In art and education, theorists dispute the concept of visuality, or how meaning occurs from what we see. This study examines two opposed and acrimoniously entrenched theoretical perspectives adopted internationally: visual culture and aesthetics. In visual culture, visual experience, including perception is mediated by background cultural discourses. On this approach, subjectivity is explained as conventional, the role of the senses in making meaning is strongly diminished or rejected and from this, accounting for visuality precludes indeterminate and intuitive aspects. Differently, aesthetic perspectives approach visual meaning as obtaining through direct perceptual and felt aspects of aesthetic experience. Here, subjectivity remains discrete from language and the role of cultural discourse in making meaning diminishes or is excluded. Each description is important to the explanation of visuality in art and education, but problematic. To start, the study outlines the central explanatory commitments of both visual culture and aesthetics. The study identifies problems in each with their explanations of subjectivity or self. Both positions maintain from earlier explanations of cognition that separate theoretically and practically the senses, cognitive processes, and context. The study looks at approaches to mind and representation in accounts of visuality and provides some background from the cognitive sciences to understand the problem further. Contemporary explanation from science and philosophy is revising the separation. However, some approaches from science are reductive of mind and both aesthetics and visual culture theorists are understandably reluctant to adopt scientistic or behaviourist approaches for the explanation of visual arts practices. The aim of the study is to provide a non-reductive realist account of visuality in visual arts and education. To accomplish this aim, the study employs philosopher John R. Searle's explanation of consciousness because it explores subjectivity as qualitative, unified, and intrinsically social in experience. By doing this, the study addresses a gap in the theoretical understanding of the two dominant approaches to visuality. The key to relations between subjectivity and the world in reasoning is the capacity for mental representation. From this capacity and the rational agency of a self, practical reasoning is central to the creation, understanding, and appreciation of art and imagery. This account of consciousness, its aspects, and how it works includes description of the Background, as capacities enabling the uptake and structuring of sociocultural influence in mind. Crucially, the study shows how the capacity for reasoned action can be represented without dualism or reduction to the explanatory constraints of behavioural or physical sciences, an important commitment in the arts and education. In this explanation, the study identifies epistemic constraints on the representation of mental states, including unconscious states, in accounting for practices as reasoned activities. Centrally, the study looks at how, from the capacities of consciousness and the self's freedom of will, visuality is unified as qualitative, cognitive, and social. In exploring Searle's explanation of consciousness, some account of current work on cognition extends discussion of a reconciliation of visuality on these terms.

In art and education, theorists dispute the concept of visuality, or how meaning occurs from what we see. This study examines two opposed and acrimoniously entrenched theoretical perspectives adopted internationally: visual culture and aesthetics. In visual culture, visual experience, including perception is mediated by background cultural discourses. On this approach, subjectivity is explained as conventional, the role of the senses in making meaning is strongly diminished or rejected and from this, accounting for visuality precludes indeterminate and intuitive aspects. Differently, aesthetic perspectives approach visual meaning as obtaining through direct perceptual and felt aspects of aesthetic experience. Here, subjectivity remains discrete from language and the role of cultural discourse in making meaning diminishes or is excluded. Each description is important to the explanation of visuality in art and education, but problematic. To start, the study outlines the central explanatory commitments of both visual culture and aesthetics. The study identifies problems in each with their explanations of subjectivity or self. Both positions maintain from earlier explanations of cognition that separate theoretically and practically the senses, cognitive processes, and context. The study looks at approaches to mind and representation in accounts of visuality and provides some background from the cognitive sciences to understand the problem further. Contemporary explanation from science and philosophy is revising the separation. However, some approaches from science are reductive of mind and both aesthetics and visual culture theorists are understandably reluctant to adopt scientistic or behaviourist approaches for the explanation of visual arts practices. The aim of the study is to provide a non-reductive realist account of visuality in visual arts and education. To accomplish this aim, the study employs philosopher John R. Searle's explanation of consciousness because it explores subjectivity as qualitative, unified, and intrinsically social in experience. By doing this, the study addresses a gap in the theoretical understanding of the two dominant approaches to visuality. The key to relations between subjectivity and the world in reasoning is the capacity for mental representation. From this capacity and the rational agency of a self, practical reasoning is central to the creation, understanding, and appreciation of art and imagery. This account of consciousness, its aspects, and how it works includes description of the Background, as capacities enabling the uptake and structuring of sociocultural influence in mind. Crucially, the study shows how the capacity for reasoned action can be represented without dualism or reduction to the explanatory constraints of behavioural or physical sciences, an important commitment in the arts and education. In this explanation, the study identifies epistemic constraints on the representation of mental states, including unconscious states, in accounting for practices as reasoned activities. Centrally, the study looks at how, from the capacities of consciousness and the self's freedom of will, visuality is unified as qualitative, cognitive, and social. In exploring Searle's explanation of consciousness, some account of current work on cognition extends discussion of a reconciliation of visuality on these terms.

The city of Maceió situated in the State of Alagoas had 25 lived spaces considered like district. In the 2000 year the number of districts in the city increases for 50. With this new configuration the lived spaces of the city started to be divided in seven administrative regions. Each town joins a group of districts of the same administrative region. In this way, Ponta Grossa is one of the most ancient of the city of Maceió that suffered and it is suffering significant alterations with the advancements of the urbanization and the way of being of the courtesy checked in the last times in the world, in the country and in the capital. Along the time lived in the residents' number of this town it is growing expressively and, with that, it appeared also to the transformations of the ancient forms of sociability. There investigated the history and identity space-partner of the district of Ponta Grossa, being the objective of this investigation to urbane construction of the Brazilian society through the urbanization of the district and the memory and history of the residents of this town of the city of Maceió. / Fundação de Amparo a Pesquisa do Estado de Alagoas / A cidade de Maceió situada no Estado de Alagoas possuía 25 espaços habitados considerados como bairro. No ano 2000 o número de bairros na cidade aumenta para 50. Com esta nova configuração os espaços habitados da cidade passaram a ser divididos em sete regiões administrativas. Cada localidade reúne um grupo de bairros de uma mesma região administrativa. Deste modo, Ponta Grossa é um dos mais antigos da cidade de Maceió que sofreu e vem sofrendo alterações significativas com os avanços da urbanização e o modo de ser da urbanidade verificada nos últimos tempos no mundo, no país e na capital. Ao longo do tempo habitado o número de moradores desta localidade vem crescendo expressivamente e, com isso, surgiu também às transformações das antigas formas de sociabilidade. Pesquisou-se a história e identidade sócio-espacial do bairro de Ponta Grosa, sendo o objetivo desta investigação a construção urbana da sociedade brasileira através da urbanização do bairro e a memória e história dos moradores desta localidade da cidade de Maceió.

This thesis examines nonhuman phenomenological experiences, communication, and sensory perception in Barbara Gowdy’s The White Bone. Drawing on literary and pedagogical theories by Roman Bartosch, Monika Fludernik, Marco Caracciolo, David Herman, and Judith Langer, the thesis argues that Gowdy’s novel employs narrative strategies and devices that involve nonhuman experientiality evoked from sensorial configurations, narration, and textual cognitive and embodied experiences. These represented experiences disrupt human primacy by establishing a disorientation that challenges the anthropocentric bias in the novel and decenters the human reader. Moreover, the thesis offers suggestions for using the novel in conjunction with envisionment building to discuss animal alterity and anthropocentrism in the Swedish EFL classroom.