<?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>1676-2592</journal-id>
<journal-title><![CDATA[ETD Educação Temática Digital]]></journal-title>
<abbrev-journal-title><![CDATA[ETD - Educ. Temat. Digit.]]></abbrev-journal-title>
<issn>1676-2592</issn>
<publisher>
<publisher-name><![CDATA[Universidade Estadual de Campinas - UNICAMP]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1676-25922019000400014</article-id>
<article-id pub-id-type="doi">10.20396/etd.v21i4.8654813</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[SPENCER TUNICK: FOTOGRAFIA, ARTE CONTEMPORÂNEA E EDUCAÇÃO]]></article-title>
<article-title xml:lang="en"><![CDATA[SPENCER TUNICK: PHOTOGRAPHY, CONTEMPORARY ART AND EDUCATION]]></article-title>
<article-title xml:lang="es"><![CDATA[SPENCER TUNICK: FOTOGRAFÍA, ARTE CONTEMPORÁNEO Y EDUCATION]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Leite]]></surname>
<given-names><![CDATA[Amanda Maurício Pereira]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Federal do Tocantins  ]]></institution>
<addr-line><![CDATA[Palmas Tocantins]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>10</month>
<year>2019</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>10</month>
<year>2019</year>
</pub-date>
<volume>21</volume>
<numero>4</numero>
<fpage>908</fpage>
<lpage>925</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_arttext&amp;pid=S1676-25922019000400014&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_abstract&amp;pid=S1676-25922019000400014&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_pdf&amp;pid=S1676-25922019000400014&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[RESUMO O texto apresenta a produção fotográfica de Spencer Tunick, fotógrafo estadunidense. Sugere reflexões sobre Fotografia, Arte Contemporânea e Educação nas interfaces com obras de Roland Barhtes (A Câmara Clara, 1984) e Jacques Rancière (O espectador emancipado, 2012). As imagens estabelecem jogos entre as coisas expostas e o olhar do espectador. A carne humana é alinhada, colocada em pose e modelada a partir de uma visão - a do fotógrafo. Estamos diante de imagens provocantes. Entre proximidades e distanciamentos feitos pelo espectador, existem oposições e equivalências. Ao tomar a fotografia como arte e como aposta educativa, estamos suscetíveis ao artificial, ao fabricado, à eventualidade, ao impreciso, ao hipotético; ao improvável. Quiçá estejamos também diante de apostas educativas mais experimentais, que se concentrem em ver e pensar a fotografia por vias mais livres e menos escolarizantes.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[ABSTRACT The text presents the photographic production of the American Spencer Tunick. He suggests reflections on Photography, Contemporary Art and Education in the interfaces with works by Roland Barhtes (Camera Lucida: Reflections on Photography, 1984) and Jacques Rancière (The Emancipated Spectator, 2012). The images establish games between the things exhibited and the spectator's gaze. Human flesh is aligned, posed, and modeled from a vision - that of the photographer. We are faced with provocative images. Between opposites and distances made by the spectator, there are oppositions and equivalences. When taking photography as art and as educational bet we are susceptible to the artificial, the manufactured, the eventuality, the imprecise, the hypothetical; to the improbable. Perhaps we are also facing more experimental educational bets, which concentrate on seeing and thinking photography through freer and less scholarly ways.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN El texto presenta la producción fotográfica de Spencer Tunick, fotógrafo estadounidense. En el caso de las mujeres, se trata de una de las más importantes de la historia. Las imágenes establecen juegos entre las cosas expuestas y la mirada del espectador. La carne humana es alineada, colocada en pose y modelada a partir de una visión - la del fotógrafo. Estamos ante imágenes provocativas. Entre cerca y distanciamientos hechos por el espectador, existen oposiciones y equivalencias. Al tomar la fotografía como arte y como apuesta educativa somos susceptibles al artificial, al fabricado, a la eventualidad, al impreciso, al hipotético; a lo improbable. Quizá estemos también ante apuestas educativas más experimentales, que se concentren en ver y pensar la fotografía por vías más libres y menos escolarizadoras.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Spencer Tunick]]></kwd>
<kwd lng="pt"><![CDATA[Fotografia]]></kwd>
<kwd lng="pt"><![CDATA[Arte Contemporânea]]></kwd>
<kwd lng="en"><![CDATA[Spencer Tunick]]></kwd>
<kwd lng="en"><![CDATA[Photography]]></kwd>
<kwd lng="en"><![CDATA[Contemporary Art]]></kwd>
<kwd lng="es"><![CDATA[Spencer Tunick]]></kwd>
<kwd lng="es"><![CDATA[Fotografía]]></kwd>
<kwd lng="es"><![CDATA[Arte Contemporáneo]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
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<person-group person-group-type="author">
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</person-group>
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<person-group person-group-type="author">
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</person-group>
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</nlm-citation>
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</back>
</article>
