The Future of Central America: Policy Choices for the U.S. and Mexico.

Due to the COVID-19 pandemic, the domestic and foreign policy agendas of all countries have been turned upside down. The pandemic has brought new problems and competition areas to states and to the international system. While the pandemic politically calls to mind the post-World War II era, it can also be compared with the 2008 crisis due to its economic effects such as unemployment and the disruption of global supply chains. A debate immediately began for a new international system; however, it seems that the current international system will be affected, but will not experience a radical change. That is, a new international order is not expected, while disorder is most likely in the post-pandemic period. In an atmosphere of global instability where debates on the U.S.-led international system have been worn for a while, in the post-pandemic period states will invest in self-sufficiency and redefine their strategic areas, especially in health security. The decline of U.S. leadership, the challenging policies of China, the effects of Chinese policies on the U.S.-China relations and the EU’s deepening crisis are going to be the main discussion topics that will determine the future of the international system.

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Facts Between Pictographs and Photographs in Lester Beall's Rural Electrification Posters, 1937-1941

Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft ◽

10.28937/1000106254 ◽

2015 ◽

Vol 60 (1) ◽

pp. 17-38

Author(s):

Michael J. Golec

Keyword(s):

Social Reality ◽

Rural Electrification ◽

Art And Design ◽

Photographic Images ◽

Governmental Agencies ◽

Works Of Art ◽

The Future ◽

The U.S

In analysing Lester Beall's posters for the U.S. government between 1937-1941, Michael Golec demonstrates the twofold character of facts in art and design appearing even when they are applied to guarantee distinct messages. Commissioned by the governmental agencies to develop a series of posters to increase the electrification of rural farms, Beall introduces pictograms in his first series to represent electrification as “facts of the future.” Its simple forms facilitate the travelling of this facts without loss of their integrity. The same holds true for the use of photographic images for the second campaign of 1939. Following the revaluation of photography as a means for the documentation of social reality, as represented by the FSA photographers under the guidance of Roy Stryker, the medium served here as the authentication of facts. Golec holds, that Beall by reducing the complexity of the photographic images, to create a pictorial integrity of his posters, even despite of the use of a seemingly documentary medium, reinforces the ambivalent factual character of the pictures. So, paradoxically by heightening the communicative character of the design and hence stressing the idea of facts as integral realities outside of artworks, Beall's posters reveal the ambiguous character of pictorial facts creating their own specific qualities. Golec concludes, that facts in works of art and design have a twofold character resulting from their belonging to different spaces, which although meant to accomplish and address different facts, inevitably travel, overlap and bleed into each other. Thus oddly these facts refer or represent reality and simultaneously are a thing made (factum) that present and hold their own pictorial reality.

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