{"id":71188,"date":"2004-12-11T00:00:00","date_gmt":"2004-12-11T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/sistemas-y-metodo-para-el-analisis-de-las-trasformaciones-espaciales-en-la-obra-arta%c2%adstica-contemporanea\/"},"modified":"2004-12-11T00:00:00","modified_gmt":"2004-12-11T00:00:00","slug":"sistemas-y-metodo-para-el-analisis-de-las-trasformaciones-espaciales-en-la-obra-arta%c2%adstica-contemporanea","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/sistemas-y-metodo-para-el-analisis-de-las-trasformaciones-espaciales-en-la-obra-arta%c2%adstica-contemporanea\/","title":{"rendered":"Sistemas y m\u00e9todo para el an\u00e1lisis de las trasformaciones espaciales en la obra art\u00edstica contemporanea."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Joaquin Francisco Torrego Gra\u00f1a <\/strong><\/h2>\n<p>Mediante un modelo te\u00f3rico de an\u00e1lisis descriptivo se estudian los procesos fundamentales por  los que la obra de arte moderna y contempor\u00e1nea fue, a lo largo del siglo pasado y especialmente en sus \u00faltimas d\u00e9cadas, abandonando los formatos y medios pl\u00e1sticos convencionales (desde el dibujo, la pintura , la escultura y la imagen)para desbordarse hacia el espacio tridimensional y constructivo, y de este modo crear lo que se ha dado en llamar obras ambientales ojentornos art\u00edsticos que hoy reconocemos en general como trasformaciones art\u00edsticas del espacio, instalaciones e intervendiones.Denominamos a tales sucesos de desbordamiento y ocupaci\u00f3n espacial , procesos de espacializaci\u00f3n art\u00edstica.  dentro del estudio de dichos procesos es de nuestro especial inter\u00e9s la observaci\u00f3n de lo que hemos dado en llamar hecho constructivo-arquitectural e el arte del siglo xx y actual. A trav\u00e9s de ello se constalan y valoran nuevas relaciones e interferencias entre la arquitectura y las artes pl\u00e1sticas vinculadas al espacio y su proyecto, emergentes en los \u00faltimos tiempos am\u00e9n de antecedentes y referentes hist\u00f3ricos.  as\u00ed mismo se analiza el papel y la presencia del dibujo y de la maqueta constructuva en esos proyecto art\u00edstico contempor\u00e1neo de trasformaci\u00f3n espacial. Respecto a la maqueta, \u00e9sta se analiza no s\u00f3lo como instrumento procesual sino en especial como pieza art\u00edstica aut\u00f3noma con sus variantes tipol\u00f3gias y de escala que tienen gran incidencia en el discurso art\u00edstico del momento.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Sistemas y m\u00e9todo para el an\u00e1lisis de las trasformaciones espaciales en la obra art\u00edstica contemporanea.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Sistemas y m\u00e9todo para el an\u00e1lisis de las trasformaciones espaciales en la obra art\u00edstica contemporanea. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Joaquin Francisco Torrego Gra\u00f1a <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 12\/11\/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>Rosa Mar\u00eda Garceran Piqueras<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: rodolfo Conesa bermejo <\/li>\n<li> Garin llombart felipe vicente (vocal)<\/li>\n<li>carmen Garrido s\u00e1nchez (vocal)<\/li>\n<li> Garcia del moral m. Jos\u00e9 (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Joaquin Francisco Torrego Gra\u00f1a Mediante un modelo te\u00f3rico de an\u00e1lisis descriptivo se estudian los procesos fundamentales por [&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":[147,1111],"tags":[66823,155201,27648,155200,36204,6549],"class_list":["post-71188","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-carmen-garrido-sanchez","tag-garcia-del-moral-m-jose","tag-garin-llombart-felipe-vicente","tag-joaquin-francisco-torrego-grana","tag-rodolfo-conesa-bermejo","tag-rosa-maria-garceran-piqueras"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/71188","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=71188"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/71188\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=71188"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=71188"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=71188"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}