{"id":79795,"date":"2006-05-05T00:00:00","date_gmt":"2006-05-05T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-preservacion-del-efa%c2%admero\/"},"modified":"2006-05-05T00:00:00","modified_gmt":"2006-05-05T00:00:00","slug":"la-preservacion-del-efa%c2%admero","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-preservacion-del-efa%c2%admero\/","title":{"rendered":"La preservaci\u00f3n del ef\u00edmero"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Ramos De Oliveira Soares Mar\u00eda  Luisa <\/strong><\/h2>\n<p>Debatir los (des)caminos de la conservaci\u00f3n -restauraci\u00f3n de las obras de arte moderno y\/o contempor\u00e1neo supone ir m\u00e1s all\u00e1, pues requiere un poco de reflexi\u00f3n. Punta aparente de un \u00abiceberg\u00bb de proporciones inestimables, el mismo arte contempor\u00e1neo, presupone muchas indagaciones, no solamente en su aspecto est\u00e9tico-hist\u00f3rico, pero tambi\u00e9n por las distintas intervenciones que en muchos casos cambia el car\u00e1cter de la obra; la obra ef\u00edmera se convierte en obra permanente, sufriendo adem\u00e1s desperfectos por lo traum\u00e1tico de las intervenciones y a\u00f1adiendo fundamentalmente una nueva identidad al objeto. La apropiaci\u00f3n de los espacios, el uso indiscriminado de todo y cualquier material que pudiese transmitir un mensaje, crea una est\u00e9tica propia para este momento. La transici\u00f3n entre una est\u00e9tica y el caos enunciado de las apropiaciones conceptuales, gener\u00f3 pol\u00e9micas que delimitar\u00edan \u00abel sentido del arte para los a\u00f1os 1970\u00bb. De all\u00ed parten dos conjeturas:  la primera, de que el concepto tradicional de arte, define una acci\u00f3n de conservaci\u00f3n a trav\u00e9s del an\u00e1lisis y la identificaci\u00f3n de criterios est\u00e9ticos-hist\u00f3ricos precursores del acto creador. La forma permanente en el tiempo-espacio, posibilita una atracci\u00f3n hist\u00f3rica, forjada en los materiales seleccionados para su representaci\u00f3n original.  la segunda conjetura, de que la ruptura de los padrones establecidos genera una multiplicidad de interpretaciones del quehacer art\u00edstico, llevando a falsas conclusiones que podr\u00e1n ser devastadoras en el proceso de valoraci\u00f3n y reconocimiento dirigidos hacia las intervenciones conservadoras. Tales conjeturas, se reconocen teniendo en cuenta la existencia de una relaci\u00f3n dial\u00e9ctica que abarca ambas dimensiones; el concepto tradicional del arte y los nuevos s\u00edmbolos derivadas del arte conceptual.  la presente tesis propone hacer una s\u00edntesis de la difusi\u00f3n hist\u00f3rica del concepto de conservaci\u00f3n, del origen y las imp<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La preservaci\u00f3n del ef\u00edmero<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La preservaci\u00f3n del ef\u00edmero <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Ramos De Oliveira Soares Mar\u00eda  Luisa <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Polit\u00e9cnica de Valencia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 05\/05\/2006<\/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>Mar\u00eda Pilar Roig Picazo<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: manuel Parralo dorado <\/li>\n<li>pilar Legorburu escudero (vocal)<\/li>\n<li>enrique Parra crego (vocal)<\/li>\n<li>Jos\u00e9 Antonio Madrid Garc\u00eda (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Ramos De Oliveira Soares Mar\u00eda Luisa Debatir los (des)caminos de la conservaci\u00f3n -restauraci\u00f3n de las obras 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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