In this variegado panorama of concepts, resources, intentions and aspirations, are difficult to define unitariamente what it is Visual Culture. It is not enough to place ' ' visual' ' in the center of the concerns. On the other hand, the visual culture is a new idea, in part, because of the current inventory of images and technologies associates to global the virtual culture, of the new relations between human beings and its experiences as citizens in net and of the new levels of teorizao on visualidade (FREEDMAN & STUHR, 2004). On the other hand, the visual culture is an old idea painted with new inks, in part because of previous works in the art education of U.S.A. treating the relation between popular culture, new medias and social theory (CHAPMAN, 1967; LANIER, 1966a; MCFEE, 1961). In 1966, Lanier sharpened its critical on the concern of the art education with the erudite art arguing that some professors inculcam in pupils one ' ' standard of formulated taste stops adultos' ' (1966a, p.76). The conception of a cognitiva regression when, to an imposition of thoughts in the field of education and cultural learning.
To the look for the art as a possibility of study of the social one, being worried about the understanding of the possibilities to teach, to develop methods and of justifications for the study of the visual culture, McFee anticipated the education of the visual culture contemporary, affirms CHALMERS (2005, p.10). It seems evident in contrast for Duncum that the visual culture only is not interested in dealing with the appearance, but, with all the other forms of sensorial communication. Again, Duncum (2002b) observes that the social phenomenon of the visualidade shelters interactions between all the directions and, in this manner, the visual culture can not only direct its attention to the facts and visual devices you observed, but also the different ways and diverse contexts of the vision, the visual representation and its mediaes.