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Zu den Kriegen, die im gegenwaertigen Bewusstsein Westeuropas kaum noch praesent sind, gehoert auch der sogenannte Salpeter-Krieg (1879-1883), in dessen Verlauf Chile sein Staatsgebiet auf Kosten von Peru und Bolivien um die ressourcenreiche Atacama-Wueste stark nach Norden erweitern konnte. Motiviert durch Befuerchtungen einer Revanche seitens des im Krieg durch Frankreich unterstuetzten Peru, nahmen die fuehrenden positivistisch-liberal gesinnten Politiker Chiles tiefgreifende Reformen ihres noch post-kolonial gepraegten Landes in Angriff. Dabei konstruierten sie ihrerseits Preussen bzw. Deu

Based on ethnographic research, this paper examines the burden of search that individuals bear in navigating the plethora of open events surrounding the tech industry. It focuses on one learn-to-code Meetup, finding that attendees are pulled in by the hope embedded in the popular imaginary of coding, particularly the programming language Python, as a way to change their careers. While the gathering's call labels it as a learning space,the study finds teaching happens rarely, instead drawing individuals who seek peers based on a Python affinity, in part to break the side-by-side-but-not together norms of urban mobile work. This paper argues that the hope of individual professional change spills over into the hope of sharing space with programmers and to find "local Python community". However, given the porosity of events facilitated by online convening, the gathering falls short of attracting those already pertaining to that community itself.

During the last decades of the twentieth century, increasing social environmental awareness added up to the gradual penetration of environmental thinking into the Latin American states' developmental policymaking. For Ecuador, this cocktail resulted in the long-run in a particular discourse, which emerged in the dawn of the twenty-first century, buen vivir. Central to rationalize buen vivir was its socioecological dimension, founded on a harmonic relationship between society and nature. Buen vivir was meant to materialize in a plan to save a significant portion of the Ecuadorian Amazonia from oil drilling by leaving about one quarter of the country's oil reserves under the ground in exchange for an international monetary compensation: The Yasuní-ITT initiative. Despite the fact that the plan mobilized state and society, it succumbed to forty-years of dependence on oil of Ecuadorian economy, politics, and society. The termination of the initiative unveiled two antagonist environmental discourses traditionally held by the state and society. Whereas the state held the notion of natural resources available for commodification in the global market, society bet on other meanings of nature such as natural heritage and ancient peoples' habitat and means of existence. As outcomes of the foreseeable divorce between the antagonist environmental discourses that rested on different meanings of nature, buen vivir turned into a polyphonic concept and the struggle over a hegemonic environmental discourse resumed. It is argued that during the twenty-first century, one of the consequences of such a struggle is the construction of different meanings of development alike. ; Siguiendo el hilo conductor de la historia económica reciente del Ecuador, este artículo pretende reflejar la evolución de los discursos ambientales en la región latinoamericana. Durante las últimas décadas del siglo veinte, la conciencia ambiental de la sociedad se combinó con la penetración del pensamiento ambiental en la formulación de las políticas ...

I am grateful to have worked with Professor Stefans to create About Face, a screenplay with a corresponding video miniseries about young adults at Los Angeles Air Force Base. This story is a concentrated summary of five people's life choices: an 18-year-old Bostonian, fresh from Basic Training, decides whether he can handle military life on the West Coast; a misunderstood civilian girl struggles to form a real romantic relationship; a plucky 19-year-old Airman and his former high school sweetheart, now wife, question whether they should have ever gotten married; and a career-driven female Airman realizes she is pregnant. I decided to take my thesis one step further, beyond the written word, by creating a video miniseries of my thesis. To develop this miniseries, I storyboarded key scenes, created a detailed shotlist of the scenes to be filmed, acted as a lead character, directed 10 actors, filmed for dozens of hours, and edited the entire miniseries into a 40-minute film. While I learned many technical, creative, and interpersonal skills developing this video miniseries, my primary concerns were incorporating what I learned in my English classes: narrative, characters, and culture. My main goal was to create a compelling story, build three-dimensional characters, and reflect the current zeitgeist. I appreciate that the English Department allowed me to create this piece, which helped me grow as a creative writer and as a person. I am thrilled to present this piece for your consideration.

This dissertation explores the question: What does Aztlán sound like? Informed by decolonialfeminist theory and sound studies concepts, I consider listening as a new praxis with which toremember complex narratives of belonging and citizenship against the assimilating force ofnational forms and political limits. This interdisciplinary research engages the idea of Aztlán, themythical homeland of the Nahuas, and the imagined solidarity it mobilized in 1960s activism asa Chicana feminist concept with a history of generative interventions that challenge itsnationalist logic. Taking up the contested notion of Aztlán as historically marginalizing towomen and la joteria, I use a method of listening to "tune in" to multiple, heterogeneous, andalternate histories of Chicana/o belonging in the musical and literary soundscapes of GreaterMexico. This work explores the diverse audible markers of race, gender, sexuality, citizenshipand migration that circulate in the Chicana/o musical, literary, performance and new mediaobjects I examine. I argue that through the soundscape, Aztlán becomes a plural concept."Sounding Aztlán" is organized as four linked discussions that test the portability of sound as anew interpretive method and epistemology for Chicana/o Studies, sound studies, and decolonialfeminism: Ch. 1, "Tuning In to Coalition: Listening to This Bridge Called My Back," revisitsthe foundational feminist text, This Bridge Called My Back: Writings by Radical Women ofColor. I think of Bridge as an artifact of coalition, a multiplicity of radical voices embodied inits very form. Just as the act of writing for women of color is connected to life, the stakes ofbeing heard are high. I claim that there is an aural dimension to Bridge beyond the textual thathas to do with perceptions of the sound and noise women of color make. Practicing a decolonialfeminist "listening," this chapter engages Bridge anew as a soundscape of coalition. Ch. 2,"Decolonial Feminist Soundscapes in Post 1980s Chicana Literature," and Ch. 3, "Soundtracks,Chicana Butches, and East L.A.: Verónica Reyes's Chopper! Chopper! Poetry from BorderedLives and Raquel Gutiérrez's The Barber of East L.A." posit that literature is noisy and thereforecalls for the reader to listen as a new mode of interpretation. The soundscapes in Chicana/o2narratives have not been fully engaged in prior readings of the poetry, fiction, and drama bySandra Cisneros, Luis Alfaro, Estella Gonzalez, Raquel Gutiérrez, and Verónica Reyes. I arguethat literature becomes a site for hearing creative sonics of subjectivity, coalition, and queerness.Against the dominant imaginary of Aztlán, feminist solidarities, decolonial feminist poetics,butch/femme histories, alternative music scenes, and East Los Angeles become audible in thesepost 80s literary Chicana representations. Ch. 4, "Performing América On The National Stage,"examines a repertoire of three Chicana/o performances of "The Star Spangled Banner" bycontemporary pop/rock, mariachi, and banda musicians. I take Jimi Hendrix's iconic 1969performance at Woodstock as a jumping off point to explore how dissonant moments betweenthe visual and aural performance of nation captured on social media provide openings formultiple interpretations of citizenship. When the national anthem becomes part of the Chicana/orepertoire, what map of the Americas is sounded through these Chicano performances of thenational anthem? These performances highlight meaningful disruptions, tensions, resistances,and variations on the theme of América.

Sounding Underground is an online interactive sonic environment that links sound excerpts from the metros of London, Paris and Mexico City, as selected by commuters, as meaningful moments of sound from their commuting routine. Designed as a navigation structure, the environment draws on identifiable architectonic spaces such as entrances and corridors, but also incorporates more abstract 'spaces' based on memorable sounds that passengers had in common. The creation of the environment focused on the perception of social, political and symbolic experiences, and was derived from an iterative ethnographic and artistic practice which involved self-reflection, interviews, recordings of and listening to the journeys, and commuters' selections of sounds. This article describes the process of creation through the abstraction of a physical space, as well as the responses the work has evoked in the users and the academic community. It exemplifies the transdisciplinary nature of practice-based research involving the creative use of digital technologies.

Adapted from the source document.