The Evasion

This spalling of the reality that the art searchs to breach must, first, to the perception that we have of the world constructed for the language, which breaks up and commands that way to perceive primitive, ' ' sincrtico' ' (or ' ' global' ') which if constituted as primitive form of the human knowledge (DUARTE- JNIOR, 1953, p.74). The idea of the art as source of knowledge also is shared by Morin (2001) and adds despite the art integrates and feeds, in a bilateral process, the imaginary one, the logic and the technique. To this Diaz- respect Rock (2009, P. 6) it comments: An art does not reduce, does not isolate and nor wants to explain, but it has the power of making to feel in them. It considers a trip of unexpected route, where the evasion of what the arrival is more important, as parallel shelters, universes where we can run away from daily problems, mundane, temporary alienations that allow to enrich our sensibilidades. Sensibilidades these that will have paper essential in our way to see and to act in the world, then the importance to work this bias to more just reach a world and beauty. Marim (2009) when studying the meaning of the perception and the expression in the thought of Merleau-Ponty and its implications in the ambient education, calls the attention for the effective cartesian paradigm that divides the world and disdains the sensible manifestations, distanciando the citizen of object, the man of the nature, the body of the soul.

affirms that ' ' the art is the power most effective for destitution of meanings of the lived world operated for the scientific thought (P. 51) ' '. Diverse authors ratify the paper of the art in the complete relation most harmonic and of the men with the world, however they leave well explicit that if cannot reduce our perception solely action in the world to the sensible one, as Freire comments (1981, p.35): The process of orientation of the human beings in the world cannot be understood, on the other hand, of a purely subjetivista point of view; of another one, a mechanist objetivista angle.