{"id":38201,"date":"1998-03-06T00:00:00","date_gmt":"1998-03-06T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/analisis-del-nuevo-objeto-artistico-a-traves-de-la-tecnologia-del-color\/"},"modified":"1998-03-06T00:00:00","modified_gmt":"1998-03-06T00:00:00","slug":"analisis-del-nuevo-objeto-artistico-a-traves-de-la-tecnologia-del-color","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/analisis-del-nuevo-objeto-artistico-a-traves-de-la-tecnologia-del-color\/","title":{"rendered":"Analisis del nuevo, objeto artistico a traves de la tecnolog\u00eda del color."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Jaume Fortuny Agramunt <\/strong><\/h2>\n<p>Ante la suposici\u00f3n de que podemos confirmar la validez de la conceptuaci\u00f3n del arte de vanguardia, establecemos como problema central la posibilidad de encontrar un punto cero que implique la nulidad de la tradici\u00f3n. Para conseguirlo aparece el objeto industrial, que la evita gracias a no ser hecho-a-mano. Analizamos esta efectividad en el objeto fontaine para establecer que no logra un valor cero porque podemos valorarla mediante la re-presentaci\u00f3n de duchamp. Despu\u00e9s de mostrar como percibimos, entendemos que lo que se nos presenta como original debe a\u00f1adir a su car\u00e1cter industrial una diferencia de color que no podamos especificar.  analizamos esta efectividad en el objeto ikb de yves klein para establecer que su azul es el tradicional ultramar. Ante la imposibilidad de conseguir un color que evite la percepci\u00f3n, concluimos que s\u00f3lo el objeto-d\u00faplice lograr\u00e1 ser el nuevo-objeto que requiere la vanguardia para acabar con la tradici\u00f3n. Aportamos una duplicaci\u00f3n matem\u00e1tica del ikb mediante la colorimetr\u00eda.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Analisis del nuevo, objeto artistico a traves de la tecnolog\u00eda del color.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Analisis del nuevo, objeto artistico a traves de la tecnolog\u00eda del color. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Jaume Fortuny Agramunt <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 03\/06\/1998<\/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 Arenas Fern\u00e1ndez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: lourdes Cirlot valenzuela <\/li>\n<li>pere Molera sol? (vocal)<\/li>\n<li>jaume Rosell colomina (vocal)<\/li>\n<li>joaquin Garriga riera (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Jaume Fortuny Agramunt Ante la suposici\u00f3n de que podemos confirmar la validez de la conceptuaci\u00f3n del arte [&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":[951,104,1014,222],"tags":[99433,84398,30420,99434,37555,1474],"class_list":["post-38201","post","type-post","status-publish","format-standard","hentry","category-barcelona","category-historia","category-historia-del-arte","category-historias-especializadas","tag-jaume-fortuny-agramunt","tag-jaume-rosell-colomina","tag-joaquin-garriga-riera","tag-jose-arenas-fernandez","tag-lourdes-cirlot-valenzuela","tag-pere-molera-sol"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/38201","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=38201"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/38201\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=38201"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=38201"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=38201"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}