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Text I
African schools gear up for the AI revolution
The emergence of cheap or free AI tools is being eagerly embraced by those with smartphones and the ability to get online. As governments and legislators struggle to get their heads around the implications of this powerful technology and work out how to bring in regulations for its safe use, millions of people are enjoying its ability to save time, helping them to transforming raw data into essays, exam answers, or, with a bit more work, even videos and podcasts.
Even in developing countries where electricity and internet access is limited (it’s estimated that over 570 million people in Africa lack electricity), there is enthusiasm for the potential of AI. In the Democratic Republic of the Congo (DRC), for example, a nation riven by internal conflict, poverty and vast inequality, educators are seeing the impact of AI. “It is obvious that our country is lagging behind in terms of new technologies for one reason or another,” says Benjamin Sivanzire, a teacher in Beni, North Kivu Province. “Many parts of the DRC do not even have traditional methods of communication, or even radio or television.” However, even though Mr. Sivanzire and his students are not yet able to make use of AI in their classes, they are seeing it being used in the wider culture, often in a negative way, to manipulate public opinion. The teacher underlines the importance of educating people to distinguish between verifiable information and lies. “There are videos created by artificial intelligence that show images that are not real and have been created for propaganda purposes,” he explains.
One concern that is frequently raised is the extent to which the development of AI tools is concentrated in the hands of a relatively small group of people. Farida Shahid, the independent Special Rapporteur on the right to education, shares these concerns. “AI algorithms are being made by individuals who often sit in a particular location, such as Silicon Valley, where the people who make and test them have their own biases,” she says. “Often the algorithms don’t do well at recognizing people with dark skin. They also have great problems with people who are autistic and don’t like looking into cameras. “Another example is the UK where, recently, an AI program was used to grade exam papers. This led to decisions that were biased against people from certain ethnic backgrounds. We really need to look at this issue more closely, starting with the human rights perspective, and I think that’s where the U.N. role comes in: if you increasingly rely on AI as the source of verification, you’re going to have problems because you are using a framework which privileges white males, and doesn’t reflect the whole gamut of people’s lives and experiences”.
The urgent need to expand the developer talent base has been identified by the UN as central to ensuring that a wide variety of voices are heard in the “EdTech” (educational technology) space. Shafika Isaacs, the head of technology and AI at the UN agency for science, technology and education (UNESCO), says that the number of African EdTech startups has been mushrooming in recent years, with entrepreneurs experimenting with the AIenabled digital tools which could support learning and teaching across many different contexts, including in African languages, and local dialects. “I’ve personally engaged with a startup that matches high school students to career pathways, including choosing the right university, community college or even entrepreneurship program. They have seen strong results because of their focus on children in underprivileged contexts and schools. Tech startups have also looked at developing AI-enabled mobile apps, including chat bots, that can support teachers in teaching literacy or teaching mathematics. “The challenge is that there’s often a disconnect between the public education system and tech startups. We need educators to be proactive in engaging with those developing tools, and we encourage students and teachers to learn how to create and design technologies that are relevant to their linguistic and cultural contexts.”
Many African governments are keen to adopt national AI strategies and integrate AI into their national policies on technologies in education. In Côte d’Ivoire, where AI is already being widely used in the private sector, Mariatou Koné, the Minister of Education, says that the country’s education system is undergoing a transformation, following a 2022 review which recommended a digitalization strategy. “We have put in place initiatives to ensure that everyone is aware of the issue of AI. It can provide individual learning programs, and help struggling students to improve,” said Ms. Koné. “However, we are worried about potential abuses. We have to be able to protect personal data and ensure that learners are aware of the potential dangers.” The Minister agrees that, in order to guard against bias, the pool of engineers building AI tools needs to be expanded. “We need the right tools, adapted to the African context, to the Ivorian context. We have our own history, our own heritage. If we create our own industry, it has to be adapted to the realities of Côte d’Ivoire.”
Available at: https://news.un.org/en/story/2025/01/1159621. Retrieved on: January 6, 2026. Adapted.
The adequate response from the teacher as to why the form employed by Ms. Koné properly fits the context meaning is:
Text I
African schools gear up for the AI revolution
The emergence of cheap or free AI tools is being eagerly embraced by those with smartphones and the ability to get online. As governments and legislators struggle to get their heads around the implications of this powerful technology and work out how to bring in regulations for its safe use, millions of people are enjoying its ability to save time, helping them to transforming raw data into essays, exam answers, or, with a bit more work, even videos and podcasts.
Even in developing countries where electricity and internet access is limited (it’s estimated that over 570 million people in Africa lack electricity), there is enthusiasm for the potential of AI. In the Democratic Republic of the Congo (DRC), for example, a nation riven by internal conflict, poverty and vast inequality, educators are seeing the impact of AI. “It is obvious that our country is lagging behind in terms of new technologies for one reason or another,” says Benjamin Sivanzire, a teacher in Beni, North Kivu Province. “Many parts of the DRC do not even have traditional methods of communication, or even radio or television.” However, even though Mr. Sivanzire and his students are not yet able to make use of AI in their classes, they are seeing it being used in the wider culture, often in a negative way, to manipulate public opinion. The teacher underlines the importance of educating people to distinguish between verifiable information and lies. “There are videos created by artificial intelligence that show images that are not real and have been created for propaganda purposes,” he explains.
One concern that is frequently raised is the extent to which the development of AI tools is concentrated in the hands of a relatively small group of people. Farida Shahid, the independent Special Rapporteur on the right to education, shares these concerns. “AI algorithms are being made by individuals who often sit in a particular location, such as Silicon Valley, where the people who make and test them have their own biases,” she says. “Often the algorithms don’t do well at recognizing people with dark skin. They also have great problems with people who are autistic and don’t like looking into cameras. “Another example is the UK where, recently, an AI program was used to grade exam papers. This led to decisions that were biased against people from certain ethnic backgrounds. We really need to look at this issue more closely, starting with the human rights perspective, and I think that’s where the U.N. role comes in: if you increasingly rely on AI as the source of verification, you’re going to have problems because you are using a framework which privileges white males, and doesn’t reflect the whole gamut of people’s lives and experiences”.
The urgent need to expand the developer talent base has been identified by the UN as central to ensuring that a wide variety of voices are heard in the “EdTech” (educational technology) space. Shafika Isaacs, the head of technology and AI at the UN agency for science, technology and education (UNESCO), says that the number of African EdTech startups has been mushrooming in recent years, with entrepreneurs experimenting with the AIenabled digital tools which could support learning and teaching across many different contexts, including in African languages, and local dialects. “I’ve personally engaged with a startup that matches high school students to career pathways, including choosing the right university, community college or even entrepreneurship program. They have seen strong results because of their focus on children in underprivileged contexts and schools. Tech startups have also looked at developing AI-enabled mobile apps, including chat bots, that can support teachers in teaching literacy or teaching mathematics. “The challenge is that there’s often a disconnect between the public education system and tech startups. We need educators to be proactive in engaging with those developing tools, and we encourage students and teachers to learn how to create and design technologies that are relevant to their linguistic and cultural contexts.”
Many African governments are keen to adopt national AI strategies and integrate AI into their national policies on technologies in education. In Côte d’Ivoire, where AI is already being widely used in the private sector, Mariatou Koné, the Minister of Education, says that the country’s education system is undergoing a transformation, following a 2022 review which recommended a digitalization strategy. “We have put in place initiatives to ensure that everyone is aware of the issue of AI. It can provide individual learning programs, and help struggling students to improve,” said Ms. Koné. “However, we are worried about potential abuses. We have to be able to protect personal data and ensure that learners are aware of the potential dangers.” The Minister agrees that, in order to guard against bias, the pool of engineers building AI tools needs to be expanded. “We need the right tools, adapted to the African context, to the Ivorian context. We have our own history, our own heritage. If we create our own industry, it has to be adapted to the realities of Côte d’Ivoire.”
Available at: https://news.un.org/en/story/2025/01/1159621. Retrieved on: January 6, 2026. Adapted.
In English, when it comes to word stress, the placement of the primary stress is crucial for intelligibility.
The primary stress is correctly indicated in
Text I
African schools gear up for the AI revolution
The emergence of cheap or free AI tools is being eagerly embraced by those with smartphones and the ability to get online. As governments and legislators struggle to get their heads around the implications of this powerful technology and work out how to bring in regulations for its safe use, millions of people are enjoying its ability to save time, helping them to transforming raw data into essays, exam answers, or, with a bit more work, even videos and podcasts.
Even in developing countries where electricity and internet access is limited (it’s estimated that over 570 million people in Africa lack electricity), there is enthusiasm for the potential of AI. In the Democratic Republic of the Congo (DRC), for example, a nation riven by internal conflict, poverty and vast inequality, educators are seeing the impact of AI. “It is obvious that our country is lagging behind in terms of new technologies for one reason or another,” says Benjamin Sivanzire, a teacher in Beni, North Kivu Province. “Many parts of the DRC do not even have traditional methods of communication, or even radio or television.” However, even though Mr. Sivanzire and his students are not yet able to make use of AI in their classes, they are seeing it being used in the wider culture, often in a negative way, to manipulate public opinion. The teacher underlines the importance of educating people to distinguish between verifiable information and lies. “There are videos created by artificial intelligence that show images that are not real and have been created for propaganda purposes,” he explains.
One concern that is frequently raised is the extent to which the development of AI tools is concentrated in the hands of a relatively small group of people. Farida Shahid, the independent Special Rapporteur on the right to education, shares these concerns. “AI algorithms are being made by individuals who often sit in a particular location, such as Silicon Valley, where the people who make and test them have their own biases,” she says. “Often the algorithms don’t do well at recognizing people with dark skin. They also have great problems with people who are autistic and don’t like looking into cameras. “Another example is the UK where, recently, an AI program was used to grade exam papers. This led to decisions that were biased against people from certain ethnic backgrounds. We really need to look at this issue more closely, starting with the human rights perspective, and I think that’s where the U.N. role comes in: if you increasingly rely on AI as the source of verification, you’re going to have problems because you are using a framework which privileges white males, and doesn’t reflect the whole gamut of people’s lives and experiences”.
The urgent need to expand the developer talent base has been identified by the UN as central to ensuring that a wide variety of voices are heard in the “EdTech” (educational technology) space. Shafika Isaacs, the head of technology and AI at the UN agency for science, technology and education (UNESCO), says that the number of African EdTech startups has been mushrooming in recent years, with entrepreneurs experimenting with the AIenabled digital tools which could support learning and teaching across many different contexts, including in African languages, and local dialects. “I’ve personally engaged with a startup that matches high school students to career pathways, including choosing the right university, community college or even entrepreneurship program. They have seen strong results because of their focus on children in underprivileged contexts and schools. Tech startups have also looked at developing AI-enabled mobile apps, including chat bots, that can support teachers in teaching literacy or teaching mathematics. “The challenge is that there’s often a disconnect between the public education system and tech startups. We need educators to be proactive in engaging with those developing tools, and we encourage students and teachers to learn how to create and design technologies that are relevant to their linguistic and cultural contexts.”
Many African governments are keen to adopt national AI strategies and integrate AI into their national policies on technologies in education. In Côte d’Ivoire, where AI is already being widely used in the private sector, Mariatou Koné, the Minister of Education, says that the country’s education system is undergoing a transformation, following a 2022 review which recommended a digitalization strategy. “We have put in place initiatives to ensure that everyone is aware of the issue of AI. It can provide individual learning programs, and help struggling students to improve,” said Ms. Koné. “However, we are worried about potential abuses. We have to be able to protect personal data and ensure that learners are aware of the potential dangers.” The Minister agrees that, in order to guard against bias, the pool of engineers building AI tools needs to be expanded. “We need the right tools, adapted to the African context, to the Ivorian context. We have our own history, our own heritage. If we create our own industry, it has to be adapted to the realities of Côte d’Ivoire.”
Available at: https://news.un.org/en/story/2025/01/1159621. Retrieved on: January 6, 2026. Adapted.
Mostra no Metropolitan de Nova York exibe as obras nos vibrantes tons usados na época, demolindo o mito da brancura como sinônimo de beleza O arqueólogo alemão Vinzenz Brinkmann, da Universidade Ludwig Maximilian, em Monique, estudava o uso de ferramentas na Antiguidade. Em busca de marcas microscópicas em estátuas da época, ele desenvolveu uma lâmpada capaz de destacar o relevo da superfície e, por mero acaso, encontrou resíduos de pigmentos apagados pela ação do tempo.
Disponível em: https://veja.abril.com.br/cultura/exposicao-recupera-as-cores-originais-de-estatuas-gregas/. Acesso em: 2 fev. 2026.
Estudos arqueológicos contemporâneos, favorecidos pelo uso de tecnologias, vêm promovendo atualizações na história da arte mundial.
O conceito de beleza clássica, associada à brancura de suas esculturas, foi historicamente estruturado
[...] as manifestações artísticas não podem ser reduzidas às produções legitimadas pelas instituições culturais e veiculadas pela mídia, tampouco a prática artística pode ser vista como mera aquisição de códigos e técnicas. A aprendizagem de Arte precisa alcançar a experiência e a vivência artísticas como prática social, permitindo que os alunos sejam protagonistas e criadores.
BRASIL. Base Nacional Comum Curricular (BNCC). Brasília: MEC, 2018. p. 194.
A Base Nacional Comum Curricular (BNCC) é o documento que rege a construção dos currículos nacionais. O componente curricular Arte está centrado nas linguagens: Artes visuais, Música, Dança e Teatro. A BNCC propõe que o ensino das diferentes linguagens artísticas articule seis dimensões do conhecimento, promovendo uma abordagem ampla e integrada.
Dentre essas dimensões, destaca-se o conceito de Estesia, que diz respeito
Sobre a representação da imagem na Idade Média, Visalli e Godoi consideram que
Compreender seu significado, perceber suas funções, seus destinos e os objetos a que aderem são pontos significativos e essenciais para o trabalho com imagens medievais. Queremos olhar para as construções visuais que os medievais elaboraram abrindo a possibilidade de perceber suas escolhas. Uma dessas escolhas diz respeito ao sentido atribuído a essas construções. A imagem medieval foi definida pela historiografia, tanto pelo o que ela foi, como também pela sua negação: o que ela não foi. Esse reconhecimento apresentou a possibilidade de identificar, ainda, o seu caminhar na história, suas transformações e as posições que ao longo do medievo desfrutou.
VISALLI, A. M.; GODOI, P. W. Estudos sobre imagens medie- vais: o caso das iluminuras. Diálogos (Maringá, Impresso) v. 20, n. 3, p. 131, 2016.
Diante do exposto, segundo a perspectiva historiográfica, as Iluminuras da Idade Média
O Fauvismo é um movimento artístico de vanguarda que surgiu na França de 1904 a 1907, liderado por Henri Matisse. O grupo de artistas que pertenciam a esse movimento fazia oposição ao decorativismo hedonista do Art Nouveau e à inconsistência formal do Simbolismo. Por conceberem a arte como impulso vital, os fauves (os “feras”) começaram pela abordagem crítica de uma série de problemas pictóricos.
Nas experiências estéticas dos Fauvistas, a(o)
Nos anos 1980, foi criada e difundida no Brasil a Metodologia Triangular para o ensino de Arte, estruturada em três eixos fundamentais: o fazer artístico, a leitura da obra de arte e a contextualização. Após décadas de desenvolvimento, essa proposta permanece relevante, sendo constantemente aprimorada por pesquisas e práticas pedagógicas.
Considere que, em uma aula de artes para alunos dos anos iniciais do ensino fundamental, o(a) docente apresentou aos estudantes uma obra do artista Juan Miró e propôs uma atividade de releitura.
Levando-se em conta o conceito de releitura em uma perspectiva contemporânea do ensino de artes, conclui- -se que a proposta de releitura
Há uma hegemonia do visual no ensino de Arte que limita a leitura e a fruição estética de obras bidimensionais por pessoas com deficiência visual (DV). Diante desse cenário, coloca-se a necessidade de o professor, ao organizar práticas pedagógicas em arte para o aluno com DV, promover o desenvolvimento de sua cultura, sensibilidade, criatividade e conhecimentos.
Como uma estratégia de acessibilidade que possibilita a leitura e a fruição estética de obras de arte planas para estudantes deficientes visuais, de forma a respeitar sua autonomia, destaca-se a
I - Fundamentando II - Interpretando III - Revelando IV - Descrevendo
P - Incentiva a busca por conhecimentos adicionais em campos teóricos, como história da arte, ou conteúdos relativos à crítica da arte, contextos, autor, época e obras em questão. Q - Possibilita a materialização pelo estudante dos aprendizados construídos, por meio da construção de uma produção de sua autoria. R - Possibilita a interpretação da obra e a correlação de sentimentos, ideias ou sensações pelos estudantes, a partir da imagem em questão. S - Favorece a observação da obra analisada e sua investigação, por meio de anotações sobre os detalhes visualmente percebidos. T - Promove a identificação e a comparação dos elementos de estrutura e organização de composição da obra analisada.
As associações corretas são:
De acordo com a Convenção para a Salvaguarda do Patrimônio Cultural Imaterial da Unesco, de 17 de outubro de 2003, patrimônio imaterial são
[...] as práticas, representações, expressões, conhecimentos e técnicas – junto com os objetos e lugares culturais que estão ligados a essas tradições – que as comunidades e grupos reconhecem como parte de sua cultura. Esse patrimônio é passado de geração em geração e é recriado constantemente pelas comunidades, o que ajuda a criar um sentimento de identidade e continuidade, além de promover o respeito à diversidade cultural e à criatividade humana.
Disponível em: https://bcr.iphan.gov.br/bem-cultural-imaterial/. Acesso em: 01 fev. 2026.
Quando um bem cultural de natureza imaterial é reconhecido pelo Instituto do Patrimônio Histórico e Artístico Nacional (Iphan) como Patrimônio Cultural do Brasil, ele é oficialmente registrado, assumindo-se o compromisso institucional de sua preservação e valorização. Os bens imateriais brasileiros podem ser inscritos em quatro categorias de registros, denominadas livros das
Lygia Clark negou, na expressão da sua arte, o quadro como um apoio para a representação, afirmando-o como objeto-símbolo. Ao criar os Bichos, a artista transita em espaços da arte não desbravados. Para o crítico Ferreira Gullar, o trabalho de Lygia Clark cria uma categoria de obra definida por ele como um não-objeto.
Na arte Neoconcreta, o não-objeto de Lygia Clark
A artista Anitta Malfatti, expoente do Modernismo Brasileiro, contribuiu para as bases de novas estéticas visuais com sua poética particular. Suas cinquenta e três obras expostas em sua segunda exposição individual, na cidade de São Paulo no ano de 1917, impactaram a vida artística do país e abriram caminho para a Semana da Arte Moderna, ocorrida em 1922.
Na produção artística de Anita Malfatti,
Até poucas décadas atrás, a oportunidade de se consumir arte estava restrita aos museus, espaços culturais. A arte e a produção de imagens estavam atreladas aos ateliers e escolas de arte. Hoje, a arte está nas ruas, as imagens povoam as telas dos celulares e os vídeos na internet. Produzir imagens é algo cotidiano, e ser artista envolve outros contextos de produção e consumo. Diante desse novo paradigma, é importante a reflexão sobre as metodologias de ensino de arte. Sobre o tema, Sardelich afirma:
Não cabe mais ao/à educador/a se perguntar o que as/os educandas/os não sabem e propor-se a ensinar- -lhes, e sim o que já sabem e como é possível ampliar as conexões, para que, juntos, possam organizar outros discursos com os saberes-mosaico que todos possuem. Mais do que pensar em representações e artefatos, interessa ao/à educador/a saber o que o grupo de trabalho, que inclui educandas/os e educadoras/ es, quer aprender e o que pode aprender.
SARDELICH, M. E. Leitura de imagens, cultura visual e prática educativa. Cadernos de Pesquisa, v. 36, n. 128, p. 451-472, maio/ago. 2006.
Esse trecho refere-se ao conceito de
Segundo Derdyk,
[...] é fundamental que o arte-educador reconheça em si a capacidade de exercer o ato criativo de forma tão natural quanto comer, dormir e sonhar. O arte-educador, que vivencia o desenho como potência expressiva e poética, dificilmente incorrerá em erros grosseiros de interpretação e avaliação de um desenho.
DERDYK, Edith. Formas de pensar o desenho: desenvolvimento do grafismo infantil. São Paulo: Panda Educação, 2010. Adaptado.
Nesse contexto, o desenho, como linguagem que habita o espaço escolar,
O Manto Tupinambá, símbolo sagrado e elemento central da cultura do povo Tupinambá, foi repatriado ao Brasil em julho de 2024, após mais de 300 anos exposto no Museu da Dinamarca. Esse artefato, confeccionado com penas de guarás, papagaios, araras-azuis e amarelas, possui cerca de 1,20 metro de altura por 80 centímetros de largura. A presença de bens indígenas brasileiros em museus europeus expõe séculos de colonização e expropriação impostas às culturas indígenas.
É um desafio para todos os povos do Brasil, que tiveram seus bens levados sem qualquer consulta, consentimento prévio ou liberdade de opinar. Estamos hoje recebendo o Manto Tupinambá. Isso é motivo de alegria não somente para os povos que estão aqui, mas para todos os povos indígenas do Brasil. A repatriação é importante para o nosso país, a repatriação é uma reparação de dívidas com os povos indígenas, porque traz de volta a fortaleza, a intensidade, a cultura, pontuou a presidenta da Funai, Joenia Wapichana.
Disponível em: https://www.gov.br/funai/pt-br/assuntos/ noticias/2024/manto-tupinamba-governo-federal-celebra- -retorno-do-artefato-sagrado-ao-brasil-e-reafirma-direitos- -indigenas-como-uma-prioridade. Acesso em: 25 jan. 2026.
Nesse contexto e considerando-se o conceito de agência indígena, a arte dos povos indígenas
Os processos avaliativos para o ensino de artes visuais possuem estratégias específicas e conhecê-las é de grande relevância para o trabalho docente.
Dentre as estratégias avaliativas em artes, a avaliação autêntica é aquela que
Depois dos “ready-made” de Duchamp, a arte nunca mais voltou a ser a mesma. Com ele, o ato criativo foi reduzido a um nível espantosamente rudimentar: à decisão singular, intelectual e largamente aleatória de chamar “arte” a este ou aquele objeto ou atividade. Duchamp deu a entender que a arte podia existir fora dos veículos convencionais e “manuais” da pintura e da escultura, e para além das considerações de gosto; seu ponto de vista era que a arte se relacionava mais com as intenções do artista do que com qualquer coisa que ele fizesse com as próprias mãos ou sentisse a respeito de beleza.
SMITH, Roberta. Arte Conceitual. In: Conceitos da Arte Moderna: com 123 ilustrações. Rio de Janeiro: Jorge Zahar, 1991. p. 2 - 3. Adaptado.
O trecho acima se refere ao seguinte movimento da segunda metade do século XX:
Durante mil anos da Era Cristã, formaram-se na bacia amazônica sociedades complexas — chefias ou cacicados. Essas culturas da floresta tropical eram cultivadoras de raízes, em especial de mandioca, além de dominarem técnicas decorativas diversas, a partir da produção em cerâmica.
Dentre as culturas ceramistas pré-cabralinas da região Amazônica está a
A chegada da corte portuguesa ao Brasil, em 1808, trouxe profundas transformações para o cenário artístico nacional. Em 1816, foi criada a Academia Real de Artes e Ofícios, precursora da Academia de Belas Artes, com o objetivo de modernizar culturalmente a nova sede do império português.
Considerando-se as relações étnico-raciais no contexto brasileiro, a criação da Academia Real de Artes e Ofícios
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