The Resilient City

2005 ◽  
Keyword(s):  
World War Ii ◽  
Los Angeles ◽  
San Francisco ◽  
World Trade Center ◽  
Religious Faith ◽  
Oklahoma City Bombing ◽  
Late 20Th Century ◽  
Ancient City ◽  
Trade Center ◽  
The City

In 1871, the city of Chicago was almost entirely destroyed by what became known as The Great Fire. Thirty-five years later, San Francisco lay in smoldering ruins after the catastrophic earthquake of 1906. Or consider the case of the Jerusalem, the greatest site of physical destruction and renewal in history, which, over three millennia, has suffered wars, earthquakes, fires, twenty sieges, eighteen reconstructions, and at least eleven transitions from one religious faith to another. Yet this ancient city has regenerated itself time and again, and still endures. Throughout history, cities have been sacked, burned, torched, bombed, flooded, besieged, and leveled. And yet they almost always rise from the ashes to rebuild. Viewing a wide array of urban disasters in global historical perspective, The Resilient City traces the aftermath of such cataclysms as: --the British invasion of Washington in 1814 --the devastation wrought on Berlin, Warsaw, and Tokyo during World War II --the late-20th century earthquakes that shattered Mexico City and the Chinese city of Tangshan --Los Angeles after the 1992 riots --the Oklahoma City bombing --the destruction of the World Trade Center Revealing how traumatized city-dwellers consistently develop narratives of resilience and how the pragmatic process of urban recovery is always fueled by highly symbolic actions, The Resilient City offers a deeply informative and unsentimental tribute to the dogged persistence of the city, and indeed of the human spirit.

Deadline Writing

2005 ◽  
Author(s):  
Gareth Cook
Keyword(s):  
Journal Article ◽  
World Trade Center ◽  
Science Writing ◽  
Breaking News ◽  
News Stories ◽  
Science Story ◽  
Science News ◽  
Trade Center ◽  
The Moment ◽  
The City

The moment I walked into the newsroom, I could tell that something was wrong. A group of editors were huddled around the city desk, talking. The televisions were on. People didn't just look tense; they looked genuinely worried. As I walked over to my desk, I saw the image of a burning building. It was the World Trade Center. I was standing there when the second tower fell. I had the same thought that I'm sure a lot of people had: How could this be happening? But I'm also a newspaper reporter, and I realized that there was a science story to be done: Why did the towers fall? Six or seven hours later, I needed to have a finished story that answered that question. It is hard enough to successfully translate the arcane jargon of science into a story for the general reader. A ticking clock makes it that much more difficult—the words “exciting” and “terrifying” come to mind. For a science reporter, this type of breaking news situation doesn't happen very often. One of the great surprises when I moved to science writing a few years ago was that many of the news stories that appear in daily papers were not, in fact, written on deadline. I used to be in awe that someone had the ability to boil down some complex journal article on human origins or supernovas, reach all the important people, and write a clear, elegant article in a day. Many of the big journals, of course, operate on an embargo system, in which reporters are given advance copies and allowed to report ahead of time on the understanding that they won't publish a story until the journal appears in print. But there are still times when science news must be delivered on a daily deadline, either because news breaks or because you have a scoop you don't want to lose. In these cases, I think that everyone who does this for a living develops his own set of tools for coping. Success requires a ruthless attention to where you are in the process, where you are in the day, and what you still need.

Four Key Concepts for Studying Context-based Compositions

2017 ◽  
Vol 23 (1) ◽  
pp. 3-11
Author(s):  
Anette Vandsø
Keyword(s):  
New York ◽  
World Trade Center ◽  
Dark Side ◽  
Weather Data ◽  
Specific Context ◽  
Hurricane Floyd ◽  
Key Concepts ◽  
Ruhr District ◽  
Trade Center ◽  
The City

This theoretical article investigates context-based compositions where we cannot identify the real-world context from the sounds alone. Examples include Stephen Vitiello’sWorld Trade Center Recordings: Winds After Hurricane Floyd, Jana Winderen’sThe Noisiest Guys on the Planet, Jacob Kirkegaard’s4 Rooms, Christina Kubisch’s compositions based on observations of the Ruhr district, Anne Niemetz and Andrew Pelling’sThe Dark Side of the Cell(2004) as well as Andrea Polli’sHeat and Heartbeat of the City(2004) based on weather data from New York. The article asks how these compositions establish their relation to a specific context. How do they invite the listener to include his or her knowledge of specific contexts? The article suggests four relevant terms that are useful when studying this relation between text and context:paratext,intermediality,enunciationandmediality.

International Relations Since 1945

2017 ◽  
Author(s):  
John W. Young ◽  
John Kent
Keyword(s):  
World War Ii ◽  
International Relations ◽  
Final Section ◽  
Global Financial Crisis ◽  
World Trade Center ◽  
World Order ◽  
World War ◽  
Trade Center ◽  
Run Up ◽  
The Global Financial Crisis

International Relations Since 1945 provides a comprehensive introduction to global political history since World War II. The text has been comprehensively updated to cover the period between 2001 and 2012. Discussing the World Trade Center bombing and concluding with the run-up to the 2012 US presidential elections, a new final section outlines broad developments including the changing world order and the global financial crisis. Three new chapters look at terrorism, the wars in Iraq and Afghanistan, and the rise of major new powers including China. Student learning is supported by a range of helpful learning features including biographies of key figures and chronologies of events.

Werner Herzog

2014 ◽  
Author(s):  
Brad Prager
Keyword(s):  
World War Ii ◽  
Los Angeles ◽  
San Francisco ◽  
The United States ◽  
Feature Film ◽  
Werner Herzog ◽  
Wim Wenders ◽  
Bay Area ◽  
Wide Range ◽  
Grand Prize

Werner Herzog was born in Munich in 1942. Before the end of World War II Herzog’s family moved to Sachrang, a small town in Bavaria not far from the Austrian border. Herzog started making films in his late teens with a camera he claims to have stolen from the Munich Film School. After making several short films and his first feature film, Signs of Life (1968), his work connected with that of filmmakers such as Wim Wenders and Rainer Werner Fassbinder, who were of the same generation and who also began making films at a young age. He has expressed respectful words for these other auteurs, but he has rejected most direct association with them and with the New German Cinema movement, underscoring his independence, his reluctance to lend his name to political causes, and his identification not as German but more regionally as a Bavarian. Herzog received international recognition for Aguirre, the Wrath of God (1972) and won the Jury Grand Prize at Cannes for The Enigma of Kaspar Hauser (1974). He encountered intense criticism for Fitzcarraldo (1982), for which he was rumored to have harmed the native Amazonians who participated in his project. Herzog countered these accusations, but the air of controversy lingered. A documentary made about the making of Fitzcarraldo, Les Blank’s Burden of Dreams (1982), showcased Herzog as a charismatic performer and mesmerizing speaker. Throughout the following years Herzog worked less and less in Germany, ultimately resettling in California in the 1990s, first in the San Francisco Bay Area and then in Los Angeles. During his time in the United States he continued to make both documentaries and feature-length fiction films, including Rescue Dawn (2006) and Bad Lieutenant: Port of Call—New Orleans (2009). He received widespread acclaim for his documentary work, particularly for Grizzly Man (2005) and Cave of Forgotten Dreams (2010), the last of which was a much praised foray into 3D filmmaking. Herzog was nominated for an Academy Award for the documentary feature Encounters at the End of the World (2007). Although he remains well known for the bold exploits connected with his early works, his tumultuous relationship with the actor Klaus Kinski, and his willingness to push cinematic boundaries, he is best known for his capacity to express himself philosophically on a wide range of topics and for his sage Germanic voice, which he has lent to diverse projects.

Generations of Segregation

2019 ◽  
pp. 210-241
Author(s):  
George J. Sanchez
Keyword(s):  
African American ◽  
World War Ii ◽  
Los Angeles ◽  
Civil Rights ◽  
Mexican Americans ◽  
Mexican American ◽  
American Citizenship ◽  
The Cold War ◽  
Film Making ◽  
The City

Los Angeles was built by immigrants from the U.S. South, Asia, and especially Mexico. After 1900 the city grew as a rail terminus, Pacific port, and tourist destination. It became a focus of film making and petroleum production, and developed booming defense industries during World War II and the Cold War. Marketed as the city of dreams, continuing immigration made it increasingly Mexican while Mexicans faced residential segregation that constrained educational chances, economic opportunities, and political participation. Fragmented urban administration allowed Realty Boards and County officials to limit Mexican-American (and African-American) citizenship despite national civil rights policies promoting integration and participation. When defense, energy, and other industries declined in the turn to globalization, African American (1973-93) and Mexican American (2005-13) mayors offered images of opening while enduring segregation constrained education, employment, and life opportunities for Mexican-Americans and African Americans. New immigrants from Mexico, Central America and beyond faced lives of marginality.

Rebuilding Japantown

2014 ◽  
Vol 83 (1) ◽  
pp. 57-91 ◽  
Author(s):  
Meredith Oda
Keyword(s):  
World War Ii ◽  
San Francisco ◽  
Urban Redevelopment ◽  
The United States ◽  
Japanese Americans ◽  
World War ◽  
Pacific World ◽  
Success Stories ◽  
The Pacific ◽  
Trade Center

This article follows the transpacific process of race-making and urban redevelopment in the Japanese Cultural and Trade Center in San Francisco. Japanese Americans carved out spaces for themselves in the Center’s development by mediating between city representatives and Japanese interests and culture. Their role built on their professional skills as well as contemporary racial thinking about Japanese Americans and U.S. expansionism in the Pacific. As the United States sought out connections with a nation understood as particularly alien, Japanese Americans rearticulated contemporary perceptions of their foreignness toward their inclusion. This story helps us better understand how Japanese Americans moved from “alien citizens” through World War II to “success stories” just decades later, as well as some of the connections of the postwar Pacific world.

Colonial Art of Quito

1946 ◽  
Vol 2 (04) ◽  
pp. 454-460
Author(s):  
Benjamín Gento Sanz
Keyword(s):  
San Francisco ◽  
First Order ◽  
New Granada ◽  
Plastic Arts ◽  
Colonial Art ◽  
Ancient City ◽  
The City

The name of the Dominican friar, Padre José María Vargas, is well-known in the literary and artistic centres of Ecuador, and especially in its capital, the ancient city of “San Francisco de Quito”. The work which we here consider is not the first that has come from his facile pen, prolific in production and classic in style. In 1941 he published the interesting survey entitled: La Cultura del Quito Colonial wherein the author, with abundant information and calm investigation, places before the eyes of the reader the Old Quito of Colonial days, that Quito which, despite its secondary political importance during the Spanish regime, was a centre of intellectual and especially of artistic culture of the first order. Its culture was not dammed up within the confines of the city, but rather, like one of these quiet and peaceful little rivers of tranquil waters that fructify far-off lands, it overflowed into the cities of the viceroyalties of New Granada and Peru. For such was the city of San Francisco de Quito: an enormous workshop where the plastic arts were widely cultivated and where colonial artists, both the famous and the nameless, gave themselves up entirely to the pursuit of their art.

Colonial Art of Quito

1946 ◽  
Vol 2 (4) ◽  
pp. 454-460
Author(s):  
Benjamín Gento Sanz
Keyword(s):  
San Francisco ◽  
First Order ◽  
New Granada ◽  
Plastic Arts ◽  
Colonial Art ◽  
Ancient City ◽  
The City

The name of the Dominican friar, Padre José María Vargas, is well-known in the literary and artistic centres of Ecuador, and especially in its capital, the ancient city of “San Francisco de Quito”. The work which we here consider is not the first that has come from his facile pen, prolific in production and classic in style. In 1941 he published the interesting survey entitled: La Cultura del Quito Colonial wherein the author, with abundant information and calm investigation, places before the eyes of the reader the Old Quito of Colonial days, that Quito which, despite its secondary political importance during the Spanish regime, was a centre of intellectual and especially of artistic culture of the first order. Its culture was not dammed up within the confines of the city, but rather, like one of these quiet and peaceful little rivers of tranquil waters that fructify far-off lands, it overflowed into the cities of the viceroyalties of New Granada and Peru. For such was the city of San Francisco de Quito: an enormous workshop where the plastic arts were widely cultivated and where colonial artists, both the famous and the nameless, gave themselves up entirely to the pursuit of their art.

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