El arte: una ventana didáctica

Abstract

ResumenEste producto didáctico y estético muestra que el ser humano utiliza diversos instrumentos racionales y sensoriales para acceder o acercarse al conocimiento y al arte. Las herramientas didácticas que se trabajan y se perfeccionan al compás de los adelantos científicos pueden y deben dar cimientos para conocer y disfrutar el juego de las líneas, las formas y los símbolos matemáticos, tanto como para interpretar y gozar una obra integral o un universo afectivo y cerebral. Un observador desprevenido, al igual que un docente, un crítico de arte o un espectador de una obra estética representa su cosmos, trata de explicarse a sí mismo como creador o como receptor. Los sentidos se agudizan frente a una pintura, de manera consciente o intuitiva. El docente debe abrir las posibilidades infinitas que le brinda el arte, desde la apropiación misma de un lenguaje y su implementación en el aula, en un museo o en el diario vivir. Una premisa neurodidácti-ca puede indicar que fijarse en el mensaje integral de una pintura es tan válido en la interpretación como la selección de un detalle: una ventana. Asomarse al universo estético desde la docencia puede constituirse en la respuesta a la persona que inquiere, al estudiante o al espectador que propugna por saber, entender y sentir algo: lo mínimo que suscita una pintura, una escultura, un poema o una tonada.Palabras clave: didáctica, obra estética, educación sensorial, neurodidáctica, ventana. * Este artículo de investigación se inscribe dentro del trabajo investigativo que adelanta el grupo de investigación Cultura y desarrollo humano de la Facultad de Educación y Humanidades, Universidad Militar Nueva Granada (Colombia). El artículo se deriva del proyecto de investigación INV HUM 1805: La neurodidáctica y sus aportes para la praxis en el aula, financiado por la Universidad Militar Nueva Granada. Cómo citar este artículo: Parra Rozo, O. (2015). El arte: una ventana didáctica. Hallazgos, 12(24) AbstractThis didactic and aesthetic product show that the human being uses diverse rational and sensory instruments to accede or to come near to knowledge and art. The didactic tools that are worked and perfected trough the beat of scientific progresses, can and must give foundations to learn and enjoy the game of lines, shapes and the mathematical symbols, as well as to interpret and enjoy an integral work, or an affective and cerebral universe. An unaware observer, just like a professor, an art critic or a spectator of an aesthetic work, that represents its cosmos, tries to explain its self as a creator or as a receptor. The senses are sharpened in front of a painting, consciously or intuitively. The professor must open infinite possibilities provided by art, from the self-appropriation of language and its implementation inside a classroom, museum or in everyday life. A neurodidactic premise can indicate that noticing the integral message of a painting, is as valid in the interpretation as in a detail selection: a window. To peep into the aesthetic universe from the teaching, can...

The Creative Act in the Dialogue between Art and Mathematics

“…The emotional is seen as something of second-order importance compared to the rational. These types of ideas are improperly considered and perpetuated by social, political, educational, and cultural institutions [26].…”

“…Through the senses, human beings appropriate experiences. From these experiences, mental processes arise where cognition and emotional dialogue begin to generate possibilities for knowledge [26]. Eisner [27] emphasizes the fundamental role that the senses have in conceptions of reality and how those conceptions are transformed into unique expressions of the experiences of each person.…”

“…From a neuroscience view, the intersection between the right and left hemispheres (which are generally associated with the sensory and the rational, respectively) provides the interpretation of what is exact and overflowing from this reality. That is, a dialogue is established between the emotional-sensory and the logical-rational, revealing new ways of understanding and perceiving the world [26]. Thus, returning to the concept of cognition, Eisner [27] argues that cognition should be understood as a process inseparable from emotion, where "affectivity and cognition occur simultaneously" within human experience.…”

“…On the other hand, it is necessary to highlight the importance of the senses when generating those experiences that lead to the creative act. According to Parra [26], through the senses, the human being appropriates the experiences, and from these, mental processes arise where cognition and emotion are in dialogue to start generating possibilities of knowledge. Then, from those mentioned above, it can be interpreted that, having the possibility to smell, touch and listen to knowledge, these experiences will be given where, according to the generated emotions, internal processes will be generated that will eventually lead to interpretations of reality where you are part of this.…”