{"id":81430,"date":"2018-03-10T00:05:18","date_gmt":"2018-03-10T00:05:18","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/multiplicidad-y-fragmentariedad-en-el-arte-contemporaneo-a-traves-de-un-analisis-de-instalaciones-y-videoinstalaciones\/"},"modified":"2018-03-10T00:05:18","modified_gmt":"2018-03-10T00:05:18","slug":"multiplicidad-y-fragmentariedad-en-el-arte-contemporaneo-a-traves-de-un-analisis-de-instalaciones-y-videoinstalaciones","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/multiplicidad-y-fragmentariedad-en-el-arte-contemporaneo-a-traves-de-un-analisis-de-instalaciones-y-videoinstalaciones\/","title":{"rendered":"\u00abmultiplicidad y fragmentariedad en el arte contempor\u00e1neo a trav\u00e9s de un an\u00e1lisis de instalaciones y videoinstalaciones\u00bb"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Inmaculada Rodriguez Cunill <\/strong><\/h2>\n<p>Las instalaciones y videoinstalaciones constituyen un g\u00e9nero miscel\u00e1neo en cuanto a temas y a t\u00e9cnicas. A menudo se estudian estas experiencias art\u00edsticas en funci\u00f3n de la idea de una \u00abampliaci\u00f3n de la escultura\u00bb, pero sin embargo esta tesis apunta a un terrero inexplorado: el de los precedentes pict\u00f3ricos esenciales para que se diera un g\u00e9nero como el de la instalaci\u00f3n. estos precedentes nos hablan de la vocaci\u00f3n espacial de la pintura en su misma esencia, y concretamente de la transgresi\u00f3n de la bidimensionalidad que, desde el collage, supone una ocupaci\u00f3n del espacio desde una superficie pintada, y no desde el an\u00e1lisis del volumen(el campo de lo escult\u00f3rico). por otra parte, multiplicidad y fragmentariedad son fen\u00f3menos inherentes a la vida contempor\u00e1nea, pero tambi\u00e9n responden a la misma pregunta del hombre sobre el mundo(que se recoge en precedentes filos\u00f3ficos, cient\u00edficos y art\u00edsticos). Desde un punto de vista anal\u00edtico, se ponen en pr\u00e1ctica en el espacio de la instalaci\u00f3n. De ah\u00ed que se hayan detectado los recursos que el artista dispone para dar al espectador la sensaci\u00f3n de que su relaci\u00f3n con la obra de arte se complica. En otras palabras, pasamos de la recepci\u00f3n art\u00edstica entendida como hecha visual a un nivel experimental que integra al mismo cuerpo del espectador. La dimensi\u00f3n pragm\u00e1tica es de tal calibre que se ha concluido que la instalaci\u00f3n puede entenderse no s\u00f3lo con un sedimento de obras performativas de los 60 y 70, sino tambi\u00e9n como un precedente inevitable de la realidad virtual(m\u00e1s all\u00e1 de que se utilicen dispositivos virtuales en las intalaciones).<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>\u00abmultiplicidad y fragmentariedad en el arte contempor\u00e1neo a trav\u00e9s de un an\u00e1lisis de instalaciones y videoinstalaciones\u00bb<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 \u00abmultiplicidad y fragmentariedad en el arte contempor\u00e1neo a trav\u00e9s de un an\u00e1lisis de instalaciones y videoinstalaciones\u00bb <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Inmaculada Rodriguez Cunill <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Sevilla<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 29\/11\/1999<\/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>Manuel Caro Caro<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Antonio Zambrana lara <\/li>\n<li>carmen Andreu lara (vocal)<\/li>\n<li>Manuel \u00e1ngel V\u00e1zquez medel (vocal)<\/li>\n<li>constancio Collado jare\u00f1o (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Inmaculada Rodriguez Cunill Las instalaciones y videoinstalaciones constituyen un g\u00e9nero miscel\u00e1neo en cuanto a temas y a [&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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