{"id":117837,"date":"2015-10-07T00:00:00","date_gmt":"2015-10-07T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/arte-medioambiental-y-ecologa%c2%ada-paradigmas-de-comprension-interpretacion-y-valoracion-de-las-relaciones-entre-arte-y-ecologa%c2%ada-1960-2015\/"},"modified":"2015-10-07T00:00:00","modified_gmt":"2015-10-07T00:00:00","slug":"arte-medioambiental-y-ecologa%c2%ada-paradigmas-de-comprension-interpretacion-y-valoracion-de-las-relaciones-entre-arte-y-ecologa%c2%ada-1960-2015","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/escultura\/arte-medioambiental-y-ecologa%c2%ada-paradigmas-de-comprension-interpretacion-y-valoracion-de-las-relaciones-entre-arte-y-ecologa%c2%ada-1960-2015\/","title":{"rendered":"Arte medioambiental y ecolog\u00eda. paradigmas de comprensi\u00f3n, interpretaci\u00f3n y valoraci\u00f3n de las relaciones entre arte y ecolog\u00eda (1960-2015)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mar\u00eda  Carmen Marin Ruiz <\/strong><\/h2>\n<p>Desde hace d\u00c2\u00bfcadas, las manifestaciones art\u00c2\u00bfsticas relacionadas con el paisaje o con el mundo vivo, vienen siendo vinculadas a diversas preocupaciones ambientales y a las cuestiones ecol\u00c2\u00bfgicas, que esas preocupaciones han suscitado. Este tipo de obras se recogen bajo la denominaci\u00c2\u00bfn gen\u00c2\u00bfrica de arte medioambiental, y aparece frecuentemente como sin\u00c2\u00bfnimo de arte ecol\u00c2\u00bfgico. Partiendo de la hip\u00c2\u00bftesis de que tal identificaci\u00c2\u00bfn es inadecuada desde una perspectiva ecol\u00c2\u00bfgica, en esta tesis se ha hecho un estudio cr\u00c2\u00bftico de las relaciones entre el arte y la ecolog\u00c2\u00bfa, desde los a\u00c2\u00bfos sesenta del siglo xx hasta hoy.Se inicia fijando un marco te\u00c2\u00bfrico que sit\u00c2\u00bfa todos los aspectos involucrados en la relaci\u00c2\u00bfn entre arte, naturaleza, y ecolog\u00c2\u00bfa. En el mismo, se tratan las construcciones socioculturales de la naturaleza y sus representaciones en el arte, y se dedica un cap\u00c2\u00bftulo a los principios, ideas y axiomas que constituyen la ciencia ecol\u00c2\u00bfgica, y a las corrientes de las ciencias humanas que convergen bajo el paradigma ecol\u00c2\u00bfgico. En una segunda parte, tomando como base una amplia recopilaci\u00c2\u00bfn de obras reconocidas dentro del arte medioambiental, se demuestra la gran heterogeneidad, formal y de contenidos, que subyace dentro de esa tipificaci\u00c2\u00bfn. Asimismo, se efect\u00c2\u00bfa un  an\u00c2\u00bflisis contextualizado de los argumentos que han venido asociando estas obras con la ecolog\u00c2\u00bfa. Por \u00c2\u00bfltimo, se dise\u00c2\u00bfa una herramienta metodol\u00c2\u00bfgica que eval\u00c2\u00bfa la dimensi\u00c2\u00bfn \u00c2\u00bftica y el impacto de las intervenciones art\u00c2\u00bfsticas desde los preceptos de la ecolog\u00c2\u00bfa.  Su finalidad es doble; por un lado, poder verificar el aut\u00c2\u00bfntico alcance ecol\u00c2\u00bfgico de las obras ya realizadas, y por otro, facilitar unos criterios que sirvan para poder valorar, a priori, nuevos proyectos.El objetivo principal de este trabajo de tesis ha sido elaborar un diagn\u00c2\u00bfstico de la aproximaci\u00c2\u00bfn de las obras del arte ambiental a la ecolog\u00c2\u00bfa,  y como consecuencia de sus conclusiones, propiciar un debate dentro del \u00c2\u00bfmbito art\u00c2\u00bfstico.Over the past few decades, artistic endeavours related with the landscape and living world have been linked to a range of environmental problems and the ecological issues that these problems have provoked. These artworks have not only been given the collective label of environmental art, but have also been synonymously referred to as ecological art.  Starting with the hypothesis that such identification is incorrect from an ecological perspective, this thesis provides a critical study of the relationship between art and ecology from the 1960s to the present.My exploration of the subject begins with the establishment of a theoretical framework that exhaustively situates the factors involved in the relationships between art, nature and ecology. As such, it addresses the socio-cultural construction of our notions of nature and its representation in art. One chapter is specifically devoted to the principles, ideas and axioms of the science of ecology and the disciplines within the human sciences that have adopted the ecological paradigm. The second part provides a thorough review of the broad range of art works catalogued as environmental art and demonstrates its heterogeneity in terms of formal characteristics and content. This section also contains a contextual analysis of the arguments that have been used to associate these works with ecology. An important aspect of the research reported in this thesis is the author\u00c2\u00bfs development of a methodological tool for evaluating the ethical dimensions of artistic endeavours and their impact from the perspective of ecology. This method was devised to serve two purposes, the first being the verification of the degree to which works executed to date meet with ecological precepts, and the second being to offer clear criteria by which plans for new projects can be evaluated prior to their execution.The main objective of this thesis has been to carry out an diagnostic of the extent to which works classified as environmental art actually conform to the principles of ecology, the conclusions of which will hopefully stimulate a debate in the art world on this subject.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Arte medioambiental y ecolog\u00eda. paradigmas de comprensi\u00f3n, interpretaci\u00f3n y valoraci\u00f3n de las relaciones entre arte y ecolog\u00eda (1960-2015)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Arte medioambiental y ecolog\u00eda. paradigmas de comprensi\u00f3n, interpretaci\u00f3n y valoraci\u00f3n de las relaciones entre arte y ecolog\u00eda (1960-2015) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mar\u00eda  Carmen Marin Ruiz <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pa\u00eds vasco\/euskal herriko unibertsitatea<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 10\/07\/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>Jos\u00e9 Angel Lasa Garicano<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: inmaculada Jimenez huertas <\/li>\n<li>Jorge Riechmann fernandez (vocal)<\/li>\n<li>septimiu Jugrestan &#8212; (vocal)<\/li>\n<li>Jos\u00e9 Luis Albelda  raga (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mar\u00eda Carmen Marin Ruiz Desde hace d\u00c2\u00bfcadas, las manifestaciones art\u00c2\u00bfsticas relacionadas con el paisaje o con el [&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":[4363,12909],"tags":[13057,5280,231607,140139,231984,231608],"class_list":["post-117837","post","type-post","status-publish","format-standard","hentry","category-escultura","category-pais-vasco-euskal-herriko-unibertsitatea","tag-inmaculada-jimenez-huertas","tag-jorge-riechmann-fernandez","tag-jose-angel-lasa-garicano","tag-jose-luis-albelda-raga","tag-maria-carmen-marin-ruiz","tag-septimiu-jugrestan"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/117837","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=117837"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/117837\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=117837"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=117837"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=117837"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}