Stop-motion – uma experiência de (des)fragmentação no ensino de Filosofia a partir de Vilém Flusser e Paul Ricoeur

Abstract

Contemporaneity is crossed by an ambivalence: technologies, while expanding the possibilities of communication and knowledge, dissolve the continuity of experience, fragmenting it into scattered instants – shorts, reels, tweets, etc. In this tangle of discontinuous stimuli, perception is diluted and critical thinking is weakened. The question that arises is how to reconstruct experience in a time marked by disarticulation, especially in the context of Basic Education, where young people are immersed in this incessant flow. Faced with this challenge, this research proposes a re-signification of technological devices in philosophical-pedagogical practice, promoting an enlightened use that, instead of alienating, enhances critical thinking. To this end, stop-motion is adopted not just as an object of study, but as a practice and product – an exercise in recomposing temporality and experience. The theoretical basis is anchored in the reflections of Vilém Flusser, especially in his works “Philosophy of Photography” and “Into the Universe of Technical Images”, where he unveiled the workings of technical images and their programming power, showing how they reconfigure perception and lead to the fragmentation of experience. However, Flusser not only diagnoses, but suggests some clues for overcoming this process. It is in this interval that this dissertation moves towards Paul Ricoeur's narrative poetics, especially in his work “Time and Narrative”, where the triple mimese makes it possible to restore the cohesion of experience through narrative intelligence. Thus, if Flusser denounces the rupture of experiential continuity, Ricoeur offers ways to stitch it back together, anchoring the subject in a temporality endowed with meaning. The classroom experience therefore becomes a field for philosophical experimentation. Stop-motion emerges as a mediation between theory and practice, between the dispersion of images and the reconstruction of an integrated narrative. By moving between Flusser and Ricoeur, between fragmentation and cohesion, this dissertation seeks not only to understand the phenomena of technical time, but to offer a horizon for reconstruction, where experience, once frayed, can be recomposed in the narrative gesture. Finally, the challenges and results of this proposal are analyzed, reflecting on its pedagogical and philosophical implications. In this sense, stop-motion is not just presented as a learning product, but as a pedagogical model that can be replicated, rethought and adapted to Philosophy classes in Basic Education, broadening the possibilities for students’ critical training in the universe of technical images.