THEORY ANALYSIS AND CRITIQUE OF THE FINE ARTS

Author: CHAMORRO SҁNCHEZ JUAN ANTONIO.
Year: 2003.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: It comprises a paradigm of diseÃÂ ± or containing the enseÃÂ ± ar and done. Since the semiÃÂ ³ tica, is the object diseÃÂ ± ar within a field encilopÃÂ © doctor, and in ÃÂ © l, the object is structured within a cÃÂ ³ say, and since ÃÂ © ste recognizes one type. The paradigm is a structure that positions knots, which diseÃÂ ± a, in them, each node opens nÃÂ kernel of its contents, open roads within their own node and each relates to the remaining rizomÃÂ ¡ticamente (tridimensionalmente so less). The paradigm is not closed at its nÃÂ fifth of mere knots or in the relationship between them; the paradigm must be continually generating, settled and renewing relationships between nodes and admitting new and eliminated; seminando or condensing existing ones. The model presented is a power of creativity. Setting the diseÃÂ ± ing in the paradigm, ÃÂ © ste him to be always at the top of the visiÃÂ ³ n. The paradigm diseÃÂ ± ing runs at will knots; jumping from one another, weaving the maraÃÂ ± to the network relational who represents the concept of leap, unimpeded lengths and simultaneidades. Leap, in the paradigm between knots can be and without any limitations. This is the rhizome tissue; traces of the jumps at large. The creative power of the paradigm is manifested when, in the knot of tipologÃÂa- the diseÃÂ ± ing, recognizing the type of the object or teniÃÂ © ndolo assumed by their prior knowledge, it follows, transforms or breaks because posiciÃÂ ³ n what impels the paradigm and explicit content of their relations and knots, and recorriÃÂ © ndolos at will and his albedrÃÂo. And for mÃÂ ¡s clarify what remained in the thesis, we conducted two experiments, which are outlined and we believe show. One of the experiments is to recognize the type of the object and, in a very fundamental way, will violentarlo -suprimiendo one of its elements based on the object, asÃÂ violated, as they had lost an essential part of the type, obligarÃÂ Let the diseÃÂ ± ing: since i) seek a adecuaciÃÂ charges by transformaciÃÂ ³ n expressive; until ii) a transformaciÃÂ ³ n radical expresiÃÂ charges and content, and overall achievement as, if possible, a new type: the instauraciÃÂ ³ No one cÃÂ ³ say. The other experiment, apart from recognizing the type, partirÃÂ ¡several knots of genetic paradigm, and from ÃÂ © l diseÃÂ ± arÃÂ ¡a new object. And this work, in both cases, what harÃÂ Let the diseÃÂ ± ing jumping from node to node paradigm, contemplating each from the object and from doing them. The diseÃÂ ± ar asÃÂ serÃÂ ¡. We maintain that this diseÃÂ ± ar, which tries to dominate (the pardigma and acciÃÂ charges in ÃÂ © l) is anÃÂ ¡logo to evoluciÃÂ ³ n: diseÃÂ ± ing is the mutador object -mutador of tipo- and mutaciÃÂ charges and expresiÃÂ ³ n in new object, tendrÃÂ ¡ÃÂ © success if it is appropriate to the social body and ÃÂ © ste what adite and leaves develop. The proposed changes and generates diseÃÂ ± ing are not the random (mostly) are generated between storm and calm, between madness and razÃÂ ³ n; relÃÂ ¡mpago of sÃÂntesis that illuminates the entire maraÃÂ ± a structured field paradigm proposed mutate and calm and sits within the same paradigma- with crÃÂtica of razÃÂ ³ n. And ÃÂ fourth ultimate say that the paradigm is an open environment in space and time. The paradigm is autorregenera because their mutations knots imposed for renovaciÃÂ ³ n. The paradigm, in time. The paradigm is autorregenera because their mutations knots imposed for renovaciÃÂ ³ n. The paradigm, in time, provided with metÃÂ ¡fora, and change when change metÃÂ ¡fora, and this happens in parallel process to autorregeneraciÃÂ charges of knots. When autorregeneraciÃÂ charges of knots, based on mutations successful, crack, the new metÃÂ ¡fora paradigm, which has been generating in parallel and in turn, interrelaciÃÂ charges, has been a cause of the transformaciÃÂ charges of expressions and contents the knots, asÃÂ as their system rizomÃÂ ¡tico of conexiones- born. Changing metÃÂ ¡fora: new understanding of the paradigm, "revoluciÃÂ ³ n artÃÂstica."

Author: GARCIA RANEDO MARIA DEL MAR.
Year: 2003.
University: SEVILLA [More theses of this university] [www.us.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES - UNIVERSIDAD DE SEVILLA.

Summary: It analyzes the mutual care and relational ties that have kept the fashion and art in the twentieth century. How during this century, the two phenomena have been configured as organizing principles, as institutions characteristics of the collective life as a modern and theoretical fields and aesthetics from where they have questioned analytical and subversively traditional values authoritarian and socially established. We have addressed the goals articulated in a whole range of issues that analicenlos behavior or behavior relational between the two phenomena, undertaking a study of the forms of life and the culturalismos highlights of each historic moment, as well as the subcultures that generate an interpretation active systems from the same aesthetic and plurals. We conclude that in pointing fashion, contrary to the historical movements of art, rather than replacements or renovations there are variations, that is, small changes articulables who occupy the place of you who proceeded to give an image of constant change. This guionaje of replacing or quotation and appropriation of previous models gracious fashion at the moment is fuse with the movement in postmodern art, rather than a movement break and artistic renewal, a movement is subject to change imperceptible or more potential than real . The art and fashion, at present do not make use of alibis subversive but converge in a need for vigilance to the new image, an image that represent them with at the same time may represent the time. In this way, individual interests prevail over the collective achievements, the logic individualistic is the trend of this era called posthedonista.

Author: TÉLLEZ GARCÍA M. ISABEL DE JESÚS.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The proposal scene of the opera Carmen in Spain, from the Period of Transition to this day, is a theme and an important step in consolidating the design setting in recent years. With this work, structured in two parts, we intend to carry out in the first, a historical base and the second, an overview and analysis setting up of images, whose information discover, explain and order relations, ties and circumstances acontencidos alrdedor the development of their achievements. This duality in periods of study will contribute to a better understanding of the theoretical and analytical study subjects. Our work has focused on the study and analysis of the proposal scene of the opera Carmen in the last thirty years and peripheral target, we intended to make a synthesis of the historical record on the subject and setting, in order to appreciate the relationship between the literary text, the historical facts and the proposal scene. With this research are trying to raise awareness of the fundamental characteristics of the proposal scene of the opera Carmen in Spain between 1975 and 2004, based on a sample of 20 performances organized in chronological order. In the same way, it is possible a coherent and comprehensive vision of the relationship text music, the concept of the proposal scene and a landscape that includes interpreters, escenográfos, photographers, directors and orchestra scene, as well as the inclusion of comments, articles and press criticism regarding the achievements escenografic. With this work we aim to contribute to the knowledge level setting achieved in the last thirty years, we hope that our study may help to better understand the creative work of escenográfos and designers operísticos in Spain at a stage so little studied.

Author: GARCÍA RECELLADO AMANDA.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The investigation of this dissertation, limited to the European continent, it seeks to show that sport is an artistic discipline, coupled with the arts called mobile three-dimensional nature to which it is intrinsically linked, in which art athlete develops in the vacuum of space populating mobile lines, traces of their action and fleeting memory of a life that lives on in the life of every viewer, which like all art, is given to the display and presentation to the viewer. It has tried to make a review of historical importance noting that the mobile nature of the sport, the athlete's body movement has resulted from an ongoing investigation prehistoric man, the subject of study, reflection and analysis as it began to unfold in the two-dimensional image and obtained as a result of its conclusion that a large number of scenes in which the athlete is the protagonist of the action as mobile and they have continued throughout the different eras and periods forming a History of Art, where we found the man sportsman action in the body of the sport in individual or team who is confined in a specific geometric space, through which it has been possible to study the progress of the sport to stand at the present time that we know of, and as the creator works plastic has made progress in the technical mastery of body movement of men in the two-dimensional or three-dimensional space when we talk about sculpture. The art of the twentieth century, in his breakthrough discursive individual forefront, the study of motion coporal male athlete continued to remain an important basis in the different branches of static Fine Arts, which had an important significance incorporating them into the Olympic Games of the Modern Era, set for the French Baron Pierre de Coubertin, inviting the creators of visual images and music composers, International Sport in Fine Arts, created half of the twentieth century in Spain, and whose works can viewed in the Supreme Council of Sports in Madrid, or the various sports Europeans describe the three of the most important, the Olympic Museum in Lausanne, the Museum of Sports and Olympism Germano and the Museum FC Barcelona President Nunez.

Author: MUÑOZ GONZÁLEZ M. JESUS.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: ARTE Y ARQUITECTURA EN LA ESPAÑA DE LA EDAD MODERNA.

Summary: In this study we have tried to address all relationships between money and canvases in the seventeenth century. They show all kinds of processes for taxing paintings, from the set to pay the painter until being done to sell the work in the secondary market or almoneda. Also shown how they conducted the inventory adjustments that were part of painting, where he made an estimate of these and how they conducted auctions. Tamibén discusses the figure of the valuer, seeing that is one of the most important factors in the formation of the price. In the analysis of collections previously identified common features of the collectors and later, with a novel method is to extract the contents of their collections conclusions on the estimation of the various paintings according to their characteristics. It shows how did they vary prices theorists who are the appraisals, which coincide. With real prices at which compares customers in the early years of this century, since the end of the century the sales that are made will make a difference between the two prices. It also discusses market where you can buy these paintings, both inside and outside. In the market homeland is both sold on the primary market that explains the characteristics of the process of direct selling and sales by commissioning, and the sale in the secondary market, that is where it comes to auctions. On the international market are discussed ways of buying and players from the places to which the customer Spanish directed their preferences. For the study of the appraisals, various collections and markets has resorted to multiple and varied sources documentaries allowing clarify the role player by the various characters and mechanisms for the exchange of money for paintings.

Author: JIMENEZ DE LAS HERAS JOSE ANTONIO.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD CIENCIAS DE LA INFORMACIÓN.
Place of preparation: FACULTAD DE CIENCIAS DE LA INFORMACIÓN.

Summary: The dissertation, poses as a central hypothesis that the works of Rossen, in particular his last two works, is becoming a powerful metaphor creative, using the author's personal experiences as a raw material, is going to build a deep reflection on the city of his time, and on the artist's relationship with the company. To develop such scenarios thesis focuses on the analysis of his last two works, The Hustler (1961) and lilith (1964), which in turn are proposed as a diptych in which Rossen total fullness develop the method described above, to get through it to build a universally valid reflection on generic issues. Coupled with the above, and on a preferential basis, s ehan taken into account unpublished documents, obtained by the doctoral student in the course of their investigation, they have to link the past and unfinished draft Rossen (entitled Cocoa Beach) with his late works. Lastly, based on the hypothesis of this dissertation, have played a key role in her testimony and documents that allow linking the work of the director with his personal experiences: testimony given mainly by the son of the director, Steven Rossen, whose words are essential to underpin the objectives of this research.

Author: MORENO MORENO MACARENA.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The thesis is a directory of data, all important factors, as far as graphics are concerned, needed for the study and understanding of what happened in Madrid, in the decade d elos 90, in the evolution and development of graphic art serial and that allows us to make a semblaza of what happened in Madrid, in these ten years. The study focuses mainly on: education, workshops Stamping, contests publishers and distributors of artwork, exhibitions, the collection, publications, art scene and the beginning of the digital age.

Author: ANTOÑANZAS MEJÍA FERNANDO.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The toys are among the objects that best identify with the children, because the game is a major activity of children. Many of the toys are a constant in the history of mankind. In the early twentieth century avant-garde movements sought to influence society and therefore nothing better than to approach children. One result of this approach was the production of toys. Several have been artists who have made whether to market toys with them to meet their children or both. About dealing with this thesis are: Alexander Calder, Fortunato Depero, Lyonel Feininger, Angel Ferrant, Pablo Picasso, Paul Kleen and Joaquín Torres. The toys made by artists share characteristics with his work and his creative world, which makes it possible to see them as part of his work, a very little known in most cases.

Author: VECIANA SCHULTHEISS STELLA.
Year: 2004.
University: BARCELONA [More theses of this university] [www.ub.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Given the outlook for companies increasingly conditioned by the process of structural transformation induced by science and technology, the question we ask in this thesis is the role of art in the generation, development, presentation and dissemination of conocimiento. Is may the intersection of art, science and technology is creating a new paradigm artistic?  what social impact may have research artístico-cientifico-tecnologíca? The question over the social impact or performatividad art, understood as a form of knowledge that comes the will to act in other areas, creates the need to redefine components epistemological art and rethink their roles sociales.Esta thesis tries to provide answers to these questions from the study of current practices and speeches between art, science and technology. The study is divided into four chapters: in the first chapter, it introduces the scenario of the "arts research", ie practice of art as research and generation of knowledge from a historical perspective and epistemological; in the second chapter, studies investigating the component of the art of research articles, for example, discusses the research agendas between art, science and technology at present and a drawing of performative arts research, namely its ability to intervene and help in the social construction, in the third chapter, are investigated different models specific research heuristics transepistémica leading to a reflection on the common method of application and development of the models of art and science, in the fourth chapter, the construction social research arts from a redefinition of the concept of gracious culture and the introduction of the slope of the translation transepistémica. Lastly, the findings specify the functions of research socials arts.

Author: GONZÁLEZ SANZ ALEJANDRO JOSÉ.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Â What methods are used to teach drawing in the time and place that provides research? Â What attracted interest alos students? Do you were maintained or changed? The laws of teaching drawing remains virtually unchanged. Do you Due to its suitability? Do you really are fulfilled? Do you arose other critical positions? Â What felt teachers? Â What felt students? Â What caused the change? Our thesis aims to answer these preguntas.Junto the main body add other complementary parts and appendices including a sample based graphical themes developed, one dedicated to educational materials and other original works to students. The materials documenting consulted education systems: Memories and yearbooks, records professor, testimonials from alumni etc.hablan teaching methods of drawing from life, a copy of gypsum, but also stuffed animals, plant elements, arquitecónicos etc.. and that should eliminate the other method based on the copy sheet. In practice, and against the law when students are not denied other possibilities, such as enabling knowledge of drawing through the linear form and study the drawings of great masters through posters and prints. A simple change of models ever could mean a fundamental transformation in the enseñanza.Durante many years the model package and stamp alternated, with the concurrence of famous professors, forming pormociones not less importanates only among themselves but with others coming visions, critical pedagogy of art. After the civil war, the postwar did not allow any educational change than regress. The artistic and cultural changes that occurred in Spain at the end of the fifties had an impact forced to change the law in ganeral and artistic education in particular, incorporating finally, new methodologies in teaching drawing.

Author: TROBAT BERNIER RAFAEL.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES..

Summary: The investigation focused on the development of a photographic project raised simultaneously as a document and as a means of artistic expression of the author tries, first, to show that there is no contradiction between functions, which are constituent and defining environmental fotográfico.Antes to Instead, the investigation is concerned with establishing ralación between them and show how the photographic image can be enriched when a consciously linking the documentary and artistic purpose. Asumida inability to make a register of the real, objective and impartial, since the whole process determined by multiple decisions dependent on the subjectivity of the photographer, poryecto is developed on the basis of the criterion, and the needs of expression of the author and his special how to translate the reality imágenes.Pero at the same time is always mindful of the fact that any photograph, regardless of the intentions of autor.documenta reality, ie records of its existence, hence the concern about making work photographic testimony to the experience in a particular country (Nicargua) in a given time period (1990-1993), which takes place a series of political, social and cultural factors that define a time of change in life Country. Through the photographic work done over thirteen years, it is proposed and developed a method for creating photographic images documentary ultimately determined by the needs expressive of autor.Un method that attaches to the practical experience, analysis and the reflection of greater significance for the development of the work and the artistic maturity of the photographer. simultaneously And since they also show the different stages, not because of the work was created, but the process of forming the author himself, the investigation establishes a model analysis of photographic work valid for teaching photography.

Author: RODRIGUEZ CURIEL ESPINOSA MÓNICA.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The observation of the current context of art and his teaching, the spontaneous and widespread interest shown by young artists from around the world to complete his artistic training, and on a professional level, coming to intessivos Workshops Art Present, led us to raise the need for investigate why this preference of the students by the workshop, as a modality for the formation artística.El interest in the subject grew with the discovery of the appearance on the world scene of another new space, the Artist Studio Resisdences, which joining the Present Art Workshops, through its role in revitalizing and updating the traditional idea of the workshop as a place for training artistas.La definition of the workshop that we take into account in this investigation identifies him with a place for experimental education art and artistic production in the group, where the teacher and a group of students, the result of a mutual adoption (in the first instance are the students that choose a professor, later to be selected by him). Master teacher-used their experience and knowledge as an artist, active professionally, as a subject for teaching, and students are trained through the observation of the process of creation and support of artista-profesor.Suponen a gathering where privileged artists relate and work together, sharing motivation, enthusiasm and working methods, using as material for innovation in his work and personal potential accumulated in this exchange between colleagues. This research explores the characteristics of the workshops conducted by professional artists from the Renaissance, highlighting significant examples that help us to understand how it has changed the fact workshop over the centuries, the relationship between maestro-profesor and apprentice student-and the different methods of teaching art that have been utilizado.Aunque there are obvious differences, which we look over the research (there are times in history, in the centuries XVIII, XIX and XX, which at the workshop no involvement of young artists in the production of artistic collective workshop), the workshop has always arisen from the need to create an environment and to esimulante where creative action outside the norma.Son centers coexistence between artists (teachers teachers and aprendices-alumnos) based on direct learning, the accumulation of skills and knowledge and interaction between teacher and the teachings of influences mutants among students thereof. In conclusion estendemos that the current Art Workshops and Artist Studio Residences of the twenty-first century are the inheritors of the spirit of workshops Renacimiento.Dirigidos at attracting professional and young artists, offering as sites for the production of collective and individual work of art and for the instruction of art, focusing on the problems and needs, and always new, training and artistic production.

Author: MORA MILLÁN AURELIA.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: In this thesis are two major blocs developed thematic títulados respectively, "Approaches to the myth" and "Echoes of Time: approximations to the myth from a personal experience." In the first major bloc, the so-called "Approaches to myth," we are treading in the world as fabulous and fiction, in the world of mito.Los myths, as symbolic narrative, we have a "history", which has been handed down from generation to generation as well, "stories," stories that belong wing memory colectiva.El myth is a social phenomenon that can vary cultural remarkable, but that, despite everything persiste.Tolda society needs its mitos.De this need for myths, which is going to speak on this point as this fascinating world, fabulous, chimeric, and fantastic special is the linchpin, the backbone of my work. The second major topic, "Echoes of Time: approximations to the myth from a personal experience," is a detailed study of mythological themes that reprensento in my work and are articulated in four main sections, arranged according to the nature of the event we narran.En the first paragraphs, arranged according to the nature of the event that we narrate. The first section discusses the support of the world and the forces of nature, the second is devoted to the loss of Paradise, the third evil, represented by Dragon, and finally, in the fourth paragraph discusses metamorphosis ( sirens, sphinx, centaurs, tritons) and invisible beings (angels). My thesis has been to demonstrate how the myths we hablean in a language of images common to the human spirit has always been and, therefore, may never be displaced by scientific discoveries and not talk about the outside world but the world of sueños.A through my work I wanted to restore the wonderful world of the supernatural and go into the world mágico.He wanted to hear the voices of the gods, look for reflections of the heroes, see the shadows of the nymphs, sirens .. I wanted, in short, to feel the echoes of time.

Author: GUTIÉRREZ PÁRRAGA TERESA.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The objective of this research work is to show the proximity of the visual arts with the contemporary concept of the game from the vanguards historic century XX.Con it will try to revalue the playful activity as a source of creative art, discovering the poetry of the game in Artistic Expressions current, which acts as a gaming system mental disrupting the standpoint of art tradicional.Partiendo this perstpectiva that affirms the creative nature of the game, and his presence as a value in art, which is we serve to reflect in brief consideration in arts education. The development of the research is based on a multidisciplinary approach structured in three partes.La first examines the main perpetrators behind the theories they study the game from the standpoint of philosophy, psychology, anthropology and pedagogy, which put some indication of the complexity of the relationship between modern art and the game, showing how the multiple porpuestas theoretical poliédrica who have been approaching the game art from these disciplines. The second part provides some routes seeking stake in the art of the vanguards historical checking supresencia and its use within a framework of thinking aesthetics. The third part discusses the implications and educational applications where the game shows as a vehicle for understanding and learning the art moderno.Cuestión this it is essential to the implementation of the findings of our work in practice as educators, both by the possibility to harmonize the game with artistic creation, for implementing our previous deduciones to the study and understanding of contemporary art.

Author: SAURA PÉREZ ÁNGELES.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The investigation is a personal contribution to the teaching of arts education. Discusses the school of secondary education in Spain with regard to arts education, art and visual. It explores the type of students and faculty teaching art in Madrid with a comprehensive fieldwork. The quantitative methodology is applied in the form of surveys of a representative group of students with a response of 100% (487 questionnaires) and teachers drawing, with a response of 45% (316 questionnaires). Both are complemented by qualitative methodology of interviews with 14 experts (adapted from Delphi method) and analysis of communiqués collective professors and newspaper articles. Issues related to the tools, platforms and educational programs that bring the Information Technology and Communication (ICT) and its potential for use in the classroom of plastic. Introducing a prospective future for the sector. It understands the need for a software application that facilitates the use of the Internet in the classroom of plastic. It proposes a concrete model for the management of educational content and artistic support of the Internet: the Virtual Library Learning Arts. This is an educational website that has a search engine that operates on a database comprising 1200 links carefully selected for their relevance to the subjects of Drawing. It lies in the domain www.artenlaces.com. This software application is a teaching tool that provides continuous training of teachers, collaborative work in Network, the creation of new curriculum materials and the transfer of content via the Internet for teaching arts.

Author: RUIZ MOLLÁ ITZIAR.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: Study on the technique of imaging in the artistic field and in the sense of transformation and creating space. Discusses the technical part of the screening, his perceptive field on the viewer and their introduction and development in three specific areas of scenic art space, performance space and space espositivo. The latter permits the realization of a typology of artworks in the exhibition space employing projected image on any of its versiones.Esta typology is based on concepts of transformation and the creation of the exhibition space through the projected image.

Author: LLORENTE GARCÍA FERNANDO.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES..

Summary: From casual discovery of three plates, the engraved etching and signed with the letrasa "LOY" initiates research to clarify its authorship and to the extent possible, to reveal the relationship of the author withthe grabado.El recorder, the Cuban Ramon Loy, realizóo those recorded in Spain around 1915 within classes Carlos Veger and Esteve Rotey: this was a time of expansion of etching in our country, which lasted until the beginning of the war Civil.España in the first two decades in the twentieth century, he served as a model for many traditional academic students of Fine Arts Cubans who, upon their return to Cuba, cultivate and disseminated from the School of Fine Arts in Havana knowledge adquiridos.Ramón Loy, outstanding student of Engraving in the School of Fine Arts in Madrid, made friends with his professor Esteve Botey.Al return to Cuba, after a long journey europeo.se become one of the pioneers of young Cuban intaglio technique to be practiced assiduously in Cuba since the creation in 1928 , the chair of engraving at the School of Fine Arts Habana.La The Spanish influence will be very present in the Cuban recorded until the fifties, when he was displaced by the woodcut, with its expressive language became inthe engine engraving Cuban contemporáneo.Nuestro last chapter is devoted entirely to the work of biography and Ramon Loy, personality currently unknown for several circunstancias.Sus activities, all of which are interlinked, revolve around painting, engraving, teaching, writing and Art criticism.

Author: CARRASCAL DOMÍNGUEZ SILVIA.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: We intend to define the boundaries that include all the assets that make up the National Heritage. Trying to present as an endpoint to this thesis a detailed study of the management of the cultural and educational assets in the service of the Spanish crown. Allowing speculate the conceptual change that has occurred in recent times in terms of the dissemination and presentation of culture that is exercised in society. This character gives a series of Singularidades special. Somewhat. Distinct from other public institutions that manage cultural property subject only to general law for the protection of historical heritage. Besides fulfilling the important mission at the service of the Spanish people as a vehicle of culture. Research and teaching. Therefore. Exposure and analysis of the historical background and the current status of planning their cultural assets will be the focus of this investigation that leads us to establish a management model that best contribute to the dissemination and presentation of National Heritage. The emerging cultural policy has now put on the table a speech by numerous projects focusing on the management and cultural dissemination of Paltirnonio History. This in turn places a turning point in the lines of action of the Spanish cultural institutions by identifying direct intervention based on the planning of cultural resources through agencies in an objective. They are able to give value those assets in the service of Spanish society. National Heritage is an institution formed by the state-owned assets involved in the use and service of the King and the Royal Family to pursue the high representation that the Constitution and laws are attributed to them. This character gives a series of special peculiarities. Somewhat. Distinct from other public institutions that manage cultural property subject only to general law for the protection of historical heritage. Besides fulfilling the important mission at the service of the Spanish people as a vehicle of culture. Research and teaching. Therefore. The presentation and analysis of the historical background and the current status of planning their cultural assets will be the focus of this investigation that leads us to establish a management model that best contribute to the dissemination and presentation of National Heritage. The emerging cultural policy has now put on the table a speech by numerous projects focusing on the management and dissemination of cultural Heritage. Which, in turn, stands at a turning point action lines of the Spanish cultural institutions by identifying direct intervention based on the planning of cultural resources through agencies in an objective. They are able to give value those assets in the service of Spanish society. In this research is not intended writing the history of the evolution of cultural management at National Heritage. But support some background for themselves and addressing the needs of the moment lead us to the planning of a methodological process of analysis to arrive at conclusions that will determine the justification of the final proposal. A synthesis that will give rise to considerable scope for reflection on the content (J develop 103 that the press and photographic documentation legacies of different institutions and personages of the time. Play an important role in defining the guidelines and cultural policy for each of them.

Author: PARICIO GARCÍA JORGE.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: The investigation shows that creativity in the world of industrial design is absolutely necessary that the ideas are developed through the drawing of hands, the picture is the main means of communication in an environment as a two-dimensional way to understand and express one knowledge. The value of procedural Industrial Pattern of hands is analyzed as the designer more direct in his communication, part of a creative process with a wide variety of procedures and variables, these being very different in each project to materialize into an object frabricado through industrial processes and then put into use by the ultimate consumer. It has been discussed on everything concerning the organization of the Cabinet Design, shape, frabricación, technology, use, customer, market and feasibility within a finite time frame as elements designed to develop industrial products quality.

Author: LARA TEMIÑO M. ÁNGELES.
Year: 2004.
University: COMPLUTENSE DE MADRID [More theses of this university] [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES..

Summary: There has been an investigation into the benefits of the computer as a tool to support students and teachers in the subject of Education and Visual Arts. The design and subsequent implementation of a program teaching computer has served as reinforcement to students of the SCS for similar contents of the representation systems axonométrico and diédrico; addition, it has helped the development of spatial visualization.