Resumen Este texto trabaja sobre la vigencia de la idea de quelos educadores y las educadoras tengan una actitud deespigadores de la cultura visual para su trabajo cotidiano,desde la escuela a la universidad, o en distintos ámbitospedagógicos. Repensando la noción de postproduccióneducativa, ya expresada en otros textos, se relevan seriesde televisión – como Black Mirror o Homeland –, obras deartistas visuales contemporáneos, y diversos anuncios quehacen a los imaginarios infantiles. El trabajo se estructurasobre las últimas aportaciones de autores como NicholasMirzoeff y Mieke Bal, enfocando la idea de la permanencia e importancia de los estudios de Cultura Visual. Resumo Este texto debruça-se sobre a validade da ideia de queos educadores tenham uma atitude de catadores dacultura visual para o seu trabalho cotidiano, da escola atéa universidade, ou em diferentes âmbitos pedagógicos.Repensando a noção de pós-produção educativa, jáexpressada em outros textos, se revisam séries de televisão– como Black Mirror ou Homeland –, obras de artistasvisuais contemporâneos e diversas propagandas quecompõem os imaginários infantis. O trabalho se estruturanas contribuições mais recentes de autores como NicholasMirzoeff e Mieke Bal, orientando a ideia da permanência e importância dos estudos de Cultura Visual. AbstractThis text works on the validity of the idea that educators have an attitude of gleaners of the visual culture for theirevery-day work, from the school to the university, or indifferent pedagogical realms. Rethinking the notion of educative postproduction, already expressed in other texts,this article reviews television series – such as Black Mirroror Homeland –, works of visual contemporary artists, andmany advertisements that make children's imaginaries. Thework is structured on the last contributions by authors likeNicholas Mirzoeff and Mieke Bal, focusing on the idea of the permanence and importance of Visual Culture studies
There is diversity in the art and design curricula of South American regions and in the traditions that characterize the various institutional systems. In contrast to design curricula, only recently have art curricula included technological resources and practices as part of their content. In university training degrees there are historical differences and similarities between the guidelines for art and design curricula. The availability of, and access to, art and design courses changes according to shifts in government educational policies and in market and professional demands. Curricula may also change as a result of changes in accountability requirements and in national mandatory exams. Ideological, political, and economic constraints and orientations impact institutional decisions and practices powerfully in relation to curriculum. An issue that is highlighted is how teachers are dealing with both current inhibitors such as low salary, lack of continuing education, the high number of students in the classrooms, and rigid prescriptions about what has to be taught, and enablers such as integrated teaching, collaborative projects, and pedagogical support with curriculum guidelines whose aim is to innovate and to improve professional training.
Focusing on pedagogical practices in three countries (Bolivia, Brazil, and Uruguay), this chapter offers an overview of how art educators have been gradually moving their teaching focus away from discipline‐based arts education to incorporate into their discussion cultural aspects of everyday visuality, so as to expand forms of knowledge and to incorporate issues of everyday visuality in school, college, and university practices in South America.
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