<p>U doktorskoj disertaciji je prezentovano pedago&scaron;ko istraživanje koje se odnosi na teorijsko i eksperimentalno ispitivanje i proučavanje efekata primene kognitivno-vizuelnog pristupa zasnovanog na primeni grafičkih reprezentacija funkcija u obradi nastavnih sadržaja iz oblasti funkcija i njihovih primena. Na osnovu teorijskih principa kognitivno-vizuelnog pristupa, osmi&scaron;ljeni su i kreirani originalni didaktičko-metodički modeli za realizaciju sadržaja iz oblasti: matematičke analize (funkcije i izvod funkcije); problema sme&scaron;e (problemi me&scaron;anja rastvora); linearne funkcije i njene primene na re&scaron;avanje problema (problemi iz oblasti algebre, fizike i realnog okruženja). Ključni aspekti predloženog metodičkog pristupa su: vizuelizacija, vi&scaron;estruke reprezentacije, konceptualna znanja, postepeni prelazak ka vi&scaron;im nivoima apstrakcije u razvoju matematičkog m&scaron;ljenja, kao i planska i sistematska upotrebu računara sa odgovarajućom softverskom podr&scaron;kom. Okosnicu kognitivno-vizuelnog pristupa u obradi sadržaja matematičke analize i značajnu novinu u izučavanju izvoda funkcije predstavljaju zadaci sa grafičkim sadržajima i/ili zahtevima. Prikazane su metodičke mogućnosti ovih zadataka u kreiranju multireprezentativnog okruženja za učenje čija je polazna tačka formiranje i razvoj grafičkog razumevanja matematičkih koncepata. Takođe je izložena mogućnost klasifikacije zadataka sa grafičkim sadržajima i/ili zahtevima po različitim kriterijumima, na osnovu koje je data tipologija i razrađena metodika njihove primene u nastavnoj praksi.Sprovedeno je empirijsko istraživanje u okviru koga je u periodu od 2013. do 2015. godine realizovano pet pedago&scaron;kih eksperimenata sa paralelnim grupama u kojima su učestvovala 642 ispitanika (222 učenika četvrtog i 120 učenika prvog razreda gimnazije prirodno-matematičkog smera, 180 studenata osnovnih studija hemije i 120 studenata prve godine osnovnih studija fizike). Za potrebe istraživanja osmi&scaron;ljeni su i izrađeni nastavni materijali koji su omogućili učenicima/studentima eksperimentalnih grupa da izučavaju funkcije i njihove primene u multireprezentativnom i vizuelno-dinamičkom računarskom okruženju. Instrumenti primenjeni u istraživanjima bili su inicijalni i finalni testovi znanja. Evaluacija ostvarenih efekata primene kognitivno-vizuelnog pristupa, izvr&scaron;ena je poređenjem postignuća učenika/studenata eksperimentalnih (kognitivno-vizuelnih) i kontrolnih (tradicionalnih) grupa na testovima znanja. Na osnovu rezultata sprovedenih pedago&scaron;kih eksperimenata, utvrđeno je da primena kognitivno- -vizuelnog pristupa zasnovanog na grafičkom i dinamičkom prikazu funkcije u prezentovanju matematičkih sadržaja i re&scaron;avanju problema, u računarskom okruženju, ima značajan uticaj na kvalitet znanja učenika/studenata i ostvarenost optimalnih rezultata u učenju i razumevanju nastavnih sadržaja iz oblasti funkcija i njihovih primena na re&scaron;avanje problema.</p> / <p>In the doctoral dissertation a pedagogical research related to theoretical and experimental study of effects of applying a cognitive-visual approach based on the use of graphic representations of functions in interpretation of teaching contents from the field of functions and their applications is presented. On the basis of theoretical principles of cognitive-visual approach, original didacticmethodical models for the realization of contents were designed and created in the field: of mathematical analysis (functions and function derivative); problem of mixture (problems of mixing solutions); linear functions and its applications to solve problems (problems in the field of algebra, physics and the real environment). Key aspects of the proposed methodical approach are: visualization, multiple representations, conceptual knowledge, gradual transition to higher levels of abstraction in the development of mathematical thinking, as well as the planned and systematic use of computers with appropriate software support. The background of cognitive-visual approach in interpretation of mathematical analysis content and a significant novelty in the study of function derivative represent the problems with graphical contents and/or requirements. The methodological possibilities of these problems in creation of a multi-representative learning environment whose starting point is the formation and development of a graphical understanding of mathematical concepts are presented. The possibility of problems classification with graphical contents and/or requests according to different criteria is presented, on the basis of which, the typology is proposed and methodology for their application in teaching practice is elaborated. During the period 2013-2015 an empirical research was&nbsp; conducted within which five pedagogical experiments were realized with parallel groups involving a total of 642 respondents (222 students of the fourth and 120 first-year high school students major in science, 180 students of bachelor chemistry studies and 120 students of the&nbsp; first year of bachelor physics studies). For the purpose of the research, teaching materials that enabled students of the experimental groups to study the functions and&nbsp; their applications in a multi-representative and visual-dynamic computing environment were created. The instruments used in the research were initial and final tests of knowledge. The realized effects of the application of cognitive-visual approach was evaluated by comparing the achievements of high school students/ students of experimental (cognitive-visual) and control (traditional) groups on knowledge tests. Based on the results of the conducted pedagogical experiments, it has been established that the application of the cognitive-visual approach based on the graphical and dynamic presentation of the function in teaching mathematical contents and in problem solving in a computer environment has a significant impact on the quality of high school students&rsquo;/students&rsquo; knowledge and on the achievement of optimal learning outcomes and understanding of teaching contents from the field of functions and their application to solving problems.</p>

Des architectes et artistes ont utilisé la photographie comme outil de la création et de l’analyse en architecture. Ce postulat est à la base de ce projet de thèse qui a pour sujet général la contribution de l’expérience photographique à la pensée en architecture. Ici, la notion d’expérience photographique est comprise dans un sens proche de l’expérience artistique selon le philosophe John Dewey. Dewey considérait l’expérience d’un art comme un outil pédagogique permettant d’apprendre à penser et à développer un sens critique. L’expérience était pour lui une manière d’approcher esthétiquement le monde et de le comprendre en dehors d’un cadre strictement scientifique. Si des travaux de recherche antérieurs ont permis de retracer l’histoire d’expériences photographiques d’architectes, dont Mies van der Rohe, Le Corbusier et Stirling et, aussi, de mieux cerner leurs rôles dans la construction de leur pensée architecturale respective, les origines des expériences photographiques de l’architecte, artiste et théoricien de renom Melvin Charney (1935-2012) et leurs contributions dans la construction progressive de sa pensée n’ont pas été clairement circonscrites. L’objectif spécifique de cette thèse est, en conséquence, de clarifier les contours des expériences photographiques de Charney et offrir une compréhension plus large de leur contribution dans l’histoire de sa pensée. Le dépouillement d’archives personnelles de Charney conservées au Centre canadien d’architecture et l’analyse du contenu de documents produits avant et pendant ses études en architecture ont permis d’identifier pour quels les motifs et sous quelles influences la photographie s’est introduite dans son œuvre. En particulier, mais non exclusivement, ont été mises en relief, dans l’œuvre – déjà largement étudiées - de Charney, des ramifications d’expériences photographiques de László Moholy-Nagy, d’Erich Mendelsohn, de James Stirling, de Walker Evans et d’Edward Ruscha. Enfin, en partie grâce aux apports de ses expériences photographique, Charney a appris de l’environnement bâti et, aussi, à penser sur l’environnement bâti. Plus spécifiquement, cette étude démontre qu’en travaillant avec la photographie Charney a appris à analyser ce qui est déjà là pour mieux comprendre l’origine des formes bâties. Également, la photographie a été omniprésente dans ses approches de la figuration critique de l’environnement bâti, de la réévaluation des bases de la discipline architecturale et de l’enseignement critique de l’architecture – l’architecture étant pour lui une pratique résolument sociale. Plus largement, cette thèse contribue à la connaissance de la production artistique comme stratégie de recherche dans les disciplines de l’architecture et du design de l’environnement et à l’essentielle reconnaissance d’expériences autres, entre art et architecture, comme leviers d’une pensée architecturale critique. / Architects and artists used photography as a tool for creating and analyzing architecture. This postulate is the basis of this thesis project whose general purpose is the contribution of photographic experiences in architectural thinking. Here, the notion of photographic experience is used in a sense comparable to the artistic experience defined by the philosopher John Dewey. Dewey understood the experience of an art as an educational tool to learn to think and develop a critical sense. Experience was for him a way to aesthetically approach the world and understand it outside a strictly scientific framework. If historians have already traced the history of photographic experiments of architects, including Mies van der Rohe, Le Corbusier and Stirling and, also, have identified the roles of photography in the construction of their respective architectural thinking, the origins of photographic experiments by renowned architect, artist and theorist Melvin Charney and their contributions in the progressive construction of his thought have not been clearly circumscribed. The specific purpose of this thesis is, consequently, to clarify the surrounding of Charney's photographic experiences and offer a broader understanding of their contributions in the history of his architectural thinking. Charney's motifs and influences in his photographic experiments and reflections on photography were identified through an investigation into his personal archives held at the Canadian Center for Architecture and the analysis of the content of documents that he produced before and during his studies in architecture. In particular, ramifications in Charney's work of photographic experiments of Laszlo Moholy-Nagy, Erich Mendelsohn, James Stirling, Walker Evans and Edward Ruscha have been revealed. Finally, partly thanks to the contributions of his photographic experiences, Charney learned from the built environment and to think about the built environment. More specifically, this study demonstrates that working with photography Charney has learned to analyze what is already there to better understand the origin of built forms. Also, photography was for him a tool for the critical figuration of the built environment, for the re-evaluation of the bases of the architectural discipline and, moreover, for the critical teaching of architecture. More broadly, this thesis contributes to the knowledge of artistic production as a research strategy in the disciplines of architecture and environmental design and to the essential recognition of other experiences, between art and architecture, as catalyst of a critical architectural thinking.