Leitura de imagens, cultura visual e prática educativa

Quase tudo do pouco que sabemos sobre o conhecimento produzido nos chega pelos meios de informação e comunicação. Estes, por sua vez, também constroem imagens do mundo. Imagens para deleitar, entreter, vender, sugerindo o que devemos vestir, comer, aparentar, pensar. Em nossa sociedade contemporânea discute-se a necessidade de uma alfabetização visual, que se expressa em várias designações, como leitura de imagens e compreensão crítica da cultura visual. Freqüentes mudanças de expressões e conceitos dificultam o entendimento dessas propostas para o currículo escolar, assim como a própria definição do professor ou professora que será responsável por esse conhecimento e seu referencial teórico. Este artigo apresenta os conceitos que fundamentam as propostas da leitura de imagens e cultura visual, sinalizando suas proximidades e distâncias. Contrasta alguns referenciais teóricos da antropologia, arte, educação, história, sociologia, e sugere linhas de trabalho em ambientes de aprendizagem para que se possa refletir a permanente formação docente.

How the visual brain encodes and keeps track of time.

Time is embedded in any sensory experience: the movements of a dance, the rhythm of a piece of music, the words of a speaker are all examples of temporally structured sensory events. In humans, if and how visual cortices perform temporal processing remains unclear. Here we show that both primary visual cortex (V1) and extrastriate area V5/MT are causally involved in encoding and keeping time in memory and that this involvement is independent from low-level visual processing. Most importantly we demonstrate that V1 and V5/MT come into play simultaneously and seem to be functionally linked during interval encoding, whereas they operate serially (V1 followed by V5/MT) and seem to be independent while maintaining temporal information in working memory. These data help to refine our knowledge of the functional properties of human visual cortex, highlighting the contribution and the temporal dynamics of V1 and V5/MT in the processing of the temporal aspects of visual information.

Visual-gustatory interaction: orbitofrontal and insular cortices mediate the effect of high-calorie visual food cues on taste pleasantness.

Vision provides a primary sensory input for food perception. It raises expectations on taste and nutritional value and drives acceptance or rejection. So far, the impact of visual food cues varying in energy content on subsequent taste integration remains unexplored. Using electrical neuroimaging, we assessed whether high- and low-calorie food cues differentially influence the brain processing and perception of a subsequent neutral electric taste. When viewing high-calorie food images, participants reported the subsequent taste to be more pleasant than when low-calorie food images preceded the identical taste. Moreover, the taste-evoked neural activity was stronger in the bilateral insula and the adjacent frontal operculum (FOP) within 100 ms after taste onset when preceded by high- versus low-calorie cues. A similar pattern evolved in the anterior cingulate (ACC) and medial orbitofrontal cortex (OFC) around 180 ms, as well as, in the right insula, around 360 ms. The activation differences in the OFC correlated positively with changes in taste pleasantness, a finding that is an accord with the role of the OFC in the hedonic evaluation of taste. Later activation differences in the right insula likely indicate revaluation of interoceptive taste awareness. Our findings reveal previously unknown mechanisms of cross-modal, visual-gustatory, sensory interactions underlying food evaluation.

Inhibition of death receptor signals by cellular FLIP.

The widely expressed protein Fas is a member of the tumour necrosis factor receptor family which can trigger apoptosis. However, Fas surface expression does not necessarily render cells susceptible to Fas ligand-induced death signals, indicating that inhibitors of the apoptosis-signalling pathway must exist. Here we report the characterization of an inhibitor of apoptosis, designated FLIP (for FLICE-inhibitory protein), which is predominantly expressed in muscle and lymphoid tissues. The short form, FLIPs, contains two death effector domains and is structurally related to the viral FLIP inhibitors of apoptosis, whereas the long form, FLIP(L), contains in addition a caspase-like domain in which the active-centre cysteine residue is substituted by a tyrosine residue. FLIPs and FLIP(L) interact with the adaptor protein FADD and the protease FLICE, and potently inhibit apoptosis induced by all known human death receptors. FLIP(L) is expressed during the early stage of T-cell activation, but disappears when T cells become susceptible to Fas ligand-mediated apoptosis. High levels of FLIP(L) protein are also detectable in melanoma cell lines and malignant melanoma tumours. Thus FLIP may be implicated in tissue homeostasis as an important regulator of apoptosis.

Changes in volume, surface estimate, three-dimensional shape and total number of neurons of the human primary visual cortex from midgestation until old age.

Macroscopic features such as volume, surface estimate, thickness and caudorostral length of the human primary visual cortex (Brodman's area 17) of 46 human brains between midgestation and 93 years were studied by means of camera lucida drawings from serial frontal sections. Individual values were best fitted by a logistic function from midgestation to adulthood and by a regression line between adulthood and old age. Allometric functions were calculated to study developmental relationships between all the features. The three-dimensional shape of area 17 was also reconstructed from the serial sections in 15 cases and correlated with the sequence of morphological events. The sulcal pattern of area 17 begins to develop around 21 weeks of gestation but remains rather simple until birth, while it becomes more convoluted, particularly in the caudal part, during the postnatal period. Until birth, a large increase in cortical thickness (about 83% of its mean adult value) and caudorostral length (69%) produces a moderate increase in cortical volume (31%) and surface estimate (40%) of area 17. After birth, the cortical volume and surface undergo their maximum growth rate, in spite of a rather small increase in cortical thickness and caudorostral length. This is due to the development of the pattern of gyrification within and around the calcarine fissure. All macroscopic features have reached the mean adult value by the end of the first postnatal year. With aging, the only features to undergo significant regression are the cortical surface estimate and the caudorostral length. The total number of neurons in area 17 shows great interindividual variability at all ages. No decrease in the postnatal period or in aging could be demonstrated.

Us explico un conte? Ús de llibres il·lustrats per a la didàctica de l'educació visual i plàstica

L'objectiu d'aquest article és promoure la incorporació de llibres il-lustrats a l'espai docent, tot defensant la interacció entre escola i entorn. Amb aquesta intenció es presenta una experiència docent que es du a terme a les classes de Didàctica de l'Educació Visual i Plàstica (UB), en la formació inicial del professorat d'educació primària, que empra el llibre il-lustrat com a eina docent. Es tracta d'un corpus d'obres de gran qualitat, la temàtica dels quals està relacionada amb el fet artístic i la seva didàctica. Amb l'ús a les aules universitàries d'aquest tipus de llibres es volen aconseguir principalment tres objectius: donar-los a conèixer als futurs mestres per a la seva formació i perquè els puguin compartir amb els seus futurs alumnes a les aules d'Educació Primària; tractar temes específics de l'àrea de plàstica, i fomentar la reflexió sobre la pràctica docent o altres temes específics.

La didàctica de l'educació visual i plàstica, entre el discurs visual i el discurs estètic. La perversió del model

El presente trabajo es el resultado de un año de investigación de campo y de estudio bibliográfico, que se formalizó en un proyecto educativo dirigido a alumnos de 3 de secundaria en la área de educación visual y plástica. " Las manos" , título del proyecto, se presentó como una alternativa en la didáctica de la educación visual y plástica cuando se plantea desde un aprendizaje lineal, desde un modelo. El planteamiento consistió en potenciar la comprensión y expresión artísticas a partir de la interrelación de otras áreas de conocimiento con la visual y plástica para sensibilizar al alumno en la importancia que tiene el proceso en el acto creativo. Valorar el proceso facilitó la asimilación de conceptos como figuración, abstracción y síntesis tan importantes para entender el hecho artístico. La valoración positiva del proyecto no pretende contraponer dos metodologías diferentes: la lineal con modelos y la que se presenta en espiral, inductiva, con referentes que no tienen que ser necesariamente visuales. Las dos opciones pueden actuar en simbiosis siempre que el alumno sepa percibir el significado que quiere dar a su obra y que todo no quede en una pura representación decorativa.

Dins el bosc de la cultura visual. Apunts per a una actualització pedagògica

L'era de la comunicació acara la comunitat educativa davant de nous reptes, especialment en l'àmbit de la cultura visual. La cultura visual es manifesta avui arreu i no hi ha àmbit ni familiar ni social ni educatiu que no en participi. Més enllà de la visualització i experimentació d'alguns procediments artístics canònics, l'ensenyament de les arts visuals i plàstiques observa la necessitat d'ampliar el seu radi d'acció, reflexió i anàlisi de manera coparticipada. Un repàs a la trajectòria històrica de l'aprenentatge artístic dóna peu a algunes preguntes rellevants com ara, quins aprenentatges per a quines competències? Per a quina societat i amb quins instruments cal educar els infants? Quines inèrcies i teories s¿hereten del passat i quin lloc cal que tinguin en el futur? Quines aportacions cognitives o empíriques permetrien una renovació positiva en l'àmbit de l¿educació visual i plàstica? Són preguntes difícils però peremptòries si no es vol girar l'esquena a l'evidència dels canvis comunicatius i socials del nostre temps.