Artículos, conferencias, monografías

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Esta colección está formada por artículos, conferencias, comunicaciones y otras publicaciones elaborados por miembros de la Universitat Politècnica de València.

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Now showing 1 - 20 of 158

10 X 10 POLINIZA
(Editorial Universitat Politècnica de València, 2015) Peiró López, Juan Bautista; Canales Hidalgo, Juan Antonio; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
A punto de cumplirse 10 años del Festival de Arte Urbano POLINIZA en la Universitat Politècnica de València, es poco menos que obligado plantear en voz alta algunas cuestiones que han ido tomando cuerpo y forma desde aquella lejana y próxima (parece que fue ayer) primera edición. Poco imaginaba nadie entonces la repercusión (no solo mediática) y la dimensión internacional que acabaría tomando algo que sencillamente nos parecía pertinente y adecuado.
A10tv. Diez años del canal de arte independiente español
(Editorial Universitat Politècnica de València, 2017-10-23) Torre Oliver, Francisco José de la; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] We present the result of the work done by the video channel of the that since 2007 develops an independent account of the spanish exhibition activity in the field of contemporary art. In compliance with this objective, throughout its history the channel A10tv has published half thousand documents with more than five hundred thousand downloads. The content of its archive is integrated by registers of exhibitions and opening acts in private and institutional spaces, as well as interviews with contemporary Spanish artists. Its story runs parallel to that of Google's YouTube platform, of which partners program has been part since 2010. This circumstance allows to offer a reading from the experience of local content distribution on an international scale, within the soccalled phenomenon of glocalization. In the same way, from its positioning within the pioneering initiatives in the field of artistic information in the beginnings of the Internet, a reflection is made on the evolution of the sector throughout the recent crisis period and the future of alternative narratives to discourse unique in the
Acciones artísticas educativas para la resignificación social del consumo de plástico desde modelos de formación en sostenibilidad mediante la reproducción múltiple en la gráfica
(2020-10-08) Tomás Miralles, Ana de los Dolores; Aguilar Briceño, Rosangela Jose; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[ES] El arte como motor educativo, es partícipe en la realidad medioambiental del presente: El modelo actual de sostenibilidad propone la erradicación del plástico en los ecosistemas a favor del mundo. Tras la devastación causada por la irresponsabilidad humana que puede acabar con el planeta, resulta imprescindible reducir la presencia del plástico tal y como se dispone en los Objetivos de Desarrollo Sostenible 2030 (ODS). Para cumplir con este desafío global, en nuestra investigación se establecen analogías entre el estudio del comportamiento humano en sociedad frente al producto artístico que nace del entorno educativo, germinando en múltiples intervenciones y propuestas gráficas que defienden la postura de un cambio de percepción sobre el consumo indiscriminado del material y del producto en sí mismo.
ACEROGRAFÍA: la plancha acero laminado en frío como soporte alternativo en los procesos de impresión litográficos y en procedimientos mixtos de estampación planográfica, en hueco y relieve
(Editorial Universitat Politècnica de València, 2015-11-26) Guillén Ramón, José Manuel; Del Saz Barragán, Miriam; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] The cold rolled steel plate is offered as alternative support in lithographic procedures, intaglio and relief, for its qualities and its expressive possibilities. The term “Steelgraphy, is a new term that we call this new procedure. Etymologically derived from the words "steel” and "graphein". In the field of printmaking, artists and researchers have continually sought new opportunities to enrich the graphic language and facilitate imaging. Currently we can see the profound changes in the graphic work, both in terms of technical and conceptual and expressive factors. In 2000, in collaboration with Daniel Manzano, professor of the National School of Plastic Arts of the Universidad Nacional Autónoma de México began this research. Currently in Valencia, continue researching new resources and new media capable of being used in lithographic processes and we have realized the advantages of the use of steel sheet cold rolled in lithographic processes, as well as the possibility of interaction with other systems engraving and intaglio printing and embossing. The use of this support has several advantages, which we describe below: are commercially easily and are inexpensive, they are easy to handle, its particular structure facilitates surface graining required for use in lithographic processes, these plates allow to be stamped lithographic presses, in the printing press and other presses. Is feasible to integrate planográficos printing processes, intaglio and embossed using the same support. This research has required a important work in documentation. Through an exhaustive fieldwork, analyzing the behavior of this material. They have conducted several workshops applying this process in Spain, Portugal and Poland.
Agroversitat. Art i agroecología a l'horta de València
(Editorial Universitat Politècnica de València, 2024-05-09) Sgaramella, Chiara; López de Frutos, Estela; Dpto. de Escultura; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno; Grupo de Laboratorio de Creaciones Intermedia. LCI
Agroversitat és una proposta experimental de llarg recorregut que busca activar processos artisticopedagògics col·lectius i intergeneracionals relacionats amb temàtiques com són els usos de la terra, l'agroecologia i la crisi ecosocial. Sorgeix en l'ecosistema de l'Horta de València, amb la intenció de visibilitzar i valorar-ne els sabers situats històricament marginats enfront de la cultura urbana i desenvolupista. Mitjançant un enfocament de tipus processual, la proposta se centra en el cultiu de processos d'escolta, construcció i difusió de coneixements. La present publicació documenta els processos d'aprenentatge realitzats incorporant les reflexions col·lectives que han anat sorgint, així com les veus d'alguns dels col·lectius implicats en el projecte.
Alfaro. En torno a la escultura. Escritos y entrevistas
(Universitat de Valencia, Dep. Història de l'Art, 2017) Pérez Rodrigo, José David; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
An Augmented Reality Application for Art Exhibitions
(ERCIM EEIG, 2015-10) Rodríguez Calatayud, María Nuria; Linares Pellicer, Jordi Joan; Heras Evangelio, David; Instituto Universitario Mixto de Tecnología de Informática; Dpto. de Sistemas Informáticos y Computación; Dpto. de Dibujo; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno; Escuela Politécnica Superior de Alcoy; Instituto Universitario Valenciano de Investigación en Inteligencia Artificial
The exhibition Think with Your Hands offers a new way to look at illustrations and sketchbooks. It breaks the mould of a traditional show, thanks to an augmented reality project developed by UNIT experimental at Universitat Politècnica de València. This project centres on the work of Pep Carrió and Isidro Ferrer, two of Spain s most prestigious graphic designers, whose sketchbooks, objects and collages come to life when interacting with the mobile devices and augmented reality.
Analogías de la pintura y el "pecio" como género literario
(INFOCREA, 2018) Mestre Froissard, Joël Ricardo; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] We can find interesting analogies between the "pecios" or short texts of Rafael Sánchez Ferlosio and a certain figurative painting, both in the concept and in the gestation and plastic production of an idea. In both cases this genre explores the provisional and fragmentary, the emotion before the demonstration, the doubt before the answer.
ANÍMALES, DIBUJA. Convenio Bioparc
(Editorial Universitat Politècnica de València, 2015-11-26) Esgueva López, María Victoria; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] DRAWING ANIMALS. Agreement with Bioparc. Ever since prehistoric times, men have used the language of drawing to represent different animal species. The main reason for this has undoubtedly been the need to get to know, analyze and catalogue both the variety of the forms and behaviour of the different species. The agreement between the UPV’s Department of Drawing and Bioparc Valencia sprang from this initial reality. Analysing and depicting different reference models, including the human body and the study of animals, forms part of the subject of Drawing and was the main reason why we became involved with Bioparc(Valencia. This park contains a wide range of settings that faithfully represent the animals’ habitats in the wild and so provides students with the perfect reference material for their studies. This project will make it possible for students to obtain experience in different learning and professional areas, such as: teaching workshops, exhibiting their own work and marketing techniques. All of these will highlight the different tasks involved in the learning process, which would otherwise simply remain within the academic context, and will help to transform these tasks into a tangible and material project. It will also help to make the students better professionals. To sum up, the aim of this project is to let Drawing be seen as the foundation of three fundamental pillars: • As a motive for reflecting on and analyzing reality. • As a catalyst of graphic techniques. • As part of the professional activities of a business company. Drawing will therefore be shown to be a real language in its own right and one that not only brings artists and public together, but also makes them aware of the importance of protecting the environment and preserving the world’s remaining wild life.
Aprehender el Lugar: los Túneles de Nancy Holt
(Faculdade de Belas-Artes da Universidade de Lisboa y Centro de Investigação e Estudos em Belas-Artes (FBAUL/CIEBA), 2012) Santiago Martin de Madrid, María Paula; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] This paper addresses the work of the artist Nancy Holt (1938) and in particular for the entitled Sun Tunnels [solar Tunnels] (1973-1976) in the Bassin Great Desert of Utah. While this can be seen from various positions – as a refuge for the perception of the solstices, as star map, as an instrument of dialogue between the inner and outer universe or as a reflection on the processes we are particularly interested chronologically – we are particularly in the search carried out by the artist in relation to a partnership involving the radical apprehension of the site.
Aprendiendo del símbolo: imagen y referencia simbólica en los inicios del discurso arquitectónico posmoderno
(Universitat Politècnica de València, 2015-04-30) Pérez Rodrigo, José David; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] This article makes an approach to the symbolic recovery as the fundamental argument used in the revised edition of Learning from Las Vegas (Venturi, Scott Brown & Izenour, 1977), a text which had with important repercussions on counter-modernist architectural theory. This recovery, extremely critical with the vulgarised imposition of the functionalism of the international style, coincides with the North American Neo-avantgarde’s rejection of the formalist academicism of abstract expressionism, as well as with the crisis of the concept of modernity, caused by what was conceptualised, not without certain confusion, as post-modern thought.
Aprendizaje-Servicio, Arte, e innovación docente en la UPV
(INFOCREA, 2019) Puerta Gómez, María Felicia; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[ES] Este artículo pretende dar a conocer el trabajo llevado a cabo por un pequeño grupo de docentes y técnicos del Vicerrectorado de Responsabilidad Social y Cooperación a través del Centro de Cooperación al Desarrollo (CCD), impulsando la formación, aplicación y divulgación del ApS, entre el personal docente investigador y alumnado de la Universidad Politécnica de Valencia; poniendo el foco de atención en los proyectos realizados por estudiantes de la Facultad de Bellas Artes. Con la finalidad de compartir nuestra experiencia, afianzar y profundizar en el conocimiento del Aprendizaje-Servicio e incentivar su uso como metodología innovadora basada en el aprendizaje experiencial y cooperativo, cuyo desarrollo en la UPV sigue siendo muy incipiente en comparación a la trayectoria de otras universidades americanas y europeas; dados los resultados de las prácticas realizadas por este equipo en estos últimos cinco años y observando su eficacia en la consecución de un aprendizaje integral, tanto en competencias específicas como transversales, contemplando el enfoque social, formando a profesionales conectados y concienciados en aprender siendo útiles.
Apropiacionismo en el arte, la legitimidad de la imagen sustraída
(Editorial Universitat Politècnica de València, 2019-09-10) Esgueva López, María Victoria; Nicolau López, Nuria; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[ES] Este proyecto plantea el apropiacionismo en el arte como una estrategia usada a lo largo de toda la Historia del Arte, y en la actualidad podría ser un recurso que actúa casi como respuesta a la saturación de imágenes que inundan las sociedades globales. En primer lugar, reflexionamos ¿Qué sentido tiene recurrir a algo ya hecho para crear?, ¿Es menos original basarse en otras obras? Con ello nos planteamos si hay alguna creación totalmente original en la que el autor no haya partido de otros referentes. Por otra parte, el apropiacionismo lleva implícita una crítica al concepto tradicional de autoría, si bien es cierto que superadas estas incertidumbres iniciales, tomamos esta práctica como un recurso completamente validado. De manera que analizamos como el hecho de adueñarse de imágenes visibles y reconocibles es un acicate óptimo para desarrollar un nuevo concepto. El apropiacionismo abordado por tanto como una vía de comunicación y de enriquecimiento en los discursos artísticos, que permite reflexionar sobre el concepto de imagen. Los artistas en un proceso que se basa en; percibir, identificar, interpretar y significar, se adueñan de imágenes pertenecientes al imaginario colectivo y consiguen generar nuevas lecturas. En ese sentido logran extrapolar el significado original a la actualidad, dotándolo de otra narrativa, que trata de dar respuestas a problemáticas actuales. Hacemos una revisión del apropiacionismo a lo largo de la Historia del Arte. Y además se analiza la obra de artistas como Benjamín Domínguez, Eisen Bernard Bernardo y el Equipo Crónica que ven en él una oportunidad para ampliar su propia técnica: una herramienta de trabajo y de estudio que explore las posibilidades de una misma idea/imagen, de manera que la obra conocida sirva de medio para el desarrollo creativo.
Aproximación al mundo de la empresa. Un contacto con la realidad laboral del alumnado universitario
(Editorial Universitat Politècnica de València, 2019-09-30) Esgueva López, María Victoria; Carabal Montagud, María Angeles; Santamarina Campos, Virginia; Dpto. de Dibujo; Dpto. de Conservación y Restauración de Bienes Culturales; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] This work is located in the EICE Baños de Reality that aims to implement didactics outside the classroom, to bring students closer to future work environments, focusing on the experience of linking the teaching-learning process with a real professional situation in a company relevant of the artistic field. It is a process in which the student's activity does not remain in a hypothesis proposed in the classroom but becomes a reality and is developed in the company Molino Papelero Les Capellades Museum in Barcelona.The company is involved in the student's learning and provides them with evident criteria to professionalize their results, and provide them with objective judgments for their self-evaluation, and on the other hand, they intervene together with the teacher in their evaluation. Experience applicable to any company and field. The results obtained show the predisposition of the students and the change of role they adopt once they leave the classroom. Achieving better results in the evaluation and greater involvement in the subject.
Armas para salvar hombres, imágenes para someterlos
(Editorial Universitat Politècnica de València, 2022-01-10) Císcar Cebria, Ana; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] The work presented here - Weapons to save men, images to subdue them - is an audiovisual piece of five minutes that reflects on how the processes of progress and rationalization that began with the Enlightenment project have meant and continue to mean, in the same way, barbarism. The title refers to declarations made by the inventor of the first machine gun, Richard Jordan Gatling, in which he justified his invention by the saving of soldiers' lives that his new automatic rifle would mean, because it would require fewer combatants in battle. In this contradictory argument in which it is proposed that the use of a weapon can save lives, the main thesis of the project arises. The video is composed of appropriate images in which we see, for example, some photographic studies on the movement of Etienne Jules-Marey, as well as the photographic revolver he invented, the video of Operation Teapot in 1955 in which the effects of the nuclear bomb were tested in the reproduction of a village, or war simulators used in the army. Using collage as the main technique of montage and a deconstructive strategy of appropriate material - the images are cut, superimposed and juxtaposed in a plastic way - relations and contrasts are established between the different materials that compose the video.
Arte, empatía y sostenibilidad. Capacidad empática y conciencia ambiental en las prácticas contemporáneas de arte ecológico
(European Association for the Study of Literature, Culture and the Environment (E A S C L E), 2015) Albelda Raga, José Luís; Sgaramella, Chiara; Dpto. de Escultura; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] The global ecological crisis in which we are immersed shows the need for a drastic change toward a worldview of sustainability in order to avoid the risk of a civilization’s collapse. In the context of this desirable culturalrevolution, this article investigates the role of aesthetics and art in the transition toward an ecological paradigm. Specifically, empathy is studied as a key to overcome strong anthropocentrism, in which the unbalanced relationship between humans and the biosphere is rooted. Starting with a definition of the term and considering Jeremy Rifkin's thesis on the “empathic society”, we attempt to discern the real capacity of certain contemporary artistic practices to act as vectors of empathy with ecological problems, particularly those characterized by concealment and/or invisibility, thus enhancing environmental awareness. By analyzing a selection of art projects related to ecology, we examine the most significant strategies adopted by artists for creating empathy. The relationship with the territory (site -specific), the experiential and multisensory nature of the works, and the active participation of the public through practices of co-creation represent symbolic processes of identification with the biosphere that are essential for building an aesthetic and a cultural paradigm in harmony with the ecosystem.
El arte, la gobernanza del territorio y los ODS
(Universitat Politècnica de València, 2024-01-18) Martín Cubas, Joaquín; Cano Pérez, Victoria; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] The changes in the world during the last decades have led to changes in the way of conceiving and practicing politics. Traditional modes of management bureaucratic or managerial have been superseded by democratic governance that requires a new type of relationship between all political actors. In this historical framework, the Sustainable Development Goals make sense that must allow us to chart the course in search of desirable future scenarios, either for the whole of humanity or for specific territories. In this article, based on a case study the experience of Aras de los Olmos we reflect, within the framework of the history of political thought, on the importance of artistic expression in relation to the Sustainable Development Goals and democratic governance in the current context.
ARTE, NATURALEZA Y CONTEMPLACIÓN. Una propuesta teórico-experiencial a partir de las jornadas “La mística del cuerpo consciente”
(Editorial Universitat Politècnica de València, 2015-11-26) Albelda Raga, José Luís; Sgaramella, Chiara; López de Frutos, Estela; Dpto. de Escultura; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] This paper arises from the cultural project entitled La mística del cuerpo consciente organized in collaboration with the Centre for Research on Art and Environment (CIAE) and the Intermedia Creations Lab (LCI) with the support of the Polytechnic University of Valencia. The proposal belongs to a research model that incorporates cultural management to encourage the active and experiential participation of the public. Starting with the update of traditional contemplative practices through a dialogue with ecological thinking and contemporary creation, the project reclaims the experience of meditation from an intercultural and secular point of view in order to explore other modes of knowledge based on experience and mindfulness. The proposal included a wide range of activities from classical art forms to new media, walking art and other experiential practices. All of them revolved around the body, conceived as the connection point among contemplation, nature and art and as a starting point to explore the issues of identity, empathy and interdependence.
Artistic languages for the representation of identity. Self-portraits as a definition of the individual
(Vivat Academia. Fórum XXI, 2019-10-24) Esgueva López, María Victoria; Carabal Montagud, María Angeles; Dpto. de Dibujo; Dpto. de Conservación y Restauración de Bienes Culturales; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] The interest in representing people as individuals has been a constant throughout the History of Art. Since classical antiquity, one of the original examples of the Roman portrait was the Maiorum images, masks of the deceased made from wax moulds that took the impression of the persons` face, which provided a high degree of symbolism (Centuries I BC. and I AD). On the other hand, the portraits of the El Fayum mummies found in Egypt and made in Roman occupation times (Centuries I and II AD) are also highlighted which involve painted portraits of the dead that provided a meticulous identity on the mummified body. The aim of the representation in both cases fulfils the commemorative function allowing the presence of the person to live on. Subsequently, especially in the Renaissance period, the portraits had been an important theme in the history of painting, drawing and sculpture that sought, without a doubt the recognition of the person represented and on the other hand the intention of making their presence prevail through time. In these cases, an agreement was needed that linked two parties, the one the carrying out the work and the one being represented. In this tandem, the render, after deciphering the formal attributes of the other individual, the represented, being the intention of art to then preserve the physical appearance and make them recognisable in posterity.
Aspectos ecológicos y sostenibilidad en el uso de materiales artísticos. Trementina pura, revisión y articulación instrumental
(Universitat Politècnica de València, 2023-05-31) Galbis Juan, Amparo; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[ES] Este artículo surge de una iniciativa emprendida hace años con el propósito de aumentar la riqueza y diversidad expresiva de la pintura, ampliar recursos y soluciones, hacer evolucionar y optimizar nuestras actividades holísticamente. Con experiencia en la investigación de nuevos materiales pictóricos ecosostenibles, incluyendo el desarrollo de varias patentes, trabajos y talleres con formulaciones específicamente no tóxicas, hemos desarrollado y reajustado metodológicamente el estándar de trabajo con aquellos compuestos orgánicos volátiles insustituibles en algunas técnicas, que consideramos necesario para el adecuado desempeño docente, profesional e investigador en la práctica artística contemporánea.

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