The philosopher Christopher Small suggests that musical meanings are concerned with relationships, both with other human beings and with the world, and that music functions as a means of exploration, affirmation, and celebration of those relationships. If members of different social groups have different values, or different concepts of ideal relationships, then the kinds of performances that enact those relationships will differ from one another. Using music to express benevolent intentions is not, in general, one of its most obvious functions. In fact, military music has been used throughout history to destroy cross-cultural communion. Music is also a powerful and ubiquitous tool in propaganda, and in facilitating various political projects in all kinds of inventive ways that have nothing much to do with the pursuit of peaceful and cooperative intercultural understanding, or with helping people address issues of injustice. This text moves far beyond the knowledge of music's power upon humans, however this may be conceived and explained. It addresses a field of inquiry that is still a tiny endeavor, at least in comparison with all other academic efforts in the world. The sparseness of serious theoretical engagement with the topic of music's potential role in the area of peace and policy is echoed by how little music is directly used in the "real world" for building a more humane consciousness. Finding ways to that goal is the purpose of this work.

Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Lawrence Boudon became the editor in 2000. The subject categories for Volume 58 are as follows: Electronic Resources for the Humanities Art History (including ethnohistory) Literature (including translations from the Spanish and Portuguese) Philosophy: Latin American Thought Music

This edited collection examines alternative or entangled modernities as competitive narratives that blend ethics, aesthetics, and critical thinking to depict the human condition. It includes chapters covering the rivalry between scientific and aesthetic revolutions; contemporary trends in postmodernity; and study-cases on visual arts and cinema. The collection applies a philosophical view of visual arts and cinema, and competitive narratives of (post)modernity that arise from ethics and aesthetics as complementary fields. Key audiences for the book are students, PhD candidates, and scholars from the field of philosophy, aesthetics and cultural studies. This volume emerges from contributions held at the International Conference Rethinking Modernity: Transitions and Challenges, organized by the Research Center for the History and Circulation of Philosophical Ideas of the University of Bucharest.

Today, the mention of Patagonia and Tierra del Fuego conjures images of idyllic landscapes untouched by globalization. Creatures of Fashion upends this, revealing how the exploitation of animals—terrestrial and marine, domesticated and wild, living and dead—was central to the region's transformation from Indigenous lands into the national territories of Argentina and Chile. Drawing on evidence from archives and digital repositories, John Soluri traces the circulation of furs and fibers to explore how the power of fashion stretched far beyond Europe's houses of haute couture to entangle the fates of Indigenous hunters, migrant workers, and textile manufacturers with those of fur seals, guanacos, and sheep at the "end of the world." From the nineteenth-century rise of commercial hunting to twentieth-century sheep ranching to contemporary conservation-based tourism, Soluri's narrative explains how struggles for control over the production of commodities and the reproduction of animals drove the social and environmental changes that tied Patagonia to global markets, empires, and wildlife conservation movements. By exposing seams in national territories and global markets knit together by force, this book provides perspectives and analyses vital for understanding contemporary conflicts over mass consumption, the conservation of biodiversity, and struggles for environmental justice in Patagonia and beyond.

Petrification is a process, but it also can be understood as a concept. This volume takes the first steps to manifest, materialize or “petrify” the concept of “petrification” and turn it into a tool for analyzing material and social processes. The wide array of approaches to petrification as a process assembled here is more of a collection of possibilities than an attempt to establish a firm, law-generating theory. Divided into three parts, this volume’s twenty-plus authors explore petrification both as a theoretical concept and as a contextualized material and social process across geological, prehistoric and historic periods. Topics connecting the various papers are properties of materials, preferences and choices of actors, the temporality of matter, being and becoming, the relationality between actors, matter, things and space (landscape, urban space, built space), and perceptions of the following generations dealing with the petrified matter, practices, and social relations. Contributors to this volume study specifically whether particular processes of petrification are confined to the material world or can be seen as mirroring, following, triggering, or contradicting changes in social life and general world views. Each of the authors explores – for a period or a specific feature – practices and changes that led to increased conformity and regularity. Some authors additionally focus on the methods and scrutinize them and their applications for their potential to create objects of investigation: things, people, periods, in order to raise awareness for these or to shape or “invent” categories. This volume is of interest to archaeologists, geologists, architectural historians, conservationists, and historians.

This book examines the contemporary art world in Latin America from an anthropological perspective and recognises the recent reconfiguration of Lima's art scene. Giuliana Borea traces the practices of artists, curators, collectors, art dealers and museums, identifying three key moments in this reconfiguration of contemporary art in Lima: artistic explorations and new curatorial narratives; museum reinforcement and the strengthening of Latin American art networks; and of the rise of the art market. In so doing, Borea highlights the different actors that come into play in activating and de-activating directions and imaginations. The book exposes the practices of the local, the global, indigeneity and politics in the arts, and reveals that the strengthening of the Lima art scene has fostered the expansion of dominant art views and formats mobilised by transnational elite actors. Featuring analytical chapters interspersed with personal stories, Borea's book presents an in-depth analysis of a specific art scene to open up a new way of understanding contemporary art practices in relation to globalisation, neoliberalism and the city.

'Liquid life’ is the kind of life commonly lived in our contemporary, liquid-modern society. Liquid life cannot stay on course, as liquid-modern society cannot keep its shape for long. Liquid life is a precarious life, lived under conditions of constant uncertainty. The most acute and stubborn worries that haunt this liquid life are the fears of being caught napping, of failing to catch up with fast moving events, of overlooking the ‘use by’ dates and being saddled with worthless possessions, of missing the moment calling for a change of tack and being left behind. Liquid life is also shot through by a contradiction: it ought to be a (possibly unending) series of new beginnings, yet precisely for that reason it is full of worries about swift and painless endings, without which new beginnings would be unthinkable. Among the arts of liquid-modern living and the skills needed to practice them, getting rid of things takes precedence over their acquisition. This and other challenges of life in a liquid-modern society are traced and unravelled in the successive chapters of this new book by one of the most brilliant and original social thinkers of our time.

This book problematizes the role of education in an increasingly mediatized world through the lenses of creativity, new media, and consumerism. At the core of the issue, the author argues, creativity in art education is being co-opted to serve the purposes of current economic trends towards designer capitalism. Using an East meets West approach, jagodzinski draws on Deleuze and Guattarian philosophy to explore visual and popular culture in Korean society, addressing the tensions that exist between designer education and art that explores the human condition. In doing so, he challenges art educators to envision a new paradigm for education which questions established media ontologies and incorporates new ways to confront the crisis of the Anthropocene.

In this thriller from a #1 New York Times bestselling author, SFPD Sergeant Lindsay Boxer has guns on her mind and only twenty-two seconds until she loses her badge—or her life. SFPD Sergeant Lindsay Boxer has guns on her mind. There’s buzz of a last-ditch shipment of drugs and weapons crossing the Mexican border ahead of new restrictive gun laws. Before Lindsay can act, her top informant tips her to a case that hits disturbingly close to home. Former cops. Professional hits. All with the same warning scrawled on their bodies: You talk, you die. Now it’s Lindsay’s turn to choose.