Manual para ser niño

Taller diagnostico de saberes previos

8. Episodio de la infancia que tenga algún aspecto positivo o negativo en el aula de clase.

Las actividades propuestas en el aula de clase pueden tener la capacidad de traspasar paredes y acercar generaciones que con el tiempo se van alejando.

¿Por qué elegí la carrera de licenciatura?

En mi hogar cuento con dos licenciadas que han influenciado enormemente mi proyecto educativo.

Aunque no puedo cambiar la sociedad creo que por medio del arte puedo cuestionar, reflexionar y sensibilizar a los jóvenes sobre las situaciones cotidianas que enfrentamos todos los días. Siempre he tenido una cercanía con la educación, me he desempeñado como guía con grupos de niños y adolescentes, y aunque algunas veces se me hizo difícil conciliar ciertas situaciones, estos conflictos me fortalecieron como persona y como guía para crear estrategias las cuales me llevaron a realizar cambios e influenciar de manera positiva a los estudiantes e identificar que cada uno enfrentamos una problemática social diferente.

La educación democrática, contra las cuerdas. SIN FINES DE LUCRO, Martha Nussbaum.

CHOQUE	De  civilizaciones
Codicia Narcisismo Violencia Deshumanización Dinero Miedo Desconfianza	Respeto Amor Cultura Igualdad Democracia Artes Humanidades Razón Compasión Imaginación Sensibilidad Creatividad Pensamiento crítico

1973 Manifesto

by Joseph Beuys and Heinrich Böll

Creativity is not limited to people practicing one of the traditional forms of art, and even in the case of artists creativity is not confined to the exercise of their art.  Each one of us has a creative potential which is hidden by competitiveness and success-aggression.  To recognize, explore and develop this potential is the task of the school.

 Creation—whether it be a painting, sculpture, symphony or novel, involves not merely talent, intuition, powers of imagination and application, but also the ability to shape material that could be expanded to other socially relevant spheres.

 Conversely, when we consider the ability to organize material that is expected of a worker, a housewife, a farmer, doctor, philosopher, judge or works manager, we find that their work by no means exhausts the full range of their creative abilities.

 Whereas the specialist’s insulated point of view places the arts and other kinds of work in sharp opposition, it is in fact crucial that the structural, formal and thematic problems of the various work processes should be constantly compared with one another.

 The school does not discount the specialist, nor does it adopt an anti-technological stance.  It does, however reject the idea of experts and technicians being the sole arbiters in their respective fields.  In a spirit of democratic creativity, without regressing to merely mechanical defensive or aggressive clichés, we shall discover the inherent reason in things.

 In a new definition of creativity the terms professional and dilettante are surpassed, and the fallacy of the unworldly artist and the alienated non-artist is abandoned.

 The founders of the school look for creative stimulation from foreigners working here.  This is not to say that it is a prerequisite that we learn from them or that they learn from us.  Their cultural traditions and way of life call forth an exchange of creativity that must go beyond preoccupation with varying art forms to a comparison of the structures, formulations and verbal expressions of the material pillars of social life:  law, economics, science, religion, and then move on to the investigation or exploration of the “creativity of the democratic.”

 The creativity of the democratic is increasingly discouraged by the progress of bureaucracy, coupled with the aggressive proliferation of an international mass culture.  Political creativity is being reduced to the mere delegation of decision and power.  The imposition of an international cultural and economic dictatorship by the constantly expanding combines leads to a loss of articulation, learning and the quality of verbal expression.

 In the consumer society, creativity, imagination and intelligence, not articulated, their expression prevented, become defective, harmful and damaging—in contrast to a democratic society—and find outlets in corrupted criminal creativity.  Criminality can arise from boredom, from inarticulated creativity.   To be reduced to consumer values, to see democratic potential reduced to the occasional election, this can also be regarded as a rejection or a dismissal of democratic creativity.

 Environmental pollution advances parallel with a pollution of the world within us.  Hope is denounced as utopian or as illusionary, and discarded hope breeds violence.  In the school we shall research into the numerous forms of violence, which are by no means confined to those of weapons or physical force.

 As a forum for the confrontation of political or social opponents, the school can set up a permanent seminar on social behavior and its articulate expression.

 The founders of the school proceed from the knowledge that since 1945, along with the brutality of the reconstruction period, the gross privileges afforded by monetary reforms, the crude accumulation of possessions and an upbringing resulting in an expense account mentality, many insights and initiatives have been prematurely shattered.  The realistic attitude of those who do survive, the idea that living might be the purpose of existence, has been denounced as a romantic fallacy.  The Nazis’ blood and soil doctrine, which ravaged the land and spilled the blood, has disturbed our relation to tradition and environment.  Now, however, it is no longer regarded as romantic but exceedingly realistic to fight for every tree, every plot of undeveloped land, every stream as yet unpoisoned, every old town center, and against every thoughtless reconstruction scheme.  And it is no longer considered romantic to speak of nature.  In the permanent trade competition and performance of the two German political systems which have successfully exerted themselves for world recognition, the values of life have been lost.  Since the school’s concern is with the values of life we shall stress the consciousness of solidarity.  The school is based on the principle of interaction, whereby no institutional distinction is drawn between the teachers and the taught.  The school’s activity will be accessible to the public, and it will conduct its work in the public eye.  Its open and international character will be constantly reinforced by exhibitions and events in keeping with the concept of creativity.

 “Non-artists” could initially be encouraged to discover or explore their creativity by artists attempting to communicate and to explain—in an undidactic manner—the elements and the coordination of their creativity.  At the same time we would seek to find out why laws and disciplines in the arts invariably stant in creative opposition to established law and order.

 It is not the aim of the school to develop political and cultural directions, or to form styles, or to provide industrial and commercial prototypes.  Its chief goal is the encouragement, discovery and furtherance of democratic potential, and the expression of this.  In a world increasingly manipulated by publicity, political propaganda, the culture business and the press, it is not to the named—but the nameless—that it will offer a forum.

El Ethos y el Pathos del artista

De los modos de persuasión proporcionados por la palabra hablada hay tres clases. El primer tipo depende del carácter personal del que habla; el segundo en poner a la audiencia en un cierto estado de ánimo; el tercero en la prueba, o prueba aparente, proporcionada por las palabras del propio discurso. La persuasión se consigue mediante el carácter personal del orador cuando el discurso es tan hablado como para hacernos pensar lo creíble. 

   - Aristóteles 1356a 2,3

Comenzando con el Ethos, su principal característica es carácter personal del artista en la cual la moral está ligada completamente en su proceder artístico, contextualizarse como individuo que hace parte de una tradición y cultura, darse un lugar como emisor que trasmite mensajes con lenguajes diferentes. Ser asertivo en su lenguaje con lleva a la honestidad y autoridad mostrando confianza y apropiación del discurso que desea aportar a los receptores generando credibilidad soportando una  disertación que sea válida  y pertinente en el contexto que se presenta; este debe ser un estratega con el mismo, con su obra y con el receptor para generar cambios emocionales y disoluciones.

La influencia emocional del público, Pathos, responsabilidad directa del artista donde su muestra debe de crear posibilidades de provocar emociones, aquí entra la persuasión, la unión del Ethos y el Pathos para lograr los estados emocionales adecuados en el público conociendo previamente su sistema de valores, creencias y el conocimiento que tienen,  la utilización de técnicas y estilos deben de ser estrategias bien pensadas para generar el impacto que se quiere dar y así ser persuasivos en la lectura que queremos que haga el público.

Rostros de artistas cubanos exiliados en la Torre de la Libertad

http://www.cubanet.org/internacionales/rostros-de-artistas-cubanos-exiliados-en-la-torre-de-la-libertad/