If the appearance of digital images does not coincide with what they look like when they are presented as authentic photos or videos, we must reflect on concepts such as mimesis, truth, Artificial Intelligence and impersonation, something that is currently gaining prominence in the education of teachers and university professors. The current study presents the results of a research focused on the scope and knowledge of the so-called ‘deepfake images’ by the university student body of the Visual and Plastic Education subject, in the Graduate Certificate in Primary Education, and the student body of the Activity Design subject, in the master’s degree in Secondary Education—Specialty in Drawing, in the subject of Activity Design, University of Zaragoza. To do so, a quasi-experimental design with qualitative methodology was used, in which of 100 students participated. As a data collection strategy, reports were used, based on semi-structured questions, for the analysis of the development of critical thinking. The achieved results allow us to verify that deepfakes put forward an innovation in the study by university classrooms. The use of these deepfake representations is a novel issue that generates some moral and ethical controversy due to the different uses it can have, where the age of the interpreter is a differentiating factor for the knowledge and the possibilities that these imaginaries present. Therefore, it is a work area belonging to the field of artistic education on which little exploration and research has been conducted. Based on the obtained results, we conclude that there is currently a better awareness on the part of artistic education, and of education itself, in general terms, regarding the knowledge by the students, the relevance of its use, and the possibilities of these technological tools, both in their creative aspect and their misinformative ones.

This study was conducted among undergraduate students pursuing a Primary Education degree at the University of Zaragoza. Its primary aim was to enhance and elevate the quality of participation during theoretical sessions, thereby fostering meaningful learning that contributes to the improvement of academic performance among the participants. To achieve this objective, a quasi-experimental case study was meticulously crafted. This research design was structured to not only stimulate and augment participation but also to cultivate meaningful learning, ultimately enhancing students’ academic achievements. The study employed a comprehensive approach to monitor participation, utilizing observation records to track engagement levels, and anecdotal records to delineate the progression of sessions and the quality of responses. Through meticulous analysis, it can be deduced that the integration of thinking routines as a pedagogical tool in expository sessions significantly enhances student engagement. These routines effectively activate students’ prior knowledge, establishing meaningful connections with the subject matter at hand. Moreover, the incorporation of thinking routines has been observed to elevate the quality of student participation. By fostering reflective practices, aiding in the formulation of inquiries, promoting collaborative learning, and nurturing critical thinking skills, these routines play a pivotal role in enriching the educational experience and bolstering academic performance.

Introducción. El objeto de este trabajo es presentar un estado del arte de la Educación Artística en Red y dibujar su ecosistema pedagógico. Método. A partir de las investigaciones más destacadas nacionales e internacionales que tratan la Educación Artística en Red reflexionamos los cuatro modelos educativos en los que se genera formación artística incorporando lo digital: e-learning, b-learning, m-learning y u-learning. Ampliamos la terminología con relación a la figura del docente e identificamos los contextos formativos de experiencias en red. Desde ahí dibujamos el ecosistema pedagógico del modelo. Resultados. Los datos analizados nos permiten identificar que la Educación Artística en Red no implica solo experiencias en digital, ya que supone un modelo que puede estar abierto a la presencialidad y a las experiencias propias del arte que ocurren en persona y entre personas. Discusión/conclusiones. El auge de la Educación Artística en Red indica que las universidades deben acometer una oferta coherente desde el arte para los futuros docentes acorde a la contemporaneidad educativa del siglo XXI y en línea con las Pedagogías Digitales. Empero, se deben comprender los límites y alcances de esta formación desde las complejidades y necesidades propias del arte, para desde ahí diseñar una Educación Artística en Red de calidad.

La necesidad de integrar los distintos saberes para que los futuros maestros de educación primaria trabajen de manera globalizada en las aulas responde a las necesidades del presente. La constante disolución de las fronteras de los mundos físicos y digitales requiere que sepamos adaptarnos al mundo en el que vivimos de manera consciente. En este sentido, Ohlenschläger, en su etapa como directora de LABoral Centro de Arte y Creación Industrial de Gijón trae al frente una propuesta iniciada anteriormente en MediaLab Madrid que, tomando como referencia espacios como el ZKM alemán, de educación transdisciplinaria, asume que estamos inmersos en un proceso de transformación en los modelos educativos que puede situarse en torno a una comprensión desde las artes. Por ello, el artículo aborda la transdisciplinariedad didáctica desde la necesidad de integrarla para la adquisición de saberes y competencias, mediante la metodología STEAM (Sciences, Technology, Engineering, Art, Mathematics), en el alumnado de todas las etapas. Para ejemplarizarlo, se presentan algunos de los proyectos didáctico-artístico-científicos que se sitúan como auténticos baluartes de innovación y transgresión, puestos ya en práctica en el Rhode Island School of Design a principios del siglo XXI y que, sin embargo, no han tenido eco ni difusión en España hasta la aprobación de la nueva ley educativa en 2022. Así, se atiende a estos enfoques metodológicos, añadiendo que es la tecnología la que se integra como parte fundamental del proceso de enseñanza-aprendizaje en nuestros días. Finalmente, presentamos unas conclusiones centradas en el desarrollo de una educación que pongan en práctica los futuros maestros para formar a los habitantes de la segunda mitad del siglo XXI.

This article presents the results of an investigation centered on the analyzing of the influence of the practice of Design Thinking practices on the development of artistic processes in high school students. The study took as its axis of inquiry a project carried out within the area of ​​Arts Education. The case study was used as a research methodology and documents analysis, observation, interviews and focus groups as information gathering strategies. The results achieved allow us to verify a learning based on doing, exploring and experimenting, in order to learn to learn. Based on the findings obtained, we conclude that Design Thinking forms a relevant methodological framework for the acquisition and development of competence. Este trabajo presenta los resultados de una investigación centrada en el análisis de la influencia que tiene la práctica del Design Thinking en el desarrollo de los procesos artísticos en estudiantes de Secundaria. El estudio tomó como eje de indagación un proyecto realizado dentro del área de Educación Plástica, Visual y Audiovisual. Se utilizó un estudio de caso como metodología de la investigación y el análisis de documentos, observación participante, entrevistas y grupos de discusión como estrategia de recogida de información. Los resultados alcanzados permiten constatar un aprendizaje sustentado en el hacer, explorar y experimentar, con la finalidad de aprender a aprender. A partir de los hallazgos obtenidos se concluye que el Design Thinking conforma un marco metodológico pertinente para la adquisición y desarrollo de competencias.

This article brings to the forefront a pedagogical experience developed through the Project Based Learning (PBL) methodology based on teaching practice with students in the subject of Visual and Plastic Education, in the second year of the Primary Education degree at the Faculty of Education of the University of Zaragoza. The aim of this project, which is part of the subject syllabus, was to learn about the didactic function of objects from their materiality as generators of knowledge in the understanding of complex phenomena. All of this, based on the current debates on the materiality of images, on the existing epistemological crossings that make up the current state of research into images; thus, this proposal explores the conceptual limits in the sense in which objects can be generators of knowledge from their own forms of appearing and in the direct confrontation between the object and the spectator, through the manipulation of the latter. From the findings obtained, it is concluded that the construction of objects for the acquisition of knowledge is ideal for the improvement of integrated and globalised learning, a current requirement of educational laws such as LOMLOE, forming a pedagogical scenario where the accent is placed on a renewed attention to images and their cognitive possibilities.