{"id":30136,"date":"2018-03-09T09:23:37","date_gmt":"2018-03-09T09:23:37","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-percepcion-haptica-en-la-escultura-contemporanea-valoracion-y-ambitos-de-desarrollo\/"},"modified":"2018-03-09T09:23:37","modified_gmt":"2018-03-09T09:23:37","slug":"la-percepcion-haptica-en-la-escultura-contemporanea-valoracion-y-ambitos-de-desarrollo","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/politecnica-de-valencia\/la-percepcion-haptica-en-la-escultura-contemporanea-valoracion-y-ambitos-de-desarrollo\/","title":{"rendered":"La percepci\u00f3n h\u00e1ptica en la escultura contempor\u00e1nea: valoraci\u00f3n y \u00e1mbitos de desarrollo"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Gema Hoyas Frontera <\/strong><\/h2>\n<p>La investigaci\u00f3n propone analizar el papel del tacto en la escultura contempor\u00e1nea. partimos de la convicci\u00f3n en la trascendencia del tacto en la creaci\u00f3n y percepci\u00f3n de la escultura y en la necesidad de reconsiderar este \u00e1mbito perceptivo en los an\u00e1lisis cr\u00edticos y la pedagog\u00eda art\u00edstica. Para ello, en una primera parte, analizamos las bases cient\u00edficas que explican c\u00f3mo percibimos a trav\u00e9s del tacto y los factores psicol\u00f3gicos y socilaes que condicionan nuestra apreciaci\u00f3n. Nos servimos del concepto actual de percepci\u00f3n h\u00e1ptica que nos permite contemplar tanto aspectos t\u00e1ctiles como cinest\u00e9sicos en la apreciaci\u00f3n escult\u00f3rica, revalorizando por tanto el papel propositivo de la acci\u00f3n y cuestionando la actitud pasiva del espectador.  en la segunda parte, se evidencian las circunstancias que han provocado tanto el desprestigio del tacto como los intentos de destacar su importancia en los an\u00e1lisis art\u00edsticos y en el contexto muse\u00edstico; la presencia constante de valores t\u00e1ctiles en la obra escult\u00f3rica; as\u00ed como las propuestas pedag\u00f3gicas m\u00e1s relevantes surgidas desde el arte y que incorporan la educaci\u00f3n de la percepci\u00f3n t\u00e1ctil en sus planteamientos educativos. En la tercera parte, tratamos de determinar diferentes enfoques con que el tacto est\u00e1 presente en la escultura contempor\u00e1nea -la mirada h\u00e1ptica, las pr\u00f3tesis, la relaci\u00f3n con el objeto, la relaci\u00f3n con el espacio, el tacto como terapia, la exploraci\u00f3n de los l\u00edmites del dolor y en las propuestas de interactividad en la creaci\u00f3n art\u00edstica de realidades virtuales-. Estos \u00e1mbitos de desarrollo se demuestran a trav\u00e9s de la obra de artistas -que de forma continuada y con perspectivas distintas-, insisten en la inclusi\u00f3n del tacto en su trabajo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La percepci\u00f3n h\u00e1ptica en la escultura contempor\u00e1nea: valoraci\u00f3n y \u00e1mbitos de desarrollo<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La percepci\u00f3n h\u00e1ptica en la escultura contempor\u00e1nea: valoraci\u00f3n y \u00e1mbitos de desarrollo <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Gema Hoyas Frontera <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Polit\u00e9cnica de Valencia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 14\/05\/2004<\/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>Miguel Molina Alarc\u00f3n<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Mar\u00eda  de los desamparados Carbonell tatay <\/li>\n<li>blanca Mu\u00f1oz l\u00f3pez (vocal)<\/li>\n<li>Juan Amo vazquez (vocal)<\/li>\n<li>herminia Mart\u00ednez p\u00e9rez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Gema Hoyas Frontera La investigaci\u00f3n propone analizar el papel del tacto en la escultura contempor\u00e1nea. partimos 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 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