The poster was the popular art form in Cuba following the Cuban Revolution, when the government sponsored some 10,000 public posters on a fascinating range of cultural, social, and political themes. Revolucin!, produced with unprecedented access to Cuban national archives, assembles nearly 150 of these powerful but little—seen works of popular art. From the 1960s through the 1980s, the posters rallied the Cuban people to the huge task of building a new society, promoting massive sugar harvests and national literacy campaigns; opposing the U.S. war in Vietnam; celebrating films, music, dance, and baseball with a unique graphic wit and exuberant colorful style. With an introduction illuminating the rich social and artistic history of the posters, and rare biographical information on the artists themselves, this striking volume offers a window into the story of Cuba—and a truly revolutionary chapter in graphic design.

Eric Hobsbawm (1917-2012) wrote that Latin America was the only region of the world outside Europe which he felt he knew well and where he felt entirely at home. He claimed this was because it was the only part of the Third World whose two principal languages, Spanish and Portuguese, were within his reach. But he was also, of course, attracted by the potential for social revolution in Latin America. After the triumph of Fidel Castro in Cuba in January 1959, and even more after the defeat of the American attempt to overthrow him at the Bay of Pigs in April 1961, 'there was not an intellectual in Europe or the USA', he wrote, 'who was not under the spell of Latin America, a continent apparently bubbling with the lava of social revolutions'. 'The Third World brought the hope of revolution back to the First in the 1960s'. The two great international inspirations were Cuba and Vietnam, 'triumphs not only of revolution, but of Davids against Goliaths, of the weak against the all-powerful'.

Between 1910 and 1929, the two decades that history defines as the Mexican Revolution, almost a million people left Mexico to escape the war’s devastation. This exodus jump-started the growth of the U.S. Latino population, a group which now numbers well over 50 million. These political refugees established productive new lives in the United States. Countless numbers of their descendants, now American citizens, are highly accomplished individuals, including both community and national leaders. To capture these never-before-told stories, Lionel and Kathy Sosa, together with KLRN public television in San Antonio and Jesus Ramirez and his My Story, Inc., wrote and produced a twenty-part documentary series titled Children of the Revolución: How the Mexican Revolution Changed America's Destiny. In this companion volume, some of these descendants tell the stories of life in Mexico, the chaos that their families endured during the Revolution, their treacherous trek to America, and their settlement in a strange new country. In these stories, we discover the heart of the Latino soul, rich in spirit, patriotism, and a fierce commitment to the United States. Their many contributions cannot be ignored. With Professor Neftalí García providing the historic backdrop, editor Lionel Sosa offers new insights into how the Mexican Revolution changed America.

14 "BEST OF DECEMBER 2018" Lists Including Entertainment Weekly, BBC.com, New York Magazine / Vulture, Bustle, The Millions, Crimereads / LitHub, Book Riot, Asymptote Journal, Vol. 1 Brooklyn , Bust, Pop Sugar and Words Without Borders A novel of glamour, surveillance, and corruption in contemporary Cuba, from an internationally bestselling author--who has never before been translated into English Cleo, scion of a once-prominent Cuban family and a promising young writer in her own right, travels to Spain to collect a prestigious award. There, Cuban expats view her with suspicion--assuming she's an informant for the Castro regime. To Cleo's surprise, that suspicion follows her home to Cuba, where she finds herself under constant surveillance by the government. When she meets and falls in love with a Hollywood filmmaker, she discovers her family is not who she thought they were . . . and neither is the filmmaker.

Sobre el libro: La Revolución Bolivariana es un proceso en marcha y está creando colectivamente y democráticamente, paso a paso, golpe a golpe un nuevo modelo de estado. El estado bolivariano es auténtico se fundamenta en la historia, las ideas solidarias de Simón Bolívar y la prioridad de los derechos humanos básicos de "seguridad y subsistencia" de todos los venezolanos sin exclusiones. Es revolucionario primero porque incorpora participativamente a un sector mayoritario de la población -incluyendo a los pobres y a los militares-- que habían sido históricamente marginados y excluidos de la política, la economía y la sociedad. Segundo, porque el nuevo modelo de "Seguridad y Subsistencia" es lo opuesto a su predecesor histórico: el modelo de "Seguridad Nacional" o "Pacto de Punto Fijo." La "Seguridad Nacional" fue impuesta desde los Estados Unidos durante la guerra fría a toda su área de influencia y ha causado estragos: guerras, muertes, torturas y la violación sistemática de los derechos humanos en Venezuela, en Latinoamérica y en muchas partes del mundo. Tercero, porque el modelo bolivariano ofrece una respuesta democrática y solidaria al capitalismo salvaje que propone el neo-liberalismo en la actualidad. Venezuela hoy nos ofrece algo radicalmente diferente, es "la posibilidad optimista" de una democracia nueva, solidaria, soberana, socialista, moderna, no dogmática y por qué no, ecológica.

Los Japoneses consideran a Shigeo Shingo el decano de los consultores de productividad y calidad. Ha comunicado su enfoque hacia la mejora fundamental a millaresde trabajadores, directores, y altos ejecutivos en cientos de companias tales como Toyota, Honda y Matsuchita. En eltranscurso de su carrera, el Sr. Shingo escribi ms deveinte libros los cuales revelan la profundidad de su pensamiento sobrelos principios de la ingeneria industrial; expresi?n de sudedicaci?n a la mejora de la productividad y la calidad en cadaaspecto de la fabricaci?n. El Sr. Shingo desea que entendamos porqu? fabricamos como lo hacemos -- de manera que podamos entenderc?mo debemos cambiar. Argumentando a part?r de la teorfa XY de direcci?n de McGregor, Shingo adems demanda respetogenuino para la humanidad y creatividad de los trabajadores y solicita seles de una tarea que les desaffe y utilice sus capacidades. Este libro es una lectura obligada para todo gerente ingenieroque quiera competir con ?xito en los mercados internacionales. La parte ms importante del Justo a Tiempo es el cambio rpido de todos. Muestra c?mo reducir, en forma drstica, los tiempos de cambios en un promedio de 98%!!!

The 1910 Revolution is still tangibly present in Mexico in the festivals that celebrate its victories, on the monuments to its heroes, and, most important, in the stories and memories of the Mexican people. Yet there has never been general agreement on what the revolution meant, what its objectives were, and whether they have been accomplished. This pathfinding book shows how Mexicans from 1910 through the 1950s interpreted the revolution, tried to make sense of it, and, through collective memory, myth-making, and history writing, invented an idea called "la Revolución." In part one, Thomas Benjamin follows the historical development of different and often opposing revolutionary traditions and the state's efforts to forge them into one unified and unifying narrative. In part two, he examines ways of remembering the past and making it relevant to the present through fiestas, monuments, and official history. This research clarifies how the revolution has served to authorize and legitimize political factions and particular regimes to the present day. Beyond the Mexican case, it demonstrates how history is used to serve the needs of the present.

World-renowned economist Klaus Schwab, Founder and Executive Chairman of the World Economic Forum, explains that we have an opportunity to shape the fourth industrial revolu­tion, which will fundamentally alter how we live and work. Schwab argues that this revolution is different in scale, scope and complexity from any that have come before. Characterized by a range of new technologies that are fusing the physical, digital and biological worlds, the developments are affecting all disciplines, economies, industries and governments, and even challenging ideas about what it means to be human. Artificial intelligence is already all around us, from supercomputers, drones and virtual assistants to 3D printing, DNA sequencing, smart thermostats, wear­able sensors and microchips smaller than a grain of sand. But this is just the beginning: nanomaterials 200 times stronger than steel and a million times thinner than a strand of hair and the first transplant of a 3D printed liver are already in development. Imagine “smart factories” in which global systems of manu­facturing are coordinated virtually, or implantable mobile phones made of biosynthetic materials. The fourth industrial revolution, says Schwab, is more significant, and its ramifications more profound, than in any prior period of human history. He outlines the key technologies driving this revolution and discusses the major impacts expected on government, business, civil society and individu­als. Schwab also offers bold ideas on how to harness these changes and shape a better future—one in which technology empowers people rather than replaces them; progress serves society rather than disrupts it; and in which innovators respect moral and ethical boundaries rather than cross them. We all have the opportunity to contribute to developing new frame­works that advance progress.

The last decade has seen the rise of artists who have rejected academia to embrace urban culture as their inspiration. The exhibition Viva la Revoluci n: A Dialogue with the Urban Landscape represents the pinnacle of this progression through an epic convergence of 20 artists from around the world. The urban landscape serves as the inspiration and canvas in an exhibition comprised of four parts: work inside the Museum of Contemporary Art San Diego (MCASD), Public Commissions and Interventions, Bombing, and a Collaborative Site. Barry McGee, Moris, Ryan McGinness, Mark Bradford, Dr. Lakra, Swoon, Os Gemoes and others contribute paintings, prints, sculpture, murals, and installations, while Invader and Shepard Fairey create large outdoor murals and Dzine embellishes the city with tricked out pedicabs. This companion catalogue to the exhibition includes essays by curator Pedro Alonzo and Alex Baker, and a preface by Hugh M. Davies.