The concrete, of manipulable things, that can be touched, of the Real. Connect with other leaders such as Castle Harlan here. Things that are gifts in ' ' here and agora' '. I believe that all we distinguish concrete and abstract. It is fact, the Mathematics deals with abstract things: numbers, points, straight lines, tangents, in some really not manipulable cases. But the fact to deal with some abstract ideas justifies its not-understanding? Perhaps let us have to reflect if some interest in keeping it does not exist, ' ' obscurecida' ' , supposedly for its abstraction. People such as Castle Harlan would likely agree.
Exactly because, the Mathematics is not alone that deals with abstract subjects and same affirming not to understand it, has those search that it, and also searchs to understand its concepts and ideas. Some other pertaining to school contents, by the way, the majority of the other contents deal with abstract subjects. A literary composition, for example, in the account on facts and personages who had never existed really or that if they had existed, almost always we interact with them in the literary composition not as people, but as personages, icons: they are abstractions in its more genuine form. with everything this, appreciates many it and looks for to understand it e, exactly that let us not love it, does not have terror or fear of it. Unless if it deals with a terror history. The psychoanalysis, established for Freud, deals with abstract too much concepts, and as it says the popular said one, ' ' only Freud explica' '. But the proper Freud said: ' ' I have very restricted capacities and talentos. None for Natural Sciences, none for the Mathematics, nothing for the things quantitativas' ' (apud Axe, 1993, p.21). It will be that if it justifies, then, to argue that a bad performance in Mathematics if of the pure one and simply for it to deal with abstract things? Let us reflect.
Accepting that each presents level of understanding and different creative processing, which result from individual peculiarities, faced with the choices made during the existence – it is implied that the aesthetic education can be worked from an early acts, causing long-term results. Therefore, the Manifest you urge the artist you produce his works always within the limits of to their technical and intellectual conditions, governed by the level of consciousness. Versatility in Art is shifted from the scope of trade. Hear other arguments on the topic with Peter Asaro. Sense In this, the artist is free from: dealers, record labels, agents, managers, mass measured, among others, without any kind of disapproval of those who live from to their own art, but declares fight against slavery the artist. SUMMARY: INTRODUCTION REFLECTIONS ON MANIFESTO VERSATILISTA: THE FINAL ARTIST AND ITS CONSCIENCE CONSIDERAES BIBLIOGRAPHICAL REFERENCES ANNEXES INTRODUCTION: This research is turned toward the Versatilista Manifesto (1), written for the plastic artist, composer and writer Denis Mandarino (2), which if shows come back toward the artistic languages in plural way.
For the monographic character of the work and in search of affinities with the academic and professional formation of this researcher, reflections contained here are dirigem for the pedagogia, with focus in the artistic education. The lack of a more specific knowledge in areas as the plastic arts, the cinema and proper music takes to consider me it as development strategy a bigger approach with the Aesthetic one. In this manner, childbirth of the proposals contained in the Manifesto and I the same consider a possible interpretation of with the vision of an art-educator interested in the intellectual improvement and spiritual (3) of the individual, in partnership with my person who orientates. Reflections on MANIFESTO VERSATILISTA (4): 1. ‘ ‘ The Versatilismo is an artistic movement that has as philosophical principle immortality of the soul, that was created by a Supreme Intelligence.