Cuestiones de escala en el ámbito de la “Huella Hídrica”.

La aplicación de la “Huella Hídrica” a la realidad española debe hacerse desde la consciencia de que hasta hace relativamente poco, el pensamiento científico dominante era el reduccionismo, cuyo enfoque considera que basta un conocimiento detallado de cada uno de los componentes de un sistema y de sus leyes fundamentales, para entenderlo globalmente. Y es que, el interés por este indicador surge de la importancia que cobran conceptos como “escasez” y “contaminación” del agua, como consecuencia directa e indirecta de la actividad humana sobre los sistemas hídricos, tanto en España como en los países de América Latina; con el fin de mejorar la gestión –desde la oferta y la demanda- de los recursos hídricos del planeta y reducir las desigualdades territoriales. De este modo, en el presente estudio se realiza una estimación de la “Huella Hídrica” de España y América Latina, así como de a la Red de Parques Nacionales Españoles, tanto a nivel económico como ambiental, describiendo los recursos hídricos utilizados, necesarios para satisfacer la demanda de bienes y servicios consumidos, en los prolegómenos del siglo XXI.

Flavian laws, the railway, the newspaper and Loring’s breads

It is abound the research on the formation, rise and failure of the financial and industrial network undertaken by the Loring-Heredia-Larios triangle, bourgeois families who introduced the Industrial Revolution in the south of Andalusia. On the contrary, there are almost nonexistent studies from the perspective of the mentality that sustained their business, social and ethical model in the algid decades of their action (1850-1860). In this paper we propose some hypotheses about the ideological structures of bourgeois group and point out some keys, clues and signs for a future reconstruction of this kind, which so far has not been incardinated that early and failed malaguenan industrial revolution in streams thinking of that time.

The circle in the relationship between space and body. Photo-essay based on Isidro Blasco and the BAPNE method

This article demonstrates a visual study on the educational space in which the teaching of body percussion is carried out in universities. The methodological framework is chosen by the Visual Arts Based Educational Research, using the work of an artist as a conceptual and methodological model. The research remains notable (1) due to the theoretical reference to the BAPNE method, (2) due to the visual reference to the work of Isidro Blasco – especially with the piece “Shanghai Planet 2009” - ;(3) due to the parallelisms established between the object of study in this investigation -the spatial analysis- and the focuses of interest revealed by the art critics in relation to the work of this artist. By means of a visual speech formed with 7 photo-collages the relationship between body and educational space is visualized in the basic disposition of circular learning. The visual constructions by way of photo-collage and their aesthetic charge brings us closer to the intimacy of the educational space, in the style in which it is distributed to the students in the music classroom, the materialization of interpersonal relationships, the occupied and empty volumes.

Kawamoto’s "Dojoji Temple": Puppetry, Gesture and Myth

Dojoji Temple ( Dōjōji, 1976) is a short puppet animation directed by Kihachirō Kawamoto. Influenced by Bunraku (Japanese puppet plays), emaki (painted scroll), Noh theatre and Japanese myth, Dojoji Temple tells of a woman’s unrequited love for a young priest. Heartbroken, she then transforms into a sea serpent and goes after the priest for revenge. While Kawamoto’s animation is rich with Japanese aesthetics and tragedy, his animation is peopled by puppets who do not speak. Limited and restrained though the puppets may be, their animated gestures speak volumes of powerful emotions. For our article, we will select several scenes from the animation, and interpret their actions so that we can further understand the mythical world of Dojoji Temple and the essential being of puppetry. Our gesture analysis will take into account cinematographic compositions, sound and bodily attires, among other elements.