsi que sur la nature des objets d'enseignement, (transposition des savoirs de référence, compétences d'ingénierie didactique, articulation des savoirs spécifiques avec les « apprentissages fondamentaux » et socialisation scolaire). La problématique s'est construite sur des questions qui croisent le rapport à l'œuvre de ces enseignants, les gestes professionnels et la construction d'une théorie que nous avons explicitée comme une « théorie personnelle-en-acte ».Le recueil de données s'est fait au niveau de l'école primaire et du collège. L'enquête a intégré la spécificité d'une école maternelle possédant une Petite Galerie (espace spécifique dédié dans l'établissement où les élèves, très jeunes rencontrent des œuvres d'art « authentiques » ou réelles). Elle a apporté un éclairage sur les pratiques pédagogiques des enseignants.Les méthodologies s'appuient sur l'enquête de terrain par observation participante, l'entretien d'explicitation de type Vermersch et l'analyse du discours. Les cadres théoriques confrontent des angles d'attaque habituellement cloisonnés : esthétique, sciences de l'art, histoire des arts (Goodman, Arasse, Pélissier, Château...) ; sociologie (Heinich, Lahire) ; la didactique des arts visuels, arts plastiques (Chanteux, Gaillot, Lagoutte, Reyt...) et la didactique comparée des arts (Goodman, Rickenmann...); la théorie du développement professionnel dans les situations (théorie de l'action située, des gestes professionnels).Le rapport à l'œuvre s'est construit dans une dynamique familiale, scolaire et professionnelle et la recherche de la genèse de ce rapport à l'œuvre nous fait constater le rôle joué par certaines rencontres séminales. Les éléments d'une théorie personnelle de l'art, de l'œuvre, de l'expérience qui sous-tendent ce rapport à l'œuvre, montrent une interdépendance. La rencontre de l'art favorise la mise en place de cette « théorie-en-acte ». Enfin, le rapport à l'œuvre de nos interlocuteurs détermine leur pratique professionnelle : des liens entre rapport à l'œuvre, conceptions et gestes professionnels clefs de leur métier, ont été mis en évidence. / Changes in teaching practices of the visual arts visual arts in the context of institutional control and advocates the use of authentic artwork. In addition, arts education should contribute beyond his own contributions to the "basic skills" as well as cultural techniques.The establishment and implementation, operation of the meeting situation with the work thus defined requires that teachers with a set of competencies that need to be informed and problematized. The research focuses on the genesis of professional acts on the report at work and the development of professional skills, as well as the nature of educational objects (translation of reference knowledge, didactic engineering skills, articulation specific knowledge with the "basic skills" and academic socialization). The problem is built on issues that cross the relation to the work of these teachers, professional acts and building a theory we explained as a "personal theory-in-action."Data collection was done at the elementary and middle school. The investigation has included the specificity of a kindergarten with a Small Gallery (specific space dedicated in the institution where students encounter very young art "authentic" or real). She shed light on teaching practices.The methodologies are based on fieldwork through participant observation, maintenance of explaining Vermersch type and discourse analysis. Theoretical frameworks confront angles of attack usually compartmentalized: aesthetics, art sciences, art history (Goodman, Arasse Pelissier, Castle ...) Sociology (Heinich Lahire); the teaching of visual arts, visual arts (Chanteux, Gaillot, Lagoutte, Reyt ...) and comparative arts teaching (Goodman, Rickenmann ...) theory development in professional situations (theory of situated action, professional gestures).The report on the work was constructed in family dynamics, school and work and the search for the origins of this report at work makes us see the role played by some seminal events. The elements of a personal theory of art, the work experience behind this report to work, show an interdependence. The meeting of art promoting the establishment of this "theory-in-action." Finally, the relation to the work of our interlocutors determines their professional practice: links between relation to the work, designs and professional acts keys to their profession, were highlighted.

This study identifies, explains, and develops a practical model of teaching art criticism within a traditional secondary art curriculum. The approach to teaching art criticism uses the discipline-based art education format described in the Getty publication of 1985, a composite art critical format including B. Bloom, E. Feldman, K. Hamblen, and E. Kaelin, is accomplished through a process model curriculum developed by L. Stenhouse, and uses K. Gentle's curriculum design as the basis of the Curriculum Model Diagram. The project provides lessons that are intended to help junior high school, and senior high school art students develop the necessary skills to make informed judgements about art in the production, historic, aesthetic, and critical areas of the existing art curriculum. The methodology is presented in a lesson plan design, includes a Biographical Sketch, and a Six-Part Questioning Strategy. Three experienced artist/teachers were asked to review the curriculum and, using the Artist/Educator Questionnaire, evaluate it. Feedback from the three reviewers suggested several ways the curriculum could be tailored to individual teacher and program needs.

How can we hope to understand a world that has become increasingly digital and global and its material organization has become more and more complex? What challenges arise from rapid technological developments? How can we explain our present, while also reflecting on the future? And what is the role of arts, sciences and engineering in global processes of transformation? As a university, TUD Dresden University of Technology aims to provide answers by discussing, defining, investigating, and researching such issues.

As home to 40 collections of technical and scientific objects and to the artworks it owns, TUD Dresden University of Technology boasts a large and significant stock of historical and contemporary artefacts from teaching, research and art.

The guiding principles of polytechnic education, as developed at the École Polytechnique in Paris from 1794, aimed at practical application and democratization. Accordingly, great value was attached to the practical experience of technology. At that time, it was possible to acquire these primarily through drawing exercises, demonstrations and experiments, as well as through geometric methods. In order to synthesize new technical means, it was supremely important to be able to determine from a drawing those connections that were both constructive and related to manufacturing technology. Therefore, the educational goals at the emerging polytechnic schools involved training spatial powers of imagination, conveying design thinking and encouraging precision skills. Such precision and reproducibility were required by the developing mechanized production in factories.

The well-known observatory tower of the Beyer Building, the landmark of the TUD Dresden University of Technology, houses a selection of the most notable objects belonging to the collection of historical instruments from the fields of astronomy and geodesy. Several display cabinets present to the interested visitor such instruments as theodolites, levels, a telescopic alidade, sextants, chronometers and meridian circles.

Describing plants and exploring their appearance, occurrence and usefulness have been common practice from antiquity. Even though the term “herbarium” underwent various changes in meaning over the centuries, it generally referred to a book on herbs, listing plants that were believed to possess pharmaceutical properties. Illustrations – some of them of high artistic quality – in books on herbs have been known since the Early Modern Period. Illustrative woodcuts created between 1530 and 1546, depicting the herbaria of the three pioneers of botany, Otto Brunfels, Leonhart Fuchs and Hieronymus Bock, had additional value as botanical reference points (Dressendörfer 2011). Nature printing, using the plant itself as the printing plate, was another method used in illustrating botanical books. It drew on the idea of nature inscribing itself to determine the technique of illustration. The rather elaborate procedure, described by Leonardo da Vinci and perfected during the 19th century, allowed for a detailed image of the plant in question.

Exhibits collected by the Duke of Weissenfels provided the basic stock for a larger collection of the Collegium Medico-Chirurgicum in Dresden. This was the first Saxon school of surgery, opening in 1748. It was succeeded by the Provisional Teaching Institute of Medicine and Surgery (1814/15) and the Surgical-Medical Academy (1815 to 1864). These institutions also made use of comprehensive collections in their training of military doctors, surgeons and medical practitioners. Unfortunately, none of these exhibits made it into the possession of the indirect successor institution, the Medical Academy “Carl Gustav Carus”, founded 90 years after the Surgical-Medical Academy closed. However, a physician interested in medical history began acquiring new objects for teaching purposes. Heinrich Fritz, head of the X-ray and Radium Institute of the Dresden-Johannstadt Hospital from 1948, then Professor of Radiology and Radiotherapeutics at the Medical Academy “Carl Gustav Carus” and Director of the Radiology Clinic, collected more than 20 different X-ray tubes, documenting the development of the relatively new discipline. They were on display in a purpose-built cabinet and were used in the training of medical students and medical technical assistants. Nevertheless, there seem to have been no systematic efforts at the new institution to collect material witnesses to medical history, despite the efforts of Heinz Egon Kleine-Natrop, a proven expert and promoter of Dresden’s medical history at the Medical Academy “Carl Gustav Carus”. Kleine-Natrop was the first Director of the Dermatological Clinic and full Professor of Dermatology from 1957. This lack of system when it came to acquiring historical exhibits was perhaps due to the proximity of two important institutions, both of which had been founded before World War I and already owned extensive medical history collections: the Karl Sudhoff Institute for the History of Medicine and the Natural Sciences in Leipzig and the “Deutsches Hygiene-Museum” in Dresden.

For thousands of years, coloring agents have been employed to dye textiles and other materials. Apart from the time-honored use of colors in many fields of design, research into colors has increased considerably as regards function and importance, particularly in recent years. The material witnesses associated with these processes have also found their way into the Dye Collection of the TUD Dresden University of Technology, one of the most comprehensive and significant collections of its kind in Europe. The inventory currently includes around 1,500 natural dyes of plant or animal origin, more than 20,000 synthetic dye samples and over 3,000 sample cards and books, as well as numerous samples of dyes prepared in the Institute of Colour Chemistry, the domicile of the Dye Collection. It also contains coal and tar products, various fiber materials, earth and mineral colors, and a collection of the Institute’s scientific papers and specimens from 1897 onwards. The Collection documents the development of color chemistry and the dye industry from the mid-19th century onwards and is still used today as a source of visual aids and as a reference work in teaching and for scientific purposes.