<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2178-5201</journal-id>
<journal-title><![CDATA[Acta Scientiarum. Education]]></journal-title>
<abbrev-journal-title><![CDATA[Acta Educ.]]></abbrev-journal-title>
<issn>2178-5201</issn>
<publisher>
<publisher-name><![CDATA[Editora da Universidade Estadual de Maringá - EDUEM]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2178-52012023000100227</article-id>
<article-id pub-id-type="doi">10.4025/actascieduc.v45i1.65150</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Montar um céu estrelado: possibilidades metodológicas com imagens na pesquisa em educação]]></article-title>
<article-title xml:lang="es"><![CDATA[Montando un cielo estrellado: posibilidades metodológicas con imágenes en la investigación educativa]]></article-title>
<article-title xml:lang="en"><![CDATA[Mounting a starry sky: methodological posibilities with images in education research]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Balthazar]]></surname>
<given-names><![CDATA[Gregory da Silva]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Cardoso]]></surname>
<given-names><![CDATA[Livia de Rezende]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Moreno]]></surname>
<given-names><![CDATA[Lydia Huerta]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Tiradentes  ]]></institution>
<addr-line><![CDATA[Aracaju Sergipe]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidade Federal de Sergipe  ]]></institution>
<addr-line><![CDATA[São Cristovão Sergipe]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,University of Nevada  ]]></institution>
<addr-line><![CDATA[Reno Nevada]]></addr-line>
<country>USA</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<volume>45</volume>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_arttext&amp;pid=S2178-52012023000100227&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_abstract&amp;pid=S2178-52012023000100227&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_pdf&amp;pid=S2178-52012023000100227&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[RESUMO. A presente escrita é um esforço de realçar possibilidades metodológicas frente ao trabalho infinito diante da imagem, uma vez que, como bem nos ensinou Foucault, existe uma relação incontornável de irredutibilidade da imagem à palavra, e desta àquela. Com efeito, e a partir das teorizações arquegenealógicas foucaultianas, objetivamos delinear alguns caminhos metodológicos para pensarmos em uma pedagogia ética do olhar diante da imagem. Para tanto, argumentamos sobre a potência metodológica de uma arqueologia do saber das imagens, isto é, um exercício genealógico de pensar a multiplicidade de sentidos sobre e com imagens na tessitura do conceito de montagem proposto por Georges Didi-Huberman: os modos como as imagens, enquanto entes estelares singulares, nos permitem produzir, quando colocadas lado a lado, como em uma espécie de novos desenhos constelares, possíveis aprendizagens de resistências, de zonas de respiro, de espaços de criação do pensamento. Seguindo suas pistas, a partir de sua análise do Atlas Mnemosyne do historiador da arte alemão Aby Warburg, entendemos a montagem como um movimento genealógico que procura enfatizar o trabalho infinito diante de uma imagem, um exercício que nos permita pensar diferentemente o que somos e o que podemos vir a ser. Nesse bailado cintilante, a montagem tenta apreender a dança sobrevivente e anacrônica que é a historicidade mesma do acontecimento que é a imagem - aparecimentos, destruição e renascimentos, ou melhor, uma arqueologia do saber da e sobre a imagem que impõe à ordem do saber uma dupla condição: o inesgotável da imagem - a exuberância de seu aparecimento, o modo como nos abre para além do já sabido - e o abismal da imagem - as dimensões da imagem que se fazem irredutíveis à provisoriedade do ato de olhar, um não-saber que é intransponível ao nosso olhar diante da sobrevivência que fazem as imagens pulsar como entes vivos.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN. El presente escrito muestra las posibilidades metodológicas al trabajar con la imagen, ya que, como nos enseñó Foucault, existe una relación insoslayable de irreductibilidad de la imagen a la palabra, y de una a la otra. En efecto, y a partir de las teorías arque-genealógicas de Foucault, pretendemos esbozar algunos caminos metodológicos para pensar una pedagogía ética de la mirada de la imagen. Para ello, argumentamos sobre la potencia metodológica de una arqueología del conocimiento de las imágenes, es decir, un ejercicio genealógico de pensar la multiplicidad de significados sobre y con las imágenes en el entramado del concepto de montaje propuesto por Georges Didi- Huberman: los modos en que las imágenes, como seres estelares singulares, nos permiten producir, puestas una al lado de la otra, como en una especie de nuevos dibujos de constelaciones, posibles aprendizajes de resistencias, zonas de respiración, espacios de creación de pensamiento. Es a partir del análisis del Atlas Mnemosyne del historiador de arte alemán Aby Warburg, que entendemos el montaje como un movimiento genealógico que busca enfatizar la obra infinita frente a una imagen, un ejercicio que nos permite pensar diferente sobre lo que somos y lo que podemos llegar a ser. En este centelleante ballet, el montaje intenta aprehender la danza sobreviviente y anacrónica que es la historicidad misma del acontecimiento que es la imagen -apariciones, destrucciones y renacimientos, o más bien, una arqueología del saber de y sobre la imagen que se impone al orden del conocimiento una doble condición: lo inagotable de la imagen -la exuberancia de su apariencia, el modo en que nos abre más allá de lo ya conocido- y lo abismal de la imagen -las dimensiones de la imagen que se hacen irreductibles a lo provisional como la naturaleza del acto de mirar, un no-saber infranqueable a nuestra mirada frente a la supervivencia que hace que las imágenes palpiten como seres vivos.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[ABSTRACT. This article explores methodological possibilities when working with an image, since, as Foucault taught us, there is an unavoidable relationship of irreducibility from the image to the word, and vice versa. We aim to outline some methodological paths to think about an ethical pedagogy of looking at the image based on Foucault&#8217;s archeo-genealogical theories. To do so, we argue for the methodological power of an archeology embedded in the knowledge of images. This genealogical exercise allows us to think about a multiplicity of meanings about and with images anchored in Georges Didi-Huberman&#8217;s concept of montage where images as singular stars, when placed next to each other, allow for drawings of constellations that produce new spaces for the creation of thought, breathing zones and possible learnings of resistance. Drawing from the analysis of the Atlas Mnemosyne by the German art historian Aby Warburg, we use the term montage as a genealogical movement that seeks to emphasize the infinite work in front of an image, an exercise that allows us to think differently about what we are and what that we can become. In this scintillating ballet, a montage tries to apprehend the surviving and anachronistic dance that is the very historicity of the event that is the image - appearances, destruction and rebirths, or rather, an archeology of knowledge of and about the image that imposes a double condition on the order of knowledge: the inexhaustibility of the image and its abysmality. In its inexhaustibility we refer to the exuberance of its appearance, the way it opens us up beyond what is already known. It its abysmality we refer to, the dimensions of the image that are made irreducible to the provisional nature of the act of looking, a not-knowing which is insurmountable to our gaze in the face of the survival that make the images pulsate like living beings.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[imagem]]></kwd>
<kwd lng="pt"><![CDATA[montagem]]></kwd>
<kwd lng="pt"><![CDATA[metodologia]]></kwd>
<kwd lng="pt"><![CDATA[genealogia]]></kwd>
<kwd lng="pt"><![CDATA[educação]]></kwd>
<kwd lng="es"><![CDATA[imágen]]></kwd>
<kwd lng="es"><![CDATA[montage]]></kwd>
<kwd lng="es"><![CDATA[metodologia]]></kwd>
<kwd lng="es"><![CDATA[genealogia]]></kwd>
<kwd lng="es"><![CDATA[educatción]]></kwd>
<kwd lng="en"><![CDATA[image]]></kwd>
<kwd lng="en"><![CDATA[montage]]></kwd>
<kwd lng="en"><![CDATA[methodology]]></kwd>
<kwd lng="en"><![CDATA[genealogy]]></kwd>
<kwd lng="en"><![CDATA[education]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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