{"id":25162,"date":"2018-03-09T09:16:26","date_gmt":"2018-03-09T09:16:26","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/color-y-sistematica-del-ritmo-analisis-operativo-en-base-a-la-iteracion-de-estructuras-modulares\/"},"modified":"2018-03-09T09:16:26","modified_gmt":"2018-03-09T09:16:26","slug":"color-y-sistematica-del-ritmo-analisis-operativo-en-base-a-la-iteracion-de-estructuras-modulares","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/politecnica-de-valencia\/color-y-sistematica-del-ritmo-analisis-operativo-en-base-a-la-iteracion-de-estructuras-modulares\/","title":{"rendered":"Color y sistem\u00e1tica del ritmo. an\u00e1lisis operativo en base a la iteraci\u00f3n de estructuras modulares"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Rodrigo Mu\u00f1oz Mu\u00f1oz <\/strong><\/h2>\n<p>Teniendo su origen en el trabajo de iniciaci\u00f3n a la investigaci\u00f3n, que realic\u00e9 en 1999 sobre el concepto de ritmo en la pintura, este proyecto investiga la contribuci\u00f3n del color, analizando el comportamiento espec\u00edfico con el que interviene en su aparici\u00f3n y desarrollo.  con el prop\u00f3sito de definir y centrar el objeto de la ulterior indagaci\u00f3n y dotarla de los consiguientes instrumentos operativos, se establece la interacci\u00f3n entre elementos pl\u00e1sticos y unidades sint\u00e1cticas de la pintura con el fin de determinar c\u00f3mo influyen en que una imagen o composici\u00f3n sea r\u00edtmica.  la consecuci\u00f3n de resultados, obliga  a considerar a algunas de esas unidades b\u00e1sicas y sint\u00e1cticas como constantes o m\u00ednimamente variables, por lo que la forma, queda restringida a agrupaciones rectangulares, la textura se condiera constante y el color se limita a los tres primarios, los secundarios y los acrom\u00e1ticos.  atendiendo a cuatro grados de complejidad crom\u00e1tico-formal de estructuras modulares, y conforme a los principios generales comunes a todos los ritmos &#8211; agrupamiento perceptivo, m\u00e9trica, repetici\u00f3n y movimiento &#8211; se dise\u00f1an un centenar de composiciones. De su an\u00e1lisis se desprende que en su mayor o menor grado de monoton\u00eda, juegan un papel determinante la asimetr\u00eda, la relaci\u00f3n de escala, la oblicuidad o verticalidad de las formas, siendo es esas masas de color los contrastes crom\u00e1ticos -de complementariedad, saturaci\u00f3n y en especial, los de claroscuro- los que m\u00e1s significativamente impulsan la creaci\u00f3n de ritmo. Ritmos que se jerarquizan como: mon\u00f3tonos, atenuados, reglados, cadenciosos y acelerados.  por \u00faltimo en los ap\u00e9ndices se exponen un sucinto an\u00e1lisis y comentario de la obra r\u00edtmica de los siguientes pintores: delaunay, palazuelo y dorazio.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Color y sistem\u00e1tica del ritmo. an\u00e1lisis operativo en base a la iteraci\u00f3n de estructuras modulares<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Color y sistem\u00e1tica del ritmo. an\u00e1lisis operativo en base a la iteraci\u00f3n de estructuras modulares <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Rodrigo Mu\u00f1oz Mu\u00f1oz <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Polit\u00e9cnica de Valencia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 28\/08\/2003<\/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>Domingo Oliver Rubio<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Calle de la calle rom\u00e1n de la <\/li>\n<li>joaqu\u00edn Ald\u00e1s ruiz (vocal)<\/li>\n<li>Rafael S\u00e1nchez-carralero l\u00f3pez (vocal)<\/li>\n<li>rosa Codina esteve (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Rodrigo Mu\u00f1oz Mu\u00f1oz Teniendo su origen en el trabajo de iniciaci\u00f3n a la investigaci\u00f3n, que realic\u00e9 en [&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 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