In the truth, this orientation in the world alone really can be understood in the unit dialectic between subjectivity and objetividade. Thus understood, the orientation in the world puts the question of the purposes of the action to the level of the critical perception of the reality. That is, the art is not a vital element, without it is capable to keep our biological functions if developing perfectly or to come back toward house one day tiring after of work. This because the art is not vital to the body, is vital to the soul, the critical and innovative spirit, the sensible one, the mind; it is vital to the essence that in them becomes beings more ' ' completos' ' /' ' globalizados' ' to all. As the poet Mrio de Andrade spoke well: ' ' the art is not a vital element, but an element of vida' '. 2. Ambient education and aesthetic Sensitivity the Ambient Education, in the definition of Loureiro (2002), is about ' ' prxis educative and social that have for purpose the construction of values, concepts, abilities and attitudes that make possible the agreement of the life reality and the discerning and responsible performance of social and collective actors in ambiente' '. This conception is also found in Treated to Ambient Education for Sustainable Societies and the Global Responsibility, produced during the ECO-92, which considers Educao Ambiental (EA) as a continuous process based in the love to all forms of life and character integrator, critic, innovator, cooperative and promoter of the transformation and construction of society more jousts, sustainable and beautiful. Arajo and Jniors (2006, p.10-12) believe that the affection and the love to the nature are the way for the construction of more sustainable societies. To explain this conception the authors weave reflections regarding what he would be and as to reach what they call ' ' ecological conscience encarnada' ' , in the direction of the relation with the not human other.