Gemäß dem ‚Circular Gap Report 2020‘ wird weltweit nur 8,6 % des Materials zirkulär genutzt. Die Tendenz ist sinkend: Zwei Jahre früher waren es noch 9,1%. Die Weltwirtschaft benötigte im Jahr 2019 insgesamt 100,6 Gigatonnen Material (de Wit et al., 2020). Trotz großer politischer, gesellschaftlicher und wirtschaftlicher Aufmerksamkeit rund um die Thematik einer dringend benötigten nachhaltigeren Wirtschaft zeigt sich, dass wir mit der Materialzirkularität insgesamt nicht auf Kurs sind. Wie kann die Materialzirkularität aus der Perspektive von Designer:innen – als Akteur:innen, die gemäß Literatur ‚over 80 % of all product-related environmental impacts‘ verantworten – verbessert werden? (Graedel et al., 1995)

This qualitative study examined Internet usage by Guatemalan English teachers in the rural, indigenous community of San Lucas Toliman, to improve enrollments and persistence in online teacher professional development programs promoted by the Fundacion Rigoberta Menchu Tum. Woolcock's concepts of bonding, bridging and linking social capital were united with Rogers's theory of perceived attributes to ascertain why only 5 of 34 teachers completed free online coursework. Research questions addressed teacher concerns about using the Internet, teacher satisfaction with Internet resources, and social influences upon Internet usage. The participatory rural appraisal (PRA) method was employed using a culturally-sensitive native speaker to interview 20 teachers selected in a purposive sample. In accordance with PRA analysis procedures, representative interview statements were sorted, prioritized and discussed by a team of 42 community educators to generate findings. Findings indicated that interest in engaging the Internet and receiving specialized introductory support (bridging social capital) in groups (bonding social capital) was high. Findings also indicated that salary level (linking social capital) and family time demands (bonding social capital) were barriers to attending a community technology center or Internet cafe. Findings reinforced the community's support for the design of online coursework leading to salary points and college credits. This study has positive social change implications by demonstrating how organizations can promote community-driven research collaborations to facilitate teacher Internet usage in San Lucas Toliman, and could be replicated in other remote sectors of the developing world.

Esta tese propõe-se a refletir a respeito do ensino superior em design de moda no Brasil na perspectiva de uma formação crítica e ativa no que se refere à (in)sustentabilidade. A pesquisa, qualitativa, desenvolve-se sob o enfoque epistemológico do materialismo históricodialético e se encontra estruturada de modo a representar o caminho percorrido. Em relação à perspectiva teórica, adota como ponto de partida o cenário da insustentabilidade, cujo percurso histórico e analítico permite entender sua estreita relação com o design de moda, e busca compreender, a partir de um olhar crítico e contextualizado a respeito da atividade, suas potencialidades em relação à sustentabilidade. Ao admitir a necessária transformação da prática em design de moda, mediante o exame a respeito dos paradigmas educacionais do ensino em design admite sua igualmente necessária alteração e, diante do cenário delineado a respeito do ensino superior em design de moda no Brasil, identifica, na predisposição dos cursos de bacharelado em incluir a questão da sustentabilidade em seus currículos, um campo pertinente a ser explorado. A partir da compreensão de que é preciso ir além de uma inclusão pro forma da questão nos currículos - e, portanto, da necessidade de explorar em profundidade a realidade do ensino superior em design de moda -, a pesquisa investiga, a partir de uma perspectiva empírica, a situação de três cursos de graduação no Brasil em relação à (in)sustentabilidade, buscando compreendê-los em sua pluralidade e singularidade: o bacharelado em Design de Moda da Universidade Anhembi Morumbi (SP), o bacharelado em Design de Moda da Universidade Estadual de Londrina (PR) e o bacharelado em Design - Moda da Universidade Federal do Ceará (CE). Complementarmente, investiga ainda os pontos de vista de professoras e pesquisadoras envolvidas com o objeto na Inglaterra, Finlândia e Dinamarca. As investigações revelam impressões não previstas ou de explicação insuficiente, se considerados unicamente os conteúdos abordados inicialmente no referencial teórico. Os olhares que constituem o cotidiano dos cursos no Brasil - institucional, docente e discente - desvelam questionamentos subjacentes à pergunta que norteia esta pesquisa e inferem que uma formação crítica e ativa no que diz respeito à (in) sustentabilidade se relaciona, para além dos conteúdos, à forma como estes são articulados. As perspectivas internacionais, não se atendo a conteúdos específicos, mas à forma como eles são articulados e a caminhos e desafios relacionados, repercutem e complementam as análises depreendidas em um contexto nacional. A pedagogia crítica freiriana emerge, então, como um espaço formidável e fecundo de diálogo, e o referencial teórico que se constrói a partir dela possibilita completar a reflexão a respeito do ensino superior em design de moda no Brasil na perspectiva de uma formação crítica e ativa no que tange à (in)sustentabilidade: a formação que permite ao aluno, por meio de sua prática, desafiar o status quo em seu campo de atuação; a formação na qual o design de moda é ensinado, aprendido e praticado como um possível ato de proposição transformadora. / This dissertation proposes to reflect on fashion design higher education, in Brazil, from the perspective of a critical and active formation regarding (un)sustainability. The research is qualitative and developed under the historical-dialectical materialism epistemological approach, and is structured in such a way as to represent its development. Regarding a theoretical perspective, the research adopts, as a starting point, the unsustainability scenario, whose historical and analytical path allows us to understand its close relationship with fashion design. It seeks to understand, from a critical and contextualized look at fashion design activity, its potential in relation to sustainability. By admitting the necessary transformation on fashion design practice, in parallel, through examining the educational paradigms of design teaching, it admits their equally necessary transformation, and before the outlined scenario of fashion design higher education, in Brazil, it identifies in the predisposition of bachelor\'s degrees to include the issue of sustainability in their curricula, a relevant field to be explored. From the understanding that it is essential to go beyond a pro forma inclusion of the theme in the curricula, and therefore of the need to explore in depth the reality of fashion design higher education, the research investigates, from an empirical perspective, the situation of three undergraduate courses in Brazil regarding (un)sustainability, seeking to understand them in their plurality and singularity: Fashion Design bachelor\'s degree at Anhembi Morumbi University (SP), Fashion Design bachelor\'s degree at State University of Londrina (PR), and Design - Fashion bachelor\'s degree at Federal University of Ceará (CE). In addition, it also investigates the points of view from professors and researchers from England, Finland and Denmark who are involved with the object. The study reveals unexpected impressions, or of insufficient explanation if only the contents initially tackled in the theoretical framework are considered. The insights that make up the daily life of the courses in Brazil - institutional, teaching and student - reveal underlying questionings to the main question that guides this research, and infer that a critical and active formation regarding (un)sustainability relates to, beyond the contents, the way in which they are articulated. The international views, not focusing on specific contents, but on how these are articulated and their related paths and challenges, echo and complement the analysis realized in a national context. The freirian critical pedagogy then emerges as a formidable and fruitful field for dialogue, and the theoretical framework that builds up from it makes it possible to complete the reflection on fashion design higher education, in Brazil, from the perspective of a critical and active formation regarding (un)sustainability: the formation that allows the student to challenge the status quo, through his/her practice, in his/her field of action; where fashion design is taught, learned and practiced as a possible act of transforming proposition.

Thesis (M.G.S.)--Miami University, Dept. of Sociology and Gerontology, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 40-45).

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T19:13:28Z No. of bitstreams: 1 Geraldo Coelho Lima Junior.pdf: 12870371 bytes, checksum: 6f5ca82eeceeb84a90f9a0a63819d609 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T19:16:31Z (GMT) No. of bitstreams: 1 Geraldo Coelho Lima Junior.pdf: 12870371 bytes, checksum: 6f5ca82eeceeb84a90f9a0a63819d609 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T19:16:49Z (GMT) No. of bitstreams: 1 Geraldo Coelho Lima Junior.pdf: 12870371 bytes, checksum: 6f5ca82eeceeb84a90f9a0a63819d609 (MD5) / Made available in DSpace on 2018-10-04T19:17:03Z (GMT). No. of bitstreams: 1 Geraldo Coelho Lima Junior.pdf: 12870371 bytes, checksum: 6f5ca82eeceeb84a90f9a0a63819d609 (MD5) Previous issue date: 2016-11-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of this thesis is to determine whether it is possible to establish a method based on a project-oriented development in fashion design, which takes account of the cognitive processes of people with visual impairment (PcDV) This method should also both allow them to be trained as fashion designers, while at the same time, fostering the learning of students with sight, and enable them to carry out collective projects. With this in mind, an investigation was undertaken of the Curricular Guidelines for Design Courses in Brazil. This was based on an analysis of the curricular benchmarks for Bachelor Degrees in Fashion Design, which were drawn up in accordance with pre- established parameters. The purpose of this was to establish a framework and explore the feasibility of admitting students with visual impairment. There was found to be a gap with regard to the teaching methods employed when carrying out projects related to PcDV. In another area, the study conducted a review of the literature with regard to the inclusion of this group in higher education and the availability of suitable teaching materials. In addition, the ¨inclusive¨ Program and the Brazilian Law for the Inclusion of Handicapped People were examined with the aim of establishing the rights of this group with regard to higher education. Running in parallel with this, the investigation was extended to the Neurosciences and the cellular basis of brain function, which is involved in teaching- learning processes, and likely to lead to the development of Fashion Design projects for students with or without visual impairment. The application of an Experimental Protocol emerged from these studies, which was subdivided into modules. These provided guidance for the way the Project- Oriented Development Methodology was conducted and allowed an assessment to be conducted of three groups of people, the first comprising porPcDV and the others formed of students with sight, who are doing Fashion Design courses at the University of Anhembi Morumbi. Among the results that validate the proposed thesis, the following stand out: (1) evoking memories potentiate the assimilation and learning of contents by students both visually impaired or not; (2) somatosensory stimulation provide access to courseware by students that are visually impaired, while enlarge the interest of the students with no impairements about the taught contents; (3) personal repertoires, when associated to the method of projective development, potenciate the learning for the enhancement of the skills of students with and without visual impairment. / Essa tese apresenta como objetivo verificar a possibilidade de se estruturar um método voltado ao desenvolvimento projetual em design de moda que considere o processo cognitivo de pessoas com deficiência visual (PcDV), e propicie sua formação como designer de moda e, concomitantemente, venha a potencializar o aprendizado do estudante vidente e, sua capacitação para o desenvolvimento de projetos de coleção. Para tanto, empreendeu-se uma investigação às Diretrizes Curriculares do Curso de Design no Brasil, de modo a fundamentar uma análise das matrizes curriculares de Bacharelados em Design de Moda, selecionados segundo parâmetros pré-estabelecidos, com o propósito de verificar suas estruturas e a factibilidade de ingresso de estudantes com deficiência visual. Identificada a existência de lacuna, referente aos métodos de ensino destinados ao desenvolvimento de projetos junto a PcDV, em outro âmbito, investiu-se em uma revisão da literatura relativa à inclusão deste grupo no ensino superior, e a existência de material didático acessível. Ainda, estudou-se o Programa INCLUIR (BRASIL, 2005) e, a Lei Brasileira de Inclusão da Pessoa com Deficiência (BRASIL, 2015), com o intuito de localizar os direitos desse grupo referente à educação superior. Em concomitância, a investigação estendeu-se às Neurociências e as bases de funcionamento do cérebro, envolvidos nos processos de ensino-aprendizagem, passíveis de contribuir para o desenvolvimento de projetos em Design de Moda, por pessoas com ou sem deficiência visual. Desses estudos procedeu-se à aplicação de um Protocolo Experimental, subdividido em módulos, os quais orientaram a condução de uma Metodologia de Desenvolvimento Projetual e avaliação de três grupos de pessoas, o primeiro composto por PcDV e os demais formados por estudantes videntes que cursam Design de Moda, na Universidade Anhembi Morumbi. Dentre os resultados que validam a tese proposta, destacam-se: (1) a evocação de memórias potencializa a assimilação e o ...

Made available in DSpace on 2014-08-20T13:47:55Z (GMT). No. of bitstreams: 1 Chris de Azevedo Ramil_Tese.pdf: 45445860 bytes, checksum: 4900f625639a3a2b6aea8bfc61ca0cbf (MD5) Previous issue date: 2013-03-28 / This research aimed to examine the collection of textbooks Tapete Verde in its editorial and graphics aspects, identifying the stages of design and graphic production at Editora Globo, and relate the elements of recurrence in graphic design, information design and reading design in relation to pedagogical aspects. The didactic collection Tapete Verde is made of Integrated Books, Activity Books and Teacher Books, in separate volumes from 1st to 4th grade, was published in the 1970s in Rio Grande do Sul by Editora Globo and its authors are the local teachers of Porto Alegre, Nelly and Teresa Cunha Iara Palmini Fabretti. The textbook can be considered an important source of information about the context in which it was produced, and may reveal aspects of society and of the time by analyzing the market that circulated, editorial production, the pedagogical goals of its visuality and materiality, enabling communication beyond the written content, sensitizing the reader to the visual phenomenon and its informative potential. From graphic design to graphic production of a didactic collection, features established in these steps may be responsible for setting guidelines, interfere with the transmission of content and cause different behaviours in readers, both in students and in teachers, using the books in the classroom. With the studies about textbook and graphic design, the data indicate that the investigated collection can add important considerations in the research fields of history textbooks and education in Rio Grande do Sul, as well as to the printing and publishing history of the region. Furthermore, this work aims to strengthen the incentive for researches about the confluence of conceptual references in the fields of education and design, seeking new contributions by both the historical and current perspectives. / Esta pesquisa teve como objetivo analisar a coleção de livros didáticos Tapete Verde, em seus aspectos editoriais e gráficos, identificando as etapas de projeto e produção gráfica na Editora Globo, além de relacionar os elementos de recorrência em design gráfico, design da informação e design da leitura em relação aos aspectos pedagógicos. A coleção didática Tapete Verde é composta de Livros Integrados, Cadernos de Atividades e Manuais do Professor, em volumes separados de 1ª a 4ª série, foi publicada na década de 1970 no Rio Grande do Sul pela Editora Globo, tendo como autoras as professoras gaúchas de Porto Alegre, Nelly Cunha e Teresa Iara Palmini Fabretti. O livro didático pode ser considerado uma importante fonte de dados sobre o contexto em que foi produzido, podendo revelar aspectos da sociedade e do tempo através da análise do mercado em que circulou, da produção editorial, dos objetivos pedagógicos, de sua visualidade e materialidade, possibilitando uma comunicação para além do conteúdo escrito, sensibilizando o leitor para o fenômeno visual e o seu potencial informativo. Do projeto gráfico à produção gráfica de uma coleção didática, as características estabelecidas nestas etapas podem ser responsáveis por definir orientações, interferir na veiculação de conteúdo e provocar comportamentos diferenciados nos leitores, tanto nos alunos como nas professoras, ao utilizarem os livros em sala de aula. Com os estudos sobre livro didático e design gráfico, os dados indicam que a coleção investigada pode agregar importantes considerações aos campos de pesquisa na história dos livros didáticos e da educação gaúcha, bem como à história gráfica e editorial da região. Além disso, esse trabalho pretende reforçar o incentivo a pesquisas que consistam na confluência de referências conceituais dos campos da educação e do design, em busca de novas contribuições tanto pelas perspectivas históricas como pelas atuais.

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In a world that faces global warming and other major environmental challenges, it is essential that students learn about the principles of sustainability so that they can apply these principles in their future lives and careers. This is particularly so in fields such as interior architecture and design, which will impact how well humans can move toward a sustainable way of life. The aim of the present study was to evaluate a participatory teaching approach for students of interior design that incorporates ecological thinking. It is particularly intended for use at universities and other places of higher education where such contexts are not currently available and, furthermore, where the teaching has been primarily of a didactic, teacher-centred form. The teaching approach was developed and tested through the involvement of students and staff at a technical institute in Kuwait – a country with severe environmental problems in which teaching at all levels has traditionally been rigidly didactic. A review was carried out of literature on learning theories, design principles, and sustainability paradigms that bore upon the research aim. Following this, a method was chosen, based on action research that involved running different types of workshops, in order to measure the impact of the teaching styles that are ideal to deliver ecological knowledge.

This doctoral study is about Mindful Design as an approach to promoting Mindfulness. The main focus of this study is to transfer the Mindful Design approach and tools for industrial design into a higher education context that can be understood and applied by design students. Mindful Design is a design approach based on the socio-cognitive theory of Mindfulness. The concept of Mindful Design was introduced by Niedderer (2004) to describe how design products can promote and enhance mindful attention by interrupting or enhancing the user’s interaction or increase his awareness during social activities. Niedderer (2004) notes that Mindful Design can be associated with behavioural change and extends the understanding of social cognitive Mindfulness by changing the expected functions of product use. The theoretical framework addresses the differences in Mindfulness streams, their benefits, and their applicability to design context, topics that provide an important foundation for the development of Mindful Design criteria and tools. Based on this research, design criteria were selected to increase user awareness when interacting with mindful products. Furthermore, learning and teaching theories in the context of design education were discussed to support the chosen teaching strategies for the transfer of knowledge of the Mindful Design approach to design students. These themes were crucial in determining the current research question of this doctoral study. The research methodology focused on testing the applicability of the design and teaching tools developed to determine how socio-cognitive Mindfulness theory can be effectively and understandably introduced into the design context for design students in higher education. In Investigation One, a collection of tools and strategies were developed to determine student understanding and demonstrate the importance of the Mindful Design approach. As a result of this research, the Mindful Design Evaluation was developed and evaluated based on the socio-cognitive dimension of Mindfulness. Investigation Two sought to measure what students learned from the Mindful Design approach and whether the design proposals developed by students in the intervention group achieved higher levels of socio-cognitive Mindfulness than the design proposals proposed by the control group. Finally, the results of Investigation Two supported the assumptions made on the basis of the findings of the theoretical framework. The tools and strategies used to teach and apply the Mindful Design approach to design students showed significant results when applied in a higher education context.:CONTENTS 0 PREFACE 1 0.1 ZUSAMMENFASSUNG 1 0.2 ABSTRACT 3 0.3 ACKNOWLEDGeMENTs 5 1 INTRODUCTION 9 1.1 Research Problem 9 1.2 Thesis Framework 14 2 THEORETICAL FRAMEWORK 17 2.1 MINDFULNESS 17 2.1.1 Mindfulness: Two streams 17 2.1.2 Mindfulness for subjective well-being and self-regulation 21 2.1.3 Dimensions of Mindfulness 22 2.1.3.1 Distinction between Mindfulness state and Mindfulness trait 22 2.1.3.2 Differences in the categorization of Mindfulness 23 2.1.3.3 Description of the existing Mindfulness self-report 26 2.1.4 Discussion 30 2.2 MINDFUL DESIGN 32 2.2.1 Mindful Design: Meditation, focus, and empathy 33 2.2.2 Mindful Design: Social interaction, engagement, and behaviour change 34 2.2.3 Mindful Design: Mindfulness for Mindlessness 36 2.2.4 Examples of Mindful Design 37 2.2.5 Goals of Mindful Design 40 2.2.6 Discussion 41 2.3 LEARNING THEORY AND DESIGN CLASSES 45 2.3.1 Learning and teaching theories in design higher education 45 2.3.1.1 Constructivism 47 2.3.1.2 Problem-based learning 47 2.3.1.3 Experiential Learning Theory 49 2.3.2 Differences and similarities between disciplines of product design and industrial design engineering 53 2.3.2.1 Industrial design engineering process 55 2.3.3 Tools for mindful product design 56 2.3.3.1 User-centred design tools 57 2.3.3.2 MinD Personas 60 2.3.3.3 Figurative Scenes for Mindful Design 61 2.3.3.4 MinD visual cards 62 2.3.3.5 Discussion 63 2.4 CONCLUSION AND DISCUSSION OF THE THEORETICAL BACKGROUND CHAPTER 64 3 MINDFUL DESIGN EVALUATION 69 3.1.1 Development of the Mindful Design Evaluation Tool 70 3.1.1.1 Phase 1 – Selection of Statements 70 3.1.1.2 Phase 2A: Reliability, comprehensibility, and applicability 75 3.1.1.3 Phase 2B: Statements: Review 76 3.1.1.4 Limitation and adjustment 77 3.1.1.5 Measurability and evaluation 77 3.1.1.6 Phase C: Reliability assessment 78 3.1.2 Interpretation of results and discussion of the Mindful Design evaluation 79 4 EMPIRICAL INVESTIGATIONS 83 4.1 INVESTIGATION ONE – TEACHING AND LEARNING STRATEGIES FOR COMMUNICATING KNOWLEDGE ABOUT THE MINDFUL DESIGN APPROACH 85 4.1.1 Structure of the Investigation 86 4.1.2 Sample 88 4.1.3 Materials for conducting the Investigation 88 4.1.3.1 Presentation 88 4.1.3.2 Design tools: Visual Cards, Figurative Scenes, and Personas 89 4.1.4 Materials for the evaluation of the Investigation 91 4.1.4.1 Evaluation by students 91 4.1.5 Results of Investigation One 92 4.1.5.1 Evaluation by students 92 4.1.5.2 Design Proposal 94 4.1.6 Interpretation and discussion of the results 96 4.2 INVESTIGATION Two – UNDERSTANDING AND DESIGNING BASED ON THE MINDFUL DESIGN APPROACH 101 4.2.1 Ethical approval for the Investigation 103 4.2.2 Structure of the Investigation 104 4.2.3 Sample 105 4.2.4 Materials for conducting the Investigation 106 4.2.4.1 Presentation 106 4.2.4.2 Mindful Design Visual Cards 106 4.2.4.3 Personas and Figurative Scenes 109 4.2.5 Materials for evaluation of the Investigation 111 4.2.5.1 Student Evaluation 111 4.2.5.2 Knowledge Test 112 4.2.5.3 Design proposal 113 4.2.6 Results of Investigation Two 114 4.2.6.1 Evaluation by students 115 4.2.6.2 Knowledge Tests 125 4.2.6.3 Design Proposal 134 4.3 Interpretation and Discussion of the Results 141 4.3.1.1 Student Evaluation 141 4.3.1.2 Knowledge Test 143 4.3.1.3 Design proposals 145 5 CONCLUSION AND OUTLOOK 149 6 DIRECTORIES 157 6.1 References 157 6.2 List of Figures 176 6.3 List of Tables 178 6.4 List of abbreviations and symbols 180 7 APPENDIX 181

[pt] A partir de uma análise acerca das habilidades desenvolvidas por meio de recursos tecnológicos, advinda do estudo sobre a produção e uso de vídeos em sala de aula por alunos da disciplina de Técnicas de Costura, do curso de graduação em Design da PUC-Rio, constatou-se que, o recurso pedagógico do vídeo potencializa a construção do conhecimento através da ação. Na presente pesquisa, exploratória de caráter qualitativo, foi realizada a documentação de vídeos que foram produzidos em sala de aula pelos alunos da citada disciplina, aqui considerados como recursos didáticos. Tendo por objetivo geral apresentar considerações acerca da influência desse recurso no desenvolvimento de habilidades para a construção de competências, esse trabalho tomou por base a experiência docente das práticas de costura e as dinâmicas que têm lugar em sala de aula, e norteou-se no material didático produzido coletivamente pelos alunos. Articulando as teorias de autores como Donald Schön (2000), Jean Piaget (1986 e 2002), Pierre Lévy (1999), Paulo Freire (1992 e 2001), José Moran (1993), dentre outros, a dissertação se conclui trazendo à tona um novo olhar sobre as práticas pedagógicas que ocorrem espontaneamente em sala de aula, a partir do protagonismo dos alunos, e que contribuem para o processo de construção do conhecimento pela ação, habilitando a reflexão sobre o fazer. / [en] From an analysis of the abilities developed through technological resources, resulting derived from the study about the production and use of videos in the classroom by students in the discipline of Sewing Techniques, from the undergraduate course in Design at PUC-Rio, he found it is noted that the pedagogical resource of the video potentiates the construction of knowledge through action. In the present research, exploratory of qualitative character, the documentation of videos that were produced in the classroom by the students of the mentioned discipline, here considered as didactic resources, was carried out. With the general objective of presenting considerations about the influence of this resource in the development of skills for the construction of competences, this work was based on the teaching experience of sewing practices and the dynamics that take place in the classroom, and was guided by the material text produced collectively by the students. Articulating the theories of authors such as Donald Schön (2000), Jean Piaget (1986 and 2002), Pierre Lévy (1999), Paulo Freire (1992 and 2001), José Moran (1993), among others, The dissertation concludes by bringing up a new look at the pedagogical practices that occur spontaneously in the classroom, based on the protagonism of the students, and that contribute to the process of building knowledge through action, enabling reflection on what to do.