El videoarte como herramienta pedagógica

Abstract

Drawing a parallel with the postulates of Lev Vygotsky, considered a precursor
of social constructivism, this article proposes to investigate the history and evolution of
video art as an educational tool that allows students to create a visual art work in response
to a given problem situation.
Since its inception in the ´60s, video art was conceived as a form of critical artistic expression of political and cultural society. The avant-garde video artists seized the tool for
getting a visual discourse from which they could have their own voice. Then, as a form of
expression, video art students will allow a critical reading of his own reality and communicate a point of view on it, explaining the visual form of knowledge construction process.
In addition, considering the audiovisual as an universal discourse, the research will seek to
ascertain whether video art can function as a bridge to reconnect the two generations divided by the turn of the millennium and the digital age: digital natives and digital immigrants.
Finally, the aim of this work is to investigate in the history of video art the discursive
production of videographers, especially the work of Nam June Paik and the Fluxus group
to construct, from this analysis, an ideal educational tool, investigating the use of new
technologies in education, especially those concerning the design of multimedia and audiovisual speech.