Congresos. Editorial UPV

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Congresos realizados en la UPV publicados por la Editorial Universitat Politècnica de València.

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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
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.
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.
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, 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.
BosqueArte: "un bosque en expansión gráfica"
(Editorial Universitat Politècnica de València, 2014-10-24) Tomás Miralles, Ana de los Dolores; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[ES] Es un proyecto sobre la Investigación de la estimulación temprana mediante la imagen ilustrativa. En este Proyecto interdisciplinar los recursos gráficos son los mediadores para permitir potenciar y estimular las capacidades emocionales gracias al desarrollo de poéticas sensibles aplicadas al campo de la expresión visual, bajo el argumento del árbol y del paisaje que configura el bosque.
Los caminos del deseo como fenómeno ilustrativo de la relación entre el caminar y la práctica artística contemporánea
(Editorial Universitat Politècnica de València, 2019-09-10) Teira Muñiz, Ismael; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[ES] Los caminos del deseo son senderos producidos como resultado de la acción del caminar erosionando una superficie de hierba o césped. Proponen el camino más corto o sencillo entre un origen y un destino, y en ocasiones son entendidos como atajos. Representan la interpretación física de algo tan abstracto como el deseo, y son también improntas evidentes de un gesto ciudadano, al acortar, rechazar e, incluso, mejorar el camino marcado. Los caminos del deseo también son el resultado de un acto poético, performativo, creativo y subversivo, esquivando la senda marcada. A partir del análisis de autores como Gómez, Bachelard o De Certeau tratamos de esclarecer el término y sus posibilidades, ilustrándolo a través de varios ejemplos de artistas a nivel internacional que se fijaron en el fenómeno, dadas sus particulares características, su origen y su interés como artefacto social, funcional y estético. De este modo, analizamos obras como The Disappearing City, 2009, de James Griffioen; Olifantenpad , 2011, de Jan-Dirk van der Burg; The Crooked Path, 1946, de Jeff Wall; Brasilia Nómada, 2014, de Pau Faus; Shortcuts, 2004, de Mircea Cantor; Desire Paths, 2018, de Kapwani Kiwanga y Desire Lines, 2015, de Tatiana Trouvé, además de los trabajos propios llevados a cabo en Santiago de Compostela, 2011, y Valencia, 2012-2017. Además del valor político y sociocultural presente en muchas de las obras seleccionadas existe también un valor estético y artístico, por lo que los caminos del deseo pueden ser interpretados como una imagen altamente ilustrativa del nexo entre caminar y práctica artística contemporánea.
La cara, espejo del alma. Ilustrando emociones
(Editorial Universitat Politècnica de València, 2017-10-23) Lara Mesa, María; Esgueva López, María Victoria; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] With the project "The face, mirror of the soul. Illustrating emotions", our intention is to encode the facial gestures and understand ourselves as individuals, bringing the learning to the artistic field both history and production. The study was conducted in a small number of people, so we apply global knowledge of psychology and anatomy in particulars for verification. The main objectives were: to analyze, test and research and production show the universality of facial expressions of basic emotions; collect what styles of pictorial art and what artists have turned -and those who not- it, as well as display and study that this is an issue that the field of the arts is also concerned; and verify that the drawing is a tool for representing more dramatized portrait, with the completion of a series of drawings and graphic techniques playing each of the basic emotions. It is therefore a multidisciplinary approach that encompasses concepts of psychology and anatomy to finish with a review of the history of painting -for being drawing and painting the artistic fields more related to our technic- with the intention to see and understand the changes in terms of gesture and expression portrait that took place over the centuries
La Comarca: un instrumento lúdico para el aprendizaje y un proyecto transversal multiescuela en la Universitat Politècnica de València (UPV)
(Editorial Universitat Politècnica de València, 2021-02-01T11:04:26Z) Gielen, Eric; Sosa Espinosa, Asenet; Palencia Jiménez, José Sergio; Pérez Alonso, Yaiza; Moreno Navarro, María Salomé; Temes Cordovez, Rafael Ramón; Miralles García, José Luís; Roldán Garrote, David; García Granada, Fernando; Martí Testón, Ana; Rodríguez Mattalia, María Lorena; Rodríguez Valdunciel, Sergio; Sanchis Gandía, Álvaro; Zarraga Llorens, Josefa María; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Facultad de Administración y Dirección de Empresas; Dpto. de Sistemas Informáticos y Computación; Dpto. de Escultura; Dpto. de Dibujo; Dpto. de Pintura; Dpto. de Urbanismo; Escuela Técnica Superior de Ingeniería Geodésica, Cartográfica y Topográfica; Escuela Técnica Superior de Arquitectura; Facultad de Bellas Artes; Instituto de Diseño para la Fabricación y Producción Automatizada; Escuela Técnica Superior de Ingeniería de Caminos, Canales y Puertos; Centro de Investigación Arte y Entorno; Grupo de Laboratorio de Creaciones Intermedia. LCI; Grupo Animación de la Universitat Politècnica de València; Grupo de Laboratorio de Luz; Instituto Universitario Valenciano de Investigación en Inteligencia Artificial; Grupo de Comunicación, Arte y Cultura Visual
[ES] Esta comunicación es el resultado de un Proyecto de Innovación y Mejora Educativa (PIME), financiado por el Vicerrectorado de Estudios, Calidad y Acreditación de la Universitat Politècnica de València, y por la Escuela Técnica Superior de Ingeniería de Caminos, Canales y Puertos. El objetivo del PIME que se presenta en esta comunicación es encontrar un nuevo recurso educativo para resolver problemas de motivación y aprendizaje en la enseñanza universitaria relacionada con la disciplina del Urbanismo y la Ordenación del Territorio. El uso del juego permite motivar y enseñar, y bajo esta premisa, se propone la creación de un juego de estrategia de cooperación-oposición, La Comarca, diseñado como un sencillo tablero representando el territorio, dividido en cuatro municipios, en el que cuatro alcaldías interactúan y trabajan para conseguir un territorio bien organizado. En esta comunicación se describe el proceso de construcción del juego, desde su idea hasta su producción, pasando por el proceso de diseño, fruto de un proyecto transversal entre dos escuelas de la Universitat Politècnica de València (Escuela Técnica Superior de Ingeniería de Caminos, Canales y Puertos y la Facultad de Bellas Artes) y los principales resultados obtenidos tras dicha experiencia.
Cooperative learning and brainstorming as didactic strategies in conservation and restoration of cultural assets
(Editorial Universitat Politècnica de València, 2020-04-10) Carabal Montagud, María Angeles; Santamarina Campos, Virginia; Esgueva López, María Victoria; Vicente Palomino, Sofía; Dpto. de Dibujo; Dpto. de Conservación y Restauración de Bienes Culturales; Facultad de Bellas Artes; Instituto Universitario de Restauración del Patrimonio; Centro de Investigación Arte y Entorno
[EN] This article exposes the tools of cooperative learning and brainstorming as a didactic strategy, in which teamwork, diversity, interaction between the students and feedback between them are promoted as the main source of learning. In professions related to the conservation and restoration of cultural assets, we work as a team, thus is fundamental that the students' training prepares them for this work reality and enables them to be part of and lead these teams, fostering cross-cutting skills such as communication effective, critical thinking, application and practical thinking among others. We will present the case of a teaching experience, in which cooperative learning is a fundamental tool to solve one of the practices of the subject “Introduction to the Conservation and Restoration of golds and polychromies” of the Degree in Conservation and Restoration of Cultural Assets in Universitat Politècnica de València. The practice consists in the identification of manufacturing techniques, and focuses on the subsequent professionalization and comprehensive training of students. The results obtained from it show how peer learning is an effective, dynamic strategy with infinite possibilities.
La creación gráfica como estrategia prospectiva de apertura a lo global transitando previamente lo local
(Editorial Universitat Politècnica de València, 2017-10-23) Tomás Miralles, Ana de los Dolores; Ansio Martinez, Tania; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] Around the book and the graphics, in 2012 we started an interdisciplinary project of investigation about the early stimulation by means of the illustrative image with a programme of educational cooperation under the Framework Agreement of Cooperation between Príncipe Valiente School and the Faculty of Fine Arts belonging to the Polytechnic University of Valencia. At the beginning it was a local investigation, the convergence between the school and the students of subjects of Engraving and stamping with Ana Tomás as the teaching director. A subject practice in order to make images and show them and publish a book. As it just happens with the investigation projects, the codes change, evolve, spread, opening to the global fact. Although the starting objectives remain, the contexts change in time expanding the actions around the graphic project. The local perspective of childhood and adult and professional public interaction with graphic elements, widens the limits. The actors diverge and the results join together in a holistic and unifying point of view. It diverts towards a methodological tool, able to build artistic capabilities, habilities and knoledgments. We work the tracking of methodologies which allow the choice of strategic options in order to motivate students and make them part of real and professional projects, as well as giving them the máximum visibility outside the classrooms. In this way, the student transmutes from the local experience at the Faculty to a collective one of graphics with a noniuniversity expositional development and the publication of a book, with interventions in& situ, participations in congresses, exhibitions... In this presentation we are going to develop our continuous experience of reconsidering and adapting the codes which conduct the projects in the experience of their task and in the evolution and development of an experimentation and investigation which, the same as graphics, has so many and so assorted possibilities of variation and expansion.
Ecología global, sensibilidades locales. El rol de las humanidades ambientales frente a la crisis ecosocial contemporánea
(Editorial Universitat Politècnica de València, 2017-10-23) 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 interdisciplinary research project entitled Environmental' humanities.' Strategies' for' ecological' empathy' and' the' transition' towards' sustainable' societies investigates the role of ethics, visual arts and literature in the transformation process needed to implement more eco\compatible cultural models. The ecological and social crisis we face forces us to rethink ourselves as human beings and as a society. Despite the significant techno\scientific advances in the field of energy efficiency and ecosystem restoration, a change in our world view and collective imagination is necessary in order to balance the powerful cultural inertia that characterizes the current paradigm. In this sense, humanities can play a relevant role in forging new values and imagining other forms of social coexistence. This paper analyzes some of the activities presented at the first international seminar carried out at the Polytechnic University of Valencia in November 2016 within the aforementioned research project. Different research methods in the field of humanities are taken into consideration to address the global and local dimension of the transition to sustainability. Firstly, an interdisciplinary approach is proposed for the study of global phenomena such as the energy and climate crisis. Moreover, creative workshops connected to citizen ecological initiatives are implemented to link academic research to local knowledge. Finally, we evaluate the influence and transformative potential of art projects exploring an expanded notion of site specific and adopting collaborative creation processes in dialogue with human communities, biotic and abiotic elements of the ecosystem.
Ecologías sensibles. Arte de enfoque colaborativo y crisis ecosocial en el contexto americano
(Editorial Universitat Politècnica de València, 2019-09-10) 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
[ES] La presente comunicación recoge los resultados parciales de una estancia de investigación predoctoral realizada en el Center for Creative Ecologies de la University of California Santa Cruz, Estados Unidos. Partiendo de un análisis de los múltiples niveles de invisibilización de la crisis ecosocial contemporánea (Herrero 2013; Riechmann 2011), se exploran las intersecciones entre formas de arte vinculadas a la ecología y procesos colaborativos de creación. En concreto, haciendo referencia al potencial del arte para reconfigurar lo sensible y las formas de visibilidad (Rancière 2007) junto a su capacidad de abordar temas complejos como las problemáticas ambientales desde una perspectiva postantropocéntrica (Demos 2017), se examina el trabajo de artistas y colectivos actualmente activos en el continente americano como Carolina Caycedo (Colombia), The Harrison Studio (Estados Unidos) y Desert Art Lab (Estados Unidos). A través del análisis crítico de proyectos artísticos y entrevistas semiestructuradas con los artistas, se estudian la intencionalidad de los creadores y las diferentes estrategias colaborativas empleadas para hacer visibles los impactos del modelo extractivista, las luchas sociales para la preservación de los ecosistemas naturales y de los saberes indígenas y los procesos de resiliencia y adaptación de los organismos no-humanos a las alteraciones antropogénicas del clima. El contexto geopolítico escogido resulta particularmente significativo por la pervasividad del paradigma neoliberal y por la consecuente erosión de derechos, tanto sociales como ambientales, que lo ha caracterizado en las últimas décadas. Al mismo tiempo la presencia de movimientos contraculturales vinculados a la ecología, al feminismo y a la defensa de las culturas nativas de las Américas ha permitido el emerger de otras sensibilidades y modelos de convivencia que han alimentado e inspirado las expresiones artísticas estudiadas.
ECOSISTEMA GRÁFICOS. Un paso más desde el grabado no tóxico para la Agenda 2030 y los Objetivos de Desarrollo Sostenible
(Editorial Universitat Politècnica de València, 2021-06-07T06:47:17Z) Tomás Miralles, Ana de los Dolores; Ansio-Martinez, Tania; Aguilar Briceño, Rosangela Jose; Dpto. de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[ES] El Grabado como método gráfico no es sólo un conjunto de técnicas, sino que tiene la envergadura de un SISTEMA, con todo lo que ello supone. Y como sistema, la educación de estas materias se vincula directamente con el cumplimiento de los ODSs 2030, focalizando los distintos objetivos que nos planteamos desde una perspectiva de ECOSISTEMA: una forma más de práctica artística, acudiendo a su facilidad de reproducción múltiple como una cuestión de acercamiento social y por la constante experimentación sobre las técnicas clásicas y las de nueva aparición.La trasmisión de nuestros planteamientos gráficos está inmersa de la conciencia pública sobre la importancia de la conservación del planeta y de la sostenibilidad, motivando así la práctica artística en el contexto de toma de conciencia del impacto ecológico de la actividad humana. Todos estamos interpelados a actuar desde la nueva cultura de la sostenibilidad que lo impregna todo y es decisiva.En aulas de experimentación, con el equipo y los alumnos de los talleres de la UPV, hemos desarrollado parte de nuestros proyectos BOSQUEARTE y MONTA TUS OBJETIVOS, para sensibilizar, a través de talleres y/o acciones artísticas, sobre la necesidad de comprometernos con preservar el entorno y los recursos naturales.
Empowerment del alumnado para la selección de actividades y espacios para la dinámica de los baños de realidad
(Editorial Universitat Politècnica de València, 2019-09-30) Carabal Montagud, María Angeles; Santamarina Campos, Virginia; Esgueva López, María Victoria; Miguel Molina, Maria Rosario de; Dpto. de Organización de Empresas; Facultad de Administración y Dirección de Empresas; Dpto. de Dibujo; Dpto. de Conservación y Restauración de Bienes Culturales; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] This proposal aims to demonstrate the effectiveness of the implementation of empowerment in the university classroom. Currently, students demand greater prominence within their own learning. The present methodological project, is born from the detection of the need to give voice to the students, obviously from a very studied perspective, consensual and conducted by the teaching staff, so that they can make proposals that can be materialized, thus feeling part of their own educational process. In this case we will expose the use of the aforementioned methodological tool for the selection of the Reality Baths activities developed in subjects of the Degree in Conservation and Restoration of Cultural Assets.
Estrategias culturales frente a la crisis ecosocial: creación audiovisual y participación local en el proyecto Inner Nature Exhibition
(Editorial Universitat Politècnica de València, 2017-10-23) López de Frutos, Estela; Rodríguez Mattalia, María Lorena; 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; Grupo de Laboratorio de Luz
[EN] INNER NATURE EXHIBITION is a nonIprofit cultural project that aims to propose a reflection on the ecoIsocial crisis. It is a travelling video art show that interacts with other proposals organized by the different cultural centers that host it at national and international level, generating spaces of encounter, exchange and reflection. In its third edition, the project tries new formulas for relating local contexts to global problems. We urgently need cultural tools to make the ecological crisis visible and to deconstruct the dominant discourses that legitimize an unsustainable system. Issues such as peakIoil or climate change indicate the possibility of an unprecedented ecoIsocial collapse. That is why it is essential to build alternative ways of working in the local contexts to rethink our sense of the common and to simultaneously cooperate with international institutions that can seek answers to shared problems. In this context, we explore the potential of video art as a tool to create awareness, while maintaining a critical viewpoint on the most technophilic discourses that tend to forget that technologies too are dependent on ecosystems. The experience of INNER NATURE EXHIBITION serves as a case study to analyze in practice the main contributions and possible limits of this type of cultural initiatives.
Evaluación grupal mediante rúbricas como recurso formativo
(Editorial Universitat Politècnica de València, 2022-10-28) Bosch Roig, Lucía; Bosch Roig, María del Pilar; Lleonart García, Melani; Madrid García, José Antonio; Dpto. de Pintura; Dpto. de Conservación y Restauración de Bienes Culturales; Facultad de Bellas Artes; Instituto Universitario de Restauración del Patrimonio; Centro de Investigación Arte y Entorno
[EN] The work of the teacher is always in constant research, looking for new formulas that help students in their learning. Thanks to an Educational Improvement Research project (PIME), started in 2020, it has allowed us to develop guidelines with which students can understand more deeply how to achieve the objectives proposed by the teacher through different forms of evaluation. The first year of the project allowed us to conduct research through the use of self-assessment through the use of rubrics, showing very satisfactory results, which is why in this second year of the project we have focused on group evaluation, always applying it to students. of the degree in Conservation and Restoration of Cultural Goods of the Faculty of Fine Arts of San Carlos of the Polytechnic University of Valencia. This work shows the results obtained in two of the subjects of the aforementioned degree with the intention of making known the importance of the use of these training resources, allowing students to be more participatory and more aware of their learning.
Flipped Teaching y Redes Sociales
(Editorial Universitat Politècnica de València, 2018-09-26) Carabal Montagud, María Angeles; Santamarina Campos, Virginia; Esgueva López, María Victoria; Miguel Molina, Maria Rosario de; Dpto. de Organización de Empresas; Facultad de Administración y Dirección de Empresas; Dpto. de Dibujo; Dpto. de Conservación y Restauración de Bienes Culturales; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] The "Flipped Teaching" or "Flipped Classroom" can be given from multiple channels. We usually share the information through institutional channels, in fact PoliformaT, within the UPV, is key in any teaching methodology. The present work intends to explore other access ways to information to complement those that we use in a habitual way. Social networks have become protagonists in any type of communication. In this article we present social media from the perspective of their innovative teaching capacity, which adds a playful perception to learning, is attractive to students and favors the acquisition of content with easy access.

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