{"id":117495,"date":"2018-03-11T10:47:03","date_gmt":"2018-03-11T10:47:03","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/analisis-grafico-plastico-de-las-emociones-humanas-basado-en-el-facial-action-coding-system-o-facs\/"},"modified":"2018-03-11T10:47:03","modified_gmt":"2018-03-11T10:47:03","slug":"analisis-grafico-plastico-de-las-emociones-humanas-basado-en-el-facial-action-coding-system-o-facs","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/dibujo-y-grabado\/analisis-grafico-plastico-de-las-emociones-humanas-basado-en-el-facial-action-coding-system-o-facs\/","title":{"rendered":"An\u00e1lisis gr\u00e1fico-pl\u00e1stico de las emociones humanas basado en el facial action coding system o facs"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Ana Jose Pertegal Felices <\/strong><\/h2>\n<p>Resumen \tdesde la esfera de las bellas artes, las emociones manifestadas por el ser humano han sido un territorio complejo y de gran inter\u00e9s. Prueba de ello, lo tenemos con los estudios de dibujantes, anatomistas y fisi\u00f3logos desde el siglo xv hasta nuestros d\u00edas. En nuestro \u00e1mbito, tenemos constancia de muchos estudios y tratados interdisciplinares que intentan codificar y entender desde lo m\u00e1s objetivo el an\u00e1lisis de las emociones. En este proyecto de investigaci\u00f3n doctoral, pretendemos analizar exhaustivamente desde el dibujo, un m\u00e9todo que proviene del \u00e1mbito de la psicolog\u00eda y que creemos que necesita ser ilustrado gr\u00e1ficamente para comprobar su utilidad en el campo de las bellas artes y su aplicaci\u00f3n en la creaci\u00f3n art\u00edstica.  \tel planteamiento de esta tesis gira en torno al estudio desde el dibujo de las expresiones faciales de las emociones. Partimos del presupuesto de que la representaci\u00f3n gr\u00e1fico-pl\u00e1stica de las expresiones faciales de emociones discretas puede ser concretada a trav\u00e9s de procedimientos, metodolog\u00edas o sistemas precisos y fiables, que faciliten el aprendizaje y la comprensi\u00f3n de los mecanismos del movimiento facial. Nos proponemos, por tanto, revisar y adecuar la cuesti\u00f3n; asociar y aplicar las investigaciones y estudios actuales, sobre todo del campo de la psicolog\u00eda y antropolog\u00eda, que proporcionan t\u00e9cnicas y m\u00e9todos v\u00e1lidos; y de este modo verificar su pertinencia dentro de las bellas artes para su aplicaci\u00f3n en la creaci\u00f3n art\u00edstica.   \tpara ello, hemos establecido dos grandes fases de trabajo que est\u00e1n relacionadas con nuestros objetivos generales. En la primera, se realiza una revisi\u00f3n bibliogr\u00e1fica, descriptiva e hist\u00f3rica, donde hemos revisado diferentes investigaciones sobre la emoci\u00f3n que validan seis emociones b\u00e1sicas; se han explorado los estudios sobre el lenguaje no verbal, con la finalidad de establecer las conexiones entre los signos faciales r\u00e1pidos producidos por los cambios musculares y su significado; y se aborda el estudio de la anatom\u00eda regional de la cara y cabeza y las relaciones entre anatom\u00eda y emoci\u00f3n.   \tcon el prop\u00f3sito de conseguir un conjunto de dibujos v\u00e1lidos para la creaci\u00f3n art\u00edstica, establecemos como procedimiento de reducci\u00f3n el sistema de codificaci\u00f3n facial denominado facial action coding system (facs), que permite analizar y situar los signos que caracterizan la emoci\u00f3n; y utilizamos el m\u00e9todo veneciano antropom\u00e9trico de dibujo como base anat\u00f3mica. Se dibuja, construye y analiza la forma estructural de la cabeza y rostro a partir del m\u00e9todo veneciano y, sobre esta estructura necesaria, se aplican los fundamentos mec\u00e1nicos del facs y se identifican las pautas de movimiento que intervienen en las expresiones faciales de la emoci\u00f3n.  \ttras la validaci\u00f3n de las seis emociones b\u00e1sicas se presentan los resultados o el estudio gr\u00e1fico-pl\u00e1stico basado en el facs, que se corresponde con la segunda fase del trabajo, donde se analiza gr\u00e1ficamente la expresi\u00f3n y se presentan una serie de modelos \u00fatiles para la creaci\u00f3n art\u00edstica sustentados en sistemas y procedimientos actuales; nuestro objetivo principal al plantear el trabajo de investigaci\u00f3n.  \tel m\u00e9todo de an\u00e1lisis que se ha creado desde el dibujo anat\u00f3mico permite evitar el recurso de copia de imagen fotogr\u00e1fica o de otra fuente visual y proporciona herramientas suficientes para que el creativo pueda ahondar en los secretos de la percepci\u00f3n fisiogn\u00f3mica. Los procedimientos de reducci\u00f3n utilizados permiten estudiar gr\u00e1ficamente los cambios que caracterizan las emociones y facilitan el aprendizaje y la comprensi\u00f3n de los mecanismos del movimiento facial. Entend\u00edamos que se trataba de trabajar de lo general a lo particular a partir de m\u00e9todos deductivos, t\u00e9cnicas utilizadas en el presente estudio. La utilizaci\u00f3n del dibujo nos ha permitido eliminar la influencia de los signos faciales est\u00e1ticos, lentos y artificiales mediante la representaci\u00f3n de los elementos m\u00ednimos y necesarios para su configuraci\u00f3n y abstraer las caracter\u00edsticas generales de la emoci\u00f3n-expresi\u00f3n por encima de los signos faciales personales.  \tcomo conclusi\u00f3n, en este trabajo se pone de manifiesto la utilidad que supone asociar y aplicar los conocimientos y los avances en la investigaci\u00f3n sobre comunicaci\u00f3n no verbal al campo de las bellas artes y el dise\u00f1o, en general. Las investigaciones y estudios actuales proporcionan t\u00e9cnicas y m\u00e9todos v\u00e1lidos, sobre todo en el campo de la psicolog\u00eda o antropolog\u00eda, para la representaci\u00f3n gr\u00e1fico-pl\u00e1stica de la expresi\u00f3n emocional del rostro que nos permiten actualizar, por tanto, la disciplina acad\u00e9mica de la anatom\u00eda art\u00edstica y morfol\u00f3gica.   abstract \tfrom the field of fine arts, the emotions expressed by humans have been a complex area of great interest. Actually, we have several studies coming from artists, anatomists and physiologists from the fifteenth century to the present day. In our field, we are aware of many interdisciplinary studies and treatises that attempt to codify and understand from the most objective way the analysis of emotions. In this doctoral research, we analyze comprehensively from the drawing, a method that comes from the field of psychology and that we believe needs to be illustrated graphically for assessing its utility in the field of fine arts and its application in artistic creation.  \tthe approach of this thesis revolves around the study of drawing facial expressions of basic emotions. We start from the assumption that the plastic-graphic representation of facial expressions of discrete emotions can be concretized through procedures, methodologies or accurate and reliable systems that facilitate learning and understanding of the facial movement mechanisms. Therefore, we intend to review and adapt the question; associating and applying current research and studies on the field of psychology and anthropology, which provide technical and valid methods, and thus verifying their relevance within the fine arts for the application in artistic creation.   \tin order to do that, we have established two major phases of work that are related to our overall goals. In the first one, we made a descriptive and historical literature review. We reviewed various studies on emotion that validate six basic emotions; we also explored studies on nonverbal language, in order to establish connections between the rapid facial signals produced by muscle changes and their significance. We also addressed the study of regional anatomy of the face and head and the relationships between anatomy and emotion.  \tin order to get a valid set of artistic creation, we set as a reduction procedure a coding system called the facial action coding system (facs) to analyze and locate signs that characterize the emotion drawings, and we use the venetian anthropometric drawing method as anatomical basis. From the venetian method, the structural shape of the head and face are drawn, builded, and analyzed. On this necessary structure, the mechanical foundations of facs are applied, and movement patterns involved in facial expressions of emotion are identified.  \tonce the validation of the six basic emotions has been done, we present the results or the graphic-plastic work based on the facs, which corresponds to the second phase of the research. In this phase, we analyze the expression graphically, and present a number of useful models for artistic creation supported by systems and procedures: our main objective to raise this investigation.  \tthe method of analysis that has been created from the anatomical drawing avoids the use of the photographic image copy or other visual source, and provides sufficient tools for the creative can delve into the secrets of physiognomic perception. The reduction procedures used allow graphically studying the changes that characterize emotions and facilitate learning and understanding about the mechanisms of facial movement. We understood, as a way of work, a deductive approach: using techniques from the general to the particular. The use of the drawing has allowed eliminating the influence of facial static, slow and artificial signals through representing the minimum elements necessary for configuration, and abstracting the main characteristics of emotion-expression over the personal facial signs.  \tin conclusion, this work demonstrates the utility of associating and apply, in general, knowledge and advances in research on nonverbal communication to the field of fine arts and design. Current research and studies provide valid methods and techniques, especially in the field of psychology or anthropology, for graphic-plastic representation of the emotional facial expressions that allow updating, therefore the academic discipline of the artistic and morphologic anatomy.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>An\u00e1lisis gr\u00e1fico-pl\u00e1stico de las emociones humanas basado en el facial action coding system o facs<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 An\u00e1lisis gr\u00e1fico-pl\u00e1stico de las emociones humanas basado en el facial action coding system o facs <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Ana Jose Pertegal Felices <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Murcia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 21\/05\/2015<\/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>M\u00aa Luisa Pertegal Felices<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Juan Romera agull\u00f3 <\/li>\n<li>Mar\u00eda Luisa Hodgson torres (vocal)<\/li>\n<li>vicente Bar\u00f3n linares (vocal)<\/li>\n<li>Mar\u00eda Martinez Martinez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Ana Jose Pertegal Felices Resumen desde la esfera de las bellas artes, las emociones manifestadas por el 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