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Arteeinvestigacion-8.Pdf Directora Lic. Silvia García Comité Editorial Lic. Sergio Balderrabano Mg. María de los Ángeles de Rueda Lic. Verónica Dillon Mg. Cristina Fükelman Dra. Silvia Furnó Mg. Leticia Muñoz Cobeñas Dr. Eduardo Russo Secretaría de Publicaciones Secretaria Prof. María Elena Larrégle Prosecretaria Lic. Miriam Socolovsky Primera edición: agosto 2012 Corrección y Edición Cantidad de ejemplares: 300 Lic. Florencia Mendoza Prof. Luis Maggiori Arte e Investigación es propiedad de la Facultad Lic. Adela Ruiz de Bellas Artes, Universidad Nacional de La Plata, Diseño Diagonal 78 n° 680, La Plata, Buenos Aires, Argentina. DCV Valeria Lagunas [email protected] Secretaría de Ciencia y Técnica Año 14 Número 8 Asistentes ISSN 1850-2334 Prof. Silvia Valesini Registro de Propiedad Intelectual 954181 Prof. Jorgelina Sciorra Impreso en Argentina - Printed in Argentina UNIVERSIDAD NACIONAL DE LA PLATA PRESIDENTE Dr. Fernando Alfredo Tauber VICEPRESIDENTE ÁREA INSTITUCIONAL Lic. Raúl Aníbal Perdomo VICEPRESIDENTE ÁREA ACADÉMICA Ing. Armando de Giusti FACULTAD DE BELLAS ARTES DECANA Prof. Mariel Ciafardo VICEDECANA Lic. Cristina Terzaghi SECRETARIO ACADÉMICO Prof. Santiago Romé SECRETARIA DE PUBLICACIONES Y POSGRADO Prof. María Elena Larregle SECRETARIA DE CIENCIA Y TÉCNICA Lic. Silvia García SECRETARIO DE PLANIFICACIÓN, INFRAESTRUCTURA Y FINANZAS DCV Juan Pablo Fernández SECRETARIO DE CULTURA Prof. Carlos Coppa SECRETARIA DE EXTENSIÓN Prof. Victoria Mac Coubrey SECRETARIO DE PRODUCCIÓN Y COMUNICACIÓN Prof. Martín Barrios SECRETARIO DE RELACIONES INSTITUCIONALES DI Eduardo Pascal SECRETARIO DE ASUNTOS ESTUDIANTILES Sr. Esteban Conde Ferreyra EDITORIAL 5 UN RECORTE DEL MAPA SITUACIONAL LUGARES Y ESPACIOS. DE LA DANZA/ PERFORMANCE CON UNA MIRADA POSIBLE SOBRE LOS EL COLECCIONISMO BURGUÉS Y LA MEDIACIÓN TECNOLÓGICA ESCENARIOS CONTEMPORÁNEOS DECORACIÓN DE INTERIORES. Alejandra Ceriani 53 Natalia Giglietti y Francisco Lemus 106 ARGENTINA, 1860-1945 Ibar Anderson 6 HISTORIAS DEL ARTE SOBRE EL ESTILO Y EXPERIENCIAS PEDAGÓGICAS Enrique González De Nava 112 CLAVES PERCEPTUALES Leticia Muñoz Cobeñas 58 DE LA TONALIDAD Y LA ATONALIDAD EL SOPORTE COMO METÁFORA. Juan Fernando Anta 10 ALTAS LLANTAS. UNA HISTORIA DE LA INMANENCIA Y TRASCENDENCIA RECEPCIÓN DE ZAPATILLAS URBANAS María Celia Grassi, Angela Tedeschi, DESDE EL SUR. DOSCIENTOS AÑOS Sofía Dalponte 61 Norma Del Prete y Luján Podestá 121 DE LITERATURA ARGENTINA. AUDIOVISUAL EDUCATIVO DE LA UNNOBA LAS DIMENSIONES DE LOS PROCESOS HISTORIA E INTERPRETACIÓN. Florencia Antonini, Laura Durán, DE CREACIÓN ARTÍSTICA. EL GÉNERO, EL ROMANTICISMO Y ACTUALIDAD Mercedes Filpe y Florencia Longarzo 16 ESTILO Y LA PRODUCCIÓN DE SENTIDO Gerardo Guzmán 125 Gustavo José Damelio 70 NUESTRA CARNE EN EL ESPACIO. PROCEDIMIENTOS Y RECURSOS SENSACIÓN TÁCTIL EN LA MÚSICA NECESIDAD HUMANA Y BIENESTAR SOCIAL INSTRUMENTALES. APORTES DE CIFUNCHO Iván Anzil 21 EN CONDICIONES DE CRISIS ORGÁNICA DE MARIANO ETKIN Nora Del Valle 75 Carlos Mastropietro 132 LOS JÓVENES, LA WEB Y LA ESCUELA Añón Suárez, Alba, Bernatene, Huck, JUVENTUD Y MERCADO: NOTAS SOBRE FOUND FOOTAGE Lisa, Muñoz Cobeñas, Najmías Little, CONSUMO O EXCLUSIÓN Eva Noriega 136 Nuñez, Ríos Armelín y Tegiacchi 28 Macarena Díaz Posse 80 EL LENGUAJE MULTIMEDIAL. REPETICIONES Y VARIACIONES DE LA IDEA A LA OBRA. EXPERIENCIAS DEL DEL GIOTTO A LA HOLOCUBIERTA EN RESTAURACIÓN. SOBRE LA ETERNIDAD TALLER COMPLEMENTARIO CERÁMICA, Ricardo Palmero 140 Y LA CONTINGENCIA FBA, UNLP DE LA OBRA DE ARTE Verónica Dillon, Mariel Tarela CINE Y PLANIFICACIÓN ESTRATÉGICA Sergio Ardohain, José Barrera, y Florencia Melo 83 Jorgelina Quiroga 145 Franco Durante y Eduardo Migo 34 NUEVA CULTURA AUDIOVISUAL URBANA. LA DETERMINACIÓN DEL GÉNERO GESTUALIDADES MUSICALES EL CASO DE LA PLATA EN MÚSICA POPULAR EN LA OBRA “EL TANGO” Malena Di Bastiano, Edgardo Rodríguez 150 DE PIAZZOLLA-BORGES Melissa Mutchinick y Ana Pascal 87 Sergio Balderrabano, SARMIENTO Y EL DISCURSO Alejandro Gallo y Paula Mesa 38 AGENDA DE NUEVAS ESTRATEGIAS SOBRE LAS ARTES DIDÁCTICAS. JORNADAS DE Natacha Segovia 155 LOMOGRAFÍA: REFLEXIÓN DEL TALLER DE DISEÑO EN UN FENÓMENO DE CULTO COMUNICACIÓN VISUAL C, FBA, UNLP EL DOCUMENTAL AUTORREFERENCIAL: Marina Calderone 45 María de las Mercedes Filpe, María Sara TRES CASOS Guitelman y Stella Maris Abate 93 Rosa Teichmann 160 EL AURA BENJAMINIANA Cecilia Cappannini 48 LA ENSEÑANZA DEL DIBUJO PRODUCCIÓN, LECTURA Y EXHIBICIÓN EN LA ESCUELA. EL APORTE DEL LIBRO DEL ARTISTA DE MARTÍN MALHARRO Alicia Valente 167 Vanessa Giambelluca 98 Editorial Esta nueva edición de Arte e Investigación jóvenes investigadores que han decidido reúne, una vez más, artículos de docentes- aceptar este desafío. Algunos son beca- investigadores y becarios de esta Facultad, rios de investigación y otros, docentes ca- quienes nos brindan sus miradas e intuicio- tegorizados recientemente que trabajan nes acerca del fenómeno artístico. Se trata en proyectos de investigación aportando de atisbos que no pretenden convertirse en diferentes puntos de vista. Lo meritorio de preceptos, sino más bien en antecedentes sus miradas radica en el abordaje del arte de la preocupación académica y artística centrado en lenguajes y técnicas, procuran- sobre el intricado terreno del arte. do la comprensión de la acción y el proceso Los textos manifiestan no sólo el pensa- artístico en estrecha relación con las socie- miento y la búsqueda de algunas certezas, dades y las culturas, lo que los conduce a sino la apertura constante de diálogos, que la apertura de nuevos caminos, a instalar intentan situar problemas epistémicos en otras maneras de pensar el fenómeno artís- territorios claves de las actuales geopolíti- tico contemporáneo y a construir conceptos cas del conocimiento. superadores de aquellos que provienen de La producción artística, la reflexión so- la sociología, la comunicación, la semiótica. bre ella tanto en sus aspectos materiales Esto es la riqueza de la tarea investigati- como formales, así como la consideración va, ampliar las fronteras del conocimiento de sus implicaciones en la sociedad y en la permitiendo el ingreso de problemáticas cultura, constituyen acciones continuadas aisladas por el paradigma de la cultura y permanentes en nuestra Facultad. Dichas occidental para consolidar un campo epis- acciones permiten pensar la esfera de la in- témico específico del arte, fundado por los vestigación como un ámbito con categorías propios artistas. Resulta necesario, en el a veces propias del arte y otras, comparti- contexto de nuestra cultura contemporá- das por diversos campos del conocimiento. nea caracterizada por la fugacidad de los Cuando las fronteras se diluyen, emergen mensajes comunicacionales, instalar con intercambios y aproximaciones de sabe- mayor fuerza el conocimiento artístico dis- res, que constituyen una compleja trama ciplinar, recordando que el arte, como dice subterránea que vuelve contingente el Jiménez, detiene, recorta, aísla, ralentiza. proceso de investigación, pero cuya oscuri- En definitiva: “diferencia la imagen, esta- dad, paradójicamente, resulta ser el punto bleciendo así una pauta de autonomía de clave desde donde vislumbrar la luz. sentidos que le hace posible seguir sien- En tal sentido, podemos recordar como do poiesis, producción de conocimiento y el filósofo colombiano Estanislao Zuleta placer, puesta en obra de la verdad y de la plantea la investigación artística: “la inves- emoción a través de la síntesis de lo sensi- tigación en su sentido fuerte es exploración ble y el concepto.”2 de lo no sabido, es riesgo, es necesidad de A partir de aquí, podremos entonces devolverse, de seguir muchas veces sen- entablar un “diálogo de saberes” con los das perdidas en un bosque –que es para cuales construir nuevos sentidos que den 1 ZULETA, Estanislao, por BUSTOS GÓMEZ, Marta Lucía, Heidegger la metáfora del campo del co- cuenta del mundo actual en las prácticas en: “Los estudios artísticos”. Señal y laberinto. Pers- nocimiento- donde hay caminos, innumera- artísticas y sociales. Esto queda expresado pectivas académicas en torno al arte y las humanida- bles caminos y donde solo aquel que se ha en las ideas que circulan en el conjunto de des. UNICACH, México, 2011. extraviado muchas veces en ellos, aprende los textos que ponemos a consideración en 2 AAVV “Un arte dislocado”, en: Revista de Occidente, alguna vez a conocer el bosque.”1 esta entrega, que esperamos sea un estí- nº225, febrero de 2000, pp. 5-24. [en línea]: http:// Lo interesante de esta nueva edición de mulo para quien la lea. www.inmaterial.com/jimenez/arted.htm. 17 de abril de Arte e Investigación es que el lector se en- 2012; 11 hs.am contrará con artículos cuyos autores son Lic. Silvia García ARTE E INVESTIGACIÓN 8 5 El coleccionismo burgués y la decoración de interiores ARGENTINA (1860 -1945) Ibar Anderson // Diseñador Industrial, Facultad de Bellas Artes (FBA), Universidad Nacional de La Plata (UNLP). Magister en Estética y Teoría del Arte, FBA, UNLP. Doctorando en Arte Contemporáneo Latinoamericano, FBA, UNLP. Profesor Titular de Integración Cul- tural I, FBA, UNLP. Introducción1 nuevo orden económico y político burgués. Entonces, ¿por qué estudiar las influencias El diseño de muebles, luego de la Revolu- del arte y la arquitectura en el diseño de ción Industrial del siglo XVIII y durante todo muebles artesanales y de ebanistería en el siglo XIX, fue más artesanal que indus- el mundo incipientemente industrial –solo trial, tanto en Europa como en Argentina. en Europa– del siglo XIX e inicios del siglo Así lo demuestra el mobiliario
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