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The Animistic Vision in Education and Human Development by Daniel Arrhakis (2026)
The Animistic Vision in Education and Human Development
The place of animism in education has been evolving: it has ceased to be understood merely as a childhood “cognitive error” and has come to be recognized as a symbolic language capable of supporting freedom of learning, autonomy, and the child's connection with the world.
Today, animistic thinking can be seen as a bridge between children's imagination and the progressive development of critical, scientific, and relational thinking.
Pedagogical Perspective of Animism
In early childhood education, animism can function as a form of symbolic language that allows children to explore reality with curiosity, empathy, and imagination. Instead of being corrected immediately, it can be pedagogically mediated to promote meaningful learning.
Mediation tool: teachers can take advantage of the child's tendency to “give life” to objects and natural phenomena, introducing scientific and biological concepts in a playful way.
Respect for the stage of development: following the contributions of Jean Piaget, modern approaches recognize that children go through phases in which they confuse activity with life, gradually advancing towards a more objective understanding of living beings.
Holistic learning: animism favors the perception that the elements of the environment are interconnected, strengthening a deeper and more sensitive environmental education.
Freedom of learning and autonomy
The recognition of animistic thinking creates an environment in which the child feels authorized to formulate their own explanations about the world. This freedom stimulates curiosity, personal expression, and the gradual construction of autonomy.
Free exploration: values fundamental childhood rights, such as playing, exploring, imagining, and expressing ideas.
Development of agency: by interacting with the world as if it had intentions, the child develops empathy and a sense of responsibility for their actions.
Relationships with the non-human: animism allows for the creation of new ways of relating to animals, plants, rivers, objects, and natural phenomena, challenging excessively rigid or exclusively rationalistic teaching models.
Enchantment and reflection: imagination becomes a driving force for learning, allowing the child to learn through enchantment, investigation, and reflection, and not just repetition.
Animism in science education
In science education, animism can cease to be treated as a simple "childish belief" and become a pedagogical tool for empathy. It helps students in the early years develop ethical and environmental sensitivity even before mastering complex theoretical concepts.
1. Attributing agency to living beings
Instead of presenting plants and animals as static objects, the animistic approach highlights their activity, interdependence, and relationship with the environment.
The "will" of the plant: discussing how a young plant "seeks" light or directs its roots towards water and nutrients.
Plant communication: presenting relationships between fungi, roots, and trees as a network of communication and cooperation in the ecosystem.
Cooperation and symbiosis: exploring examples such as bees and flowers, the plover and the alligator, or lichens, showing how different living beings depend on each other.
A simple example is the relationship between bees and flowers: the bee collects nectar to produce honey and, as it moves between flowers, carries pollen on its legs, contributing to plant reproduction.
2. Personification to understand natural cycles
The personification of abiotic elements, such as water, rocks, or wind, can help the child visualize invisible or abstract natural processes.
The journey of the drop: creating narratives about the water cycle, representing evaporation, condensation, and rain as stages of a journey.
Ecological roles: assigning symbolic functions, such as "forest cleaners," to decomposers, facilitating the understanding of their role in the balance of ecosystems.
3. Interspecies Empathy
Animism can support the construction of an ecological ethic by bringing the child closer to other forms of life and reducing the distance between the "self" and the "other."
Animal perspective: propose activities such as "What if I were a bee?", leading the child to think about what the animal sees, seeks, and needs to survive.
Rights of nature: introduce the idea that rivers, forests, and other natural elements deserve care and protection.
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A visão animista na educação e no desenvolvimento humano
O lugar do animismo na educação tem vindo a evoluir: deixou de ser entendido apenas como um “erro cognitivo” infantil e passou a ser reconhecido como uma linguagem simbólica capaz de apoiar a liberdade de aprendizagem, a autonomia e a ligação da criança ao mundo.
Hoje, o pensamento animista pode ser visto como uma ponte entre a imaginação infantil e o desenvolvimento progressivo do pensamento crítico, científico e relacional.
Perspetiva pedagógica do animismo
Na educação infantil, o animismo pode funcionar como uma forma de linguagem simbólica que permite à criança explorar a realidade com curiosidade, empatia e imaginação. Em vez de ser corrigido de imediato, pode ser mediado pedagogicamente para favorecer aprendizagens significativas.
Ferramenta de mediação: os professores podem aproveitar a tendência da criança para “dar vida” a objetos e fenómenos naturais, introduzindo conceitos científicos e biológicos de forma lúdica.
Respeito pelo estágio de desenvolvimento: seguindo contributos de Jean Piaget, as abordagens modernas reconhecem que a criança passa por fases em que confunde atividade com vida, avançando gradualmente para uma compreensão mais objetiva dos seres vivos.
Aprendizagem holística: o animismo favorece a perceção de que os elementos do ambiente estão interligados, fortalecendo uma educação ambiental mais profunda e sensível.
Liberdade de aprendizagem e autonomia
O reconhecimento do pensamento animista cria um ambiente em que a criança se sente autorizada a formular explicações próprias sobre o mundo. Essa liberdade estimula a curiosidade, a expressão pessoal e a construção gradual da autonomia.
Exploração livre: valoriza direitos fundamentais da infância, como brincar, explorar, imaginar e expressar ideias.
Desenvolvimento da agência: ao interagir com o mundo como se este tivesse intenções, a criança desenvolve empatia e sentido de responsabilidade pelas suas ações.
Relações com o não humano: o animismo permite criar novas formas de relação com animais, plantas, rios, objetos e fenómenos naturais, desafiando modelos de ensino demasiado rígidos ou exclusivamente racionalistas.
Encantamento e reflexão: a imaginação torna-se um motor da aprendizagem, permitindo que a criança aprenda pelo encantamento, pela investigação e pela reflexão, e não apenas pela repetição.
Animismo no ensino das ciências
No ensino das ciências, o animismo pode deixar de ser tratado como uma simples “crença infantil” e tornar-se uma ferramenta pedagógica de empatia. Ele ajuda os alunos dos anos iniciais a desenvolverem sensibilidade ética e ambiental antes mesmo de dominarem conceitos teóricos complexos.
1. Atribuição de agência aos seres vivos
Em vez de apresentar plantas e animais como objetos estáticos, a abordagem animista destaca a sua atividade, interdependência e relação com o ambiente.
A “vontade” da planta: discutir como uma planta jovem “procura” a luz ou orienta as raízes em direção à água e aos nutrientes.
Comunicação vegetal: apresentar relações entre fungos, raízes e árvores como uma rede de comunicação e cooperação no ecossistema.
Cooperação e simbiose: explorar exemplos como as abelhas e as flores, o pássaro-palito e o jacaré, ou os líquenes, mostrando como diferentes seres vivos dependem uns dos outros.
Um exemplo simples é a relação entre abelhas e flores: a abelha recolhe o néctar para produzir mel e, ao deslocar-se entre flores, transporta pólen nas patas, contribuindo para a reprodução das plantas.
2. Personificação para compreender ciclos naturais
A personificação de elementos abióticos, como a água, as rochas ou o vento, pode ajudar a criança a visualizar processos naturais invisíveis ou abstratos.
A viagem da gota: criar narrativas sobre o ciclo da água, representando a evaporação, a condensação e a chuva como etapas de uma viagem.
Papéis ecológicos: atribuir funções simbólicas, como “limpadores da floresta”, aos decompositores, facilitando a compreensão do seu papel no equilíbrio dos ecossistemas.
3. Empatia interespécies
O animismo pode apoiar a construção de uma ética ecológica ao aproximar a criança de outras formas de vida e ao reduzir a distância entre o “eu” e o “outro”.
Perspetiva animal: propor atividades como “E se eu fosse uma abelha?”, levando a criança a pensar no que o animal vê, procura e necessita para sobreviver.
Direitos da natureza: introduzir a ideia de que rios, florestas e outros elementos naturais merecem cuidado e proteção.
"You've got a way with words
Maybe it's charming
Text during the party
Sure that could suffice
You know just what to say
Write letters for me
But it's kinda boring
When I can't see your face
You call to flatter me all night, all night
But I don’t know if you can speak my, speak my
Body language (Do ya)
Get impatient (Would ya)
Hate it if I wanna keep a little of this tension
I'm not saying (That I)
Want you baby (But ya)
Make me question all other forms of communication
Body language
La-da-da-da-da-da
La-da-da-da
La-da-da
Pause the adrenaline
Thinking you know me
Baby, that's so sweet
Where do I begin?
Don't wanna throw you off
But I can't just play along
So tell me if I should pick up when
You call to flatter me all night, all night
But I don’t know if you can speak my, speak my
Body languagе (Do ya)
Get impatient (Would ya)
Hate it if I wanna keep a littlе of this tension
I'm not saying (That I)
Want you baby (But ya)
Make me question all other forms of communication
Body language
La-da-da-da-da-da
La-da-da-da
La-da-da
Body language
La-da-da-da-da-da
La-da-da-da
La-da-da
What's loudest is what isn't said
You shower me with compliments
Yeah, look at me with common sense
(Look at me, look at me now)
What's loudest is what isn't said
The joke's on me, let's not pretend
I want to want you more than friends
But baby, can you comprehend my
Body language (Do ya)
Get impatient (Do you get impatient?)
Hate it if I wanna keep a little of the tension (I kinda want the tension)
I'm not saying (No, I'm not saying)
I want you baby (But ya)
Make me question all other forms of communication
Body language
La-da-da-da-da-da
La-da-da-da
La-da-da (What isn't said, boy)
Body language
La-da-da-da-da-da (Oh)
La-da-da-da (I don't know your)
La-da-da (I don't know your)
Body language"
Lyrics Source:
genius.com/Alexa-cappelli-body-language-lyrics
Video:
Inside the huge 57 metre convex concrete column that symbolises the growth of the Afrikaans language and which dominates the Afrikaans Language Monument near Paarl.
The Afrikaans Language Monument (Afrikaans: Afrikaanse Taalmonument) is located on a hill overlooking Paarl, Western Cape Province, South Africa. Officially opened on 10 October 1975, it commemorates the semicentenary of Afrikaans being declared an official language of South Africa separate from Dutch. Also, it was erected on the 100th anniversary of the founding of Genootskap van Regte Afrikaners (the Society of Real Afrikaners) in Paarl, the organisation that helped strengthen Afrikaners' identity and pride in their language.
The monument, surprisingly post-modern for the product of an authoritarian right-wing state, consists of various tapering structures of a convex and concave nature, symbolising the influences of different languages and cultures on Afrikaans itself, as well as political developments in South Africa, as follows:
* three columns symbolise the European heritage of the language. The columns are from high to low to illustrate Europe’s diminishing influence on Afrikaans.
* three convex mounds on a podium symbolise the African influences on the language
* a wall on the stairway symbolises the influence of the Malay language and culture, placed between the curves of Western Europe and Africa as a separate entity. Yet it forms a unity with the two forces of Western Europe and Africa that merge to form the bridge that symbolically depicts the roots of Afrikaans.
* the highest column (about 57m high) symbolises the growth of Afrikaans and is open at the top. The other writer that inspired the architect, CJ Langenhoven, wrote that Afrikaans grows like a “fast-rising arch”; the second very high column represents South Africa and the declaration of the Republic of South Africa in 1960.
There is also an open stadium at the bottom of the structure where concerts and events are held.
This description incorporates text from the English Wikipedia and the official Afrikaanse Taalmuseum & -monument website.
I spent a few hours wandering this UNESCO heritage listed site with fellow photographer, Kent Johnson. This wall looks like it could tell a few stories.
A major drawcard is the UNESCO World Heritage listed Convict Site, which provides a window into the era when Cockatoo Island was a convict gaol (1839-69). Further highlights include a waterfront campground, licensed cafes, a historic dockyard, holiday houses and apartments, guided and self-guided tours and exciting seasonal events.
The island connects to the waterways and homelands of the Wallumedegal, Wangal, Cammeraygal and Gadigal peoples. During the 60,000 years leading to European settlement, the island was a meeting place for these groups. They have the Dharug language in common and, in Dharug, Cockatoo Island is known as Wareamah.
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One of several projects, that explore photography as evidence amongst other ideas. Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. |
Title in other languages:
Deutsch: Feld und Bäume
English: Field and trees
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
Glen Coe is a glen in the Highlands of Scotland.
It lies in the southern part of the Lochaber committee area of Highland Council, and was formerly part of the county of Argyll. It is often considered one of the most spectacular and beautiful places in Scotland, and is a part of the designated National Scenic Area of Ben Nevis and Glen Coe. The narrow glen shows a grim grandeur.
The glen, approaching from the east on the main A82 road, is surrounded by wild and precipitous mountains. Further west at Invercoe, the landscape has a softer beauty before the main entrance to the glen. The main settlement is the nearby village of Glencoe located in Carnoch.
The name Glen Coe is often said to mean "Glen of Weeping", perhaps with some reference to the infamous Massacre of Glencoe which took place there in 1692. However, "Gleann Comhann" does not translate as "Glen of Weeping". In fact the Glen is named after the River Coe which runs through it, and bore this name long before the 1692 incident. The name of the river is believed to predate the Gaelic language and its meaning is not known. One possibility is that it was named after a tribe once living in the area; however this remains speculation.
Horned Beetle or Rhipicera femorata
Rhipicera male beetle has a multi-segmented antennae that is a perfume sensing device to help locate a female Rhipicera. We observed one little chap trying to hone in on a female that was resting on a twig on our garden shrub. He took about 10 minutes flying around to finally reach his partner from less than a metre away. She doesn't have a perfume sensing antennae otherwise I am sure she would have known he was nearby and then she could have waved to him or called in beetle language, "Hi! I'm over here!"
But no. She was so nonchalant sitting on that twig whilst emitting faint bursts of beetle gas. Thank God his multi-segmented perfume sensing radar was working.
Photo: Fred
The language of flowers
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Photos and textures used are my own.
Riomaggiore (Rimazùu in the local Ligurian language) is a village and comune in the province of La Spezia, situated in a small valley in the Liguria region of Italy. It is the first of the Cinque Terre one meets when travelling north from La Spezia.
The village, dating from the early thirteenth century, is known for its historic character and its wine, produced by the town's vineyards. Riomaggiore is in the Riviera di Levante region and has shoreline on the Mediterranean's Gulf of Genoa, with a small beach and a wharf framed by tower houses. Riomaggiore's main street is Via Colombo, where numerous restaurants, bars and shops can be found.
The Via dell'Amore is a path connecting Riomaggiore to its frazione Manarola, also part of the Cinque Terre.
Riomaggiore is the most southern village of the five Cinque Terre, all connected by trail. The water and mountainside have been declared national parks.
Riomaggiore inspired paintings by Telemaco Signorini (1835-1901), one of the artists of the Macchiaioli group.
From Wikipedia, the free encyclopedia
Second Street, Brompton
Brompton resident Edward Michael Thulborn was a man who attracted his share of trouble with the law. Born in 1896, in 1914 he was convicted of using indecent language and drunkenness at a picture show. Convicted in 1921 of assaulting police at Gawler, in 1926 he alleged that police had accepted bribes from him resulting in the government instigating a lengthy Bribery Commission.
Another charge of assaulting police in 1939 was dismissed when Thulborn was able to demonstrate that it was unlikely.
In 1949 Thulborn was back in court charged with jury rigging. At the time he was operating a fruit shop on Second St in Brompton Park Extension.
Source: www.weekendnotes.com/bowden-and-brompton-now-and-then/
my body language - flirting gestures fidget
14 options for hands, random play, 7 anims for each hand.
Each piece is included in the pack.
✨ Working with: any bento hands/bodies, fidget is affecting only hands/arms. Demo stands are available. Sample: gyazo.com/f846356903d76282220bd8d13c707c68
Time HUD in the pack: repeating every 30, 60, 90, 120 secs
Mix&match option: put your fav ones in rezz item.
All animations are in the pack as loop/non-loop versions.
📍 Will be available at Kinky Event from Feb, 28.
💘 Thanks for shining. Glad you’re here.
___________________
🎉 GIVEAWAY TIME! 🎉
Want to win the fatpack? Here's how:
✔ Follow me
✔ Like this post
✔ Leave a comment
🎁 5 lucky winners will be announced on March, 5.
🔥 Boost your chances by entering on Facebook & Primfeed & Flickr.
I love the names given to many of the Maritime areas and this one is no exception. The colors that remained after the sun had set where pastel blue and bright intense orange. Nature sure can give us a terrific show in the evening. Hey, what is the only word in the English language that has no rhyming word? Orange.
Have a good Remembrance Day
Palermo’s Palazzo delle Poste e Telegrafi (1929–1934)
Your frontal composition is perfect for this building because it was conceived as a demonstration of strict order and modular clarity. Designed by Angiolo Mazzoni in the language of Italian Rationalism, the post-and-telegraph headquarters asserts itself on Via Roma with a deep, temple-like portico of ten colossal columns and a heavy entablature. Behind that disciplined façade is a reinforced-concrete frame clad in locally quarried Billiemi stone, laid out with rigorous symmetry around two side courtyards. The frontality of your shot heightens the building’s serial rhythm—the equal intercolumniation, the stacked horizontal bands, and the measured void of the portico—which are all about efficiency, legibility, and civic monumentality. Even small details were designed for coherence, from the custom metalwork to the calibrated lighting, and the entrance sequence pivots around a large elliptical staircase that dramatizes movement within an otherwise tightly ordered plan.
Wikipedia
Wikipedia
Balarm.it
dialecticsofmodernity.manchester.ac.uk
The interiors extend this programmatic clarity into a visionary register: the Conference Room carries five Futurist panels by Benedetta Cappa Marinetti—a cycle on land, sea, air, telegraph and radio communications—made specifically for this building, with additional works by Tato and Piero Bevilacqua, plus a bronze Diana cacciatrice by Corrado Vigni. Reading the architecture through your frontal view, you’re foregrounding exactly what the project celebrates: communication, modern services, and a state-of-the-art public machine expressed through proportion, repetition, and an almost didactic symmetry—without needing any extra scenography.
Wikipedia
(Key dates for reference: construction 1929–1934; inauguration 28 October 1934.)
Wikipedia
Discover the hidden beauties of Greece! You can visit our websites: WWW.RECKONASBAVI.CZ TIP: Translate a page to your language with plugin in the right down corner :)
Bring it over to my place- ♪ ♫Click to listen♪ ♫
Get up, get up
Kiddominant on the beat, better run it back
Fuckin' Robitussin
I don't know why this shit got me lazy right now, yeah
Can't do Percocets or Molly
I'm turnin' one, tryna live it up here right, right, right
Baby, you can
Ride it, ooh, yeah
Bring it over to my place
And you be like
"Baby, who cares?"
But I know you care
Bring it over to my place
You don't know what you did, did to me
Your body lightweight speaks to me
I don't know what you did, did to me
Your body lightweight speaks to me
I can make it hurricane on it
Hunnid bands, make it rain on it
Tie it up, put a chain on it
Make you tattoo my name on it, oh
Make you cry like a baby, yeah
Let's GoPro and make a video, yeah
Make you cry like a baby, yeah
Let's GoPro and make a video
Oh, yeah, yeah, yeah, yeah
Baby, you can
Ride it, ooh, yeah
Bring it over to my place
And you be like
"Baby, who cares?"
But I know you care
Bring it over to my place
You don't know what you did, did to me
Your body lightweight speaks to me
I don't know what you did, did to me
Your body lightweight speaks to me
Baby, you can
Ride it, ooh, yeah
And you be like
"Baby, who cares?"
But I know you care
31/52 Saturdays of Love
"Love is a language spoken by everyone, but understood only by a heart." ~ Shirley Rindani
52 Weeks of Pix 2017
Week 5 of 52
Theme: Seven
Scrabble with seven seven times.
English - Seven
German - Sieben
French - Sept
Italian - Sette
Irish - Seacht
Welsh - Saith
Norwegian - Sju
Sorry for any errors but I'll blame Google Translate if there are any. ;-)
(My apologies if your favorite language was omitted.)