This essay poses the theoretical possibility of the end of cinema (probably by the end of this century). With these words, it is meant that in the near future, the cinema, that is to say, the film industry, the films, the movie theatres, will disappear or will change in the way we know it. To support this thesis there are (at least) the following arguments and circumstances: the pseudo-hedonism in modern society, the rapid development of artificial intelligence, the alteration of neuronal structures and therefore, the alteration of human rhythms in perceiving reality, the political and environmental changes in the planet. This will, in turn, open to some new other possibilities such as new devices for viewing, new entertainment industries, and even, perhaps, a new society. So, one may ask if it will be just a transformation in the way we see movies or really the end of cinema as we know it?
The philosophy of education from its initial formulations (which date back to Greek antiquity) that seeks to critically reflect on what education and pedagogy are (generally taken as a set of theories and methods aimed at education and teaching). Didactics, as the central axis of pedagogy, seeks to determine, according to techniques, methods and teaching processes, what can be learned. From the first theoretical models (especially from the beginning of the 17th century with Comenius in his Didáctica Magna and later with Herbart and his General Pedagogy), through expressive education to game-based learning, didactics has sought to reconcile different paradigms of rationality and human intelligence with the dynamization of knowledge and apprehension (attention capture) of the real. However, the neurosciences that have been gaining and expanding their application horizon, have suggested and proposed working hypotheses that help to build neuroeducation, which in turn leads to neurodidactics. Based on some of these premises, an attempt will be made to examine the meaning and scope of this new experimental and exploratory area.
Pretende-se com este artigo fazer uma análise às obras de arte de Romy Castro iniciadas em 2012 e intituladas «A Terra como acontecimento». Se no momento da criação da série, «Memórias daterra negra» se adivinhavam já alguns traços sobre o potencial uso das matérias pictóricas que viriam a gerar as futuras obras, é no final de 2019 que vemos consagrar, senão mesmo sacralizar essa relação primordial entre o homem e a terra, que é afinal o acontecimento, fenómeno que redescobre o visível e o indizível que se dá na Terra. Uma análise que reflecte critica e teoricamente, por um lado, sobre as matérias que a artista usa para a produção das obras de arte epor outro lado, sobre o pensamento da artista, enquanto criadora e ensaísta. Neste sentido, pode ser afirmado que se está na presença de uma geofilosofia que pensa a Terra e que dá a pensar uma outra prática estética que passa pelo olhar e pelo escutar as matérias.
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