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The Construction of Knowledge

A Contribution for Art Education


Ana da Palma/GAP

World Education Forum


October 2010


"… Without a sense of identity, there can be no real struggle…"

"The oppressors do not perceive their monopoly on having more as a privilege which dehumanizes others and themselves. They cannot see that, in the egoistic pursuit of having as a possessing class, they suffocate in their own possessions and no longer are; they merely have."

"For apart from inquiry, apart from the praxis, individuals cannot be truly human. Knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and with each other."

"No one is born fully-formed: it is through self-experience in the world that we become what we are."

"Any situation in which some men prevent others from engaging in the process of inquiry is one of violence;… to alienate humans from their own decision making is to change them into objects."

"Language is never neutral"

"It is necessary that the weakness of the powerless is transformed into a force capable of announcing justice. For this to happen, a total denouncement of fatalism is necessary. We are transformative beings and not beings for accommodation."

Paulo Freire [1]



Reflect on the issues in Art and Education, considering only a particular point of view: Art and Language applied to a particular Art: Cinema. We will discuss Edgar Morin’s seven proposals for a future education through an artistic point of view. Our work pretends to explore the benefits of Art/Cinema as narrative of Human History, Culture and Production as a tool for constructing knowledge as far as the complexity of the world is concerned.


1-     Definitions

Education. Art. Knowledge.Construction of knowledge

2-     Theories

       a- General theory: Complex Thinking of Edgar Morin[2]

       b- Particular theories adapted to my object:

           Semiotics of Christian Metz[3]. Philosophy of Gilles Deleuze[4]. Structuralism of Mikhail Mikhailovich Bakhtin[5]. Contemporary theories of learning Knud Illeris[6]

3-     Principles


Two key principles: Dialogism [7] and Citizenship Literacy[8]


        1- Aesthetic object- mythical discourse-

Why the images? Why cinema?

        2- Object of construction of knowledge

How cinema can contribute for the construction of knowledge ?

        3-  From theory to pragmatics





[1] http://www.goodreads.com/work/quotes/915602  

[2] MORIN, Edagr (2005) Introduction à la pensée complexe, Paris: Seuil.

     --------------- (2002) Os sete saberes para a educação do futuro, Lisboa: Piaget.

    ----------------(2003) Educar para a era planetária, Lisboa: Piaget .

[3] METZ, Christian (2003) Essais sur la signification au cinéma, Paris : Klincksieck.

[4] DELEUZE, Gilles (1991) Cinéma 1. L’image-mouvement, Paris : édition Minuit, coll. « Critique ».

    -------------------- (1985) Cinéma 2. L’image-temps, Paris : édition Minuit, coll. « Critique ».

[5] BAKHTINE, Mikhaïl (1997) Esthétique et théorie du roman, Paris : Tel/Gallimard.

[6]ILLERIS, Knud (2009) Contemporary theories of learning, New York: Routledge

[7] Adaptation of the literary concept of dialogism (Bakhtin) crossed with one of the 3 principles expressed by Morin (2005)

[8] We all recognize the built-on weakness of the word citizenship, although the choice of this word, while in search of a better one, is to be crossed with what Morin indicates as being our belonging to Earth/Planet and the word Literacy has to be understood in the new context expressed by the OCDE in the year 2000


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