{"id":10800,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1996\/01\/01\/la-linea-incandescente-nihilismo-y-utopia-en-los-procesos-creativos-del-artista-contemporaneo\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"la-linea-incandescente-nihilismo-y-utopia-en-los-procesos-creativos-del-artista-contemporaneo","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/la-linea-incandescente-nihilismo-y-utopia-en-los-procesos-creativos-del-artista-contemporaneo\/","title":{"rendered":"La linea incandescente: nihilismo y utopia en los procesos creativos del artista contemporaneo."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Moleon Viana Miguel Angel <\/strong><\/h2>\n<p>La presente investigacion es un recorrido congnitivo-vital a traves del arte. Partiendo de la creacion de un agente de conocimiento, \u00abel artista simbolico\u00bb, se realizan una serie de analisis que completan tres estaciones fundamentales:  1. La cartografia sobre la que se mueve aqui y ahora el artista.  2. La posibilidad de que el \u00abespiritu de la epoca\u00bb, fundamentalmente nihilista, reciba lecturas positivas del vacio\/nada.  3. La existencia de comportamientos artisticos que encuentran como eje el vacio y la nada bajo su caracterizacion de utopicos.  se plantea un modelo de comportamiento artistico, una poetica abierta, bajo la denominacion de \u00abciclo poetico incandescente\u00bb, cuyas principales estaciones son:  1. La instalacion en el vacio utopico. 2. El salto al abismo. 3. La compenetracion con el origen. 4. La comprension de energia, materia y forma; y la realizacion de proposiciones artisticas lucidas, criticas y responsables.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La linea incandescente: nihilismo y utopia en los procesos creativos del artista contemporaneo.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La linea incandescente: nihilismo y utopia en los procesos creativos del artista contemporaneo. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Moleon Viana Miguel Angel <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Granada<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1996<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Pedro Osakar Olaiz<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Tolosa Mar\u00edn Jos\u00e9 Lu\u00eds <\/li>\n<li>Jos\u00e9 Chavete Rodriguez (vocal)<\/li>\n<li>Rom\u00ed\u00a0 De La Calle De La Calle (vocal)<\/li>\n<li>Jes\u00fas Rubio Lapaz (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Moleon Viana Miguel Angel La presente investigacion es un recorrido congnitivo-vital a traves del arte. Partiendo de [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[147,104,1014,222,3806,1111],"tags":[21931,6495,35759,4160,16851,7360],"class_list":["post-10800","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-historia","category-historia-del-arte","category-historias-especializadas","category-pintura","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-jesus-rubio-lapaz","tag-jose-chavete-rodriguez","tag-moleon-viana-miguel-angel","tag-pedro-osakar-olaiz","tag-romi-de-la-calle-de-la-calle","tag-tolosa-marin-jose-luis"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/10800","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=10800"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/10800\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=10800"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=10800"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=10800"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}