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.

Some thoughts on Juan Antonio Ramírez´s iconologic-paranoid method for the study of Dali´s works

In 1990, Juan Antonio Ramírez made known his iconological paranoiac method to the academic world. It is a system devised to study Dalí´s work, born of happy matrimony between the catalonian artist´s critical paranoiac method and the first iconographic school of Warburg and Panofsky. What, at first sight, seemed to be an extravagant methodology with little academic credibility, turned out to be, by going forward in time, an effective research method when analyzing Dali´s initial works. It is no wonder that, at the beginning of XXI century, this hybridization between Dalí´s and Panofsky’s methods, were regarded as a strange and nonsensical idea. Nevertheless, twenty years after, blatant examples have been noted, which endorse the advantages of this new system for “iconographic” study. As usual, this new contribution by Juan Antonio Ramirez to art history methodology is called upon to have a successful future survival, in forthcoming generations. This article, attempts to analyze this method, inquiring into the validity, effectiveness and practical utility.