Gotowe bibliografie tematyczne / International Center for the Arts of the Americas

Gotowa bibliografia na temat „International Center for the Arts of the Americas”

Autor: Grafiati

Data publikacji: 26 lipca 2024

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Artykuły w czasopismach na temat "International Center for the Arts of the Americas"

Barriendos, Joaquín. "Latinoamericanismo Digital: Arte latinoamericano y humanidades digitales en Estados Unidos". Quaderni Culturali IILA 3, nr 3 (11.02.2022): 15–29. http://dx.doi.org/10.36253/qciila-1550.

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El International Center for the Arts of the Americas (ICAA) del Museum of Fine Arts, Houston (MFAH) puso en línea en 2012 la primera fase del archivo ICAA Documents Project, un ambicioso repositorio digital de documentos primarios del arte latino y latinoamericano del siglo XX. Este artículo analiza la arquitectura documental del ICAA Documents Project tomando en cuenta las coyunturas que están experimentando en la actualidad las Humanidades Digitales en, desde y sobre América Latina. El artículo presta especial atención a la manera en la que este proyecto utiliza el Art & Architecture Thesaurus (Getty Foundation) para construir sus categorías meta-descriptivas y voces autorizadas. A partir del análisis de lo que llamaremos latinoamericanismo digital, en el artículo se abordan aspectos relacionados con la gestión documental del arte latinoamericano en entornos museográficos estadounidenses, así como el impacto de las Humanidades Digitales para la investigación global del arte latinoamericano.

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Rivera, Fredo. "Precarity + excess in the latinopolis: Miami as Erzulie". Cultural Dynamics 31, nr 1-2 (luty 2019): 62–80. http://dx.doi.org/10.1177/0921374019826199.

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Miami’s built and natural environment, together with the politics of migration, has transformed it into a major global city and art center over the past decades. This article situates Miami—generally viewed as an aspirational city and cultural nexus of the Americas—as an oceanic borderlands lying between political and ecological precarity as well as economic and cultural excess. This article examines the relationship of contemporary art and the urban landscape to consider Miami’s unique place for thinking about LatinX and Latin America today. Building on Gloria Anzaldúa’s theorizing on borderlands and creative expression as a framework and drawing inspiration from the Vodou pantheon of Erzulie, this essay analyzes Miami through a queer and Caribbean lens. New high-rises, prominent museums, and public art installations exemplify the rise of the neoliberal city and its inherent contradictions. The work of prominent local and international artists such as Edouard Duval-Carrié, Jeanne-Claude & Christo, Glexis Novoa, and Alfredo Jaar is explored as a window for considering Miami’s cultural production. Miami is a model of tropical urbanity. Its social, political, and economic conditions belie this city’s status as global cultural capital.

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Mel'nikova, Yu. "Global Conflict and the Countours of a New World Order". World Economy and International Relations 66, nr 11 (2022): 134–38. http://dx.doi.org/10.20542/0131-2227-2022-66-11-134-138.

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Editorial office publishes the summary of a joint seminar, held by the Russian International Affairs Council (RIAC), the Primakov National Research Institute of World Economy and International Relations (IMEMO RAS) and the World Economy and International Relations journal and dedicated to the impact of the Ukrainian crisis on the international relations. The event hosted such prominent experts as Igor Ivanov, RIAC President, Minister for Foreign Affairs of the Russian Federation (1998–2004) and RAS Correspondent Member; Fyodor Voitolovsky, IMEMO RAS Director, RAS Correspondent Member; Andrey Kortunov, RIAC Director General; Vladimir Baranovsky, Scientific Director of the Center of Situational Analysis, IMEMO RAS, RAS Academician; Alexey Gromyko, Director of the RAS Institute of Europe, RAS Correspondent Member; Oxana Gaman-Golutvina, President of the Russian Political Science Association, RAS Correspondent Member; Victor Kuvaldin, Head of the Department of Social and Human Arts, Lomonosov State University; Alexey Bogaturov, Distinguished Scholar; and Igor Istomin, Senior Research Fellow of the Center for Perspective American Studies, MGIMO University. Vladimir Baranovsky presented his new monograph at the seminar.

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Osten, Ev. "Welcome to San Antonio". Microscopy and Microanalysis 9, nr I1 (sierpień 2003): 40. http://dx.doi.org/10.1017/s143192760303109x.

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The Microscopy Society of America, the Microbeam Analysis Society, the International Metallographic Society and the Congress of InterAmerican Societies of Electron Microscopy invite you to Microscopy and Microanalysis 2003, which is also the VII InterAmerican Congress on Electron Microscopy/VII Congreso InterAmericano de Microscopía Electrónica.The city of San Antonio with its location, history, and culture is an ideal host for this Pan American meeting. The Convention Center and three of the participating hotels are located downtown on the amazing River Walk. Many restaurants and shops are clustered around the River Walk as is La Villita, an arts village and a National Register Historical District. A few blocks from the River Walk is Market Square, which is a center of the Mexican culture featuring patio restaurants, a farmers market, and El Mercado, the largest Mexican marketplace outside of Mexico. You will find that downtown San Antonio is a very convenient, interesting, and unique venue for our meeting. For transportation information, maps, visitor's guides, and much more, see http://www.sanantoniovisit.com/.

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Fisher, Laura, i Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas". Media International Australia 158, nr 1 (11.01.2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.

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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine art status – something that, while no longer questioned in Australia, continues to be precarious overseas. By considering how both political and aesthetic concerns were addressed by Indigenous curators Hetti Perkins and Brenda L. Croft, this discussion sheds light on the ways in which emergent political meanings associated with Indigeneity have driven new kinds of institutional practice and international cultural brokerage.

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Falk, Richard, i Daniel Falcone. "9/12: Reacting to crime by war(s): International and internal impacts of 9/11". Journal of Contemporary Iraq & the Arab World 15, nr 3 (1.09.2021): 269–83. http://dx.doi.org/10.1386/jciaw_00054_1.

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This article critically analyses the responses by the US Government to the 9/11 attacks on the World Trade Center and Pentagon giving attention to the belligerent policies initiated on 9/12. Its main argument is that more damage was done to the American position in the world by what was done in the name of security in reaction to the attacks than the attacks themselves. The conclusion reached is that the unlearned lesson of the Vietnam War helps us understand the failed military interventions and state-building operations as tragically enacted in Iraq and Afghanistan.

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Karamaev, S., A. Lomova i E. Shirgazina. "Identity in the Time of World Order Transformation: Discourses and Narratives". Analysis and Forecasting. IMEMO Journal, nr 1 (2024): 69–84. http://dx.doi.org/10.20542/afij-2024-1-69-84.

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A conference titled ‘Old and New Heroes of History: Nation States in Quest for Identity’ was held on the 8th of February 2024, at the Primakov National Research Institute of World Economy and International Relations of the Russian Academy of Sciences (IMEMO). It was organized by the Center of the Indo-Pacific region of IMEMO. The conference Chief-moderators were Semenenko I.S., Corresponding Member of the RAS, Doct. Sci. (Polit. Sci.), Head of Centre for Comparative Socioeconomic and Political Studies, Deputy Director for Scientific Work of IMEMO and Prokhorenko I.L. Doct. Sci. (Polit. Sci.), Head of the Sector for International Organizations and Global Political Governance, Department for International Political Problems, IMEMO. The questions under analysis included the following points: the features and key directions of identity politics of various states of the world, the role and significance of identity conflict in world politics, rethinking the heritage of the past and the search for new ‘heroes’ for modern societies. The discussion was focused on the role of identity personifiers and the study of identity conflict in the context of the formation of a polycentric world. The speakers were as follows: Semenenko I.S. and Prokhorenko I.L. addressed the plenary meeting; staff members of IMEMO: the Center of the Indo-Pacific region– Head of the Center Cand. Sci. (Hist.) Kupriyanov A.V., Junior Research Fellow Makarevich G.G., Senior Research Assistant Kosareva E.S., Cand. Sci. (Polit. Sci.) Research Fellow Terskikh M.A., Junior Research Fellow Zaitsev I.A., Cand. Sci. (Polit Sci.) Research Fellow Lomova A.A., Turayanova L.T.; staff members of the Center for Middle East Studies – Research Fellow Ibragimov I.E. and Junior Research Fellow Guzhev I.A.; staff members of the Center for Development and Modernization Studies – Research Fellows Arabadzhyan A.Z. and Karamaev S.G.; staff member of the Center for European Studies Cand. Sci. (Hist.) Research Fellow Podchasov N.A. Fellows of the Institute of Oriental Studies of the Russian Academy of Sciences delivered their speech: Cand. Sci. (Econ.) Leading Researcher of the Center for Middle East Countries Studies Arabadzhyan Z.A., members of the Center for Southeast Asia, Australia and Oceania: Cand. Sci. (Hist.), Academic Secretary of the Center Senior Researcher Astafieva E.M., Cand. Sci. (Econ.) Leading Researcher of the Center and the Institute of China and Contemporary Asia of RAS Popov A.V., staff members of the Institute of China and Contemporary Asia of the Russian Academy of Sciences: Research Fellows of the Center for Vietnam and ASEAN Studies Burova E.S., Kucherenko G.N., Shaternikov P.S., Research Fellow of the Center for the Study of Contemparary History of China and Its Relations with Russia Voloshina A.V.; staff members of the Institute for African Studies, Russian Academy of Sciences (IAS RAS): Head of the Center for Tropical African Studies Cand. Sci. (Hist.) Leading Researcher Denisova T.S., Head of the Center for Southern Africa Studies Cand. Sci. (Hist.) Senior Research Fellow Tokarev A.A., Senior Research Fellow of the Center for Southern Africa Studies Cand. Sci. (Hist.) Cand. Sci. (Hist. of Arts) Skubko Y.S., Junior Researcher Nesterova E.S., Senior Research Fellow of the Center for History and Cultural Anthropology Cand. Sci. (Hist.) Associate Professor of the Department of General History, P.G. Demidov Yaroslavl State University (YarSU) Khokholkova N.E., YarSU students and staff members Cand. Sci. (Hist.) Associate Professor of the Department of Regional Studies and Tourism Savin D.A., Professor and Doct. Sci. (Hist.), Professor of the Department of General History Gavristova T.M., post-graduate student of the Department of General History of YarSU, history teacher of the Municipal educational institution ‘Nekrasov Secondary school No. 4 with in-depth study of the English language’ of Yaroslavl city Tsvetkov E.G., Georgy Arbatov Institute for U.S. and Canada Studies, Russian Academy of Sciences (ISKRAN) staff member – Senior Research Fellow of the Center for History and Cultural Anthropology of the Department of Internal Political Research Cand. Sci. (Hist.) Vorobiev D.N.; staff member of the Russian State University for the Humanities, Cand. Sci. (Hist.) Associate Professor of the Department of American studies of the Faculty of International Relations, Political Science and Foreign Regional Studies RSUH Panov A.S. and Master’s student of the Department of Theory and History of Humanities, Institute of Philology and History of RSUH Grebneva N.I.; and master's student of the MGIMO University Kupalov-Yaropolk A.I. The review of the conference materials was compiled by the staff members of the Center of the Indo-Pacific region of IMEMO Cand. Sci. (Polit. Sci.) Research Fellow Lomova A.A. (lomova.dip@list.ru, ORCID: 0009-0004-3178-7480) and Junior Research Fellow Shirgazina E.R. (e.shirgazina8@imemo.ru, ORCID: 0000-0001-7715-2991) and Research Fellow of the Center for Development and Modernization Studies Karamaev S.G. (tiomkin@imemo.ru, ORCID: 0000-0001-5137-3948).

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Lewis, David Levering. "Exceptionalism's Exceptions: The Changing American Narrative". Daedalus 141, nr 1 (styczeń 2012): 101–17. http://dx.doi.org/10.1162/daed_a_00132.

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Seven years after 9/11, the American way of life was again shaken to its foundation by the Great Recession of 2008. The logic of an unregulated market economy produced its predetermined result. The American middle class, the historic protagonist of the American narrative, became an endangered species. Against a bleak backdrop of indebtedness, unemployment, and rapid decline in traditional jobs and in the affordability of the essentials of health and education stands the stark wealth of the top 1 percent of Americans. With the vital center no longer holding and consensus fraying, 53 percent of the electorate wagered in 2008 that it could deny race by affirming its non-importance and thereby audaciously reinvigorate the exceptionalist narrative. The choice before us, however, is still much the same as that posited by W.E.B. Du Bois when he described two antithetical versions of the American narrative: one was based on “freedom, intelligence and power for all men; the other was industry for private profit directed by an autocracy determined at any price to amass wealth and power.”

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ETHINGTON, PHILIP J., i VANESSA R. SCHWARTZ. "Introduction: an atlas of the urban icons project". Urban History 33, nr 1 (maj 2006): 5–19. http://dx.doi.org/10.1017/s096392680600349x.

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When the World Trade Center towers collapsed on 11 September 2001, many commentators noted that in their short lives, the towers had come to represent many things: American-led global capitalism, the United States and, most of all, New York City. Their brief role as a shorthand way of saying ‘New York City’ provoked us to ask about ‘urban icons’ more generally. But we did not need such cataclysm to provoke us to consider the topic of icons and their functioning in contemporary global culture. To help illuminate the usefulness of the concept of ‘urban icons’ we held an international conference in order to determine whether the category can be used as a conceptual grid for studying the intersection of visual culture and urban history.

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Ferguson, Jeffrey B. "Freedom, Equality, Race". Daedalus 140, nr 1 (styczeń 2011): 44–52. http://dx.doi.org/10.1162/daed_a_00057.

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This essay explores some of the reasons for the continuing power of racial categorization in our era, and thus offers some friendly amendments to the more optimistic renderings of the term post-racial. Focusing mainly on the relationship between black and white Americans, it argues that the widespread embrace of universal values of freedom and equality, which most regard as antidotes to racial exclusion, actually reinforce it. The internal logic of these categories requires the construction of the “other.” In America, where freedom and equality still stand at the contested center of collective identity, a history of racial oppression informs the very meaning of these terms. Thus the irony: much of the effort exerted to transcend race tends to fuel continuing division.

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Rozprawy doktorskie na temat "International Center for the Arts of the Americas"

Waites, Elizabeth Anne. "Meridian International Contemporary Culture Center Proposed Addition to Meridian International Center". Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/33293.

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Located just off of Sixteenth Street NW in Washington, D.C., the Meridian International Center complex sits on an elevated, crescent-shaped swath of land opposite Meridian Hill/Malcolm X Park. On the site are two neoclassical residences, both designed by John Russel Pope in the early 20th century. Initially designed as diplomatic residences, when Meridian International Center purchased the site in 1960, the houses were converted into facilities for the organization. Today, having recently undergone extensive renovations the buildings are listed on the National Register of Historic Places. Meridian International Center is devoted to the exchange of people, ideas, and art. The organization aims to promote international understanding through diplomatic exchanges, arts programs, lecture series, and educational programs. The majority of operations is devoted to the International Visitors Program, however in recent years, the organization has expressed a desire to expand their other programs, specifically the Arts & Culture and World Affairs divisions. A primary intention of Meridian International Center is to open its doors to the city, to invite and engage the public in international matters through a variety of expositions. Currently lacking sufficient space to accommodate such programs, this thesis proposes a new facility for Meridian International Centerâ s building complex. This facility is to function as a Contemporary Culture Center. With the intention of opening the institution to the public, both literally and figuratively, the building is to act as a beacon in the city for the sharing and mixing of cultures.
Master of Architecture

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Newton, Eric. "Building rapport in mediation| A study of the application of intercultural competencies in a Midwestern mediation center". Thesis, University of the Pacific, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10140628.

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In today’s world, people from various cultures interact on a daily basis on a number of occasions. During these intercultural encounters, conflicts often arise. Intercessors are needed to help people navigate these types of disagreements. Mediators are considered some of these peacekeepers. This thesis engaged with mediators at a mediation center in the Midwestern United States in order to understand what strategies seemed most effective.

I examined the research that scholars have conducted regarding building rapport through utilizing respect and face issues, as well as nonverbal behavior. In addition, I explored the connection between the understanding of these factors and intercultural competence and intercultural conflict competence.

The purpose of this thesis was to see how these mediators understood and valued respect and face issues, including nonverbal behavior, when building rapport with parties in mediations. These mediators were engaged in two manners, via survey and interview questions. The intercultural competence of the mediators in these domains was also explored.

The results of the research in this thesis showed how the mediators were skilled in some areas, such as in rapport building and respect issues. It further revealed that they were in need of some skills for their toolbox, such as training on face issues and nonverbal behavior, including silence, tone of voice, and eye contact. Detailed recommendations for the mediators are provided. Future research is encouraged: A group of mediators that have exhibited intercultural competence should be selected in order to test their intercultural conflict competence.

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Kim, Juhi. "Better Writers or Better Writing? A Qualitative Study of Second Language Writers' Experiences in a University Writing Center". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398789858.

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Chen, Yi-Lien, i 陳怡璉. "International Cultural Exchanges of Traditional Performing Arts in the National Cultural Policy ──Case studies of Taipei Cultural Center in New York and Taiwan Cultural Center in Paris". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/m4y679.

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碩士
國立臺北藝術大學
建築與文化資產研究所
100
With the frequent exchange of different cultures, in addition to upgrading the quality of the arts, Taiwan’s government is dedicated to promoting international cultural exchange. In recent years, our government supports and fosters many outstanding performing arts groups to become one sought after internationally. The overseas cultural centers established by Taiwan’s government support Taiwan''s traditional performing arts groups with local cultural characteristics to perform internationally. Council for Cultural Affairs (referred to as CCA) is responsible for the business of international cultural exchange. This study focus on the overseas exhibitions and activities organized and co-organized by CCA and Taipei Cultural Center in New York (referred to as TECO -NY) or Taipei Cultural Center in Paris (referred to as TECO - PR). The object is Taiwan’s traditional performing arts group involved in these activities. This thesis is divided into five major studies. First, exploring the cultural business and the content that Taiwan’s culture institution is in charge of, and the government''s main subsidy mechanisms. Second ,exploring the distribution of the national cultural budget for the different relevant organs, as well as the specific cultural business the organs are in charge of. Third, discussing the overall context of the relevant national cultural policy, as well as the content of the related cultural regulations. Fourth, classifying the content of the overseas performances of the traditional performing arts groups and analyzing them. Fifth, exploring the repertoire and style of the overseas performance of the traditional performing arts group, and the process of being invited, the trend of the performance, and the effect of the polices. Analyzing the representative style of different repertoires and musical genres, and proposing the factors which affect the styles. I want to understand the overall environment of the development of the performing arts by exploring the cultural institutions, cultural subsidy mechanisms, the budget allocation for culture, and the background of cultural policy, then bring up the related issues and use this as the basis to comprehensively understand how the traditional performing arts groups participating in international cultural exchanges present the characteristics of Taiwan''s traditional culture and art with the change of various factors in historical context.

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Cuthbert, Nancy Marie. "George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art". Thesis, 2012. http://hdl.handle.net/1828/4142.

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Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.
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Książki na temat "International Center for the Arts of the Americas"

name, No. International Center for the Arts of the Americas. Houston, TX: Museum of Fine Arts, 2003.

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1955-, Ramírez Mari Carmen, Papanikolas Theresa i Museum of Fine Arts, Houston., red. International Center for the Arts of the Americas. Houston, Tex: The Museum of Fine Arts, Houston, 2002.

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Pierce, Donna, 1950- editor of compilation, Otsuka, Ronald Y., editor of compilation i Frederick and Jan Mayer Center for Pre-Columbian and Spanish Colonial Art, red. At the crossroads: The arts of Spanish America & early global trade, 1492-1850 : papers from the 2010 Mayer Center Symposium at the Denver Art Museum. Denver: Denver Art Museum, 2012.

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Estwanik, Joseph J. Sportsmedicine for the combat arts. Charlotte, NC: Boxergenics Press, 1996.

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Shirley & Alex Aideman Arts Center., red. Arts of the Americas: April 16-June 14, 1992, Tisch Gallery, Shirley & Alex Aideman Arts Center, Tufts University. [Boston: The Center, 1992.

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W, Rynd Chase, Scala Mark, Knowles Susan Williams i Frist Center for the Visual Arts (Nashville, Tenn.), red. An enduring legacy: Art of the Americas from Nashville collections. Nashville, Tenn: Frist Center for the Visual Arts, 2001.

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Hranitelj, Alan. Alan Hranitelj: Kostumografija 1986-2006 : Mednarodni grafični likovni center = Alan Hranitelj : costume design 1986-2006, International Centre of Graphic Arts. Ljubljana: Mednarodni grafični likovni center, 2006.

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Kikō, Kokusai Kyōryoku. The study on the expansion project of industrial automation technologies departments in Anatolian technical/vocational high schools and establishment of Teachers' Training Center in Turkey. [Japan?]: Japan International Cooperation Agency, Turkey Office, 2006.

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International Symposium on VLSI Technology, Systems, and Applications (1999 Taipei, Taiwan). 1999 International Symposium on VLSI Technology, Systems, and Applications: Proceedings of technical papers, June 8-10, 1999, Taipei International Convention Center, Taipei, Taiwan, R.O.C. Chutung, Hsinchu, Taiwan: ERSO, ITRI, 1999.

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Peddling peril: How the secret nuclear trade arms America's enemies. New York: Free Press, 2010.

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Części książek na temat "International Center for the Arts of the Americas"

Ristanto, Rusijono i Fajar Arianto. "The Effect of Work-Based Learning Training Model on the Creativity of Training Participants at Job Training Center Bojonegoro". W Proceedings of the International Joint Conference on Arts and Humanities 2022 (IJCAH 2022), 680–88. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-008-4_73.

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Yoshihara, Mari. "Growing Pains". W Dearest Lenny, 36–41. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190465780.003.0004.

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Leonard Bernstein conducting the inaugural concert of the Philharmonic Hall in Lincoln Center for the Performing Arts in 1962 symbolized the national and international status he had achieved. Through his close relationship with the Kennedy family and his continued ties to the White House, combined with his unrivaled place in the world of the performing arts, Bernstein was a prime candidate to lead the John F. Kennedy Center for the Performing Arts. To manage the ever expanding scope of his work, Bernstein’s company, Amberson Enterprises, professionalized and corporatized its operations under Schuyler Chapin. But the popular leaning of the recording industry was beginning to cause some issues even for the foremost leader of American classical music.

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Branson, Susan. "The First American Century". W Scientific Americans, 188–98. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501760914.003.0008.

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This concluding chapter begins by looking at the opening of the International Exhibition of Arts, Manufactures, and Products of the Soil and Mine in Philadelphia on May 10, 1876. The Centennial Exhibition, as it was commonly called, was a national celebration of progress intended to “make evident to the world the advancement of which a self-governed people is capable.” The decades of effort on the part of the American Institute to promote domestic production and lobby for protective tariffs was finally rewarded: 1876 was the first year that the United States achieved a favorable balance of trade. The results owed much to Americans' belief that developing technology was a national endeavor, a way to define what the country was and what its people were capable of. Americans wished to better themselves as individuals and as communities, and they wanted to compete in the world marketplace. Framing these desires as a national project spurred the activities, funding, and training necessary to make it happen. Thus, science and technology were front and center in public life: central to business, education, entertainment, and consumer culture.

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Meglin, Joellen A. "World Travelers". W Ruth Page, 29–58. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190205164.003.0002.

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The argument is made that, in 1924–1926, with the creation of the Chicago Allied Arts (CAA), Chicago became the center of ballet in America. Composer John Alden Carpenter served as the organization’s guiding spirit, Bolm as its artistic director and choreographer, and Nicolas Remisoff as its chief designer. As its name suggests, CAA’s mission was to promulgate new music in part by building ballets as total art works with internationalist choreography and cutting-edge design. CAA drew on Russian emigrant and American talent in equal measure, engaging guest artists the likes of Tamara Karsavina and Vera Mirova. Page’s apprenticeship took place in this milieu of the Russian ballet—based on the Diaghilev model—in the United States. Yet, under the aegis of CAA, she created her first piece of ballet Americana, The Flapper and the Quarterback (1926), drawing on the American vernacular. In this way, she appropriated African American jazz as her global calling card. By 1928, Page’s approach was perceived to represent the wave of the future, and she was chosen, instead of Bolm, to give concerts with a pickup company at the Imperial Theatre in Tokyo, in conjunction with the coronation ceremonies of Emperor Hirohito. She spent the next six months touring Asia and Europe. An invitation to perform in Moscow offered another occasion to tour Europe and absorb international zeitgeists. At home, as the newly appointed ballet director and première danseuse of the Ravinia Opera, she would put her observation of world dance to good use.

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Kennedy, Róisín. "Negotiation". W Art and the Nation State, 165–210. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789622355.003.0005.

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Chapter 4 examines how the provincialism of Irish art became an issue of concern during the 1960s and early 1970s, a period of increased prosperity in the Republic of Ireland. Along with the Arts Council of Ireland, the new entrepreneurial class demanded competitiveness amongst artists who were expected to be au fait with international modernism. Anglo-American models of art criticism dominated the establishment’s view of art. In Rosc ‘67 and Rosc ‘71, major exhibitions of international contemporary art were held in Dublin, placing modern art at the centre of cultural discourse in Ireland. Curated by the Irish, New York based critic, Brian O’Doherty, the Irish Imagination exhibition, held as part of Rosc ’71, renegotiated the conflicting concerns of the local art context with those of the dominant international artworld. Coinciding with the Troubles in Northern Ireland and growing dissatisfaction with the elitism of the art establishment, the exhibition’s endorsement of a narrow canon of modern Irish art was both emulated and contested.

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Woods, Naurice Frank, i George Dimock. "American Masters Reclaimed". W Race and Racism in Nineteenth-Century Art, 215–16. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.003.0005.

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Robert Seldon Duncanson, Edward Mitchell Bannister, and Mary Edmonia Lewis were exceptions in an age of oppressive racism. In their pursuit of cultural equality, they refused to become victims of societal restrictions and abandon their dreams of parity with celebrated white artists. They ultimately succeeded based on the quality of their work, which was, on many occasions, extraordinary. Despite their considerable accomplishments as nationally and internationally acclaimed artists, the lasting reputations of these artists suffered greatly when major American art museums excluded them from their collections. Presently, much in the name of political correctness, Duncanson, Bannister, and Lewis enjoy secure places in leading museums, galleries, and private collections—deservedly so. This book has demonstrated that Duncanson, Bannister, and Lewis long ago deserved inclusion among their more illustrious and acclaimed peers—the historical record is extensive enough to verify that. They are, as much as any other distinguished artist of their era, a vital part of our proud collective heritage in the visual arts—true American masters.

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Woods, Naurice Frank, i George Dimock. "Edward Mitchell Bannister (1828–1901)". W Race and Racism in Nineteenth-Century Art, 75–124. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.003.0003.

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Edward Mitchell Bannister achieved national acclaim in painting at the Centennial International Exposition of 1876. As a result, he helped establish, once his race was known, that it was possible that African Americans could triumph at the highest levels of the fine arts. Thus, only four years after Robert S. Duncanson’s death, another Black landscape painter demonstrated that race held no natural barriers to artistic success. This chapter traces Bannister’s rise as an artist through his connections with the abolitionists of Boston, his competition from other Black artists for limited patronage in the region, his recognition as a leading proponent of the Barbizon style in America, and his “transcendence” over racial matters for many of his white peers.

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Mayers, David. "Detente and the Nuclear Arms Race". W George Kennan And The Dilemmas Of US Foreign Policy, 293–316. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195063189.003.0014.

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Abstract The dismal history of Soviet-US postwar relations, in which periods of mutual distrust and danger alternated with those of attenuated cooperation, struck some observers in the early 1970s as having exhausted itself. In its place there seemed emergent “a stable structure of peace” (the administration’s rhetoric) that would insure for future generations of Soviets, Americans, Chinese, Europeans, and Japanese a secure international political order. Even if the center of this new order was not to be dominated by a traditional great power condominium, it would have to rely upon a greatly improved Soviet-US relationship. And superficially, at least, this object was achieved by Richard Nixon’s and Leonid Brezhnev’s signing in 1972 of the Basic Principles Agreement, wherein both sides affirmed the necessity of avoiding confrontation and the imperative of mutual restraint. They also rejected as unsound all attempts to exploit global problems to gain unilateral advantage, renounced claims of special influence in the world, and declared their willingness to coexist harmoniously and build a firm, long-term relationship. In effect, both sides formally repudiated military solutions to international problems and agreed to cooperate in settling all foreign issues of mutual concern. A year later, Nixon and Brezhnev signed the SALT I agreement and by that autumn negotiations had begun aimed at producing a SALT IL Talks were also undertaken to reduce the level of Soviet and US military forces in Europe and both countries agreed to increase by several fold their commercial, technological, scientific, and cultural exchanges. The Cold War and all of its hazards thus seemed at last to be making way for a belated, much needed era of detente.

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Herrera, Eduardo. "Introduction". W Elite Art Worlds, 1–13. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190877538.003.0001.

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This introduction presents the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the intersecton of the three key themes in the book Elite Art Worlds. First, understanding how local and international philanthropy providing funding for CLAEM articulated foreign policy, private interests, and cultural diplomacy. Second, how diverse models of musical avant-gardism were followed, consumed, and rearticulated and then embodied, resignified and institutionalized in Latin America, problematizing the idea of a single homogenous avant-garde. And third, the ways in which participants of CLAEM navigated a regional discourse about identity and professional positioning labeled Latin Americanism. The chapter concludes with a discussion and problematization of the idea of elites and art worlds.

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"Mugar Center for the Performing Arts, Cambridge School of Weston Weston, Massachusetts, USA Leers Weinzapfel Associates". W International Architecture Yearbook: No. 8, 170–71. Taylor & Francis, 2014. http://dx.doi.org/10.4324/9781315012629-45.

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Streszczenia konferencji na temat "International Center for the Arts of the Americas"

Mariategui, Jose-Carlos. "A Latin America Network for Art and Cybernetics: The Centre for Art and Communication (CAyC)". W 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-71-full-mariategui-cayc.

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Towards the end of the 1960s—a period of intense creative, technological and political changes—the Argentinian art critic and entrepreneur Jorge Glusberg founded the CAyC in Buenos Aires. CAyC was an interdisciplinary experimental project that explored the relationship between art, technology and society. It sought to articulate a network of discussions and productions by a new style of Latin American artist, deeply influenced by science, technology and society. Glusberg defined such practice as Systems Art, which appeared in three ways, namely as a system of collective representation; a system of meaning that defied formal categories; and a system of relationships and processes for social inquiry. In doing so, the artist became a researcher who reflected on their social context and the latter’s processes of production. This paper will discuss CAyC’s pioneering work and its global influence through three main initiatives: its exhibitions Art and Cybernetics, Systems Art in Latin America and the International Open Encounters on Video. These events were driven by the revolutionary artistic and experimental promotion of the distinctive ways in which Latin American artists were using technology to respond to local issues at a time when computer systems and cybernetic models for management and organizational practices were being introduced across the region.

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Long, C., A. Gallo de Moraes i R. A. Oeckler. "Approach to Non-Invasive Ventilation in ARDS: A Single Center Survey". W American Thoracic Society 2020 International Conference, May 15-20, 2020 - Philadelphia, PA. American Thoracic Society, 2020. http://dx.doi.org/10.1164/ajrccm-conference.2020.201.1_meetingabstracts.a1594.

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DOSPINESCU, Liviu. "Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model". W The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.

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This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the former half of the 20th century. It includes the most diverse disciplinary aspects, which are no longer just those of the drama, dance and choreography, performance or music, because the disciplinary practices of the other field and also practices from more remote fields like the visual arts, the cinema or those of the languages of new technologies connected, for instance, with the complex projections on the stage or its augmentation through Virtual Reality etc. can be added to it any time. Thus, we can notice how, in an intermedial process, in the meeting of drama and film, drama, as an art of the unmediated and of the living presence, tends to leave a mark (i.e. of the living) on the spectre of the delayed presence of the film in an inter- or even transdiciplinary relation. Therefore, the paper explores phenomena around the meeting of distinct entities under the interdisciplinary and intercultural aspects that mark the strong current interest in alterity and hybridity in the stage act but also in the new modes of perception in which the spectator is invited to engage or in the new interpretation grids demanded of the researcher. I will enrich this perspective by offering a few present-day reserach and creation trends in the living arts in the academia. They are extracted from my experience of both research-creation and doctoral project coordination. I share this experience in order to reveal a distinctiveness of research and creation at University of Laval, Québec and, at a larger scale, a trend or maybe even a model for the North American space. Apart from its descriptive aspects, my paper aims at raising new questions, inspire new possibilities and reinforcing new contributions in the research and creation of living arts.

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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia". W LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.

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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752

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Ho, K., J. Gordon, J. A. Englert i D. Herman. "A Single Center Study of ARDS Outcomes in Patients with Underlying Malignancy". W American Thoracic Society 2020 International Conference, May 15-20, 2020 - Philadelphia, PA. American Thoracic Society, 2020. http://dx.doi.org/10.1164/ajrccm-conference.2020.201.1_meetingabstracts.a3539.

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Caronia, J., Z. Hasan, S. Chandra i M. Narasimhan. "Tele ICU Screening Facilitates Transfer of ARDS Patients to an Acute Lung Injury Center". W American Thoracic Society 2020 International Conference, May 15-20, 2020 - Philadelphia, PA. American Thoracic Society, 2020. http://dx.doi.org/10.1164/ajrccm-conference.2020.201.1_meetingabstracts.a1651.

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YANG, YONG-QING. "AN APPRECIATION OF ELIZABETH BISHOP OF LATE TWENTIETH CENTURY". W 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35672.

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As the important works in American literature, those works of late twentieth century play a very important role. The works of female poet Elizabeth Bishop reflect dramatically contrasting attitudes toward the subject of poetry and its cultural roles. Bishop thinks that she is capable of acquiring unmediated access to the truth of history. Through her large number of works, we can sense her unique language features and impressed images.

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Bhandari, B. S., O. Salamo, K. Dinh, J. A. Patel, M. K. Patel, I. A. Salas De Armas, M. H. Akay i P. P. Jani. "Tracheostomy in COVID-19 ARDS Patients on Veno-venous Extracorporeal Membrane Oxygenation (VV-ECMO) Support: A Single Center Retrospective Study". W American Thoracic Society 2023 International Conference, May 19-24, 2023 - Washington, DC. American Thoracic Society, 2023. http://dx.doi.org/10.1164/ajrccm-conference.2023.207.1_meetingabstracts.a1617.

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LI, XIAO-LONG. "ON ARTIFICIAL INTELLIGENCE TALENT CULTIVATION IN CHINA FROM CASE STUDY". W 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35665.

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Through the case analysis of Carnegie Mellon University in the field of artificial intelligence in America. the similarities and differences of the above university in artificial intelligence talent cultivation were obtained from four dimensions: length of learning and degree, enrollment requirements, staff force construction and the offered curriculum. The conclusion could support the suggestions and advice for domestic policymakers and decision makers as follows: to promulgate the document of artificial intelligence talent cultivation pertinently as the guideline; to promote the new institutes construction of artificial intelligence and update the research centers of artificial intelligence; to improve the supporting incentive mechanisms such as scholarships, competitions and academic conference grants for the students in the direction of artificial intelligence.

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Shaura, Rizkiana Karmelia, i Ike Iswary Lawanda. "Managing Knowledge in Creating Archive Access in an Indonesian Records Center". W International University Symposium on Humanities and Arts (INUSHARTS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200729.003.

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Raporty organizacyjne na temat "International Center for the Arts of the Americas"

O’Brien, Thomas, i Deanna Matsumoto. Mapping E-Commerce Locally and Beyond: CITT K12 Special Investigation Project. Mineta Transportation Institute, listopad 2021. http://dx.doi.org/10.31979/mti.2021.2067.

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As all aspects of the American workplace become automated or digitally enhanced to some degree, K12 educators have an increasing responsibility to help their students acquire the technical skills necessary to organize and interpret information. Increasingly, this is done through Geographic Information Systems (GIS), especially in careers related to transportation and logistics. The Center for International Trade & Transportation (CITT) at CSU Long Beach has developed this K12 Special Investigation Project to introduce ArcGIS StoryMaps, an engaging, accessible and sophisticated web-based GIS application. The lessons center on e-commerce and its accompanying environmental and economic impact. Still, the activities can be easily adapted to projects in any subject area, such as humanities, science, math, or language arts. This teacher blueprint includes a teacher training guide with ten detailed lesson plans and activities. With the guidance of a National Board-Certified Teacher in Early Adolescence Math as lead instructor, the curriculum is designed to align with Next Generation Science Standards (NGSS). Also, exploration of STEM and GIS-related careers are incorporated into the lesson plans.

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Wezeman, Pieter D., Alexandra Kuimova i Siemon T. Wezeman. Trends in International Arms Transfers, 2021. Stockholm International Peace Research Institute, marzec 2022. http://dx.doi.org/10.55163/cbzj9986.

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The volume of international transfers of major arms in 2017–21 was 4.6 per cent lower than in 2012–16, but was 3.9 per cent higher than in 2007–11. The five largest arms exporters in 2017–21 were the United States, Russia, France, China and Germany. The five largest arms importers were India, Saudi Arabia, Egypt, Australia and China. Between 2012–16 and 2017–21 there were increases in arms transfers to Europe (19 per cent) and to the Middle East (2.8 per cent), while there were decreases in the transfers to the Americas (–36 per cent), Africa (–34 per cent), and Asia and Oceania (–4.7 per cent). From 14 March 2022 SIPRI’s open-access Arms Transfers Database includes updated data on transfers of major arms for 1950–2021, which replaces all previous data on arms transfers published by SIPRI. Based on the new data, this Fact Sheet presents global trends in arms exports and arms imports, and highlights selected issues related to transfers of major arms.

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Wezeman, Pieter D., Justine Gadon i Siemon T. Wezeman. Trends in International Arms Transfers, 2022. Stockholm International Peace Research Institute, marzec 2023. http://dx.doi.org/10.55163/cpns8443.

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Imports of major arms by European states rose by 47 per cent between 2013–17 and 2018–22, while the global volume of international arms transfers fell by 5.1 per cent. There were decreases in arms transfers to Africa (–40 per cent), the Americas (–21 per cent), Asia and Oceania (–7.5 per cent) and the Middle East (–8.8 per cent) between the two periods. The ﬁve largest arms importers in 2018–22 were India, Saudi Arabia, Qatar, Australia and China. The ﬁve largest arms exporters were the United States, Russia, France, China and Germany. The war in Ukraine had only a limited impact on the total volume of arms transfers in 2018–22, but Ukraine did become a major importer of arms in 2022. In addition, most European states substantially increased their arms import orders and the war will have significant ramifications for future supplier–recipient arms trade relations globally. From 13 March 2023 the freely accessible SIPRI Arms Transfers Database includes updated data on transfers of major arms for 1950–2022, which replaces all previous data on arms transfers published by SIPRI. Based on the new data, this fact sheet presents global trends in arms exports and arms imports, and highlights selected issues related to transfers of major arms.

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Wezeman, Pieter, Aude Fleurant, Alexandra Kuimova, Diego Lopes da Silva, Nan Tian i Siemon Wezeman. Trends in International Arms Transfers, 2019. Stockholm International Peace Research Institute, marzec 2022. http://dx.doi.org/10.55163/yjyw4676.

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The volume of international transfers of major arms in 2015–19 was 5.5 per cent higher than in 2010–14 and 20 per cent higher than in 2005–2009. The five largest exporters in 2015–19 were the United States, Russia, France, Germany and China. The five largest importers were Saudi Arabia, India, Egypt, Australia and China. Between 2010–14 and 2015–19, there were increases in arms transfers to the Middle East and to Europe, while there were decreases in the transfers to Africa, the Americas and Asia and Oceania. From 9 March 2020 the freely accessible SIPRI Arms Transfers Database includes updated data on arms transfers for 1950–2019. Based on the new data, this Fact Sheet presents global trends in arms exports and arms imports and highlights selected issues related to arms transfers.

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Wezeman, Pieter D., Aude Fleurant, Alexandra Kuimova, Nan Tian i Siemon T. Wezeman. Trends in International Arms Transfers, 2017. Stockholm International Peace Research Institute, marzec 2018. http://dx.doi.org/10.55163/kflq6518.

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The volume of international transfers of major weapons in 2013–17 was 10 per cent higher than in 2008–12. This is a continuation of the upward trend that began in the early 2000s. The flow of arms to the Middle East and Asia and Oceania increased between 2008–12 and 2013–17, while there was a decrease in the flow to the Americas, Africa and Europe. The SIPRI Arms Transfers Database now includes data on arms transfers in 2017 and updated information for 1950–2016. This Fact Sheet highlights some of the key global and regional trends and issues in arms transfers based on the new data.

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Wezeman, Pieter, Alexandra Kuimova i Siemon Wezeman. Trends in International Arms Transfers, 2020. Stockholm International Peace Research Institute, marzec 2021. http://dx.doi.org/10.55163/mbxq1526.

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The volume of international transfers of major arms in 2016–20 was 0.5 per cent lower than in 2011–15 and 12 per cent higher than in 2006–10. The five largest arms exporters in 2016–20 were the United States, Russia, France, Germany and China. The five largest arms importers were Saudi Arabia, India, Egypt, Australia and China. Between 2011–15 and 2016–20 there were increases in arms transfers to the Middle East and to Europe, while there were decreases in the transfers to Africa, the Americas, and Asia and Oceania. From 15 March 2021 SIPRI’s open-access Arms Transfers Database includes updated data on transfers of major arms for 1950–2020, which replaces all previous data on arms transfers published by SIPRI. Based on the new data, this Fact Sheet presents global trends in arms exports and arms imports, and highlights selected issues related to transfers of major arms.

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Fleurant, Aude, Pieter D. Wezeman, Siemon T. Wezeman i Nan Tian. Trends in International Arms Transfers, 2016. Stockholm International Peace Research Institute, luty 2017. http://dx.doi.org/10.55163/dkzb4863.

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The volume of international transfers of major weapons in 2012–16 was 8.4 per cent higher than in 2007–11. This was the highest volume for any five-year period since 1990. The flow of arms to Asia and Oceania and the Middle East increased between 2007–11 and 2012–16, while there was a decrease in the flow to Europe, the Americas and Africa. The SIPRI Arms Transfers Database now contains information on all international transfers of major conventional weapons from 1950 to the end of 2016. It is the only publicly available resource providing consistent data on international arms transfers for this length of time. This Fact Sheet describes the trends in international arms transfers that are revealed by the new data. It lists the main suppliers and recipients for the period 2012–16 and describes the changes in regional trends.

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Inter-American Development Bank Cultural Center Annual Report 1999. Inter-American Development Bank, grudzień 1999. http://dx.doi.org/10.18235/0005850.

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The IDB Cultural Center ended 1999 with a successful balance of diverse programs. Throughout the year, the IDB Cultural Center produced 32 events, including art exhibitions, concerts, music workshops and lectures. These activities attracted an estimated 14,000 visitors to the Bank, and received publicity in over ninety local, national and international newspaper, magazine, radio and TV reviews. The Cultural Center's impact on the local Washington community was recognized this year with a nomination for the Center as a finalist in the Mayor's Arts Awards, in the field of Excellence in Service to the Arts.

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Inter-American Development Bank Cultural Center Annual Report 2001. Inter-American Development Bank, styczeń 2002. http://dx.doi.org/10.18235/0005701.

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The IDB Cultural Center ended 2001 with a successful balance of diverse programming. In the Region and throughout the year, the IDB Cultural Center contributed to the implementation of 40 socio-cultural projects in 25 countries. At headquarters, the Center produced 32 events, including 5 art exhibitions, 13 concerts and music workshops, 12 lectures and 2 presentations of "La Cátedra Siglo XXI Lecture Series." These activities attracted an estimated 15,000 visitors to the Bank and 7,000 to traveling exhibitions. As a result, the Center received over 200 local, national and international newspaper, magazine, radio and TV reviews. The publicity generated by the Center's activities enhanced the image of the IDB as an institution concerned with all aspects of development, and promoted a positive view of Latin America and the Caribbean.

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IDB Cultural Center 2nd Inter-American Biennial of Video Art. Inter-American Development Bank, grudzień 2005. http://dx.doi.org/10.18235/0005922.

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24 videos from 12 countries were selected from among 160 works submitted from 18 countries. The First and Second Prizes were awarded Ex Aequo (shared). The members of the international jury were Alejandro Negrín, Director of Washington's Cultural Institute of Mexico; and Germán Jaramillo, Colombia movie actor and theater director. The first prize winners are: Emuhno (The Creation of the World ) by Augusto Netto, Flavia Netto, Rafael Kohan, and José Pedersen, Paraguay; and Poporo by Luis Cantillo, Colombia; second prizes to: Estrategia para corromper la sombra (Strategy to Corrupt One's shadow) by Debbie Grimberg and Pablo Ribot, Argentina; and How Things Work by Roberto Bellini Alves Monteiro, Brazil; and, honorable mentions went to: Invasión doméstica (Domestic Invasion) by Paulina Del Paso, Mexico; Cuentos del desfortunio (Stories of Misfortune) by Diego Cifuentes, Ecuador; Juegos en el parque (Games in the Park) by Jorge Alban, Costa Rica; and Loop análogo (Analogue Loop) by Carlos Fernando Osuna, Colombia.

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