Made available in DSpace on 2016-04-27T14:31:04Z (GMT). No. of bitstreams: 1 Lisie De Lucca.pdf: 2248830 bytes, checksum: 72913ba64b96e878caed466fdf5c7c60 (MD5) Previous issue date: 2013-03-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research seeks to identify subsidies for leading an art course for elementary and secondary grades which promotes the human vocation to be more - a concept developed by Paulo Freire - by creating opportunities for students to go through aesthetic experiences in the classroom, and other educational paths. These subsidies were identified from the point of view of students and former students of a private school in Santo André, São Paulo, about their experiences upon the art classes they had gone though in their lives. Under the light of theories of Paulo Freire, Elliot W. Eisner, Sam Intrator, Efland, Freedman and Stuhr, Ana Mae Barbosa, John Dewey and other theorists, the students contributions from a Focus Group procedure and open written questionnaires were analyzed bearing in mind a qualitative approach. Seeking the theories that underlie the practices reported and discussed by the research subjects, this study brought up the desirable characteristics for art classes, teacher s attitude and the evaluation processs proposed by them, in promoting the inherent human vocation to "be more", fundamental condition for student s autonomy development / Esta pesquisa busca a identificação de subsídios para a liderança de um curso da disciplina de arte para as séries do ensino fundamental e médio que promova a vocação humana para o ser mais - conceito desenvolvido por Paulo Freire por meio da criação de oportunidades para os alunos passarem por experiências estéticas em sala de aula, entre outros caminhos pedagógicos. Estes subsídios foram identificados a partir do olhar de alunos e ex-alunos de uma escola particular em Santo André, São Paulo, sobre suas experiências de situações de aula de arte vividas desde a infância. À luz das teorias de Paulo Freire, Elliot W. Eisner, Sam Intrator, Efland, Freedman e Stuhr, Ana Mae Barbosa, John Dewey entre outros teóricos, foram analisadas as contribuições dos sujeitos de pesquisa por meio dos procedimentos de Grupo Focal e questionários com questões abertas, a partir de uma abordagem qualitativa. Ao buscar as teorias que subjazem às práticas relatadas e discutidas pelos sujeitos de pesquisa, este trabalho encontrou características desejáveis para que as aulas de arte, os professores da disciplina e a avaliação proposta por eles auxiliem na promoção da vocação humana para o ser mais , condição fundamental para o desenvolvimento da autonomia dos estudantes

Abstract My doctoral thesis is a narrative study in which I examine the art experiences told in six teachers’ interviews and their meanings from childhood to the threshold of middle age. I have collected my research data in two stages in 2002 and 2014. The theoretical starting points of the study are in the hermeneutic, phenomenological, pragmatist and narrative research traditions. The data analysis is narrative. Because of their basic nature, the stories of art experiences differ from the descriptions of experiences in our everyday environment. They are characterized by complexity and difficulty of conceptualization, which is manifested both in the interviewees’ narration and in the conceptual examination in this study. My study introduces a new viewpoint on the examination of identity and meaning-making related to arts. In the results section of the study, I examine and interpret stories related to visual arts as abridged narratives, constituents of a biography and special events in life. In the interpretation of individual art experiences, I explore the meanings told in art as personal factors related to human existence and situations in the life-world. The results of my study show how art is manifested in the stories as a subjective, intentional and diverse opportunity for being in the world, reflection on meanings and forming a relationship with the world. The meanings associated with the interviewees’ experiences make visible the importance of art from the viewpoints of identity, vocational identity, reflection of experiences, and the examination and establishment of man’s relationship with the world. My study also takes a stand on the significance and status of art education in our education system. I present my study as a contribution to the debate on art education, its status and significance for growth as a human being. / Tiivistelmä Väitöskirjani on narratiivinen tutkimus, jossa tarkastelen kuuden opettajan haastatteluissa kertomia taidekokemuksia ja niiden merkityksiä lapsuudesta keski-iän kynnykselle. Tutkimusaineistoni olen kerännyt kahdessa vaiheessa: vuosina 2002 ja 2014. Tutkimuksen teoreettiset lähtökohdat ovat hermeneuttisessa, fenomenologisessa, pragmatistisessa ja narratiivisessa tutkimusperinteessä. Aineiston analyysi on narratiivinen. Taidekokemuksien kertomukset poikkeavat arkisen kokemusympäristöstämme kuvauksista perusluonteensa vuoksi. Niille on ominaista käsitteellistämisen vaikeus ja kompleksisuus, joka ilmenee sekä haastateltavien kerronnassa että tutkimuksen käsitteellisessä tarkastelussa. Tutkimukseni tuo taiteeseen liittyvän identiteetin ja merkityksenannon tarkasteluun uuden näkökulman. Tutkimuksen tulososassa tarkastelen ja tulkitsen kuvataiteeseen liittyviä kertomuksia lyhennettyinä narratiiveina, elämänkerran muodostajina ja erityisinä elämäntapahtumina. Yksittäisten taidekokemuksien tulkinnassa tuon tarkasteluun taiteessa kerrottuja merkityksiä ihmisenä olemiseen ja elämismaailman situaatioihin liittyviä henkilökohtaisina tekijöinä. Tutkimukseni tulokset osoittavat, kuinka taide ilmenee kertomuksissa subjektiivisena, intentionaalisena, monimuotoisena maailmassa olemisen, merkityksien reflektoinnin ja maailmasuhteen muodostamisen mahdollisuutena. Haastateltavien kokemuksiin liittyvät merkitykset tekevät näkyväksi taiteen tärkeyden sekä identiteetin, ammatillisen identiteetin, kokemuksien reflektion ja ihmisen maailmasuhteen tarkastelun ja muodostamisen näkökulmista. Tutkimukseni ottaa kantaa myös taidekasvatuksen merkityksellisyyteen ja asemaan koulutusjärjestelmässämme. Esitän tutkimukseni puheenvuoroksi keskusteluun taidekasvatuksesta, sen asemasta ja merkityksestä ihmisenä kasvamisessa.

L’esperienza estetica è un fenomeno complesso e articolato, caratterizzato da un particolare intreccio di processi percettivi, emotivi, cognitivi. Il dibattito sulla definizione del ruolo dei fattori che intervengono nell’esperienza estetica è molto controverso: diverse cornici teoriche enfatizzano o il ruolo dei fattori "bottom-up", riguardanti le caratteristiche visive e strutturali dell'opera d'arte come il colore e simmetria, o il ruolo dei fattori "top-down", relativi al bagaglio di conoscenze ed esperienze personali. Questa tesi presenta due studi volti ad approfondire, attraverso l'analisi dei movimenti oculari, l'influenza dei processi "bottom-up" e "top-down" sul comportamento visivo di adolescenti o adulti non esperti d’arte durante l'osservazione di opere d’arte pittorica. I dati ottenuti suggeriscono che processi intersoggettivi e relazionali giocano un ruolo essenziale nel guidare l’apprezzamento estetico di un quadro. Questi risultati innovativi supportano alcune recenti ipotesi teoriche relative alla natura intrinsecamente intersoggettiva dell’esperienza estetica. / Experiencing art is a complex and articulated phenomenon characterized by a peculiar weaving of perceptive, emotional, and cognitive processes. The debate on the definition of factors that contribute to the surfacing of an aesthetic experience is very controversial, partly because of the different weights assigned to the elements in the competition between “bottom-up” and “top-down” processes. Different theoretical frames emphasize the role of bottom-up factors - concerning the visual and structural characteristics of the artwork such as colour and symmetry - or top-down cognitive processes - concerning the cognitive feedback deriving from everyone’s cultural background and knowledge - in the building up of an aesthetic experience. In this work, two studies aiming at shedding some light on art appreciation are presented. These studies were designed to investigate, by means of the analysis of eye-movements, the influence of bottom-up and top-down processes on visual behavior while adolescents or adults naïve to art criticism were presented with representational paintings. Data suggest that intersubjective and relational processes intervene in first stages of aesthetic experience. These important and novel results support new theoretical proposals, which consider embodied intersubjective processes underpinning aesthetic experience.

Die komprimierte Darstellung der Fishbowl bietet Einblicke in die aktuelle Diskussion fachspezifischer Fragen. Drei Experten (Thomas Ott, Christian Rolle und Wolfgang Martin Stroh) diskutieren nach ihren Einzelvorträgen miteinander über Grundfragen der Musikdidaktik. An der Diskussion können sich auch Einzelne aus dem Publikum beteiligen. Die Moderation hat Anne Niessen. Die Diskussion dreht sich wesentlich darum, was verschiedene Musikdidaktiker unter ästhetischen, musikalischen, musikbezogenen Wahrnehmungspraxen bzw. –tätigkeiten und Erfahrungen verstehen, außerdem um das Verhältnis dieser Begriffe zu Bildung, Symbolbildung, Bedeutungszuschreibung und Lernen. Die Theorie wird nicht nur an den Videos, sondern auch an erzählten Unterrichtsbeispielen festgemacht. / The abridged fishbowl-discussion gives an idea of currently discussed problems in the german discourse on music education at general schools (=music didactic). In Fishbowl C three experts (Thomas Ott, Christian Rolle und Wolfgang Martin Stroh with Anne Niessen as moderator) after their lectures discuss their understanding of aesthetic, musical and music-related kinds of praxis or activities of perception and experience in different theories of music education, and they relate this to the terms Bildung, learning and construction of symbols and meaning. Experts and guests from the audience illustrate their considerations with examples from the DVDs and with explained examples.

This thesis considers the role of aesthetic meaning-making in elementary school science learning. Children’s aesthetic experiences are traced through their use of aesthetic judgements, spontaneous metaphors and art activities. The thesis is based on four empirical studies: the first two examining children’s language use, i.e. the role of aesthetic judgements and the significance of spontaneous metaphors while learning science and the latter two dealing with how art activities mediate what elementary school children learn in science and what a variety of art activities with different purposes afford elementary school children to learn in science. The theoretical stance emanates from pragmatist theories and includes Dewey’s definition of an aesthetic experience, Wittgenstein’s later work on language-games, and socio-cultural perspectives. The analytic approach used is a practical epistemology analysis developed by Wickman and Östman. The empirical data consists of audio- and video recordings of elementary school children’s (aged 6–10 years) discussions in pairs or small groups during science lessons and photographs of children’s pictures, sculptures and poems from a total of 14 different elementary school classes. The main findings of the empirical studies show how aesthetic meaning-making is continuous with elementary school children’s scientific learning. The thesis shows how elementary school children’s aesthetic experiences are related to whole activities and are crucial for the direction that learning takes. Aesthetic experience is important in terms of how and what elementary school children learn aesthetically and normatively in science class, which has consequences for cognitive learning, the possibility of participating in science class and learning the genre of science. Moreover, it can be seen how children’s prior experiences are recurrently reconstructed and transformed through imaginative processes.

Ce mémoire s’inscrit dans le domaine de l’architecture du paysage et du design urbain. La recherche se construit autour d’un questionnement sur le sens pouvant être attribué au parc La Fontaine par ses usagers en tant que cadre de vie urbain montréalais. Ce parc est un lieu emblématique de la ville par le caractère historique de son aménagement. Il est aussi un lieu populaire par sa situation géographique centrale au sein de l’arrondissement du Plateau-Mont-Royal. Par l’analyse de ce parc, nous cherchons à porter un regard sur la manière dont se construit l’expérience d’un parc urbain dans les particularités de son aménagement, de son contexte social et culturel. Notre étude semble pertinente dans la mesure où cet espace n’a jamais été abordé selon l’analyse de l’expérience paysagère. Notre réflexion se construit à partir d’un modèle socioculturel soutenu par une revue de littérature en architecture de paysage. Les travaux menés à la Chaire en paysage et environnement de l’Université de Montréal ont particulièrement été sollicités. Ce modèle considère le paysage comme une qualification sociale et culturelle d’un territoire. Il engage l’analyse vers des perspectives pluridimensionnelle, expérientielle et polysensorielle, tout en considérant le caractère formel (attributs physiques) du paysage. Nous avons également joint à ce cadre théorique les recherches menées en design et en anthropologie des sens. Ces axes de recherche éclairent les notions de l’expérience esthétique et sensorielle particulièrement en regard de la compréhension du vécu d’un espace ordinaire et quotidien. Selon ce cadre conceptuel, notre recherche fait appel à une approche compréhensive. Ainsi, nous abordons l’expérience du parc par un modèle d’analyse mettant l’emphase sur les usages, l’interprétation et la représentation de l’aménagement du parc La Fontaine. La méthodologie s’appuie sur une démarche de recherche qualitative. Elle se fonde sur une observation non participante des usagers du parc, sur des entretiens semi-dirigés et sur une étude physico-spatiale du lieu. Ce mémoire a pour finalité de conduire une première lecture du parc La Fontaine en abordant les dimensions composant le vécu de ses usagers. Nous espérons pouvoir contribuer à notre échelle à l’avancée des connaissances de cet espace du point de vue expérientiel et de la perspective paysagère sur la compréhension des parcs urbains. / This thesis involves the fields of landscaping architecture and urban design. The research questions the meaning that can be attributed to the La Fontaine park by its users within the framework of urban life in Montreal. This park is a symbolic place in this city by its historic character. It is also a popular location due to its central geographical placement within the district of the Plateau-Mont-Royal. We attempt to explain the way the experience of an urban park relates to the peculiarities of its design, as well as to its social and cultural context, such as that represented by the city of Montreal. Our study seems relevant as this space was never approached with respect to the experience of its landscape. Our reflection builds on a socio-cultural model supported by a literature review in landscaping architecture. In particular, the works led by the Chair in landscaping and Environment of Montreal University were referenced. The employed model considers the landscape a social and cultural qualification of a territory. The analysis is thus directed towards a multi-dimensional reading of everyday experience, all while considering the landscape in its formal qualifications (physical attributes). We have also accompanied this theoretical support by research in design and in anthropology of the senses. These research areas help clarify the role of aesthetic and sensory experiences in the everyday lives of people. According to this conceptual framework, our research develops a comprehensive approach. We thus treat the experience of the landscape with an analytical model emphasizing the use, the interpretation and the representation of the La Fontaine Park landscape. Methodologically, the study uses a qualitative approach compiling a spatial and experiential analysis of the landscape. The study therefore builds on an in situ investigation through non-participatory observation, semi-directed interviews and a physical analysis of the space. This research may offer a first reading of the dimensions at play in the everyday experience of the La Fontaine Park by its users. We hope to contribute to the advancement of the knowledge of this space from an experiential perspective and of the research in urban park design.

Ce travail de thèse présente une recherche sur l’art de la performance et ses implications esthétiques, politiques, éthiques, cognitives et subjectives dans le contexte artistique et culturel de la tradition anthropophagique brésilienne à l’époque où la performance émerge en tant que genre artistique dans les années 1960-1970. Face à de telles implications, l’art de la performance manifeste non seulement un processus d’hybridation des genres artistiques et des rapports entre artiste, œuvre, spectateur, mais aussi une toute autre forme d’existence, un devenir hybride. En tenant compte que « l’hybride » serait un paradigme qui dépasse l’ère de la signification et assume une tendance hégémonique et acritique dans le monde instauré par la modernité occidentale, nous nous interrogeons sur les contributions critiques et les enjeux du processus de devenir hybride dans l’art de la performance et dans la culture face aux mécanismes qui bloquent des nouveaux modes de sentir et de production de la subjectivité.Pour développer ces articulations, nous prenons surtout appui sur la pensée esthétique de Deleuze-Guattari ; l’approche psychodynamique de la subjectivité et ses modes sensibles d’aborder l’altérité dans la pensé de Suely Rolnik ; la reformulation de la tradition anthropophagique selon Le Manifeste Anthropophage d’Oswald de Andrade ; et la théorie sur le perspectivisme et le mythe amérindiens de l’anthropologue Viveiros de Castro. En ce sens, en faveur d’une intensification de la puissance critique du corps et d’autres modes d’existence dans le rapport à l’hybridité du monde, nous proposons de penser l’art performatif comme un paradigme hybride d’une modernité autre. Le mode de création, de résistance et de connaissance du performeur présente une attitude critique et une dynamique hétérogénétique, d’alter-action de lui-même et du monde, qui est assez semblable à celle de l’ancienne matrice anthropologique de l’anthropophagie. Le performeur affirme donc la possibilité d’émergence d’une modernité autre, liée peut-être à un autre type de monde hybride, un monde animiste et complètement anti-monothéiste, qui comprend la vie comme dévoration, comme immanence du danger et imminence du sens, monde où la solidarité sociale se définit en altérité et où la forme indigène du cogito serait « cela existe, donc cela pense ». / The following thesis is a research about the art of performance in its aesthetic, political,ethical, cognitive and subjective implications; within the Brazilian anthropophagy tradition’s artistic and cultural context in the period when the art of performance emerges as an artistic genre, in the sixties and seventies. Faced with such implications, the art of performance not only indicates a process of hybridization of artistic genres and the relations between artist, work and spectator; but also indicates a whole different way of existence: « becoming-hybrid ». Defining « hybrid » as an intruder paradigm who overcomes the age of signification, one that assumes a hegemonic and uncritical trend in the world established by Western modernity; we ask ourselves about the critical contributions and challenges of becoming-hybrid in the art of performance and in the culture, especially considering the mechanisms that blocks the new ways of feeling and of production of subjectivity.To develop this discourse, we lean foremost on the concept of: the esthetic ideas of Deleuze-Guattari; the psychodynamic approach to subjectivity and the sensitive ways to deal with the otherness of thought of Suely Rolnik; the reformulation of the anthropophagic tradition according to the Anthropophagous manifesto by Oswald de Andrade; the theory of perspectivism; and the Amerindian myth by the anthropologist Viveiros de Castro. In this sense, in order to increase the critical power of the body and other ways of existence concerning the hybridization of the world, we propose the thinking of performing art as a hybrid paradigm of some another modernity. The way of creation, the resistance and the knowledge of the performer show a critical attitude and a heterogenetic dynamic, an alter-action of himself and of the world itself, which is very similar to the old anthropological matrix of anthropophagy. The performer, then, affirms the possibility of the emergence of another modernity, possibly linked to another kind of hybrid world, an animistic and completely anti monotheist world, which understands life as devouring, as immanence of the danger and imminence of the meaning. A world where social solidarity is defined by otherness and where the indian cogito would be « it exists, therefore it thinks ».

134 f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-06T17:45:06Z No. of bitstreams: 1 Dissertacao_Rosane de Jesus.pdf: 1717736 bytes, checksum: 5b178ca0476c7925bcfd0620bf782138 (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-05-20T17:46:39Z (GMT) No. of bitstreams: 1 Dissertacao_Rosane de Jesus.pdf: 1717736 bytes, checksum: 5b178ca0476c7925bcfd0620bf782138 (MD5) / Made available in DSpace on 2013-05-20T17:46:39Z (GMT). No. of bitstreams: 1 Dissertacao_Rosane de Jesus.pdf: 1717736 bytes, checksum: 5b178ca0476c7925bcfd0620bf782138 (MD5) Previous issue date: 2007 / Esta dissertação de mestrado, numa abordagem qualitativa, discute, a partir de relatos e observações diretas, os significados e sentidos que os professores atribuem ao uso do documentário na sala de aula. Bem como analisa sua utilização pedagógica como possibilidade de aproximar, através de uma experiência estética, a educação escolar a uma práxis. Para tanto, investiga a intensa familiarização do espectador-aluno e do espectadorprofessor com a cultura das mídias, a qual (re)configura os modos de apreender o mundo, de organizá-lo e de expressá-lo, devido ao crescente desenvolvimento das Tecnologias de Informação e Comunicação. Historiciza o conceito de documentário e seus nexos com a educação formal. Reconhece a estreita relação entre forma e conteúdo na obra fílmica, examinando as várias formas de representação do documentário como construção estética de uma visão sobre a realidade concreta. / Salvador

La présente recherche a pour but d’étudier le rôle du temps dans les expériences artistique et esthétique relatives à la performance artistique. Cette étude porte sur les œuvres et les pratiques de la performance du XXe et du début du XXIe siècles, allant des premières manifestations publiques des avant-gardes historiques jusqu’à la performance augmentée par l’intégration des nouvelles technologies de l’enregistrement, de l’information et de la communication. Partant de l’hypothèse de l’efficience du composant temporel de la performance, il s’agit tout d’abord de démontrer que la structure temporelle de la performance fait l’objet d’une élaboration artistique réfléchie et que le temps peut être considérée comme « matériau » ou « milieu » de l’œuvre-performance. Les analyses de la dimension temporelle des œuvres particulières révèlent également son pouvoir d’agir sur le vécu de tous les protagonistes réunis au sein de la performance-événement et sa capacité de les impliquer à différents degrés dans le processus de la concrétisation de l’œuvre-performance. Ces différentes fonctions du temps, son « activité » et son mode opératoire sont analysés au cours de cette recherche en tant qu’ « agentivité du temps dans la performance ». À l’issue de ces investigations, le temps apparaît comme l’un des facteurs ontogénétiques de l’œuvre-performance fondant sa spécificité, et comme l’une de ses qualités intrinsèques susceptible de déterminer les conduites artistique et esthétique de l’artiste et du spectateur, au point de les rendre interchangeables. / The objective of the present research is to investigate the role of time in artistic and aesthetic experiences pertaining to performance art. This paper focuses on the performance works and practices of the 20th and early 21st centuries, ranging from the first public performances of historical avant-garde movements to the performance augmented through the use of the latest recording, information processing and communication technologies. Starting with the hypothesis of the efficiency of a performance’s temporal component, we first demonstrate that the temporal structure of a performance is the matter of well-thought-out artistic design, and that time can be regarded as the medium, or “milieu” of a performance work. Moreover, analyses of the temporal dimension of individual performance works reveal how time can affect the real-life experience of all the protagonists taking part in the performance-event, involving them, to varying degrees, in the process through which the performance comes into being as a work of art. These multiple functions of time, its “activity” and modus operandi are discussed throughout this study as “agency of time in performance”. The research shows that time turns out to be one of the ontogenetic, specificity-conferring factors of a performance work, and also one of its intrinsic qualities which is likely to determine the artist’s and spectator’s artistic and aesthetic attitudes to such an extent that they become interchangeable.

Made available in DSpace on 2018-06-18T13:27:06Z (GMT). No. of bitstreams: 0 Previous issue date: 26 / Embora a PNH indique a inserção de diretrizes humanísticas na formação do profissional de saúde, a sua presença no ensino superior ainda é muito tímida. Ainda que essencial para a boa prática médica, para muitos professores e alunos as disciplinas de humanidades são tidas como desinteressantes. Ela é abordada de forma superficial e os alunos desconhecem a abrangência significativa nas práticas de saúde. Durante muito tempo, a proximidade com o paciente era quase um imperativo para a prática da medicina. Com as mudanças culturais e sociais ocorridas ao longo do tempo houve uma transformação na medicina e prática da saúde que levaram, hoje, à discussão da necessidade de humanização na saúde. A humanização busca nas ações humanizadoras a recuperação, não somente da saúde física, mas principalmente do respeito, do direito, da generosidade, da expressão subjetiva e dos desejos das pessoas. A Humanização na saúde foi fundada no respeito à vulnerabilidade humana e na crença de que a relação do profissional e paciente está sempre sujeita a emoções que devem ser guiadas pelo sentimento de compromisso e compaixão que é indispensável no cuidar do outro. No entanto, sem a capacidade de sentir é impossível ter a capacidade de cuidar. Portanto a formação da sensibilidade é a necessidade mais importante e fundamental para o desenvolvimento de uma formação humanizadora. A presente pesquisa submetida e aprovada ao Comitê de Ética em Pesquisa da Universidade Federal de São Paulo sob Nº 48419915.3.0000.5505 e contando com 13 colaboradores profissionais da área da saúde objetivou investigar de que forma a experiência estética e reflexiva da natureza, própria das Humanidades, pode contribuir para a humanização em saúde. A pesquisa foi aplicada no Solo Sagrado de Guarapiranga, espaço pertencente à Igreja Messianica Mundial do Brasil. Para coleta dos dados, usamos técnicas advindas tanto da antropologia, no caso a observação participante como da História Oral de Vida, além de relatos redigidos pelos participantes após o termino de cada encontro. Combinando, observação participante, relatos da experiência e história oral de vida, foi possível uma visão mais ampla da experiência. A análise dos dados aconteceu à luz da Imersão/Cristalização proposta por Borkan (1999) e muito utilizada em pesquisas etnográficas. Observando as imagens que emergiram das falas, pôde-se perceber a caracterização de três grandes temas: a emoção, o impacto do primeiro momento, do primeiro contato com o Solo Sagrado; a reflexão que este impacto provoca e que leva a um despertar de si mesmos e também a uma nova consciência do outro e, finalmente, num terceiro nível, a mudança na maneira de ver o mundo lá fora. Através dos resultados obtidos podemos acreditar que a experiência estética da natureza realizada no Solo Sagrado de Guarapiranga é potencialmente humanizadora. Ela causa um afeto profundo e transformador, típico de uma “ampliação da esfera do ser”, conscientiza os participantes, principalmente no que diz respeito à suas próprias vidas, o levam a um encontrar ou, reencontrar, consigo mesmo, gerando conforme relatos, paz e equilíbrio. Desta forma estando bem consigo mesmo (utilizando a fala de um colaborador) transmitimos o bem ao nosso próximo e é possível olhar e cuidar de outras pessoas, o que para a área da saúde é fundamental. Como produto desta pesquisa desenvolvemos e apresentamos um Laboratório de Humanidades a partir da Experiência Estética da Natureza. / Although the PNH indicates the insertion of humanistic guidelines in the training of the health professional, its presence in higher education is still very timid. Although essential for good medical practice, for many teachers and students the humanities disciplines are regarded as uninteresting. It is covered superficially and students are unaware of the significant breadth of health practices. For a long time, proximity to the patient was almost imperative for the practice of medicine. With the cultural and social changes that have occurred over time, there has been a transformation in medicine and health practice that has led to the discussion of the need for humanization in health. Humanization seeks in the humanizing actions the recovery, not only of physical health, but mainly of respect, right, generosity, subjective expression and the desires of the people. Humanization in health was founded on respect for human vulnerability and on the belief that the relationship of the professional and patient is always subject to emotions that must be guided by the feeling of commitment and compassion that is indispensable in caring for the other. However, without the ability to feel it is impossible to have the ability to care. Therefore the formation of sensitivity is the most important and fundamental need for the development of humanizing training. The present research submitted and approved to the Research Ethics Committee of the Federal University of São Paulo under No. 48419915.3.0000.5505 and counting on 13 professional health professionals aimed to investigate how the aesthetic and reflective experience of nature, Can contribute to humanization in health. The research was applied in the Sacred Ground of Guarapiranga, a space belonging to the World Messianic Church of Brazil. In order to collect the data, we used techniques from both anthropology, in this case participant observation and Oral History of Life, as well as reports written by participants after the end of each meeting. By combining, participant observation, experience reports and oral history of life, a broader view of the experience was possible The analysis of the data happened in the light of the Immersion / Crystallization proposed by Borkan (1999) and much used in ethnographic researches. Observing the images that emerged from the speeches, one could perceive the characterization of three great themes: the emotion, the impact of the first moment, the first contact with the Sacred Ground; The reflection that this impact causes and that leads to an awakening of themselves and also to a new awareness of the other, and finally, on a third level, the change in the way of seeing the world out there. Through the obtained results we can believe that the aesthetic experience of the nature realized in the Sacred Ground of Guarapiranga is potentially humanizing. It causes a profound and transforming affection, typical of an "enlargement of the sphere of being," makes the participants aware, especially in regard to their own lives, lead to a find or to find, generating according to reports, peace and balance. In this way, being good with oneself (using a collaborator's speech) we transmit the good to our neighbor and it is possible to look and care for other people, which for the health area is fundamental. As a product of this research we have developed and presented a Laboratory of Humanities based on the Aesthetic Experience of Nature.