When we acted against the love the human being tends to act against the general quality of the Nature, and this is the root of all our negative sensations. For some reason, usually we think that we would feel better making things for own benefit, even to expensa of others. We focused in " I, I, yo" , " how I can feel better? " and, " what I can make to win, I, more money/fame/to be able? " Nevertheless, we know clearly that this way " felicidad" it is paved with competition, envy, solitude and pain. Obvious, this is the opposed thing to which we thought when we are enamored, when all our thoughts are directed towards the other, and the unique thing that matters to us is that person. When we are enamored, we only thought about, " what we can do by l/ella? " If we analyzed our daily reality for a moment, and we were observed from one more ampler perspective, we will see that we felt better indeed when we are in harmony with the quality of the love, because we intoned ours " frequency interior" to the frequency that prevails in all the Nature, to the current of the complete universe. If we even asked the scientists, they would agree in which all the living organisms, fulfill " the law of amor". This must to that all the cells and other parts of the living organisms interact according to principle of " otorgamiento" , giving one the other, constantly, in order to take care of the essential functions and the well-being of the whole body and its vitality. The human bodies even adhere to the laws of the Nature of this same way, since the organism works at a level animal. It is only in the human level of our interactions – in our thoughts and sensations that we began to turn aside itself towards another direction.
Archive for March 31, 2014
However, another objective is to understand as the professors are working with the education of the Art in the schools, mainly with the question of the influence of the Arts that happen in the daily rejection of the school, in the life of the pupils who are part of an education of mass and as these are being boarded in the classrooms. Some studious thinkers and if worry about Ensino of the Art in the schools. these practical studies and will be argued throughout the work for better recital of the here boarded subject. 1. EDUCATION OF the ART IN BRAZIL In Brazil Ensino of the Art comes suffering some modifications throughout the years. At the beginning the art emphasized the drawing, the examined copy of the object and the professor was the absolute owner of truth. The drawing served as motor coordination, precision, to learn techniques that were useful to the professional life.
In the traditional pedagogia the process of acquisition of the knowledge is considered through intellectual elaborations and on the basis of the models of thoughts developed for the adults the application of such idea scrumbles it an education, disentailed of the aspects of the daily one and with emphasis exclusively in the professor who passes the pupils ' ' informaes' ' considered absolute truths. (FUSSARI & FERRAZ, 1993, p.23) Later, in years 50 and 60, the art if gave on the influence of the New School, directing education for the free expression, valuing the creativity in the education of the Art without if worrying about the artistic knowledge and yes valuing a conception espontanesta. In this vision, Romanowski comments that the professor in this trend: it is seen as mediating to promote the learning the professor is facilitador, artist or clinical professional who must use its wisdom, experience and creativity to act in the promotion of the conditions of the development, for the learning of its pupils.
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Talk of international examples, it would put us to delve into a phenomenon that has lasted beyond 80 or 90 years and that with the introduction of digital techniques and computerized effects can last much more for prosperity, and that it would be a little more complex and long to enter into the details, but there are examples which cannot be never forgotten, which have been linked to the development of the industrial world film industry, and through which the film lens, seen by an architect, or a student of this art, can distinguish, both architectural forms, building styles, as well as interior designs. For example, the American film: what the wind, speaks of the war of secession, but a rustic architectural ensemble can be seen to the balloon frame, and its houses on stilts, with the roof at both sides, on both sides of the cover. You can be seen, slavery, and the aftermath of a war by the industrialization of that country, and countryside images, salons and luxuries houses, so it has always been the taste of men for many years. From this example, it is that we want to illustrate as it has behaved know appreciate the architecture by cinematographic images, knowing it appreciate outside argument, the plot, and his performances, and within the development of the Cuban filmography, and of any other, in which the objective of the spectator is appreciate the architecture, both in their interior designs, as in the design of the exterior. Images of Cuban architecture, have been within our filmography, and some foreign filmographies on a smaller scale. The number of co-productions between Cuba and the rest of the world, has been conditioned by the interests of the latter and third countries, and very few times foreign productions have decided to come to film in our country, to even though that the various phenomena, have been developed such as: the Spanish conquest, the outlet of Havana by the English, the American intervention, relationships Cuban Soviet relations with socialist countries and the lives of several foreign personalities who have had large footprints in our country, that would give reason to make films, as well as novels in Cuba, for the rest of the world, and vice versa, which are linked to foreign arts.