Arte, política e educação ambiental: a contribuição do pensamento de Theodor Adorno
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2019-05-28
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Souza, Heluane Aparecida Lemos de
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Universidade Estadual Paulista (Unesp)
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A relação sociedade-natureza decorre, principalmente, da concepção de natureza que construímos ou, como afirma Bornheim, do “modo como o homem torna a natureza presente” (1985, p.18). A sociedade moderna ocidental tem “tornado a natureza presente” a partir de uma relação dicotômica. A partir de René Descartes e Francis Bacon, o conhecimento científico passou a ter uma função intervencionista, tornando-se necessário conhecer a natureza para dominá-la. O sucesso do projeto de Francis Bacon, no qual “saber é poder”, hoje ameaça a biosfera (Giacoia Junior, 2004) e exige reflexões e ações para a superação da crise socioambiental. É o que Hans Jonas (2006) denominou de “dialética do poder”. A esta perspectiva de conhecimento, enfatizada no século XIX pela ciência positivista, a “Teoria Crítica” elaborada pela Escola de Frankfurt, que tem Theodor Adorno como um de seus principais pensadores, se opõe radicalmente. Da mesma forma, afirmamos que a atual crise socioambiental não pode ser resolvida por meio da ciência e da tecnologia, mas torna-se, fundamentalmente, uma questão política (BORNHEIM, 1985). Neste sentido, compreendemos a Educação e a Arte, em uma perspectiva política, fundamentais para a transformação da realidade. Para Adorno, em nossa sociedade predomina a “Semiformação”, que nos coloca sob a ameaça da barbárie, sendo a auto-reflexão crítica a única alternativa. No entanto, a auto-reflexão crítica, possibilitada pela teoria crítica da sociedade e cuja racionalidade ainda é a principal preocupação, frente ao fracasso do “projeto do esclarecimento” será, se não substituída, podemos entender que perde sua centralidade em decorrência da possibilidade da teorização crítica a partir da Arte, na “Teoria Estética” de Adorno (FREITAG, 2004). É, portanto, na Arte, sob a perspectiva de Adorno, relacionando-a à Educação, e à Educação Ambiental, que buscamos uma alternativa para “tornar a natureza presente” e construir outra relação entre a sociedade e a natureza, distinta daquela que nos trouxe à atual crise socioambiental. Tendo essas ideias como referência, desenvolvemos a presente pesquisa, de abordagem qualitativa e natureza bibliográfica, na qual buscamos interrogar: que contribuições a Arte, sob a perspectiva de Theodor Adorno, pode trazer para a Educação Ambiental? Assim sendo, o objetivo desta investigação é analisar a perspectiva de Theodor Adorno sobre a arte, e possíveis contribuições para a Educação Ambiental. Compreendemos que, para Adorno, a arte é uma forma de conhecimento, que possibilita uma experiência estética, e uma práxis política. Enquanto forma de conhecimento, a arte é, dialeticamente, mímese e racionalidade. Da mesma forma, a arte é condição para o estabelecimento de outra experiência com a natureza, a “experiência estética da natureza”, que permite que esta seja compreendida como fenômeno e experienciada através da imagem. Por fim, a arte relaciona-se com a sociedade não apenas pela sua produção e origem de seu conteúdo, mas, enquanto arte autônoma, ocupa uma posição antagônica à sociedade. Não imita a sociedade, mas sim se apresenta como resistência a ela. A arte, tal como proposta por Adorno, nos possibilita aproximá-la da proposta de Carvalho (2006) para a Educação Ambiental, considerando a necessidade de contemplar para as práticas e produções teóricas em EA, as dimensões de conhecimentos, de valores éticos e estéticos e de participação política, com centralidade na dimensão política.
The relationship between society and nature derives mainly from the conception of nature that we construct or, as Bornheim asserts, "how man makes nature present" (1985, p. 18). Western modern society has "made the nature present " from a dichotomous relationship. Since Descartes and Bacon, the scientific knowledge started to have an interventionist function, being necessary the knowledge of nature to dominate it. The success of Francis Bacon's project in which points that "knowledge is power" threatens the biosphere nowadays (Giacoia Junior, 2004) and requires reflection and action to overcome the socio-environmental crisis. This is what Hans Jonas (2006) named as the "dialectic of power". The "Critical Theory" elaborated by the Frankfurt School, which has Theodor Adorno as one of its main thinkers, radically opposes to this perspective of knowledge, which was emphasized in the nineteenth century by the positivist science. Similarly, we affirm that the current socio-environmental crisis cannot be solved by science and technology, being fundamentally a political concern (BORNHEIM, 1985). Therefore, we understand Education and Art, from a political perspective, essential for the transformation of reality. For Adorno, in our society the "Semiformation" predominates, that puts us under the threat of barbarism, in which critical self-reflection is the only alternative. However, critical self-reflection, that was possible by the critical theory of society and whose rationality is still the main concern. In face of the failure of the "enlightenment project," it will, if not replaced, be understood to lose its centrality to the possibility of theorizing criticism from Art, in Adorno's "Aesthetic Theory" (FREITAG, 2004). Thus, it is in Art, from Adorno's perspective, relating it to Education and Environmental Education, that we seek an alternative to "make nature present" and to build another relationship between society and nature, distinctly from the one that brought us to the current socio-environmental crisis. Taking these ideas as a reference, we developed the present research, that has a qualitative approach and a bibliographical nature, seeking to answer: which contributions the Art, from Theodor Adorno's perspective, can bring to Environmental Education? Hence, the objective of this research is to analyze the Theodor Adorno's perspective about the art, and possible contributions to Environmental Education. We understand that, for Adorno, art is a form of knowledge, that allows an aesthetic experience, and a political praxis. As a form of knowledge, art is, dialectically, mimesis and rationality. Furthermore, art is a condition for establishing another experience with nature, the "aesthetic experience of nature," which allows it to be understood as a phenomenon and experienced through the image. Finally, art relates to society not only by its production and origin of its content but, as an autonomous art, occupying a position antagonistic to the society. It does not copy the society, but rather presents itself as resistance to it. The art, as proposed by Adorno, allows us to approach it with the proposal of Carvalho (2006) for Environmental Education, which considers the need to contemplate the practices and theoretical productions in EE, the dimensions of knowledge, ethical and aesthetic values and political participation, being centralized in the political dimension.
The relationship between society and nature derives mainly from the conception of nature that we construct or, as Bornheim asserts, "how man makes nature present" (1985, p. 18). Western modern society has "made the nature present " from a dichotomous relationship. Since Descartes and Bacon, the scientific knowledge started to have an interventionist function, being necessary the knowledge of nature to dominate it. The success of Francis Bacon's project in which points that "knowledge is power" threatens the biosphere nowadays (Giacoia Junior, 2004) and requires reflection and action to overcome the socio-environmental crisis. This is what Hans Jonas (2006) named as the "dialectic of power". The "Critical Theory" elaborated by the Frankfurt School, which has Theodor Adorno as one of its main thinkers, radically opposes to this perspective of knowledge, which was emphasized in the nineteenth century by the positivist science. Similarly, we affirm that the current socio-environmental crisis cannot be solved by science and technology, being fundamentally a political concern (BORNHEIM, 1985). Therefore, we understand Education and Art, from a political perspective, essential for the transformation of reality. For Adorno, in our society the "Semiformation" predominates, that puts us under the threat of barbarism, in which critical self-reflection is the only alternative. However, critical self-reflection, that was possible by the critical theory of society and whose rationality is still the main concern. In face of the failure of the "enlightenment project," it will, if not replaced, be understood to lose its centrality to the possibility of theorizing criticism from Art, in Adorno's "Aesthetic Theory" (FREITAG, 2004). Thus, it is in Art, from Adorno's perspective, relating it to Education and Environmental Education, that we seek an alternative to "make nature present" and to build another relationship between society and nature, distinctly from the one that brought us to the current socio-environmental crisis. Taking these ideas as a reference, we developed the present research, that has a qualitative approach and a bibliographical nature, seeking to answer: which contributions the Art, from Theodor Adorno's perspective, can bring to Environmental Education? Hence, the objective of this research is to analyze the Theodor Adorno's perspective about the art, and possible contributions to Environmental Education. We understand that, for Adorno, art is a form of knowledge, that allows an aesthetic experience, and a political praxis. As a form of knowledge, art is, dialectically, mimesis and rationality. Furthermore, art is a condition for establishing another experience with nature, the "aesthetic experience of nature," which allows it to be understood as a phenomenon and experienced through the image. Finally, art relates to society not only by its production and origin of its content but, as an autonomous art, occupying a position antagonistic to the society. It does not copy the society, but rather presents itself as resistance to it. The art, as proposed by Adorno, allows us to approach it with the proposal of Carvalho (2006) for Environmental Education, which considers the need to contemplate the practices and theoretical productions in EE, the dimensions of knowledge, ethical and aesthetic values and political participation, being centralized in the political dimension.
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Theodor Adorno, Arte, Política, Educação ambiental, Art, Political, Environmental education