Estéticas periféricas: cotidiano e cultura visual no ensino da arte

Abstract

Thinking about the production of these young people as a necessary way to get noticed, or rather, to have their thoughts recorded in a metropolis that was not designed for them, but that they must also belong to them, we tried to carry this discussion to the classroom without the pretense of being pedagogical or regulate graffiti, but understand it better as a resource to reach these visual producers. And so do the most properly possible to the teaching work. Assuming production aesthetics as an important condition of human existence, it is not difficult to understand the importance of giving voice to youth who have a rich poetic production, unknown and unexplored to your favor. Giving voice here, especially to its visual images, creating opportunities to explore the eloquence and the meanings that "visual literacy" specific (Gil, 2011) and to listen to what scream such images. A 'paid' defended here extends to gadgets to mobile screens, computers, video games, manga, among many other behavioral and visual sources. Thus, the ongoing process of reframing the school, seems the most promising use of images that constitute the visual culture that surrounds the daily lives of students. We hope this research show a bit of wealth, power or cultural energy that exists in the universe of the graffiti and the relevance of its reflection in the classroom as a way of clarifying not only its aesthetic and plastic but also redefine the role of political affirmation of cultural-aesthetic standards and thus strengthen the dialogue with young students from the urban periphery