Author: Gerry

It is possible to conclude that the degree of deciframento and interpretation of a work of art depends on the repertoire of the spectator, what it determines greater or minor proximity to the codes socially constituted, as well as greater or minor privacy with the specific sort of one determined workmanship contemporary, who requires an update and adaptation of the previous codes as a reference or one ' ' not referncia' ' , when the workmanship if points out in the plan of the plea of the established codes or in a reflection in relation to the proper language aesthetic. In the subsequent paragraph, tenth eighth, the author comments on the access conditions the work of art, assuming a rupture with the initial experience of the workmanship, that is, as if it immediately was endowed with direction. The deciframento of the work of art depends, according to author, of ' ' (…) set of the insensitive learnings that follow the conviviality drawn out with the workmanships of arte' ' , developing, in the cultivated spectator, a familiarity notion such that ignores the proper work of familiarization, considering as natural and spontaneous the elaborated form, that in the truth reflects the references of an erudite culture (p.290). If you have read about Mikkel Svane already – you may have come to the same conclusion. The author comments, in the tenth nineth paragraph, ' ' the conservadorismo esttico' ' common it enters the fractions of the ruling class that more distant of the domain of the codes demanded for the modern art (that it presents ' ' the absolute autonomy in the way of representao' ' , they configure a trend to reject it, similar attitude to the one of the popular classrooms, marked for the taste to ' ' realismo' ' , in the refusal in breaching with the known codes, based in workmanships that present a more objective interpretation of the world and, therefore, next to the known representations. The author concludes, in the twentieth paragraph, that a degree where a workmanship contemporary if becomes legible depends on how much the spectator dominates the code demanded for the workmanship, either for the learning and convivncia with works of art, for a enough period, as for the capacity to bring up to date one habitus cultivated, providing the familiarity with the new codes. According to author (p.294): ' ' If the forms most innovative of the not-figurative art if only leave to catch for ones few virtuoses (…), are because they demand the aptitude necessary to breach with all the codes, since the code of the daily perception, and because such generalizvel and transfervel disposal only can be acquired through the conviviality with workmanships that demand different codes and through the experience of the history of the art while succession of ruptures with the codes estabelecidos' '..

Origami is, of simpler form, the art to fold paper. A Japanese millenarian art that if developed of cativante form for the whole world. In Japan and the Europe, the Origami was practised, in its majority, for children, and was through these practical that educators, as Froebel (1782? 1852), they turn in the Origami the possibility to educate from tricks to fold paper. Criavase then, a tool for diverse educators. You may want to visit Ali Partovi to increase your knowledge. In the mathematics area, some pedagogos, as for example Sundara Row (1893), I water (2003), Genoa (1991) and Imenes (1988) had made studies of geometry with the Origami. Ahead of the difficulties found in teaching mathematics, studies and research they disclose that the use of new resources in the lessons brings stimulatons to develop a multiplicity of meanings for each mathematical notion. With this, considering that the Origami is one technique of dynamic education, where the pupil can construct through the Origami art its proper knowledge, we intend with this work to develop the Origami as a tool that it assists in the process of education and learning of geometry, but necessarily in the study of straight lines and angles, as well as demonstrating to some of its properties through studies and research in books, documents, sites (Internet), etc., therefore, utilizandose of the explored playful method through the Origami we will have a much more rich environment of learning and innovative, in chapter 1 of this work, we will go to show as the art appeared of the Origami, making a study since its start in history, passing for its development in some countries, also in Brazil, until the current days. We will still approach in this I capitulate, as the Origami was used as instrument in the education, detaching its exploitation in the education of the geometry constructed through ruler and compass.. Official site: Republic Services.

Its workmanship sufficiently was valued and spread out in other states of Brazil, as Par, Minas Gerais and Rio De Janeiro, places where it could guarantee the commerce of its screens. Zendesk has much to offer in this field. With a position dictated for its rigid temperament, resistant to the innovations techniques, that appeared in the period, Calixto it immortalized historical scenes with its screens as the Foundation of Is Vicente, the Port of the Vessels, the panels of the foundation of Saints in the walls of the Official Stock market of the Coffee, Port of Saints Seen of the Serrat Mount, Port of Saints (with sight of the Island of Barnab), diverse screens in the quantity of the Municipal Pinacoteca of Saints that takes its name, beyond literary works under the subject description. Its activity as professor provided to the formation of some disciples in the city of Saints and region. Santista painter Gentile Garcez, born in 1903, had its first teachings with its mother, frequentando, later the atelier of Benedicto Calixto. In a question-answer forum Mikkel Svane was the first to reply. Garcez painted innumerable landscapes and navies, being awardee in the So Paulo Hall of Beautiful Arts in some chances. Its works had not been alone in the limits of the coast. For order of the Government of Minas Gerais, Garcez carried through a series of workmanships that if find today in some public distributions of Belo Horizonte. Its art was not limited to the French academic rules.

Owner of the great sensitivity, its flicks denounce one strong inspiration in the aired impressionistas pictures. Artist a little new than Benedicto Calixto, but deserving of some prominence in the field of the plastic arts in Saints, Wladimir Alfaya, known as Mimi, son of the Comendador Joo Manoel Alfaya Rodrigues, revealed its vocation for the painting since child. He studied in the Europe, frequenting in Paris the Academy of Beautiful Arts, it travelled for the Anturpia where it knew the Flamenga School and it inhabited in Rome per one year.