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Paulo Freire

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"In problem-posing education, people develop their power to perceive critically the way they existin the world with which and in which they find themselves; they come to see the world not as a static reality, but as a reality in process, in transformation."
--
Chapter 2

 
Paulo Freire

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Of greatest significance to me has been the insight that I attained as a fundamental understanding from all of my LSD experiments: what one commonly takes as "the reality," including the reality of one's own individual person, by no means signifies something fixed, but rather something that is ambiguous — that there is not only one, but that there are many realities, each comprising also a different consciousness of the ego.
One can also arrive at this insight through scientific reflections. The problem of reality is and has been from time immemorial a central concern of philosophy. It is, however, a fundamental distinction, whether one approaches the problem of reality rationally, with the logical methods of philosophy, or if one obtrudes upon this problem emotionally, through an existential experience. The first planned LSD experiment was therefore so deeply moving and alarming, because everyday reality and the ego experiencing it, which I had until then considered to be the only reality, dissolved, and an unfamiliar ego experienced another, unfamiliar reality. The problem concerning the innermost self also appeared, which, itself unmoved, was able to record these external and internal transformations.
Reality is inconceivable without an experiencing subject, without an ego. It is the product of the exterior world, of the sender and of a receiver, an ego in whose deepest self the emanations of the exterior world, registered by the antennae of the sense organs, become conscious. If one of the two is lacking, no reality happens, no radio music plays, the picture screen remains blank.

 
Albert Hofmann
 

"Problem-posing education affirms men and women as beings in the process of becoming."

 
Paulo Freire
 

Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical. And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence.

 
Patrick Swift
 

...she recreated the mountains not as she had originally seen them but as she eventually chose to perceive them, not only a capacity to observe the world but a capacity to alter his or her observation of it — which, in the end, is the capacity to alter the world, itself. Those people who recognise that imagination is reality's master, we call "sages," and those who act upon it, we call "artists."

 
Tom Robbins
 

"People will be truly critical if they live in the plenitude of the praxis, that is, if their action encompasses a critical reflection which increasingly organizes their thinking and thus leads them to move from a purely naive knowledge of reality to a higher level, one which enables them to perceive the causes of reality."

 
Paulo Freire
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