Thesis (M.A. in National Security Affairs) Naval Postgraduate School, December 2001. / "December 2001". Thesis advisor(s): Trinkunas, Harold A ; Knopf, Jeffrey W. Includes bibliographical references (p. 97-103). Also available online.

Thesis (Ph.D.)--Brown University, 2005. / Vita. Thesis advisor: Julio Ortega. Includes bibliographical references (leaves 158-181). Also available online.

This dissertation examines the explosion of the cultural field in Venezuela during the 1970s oil boom through the lens of nature-society relations. I argue that cultural production was an agent of state-led ecological transformation and, at the same time, a space where artists and intellectuals negotiated spaces of autonomy that nonetheless were entangled with oil-funded projects of environment-making. By analyzing the cultural politics, visual arts, institutions, and infrastructure projects that blossomed during this era, I seek to uncover the role of cultural and aesthetic forms in processes of rapid urbanization and large-scale resource extraction. In doing so, I situate my work within recent efforts in the environmental humanities aimed at picking apart the cultural narratives that sustain or challenge the power of extractive regimes, particularly in the global South. My chapters analyze the cultural policies that oil-money made possible, the visual art that intersected with energy infrastructure projects, and the photography and film that dealt with the shocks of accelerated development and oil-led globalization. Supported by archival research and close examinations of understudied examples, I focus on the debates and cultural politics that defined the transition from the Instituto National de Cultura y Bellas Artes (Inciba) to the more powerful Centro Nacional de la Cultura (Conac); the role of the kinetic artworks of Carlos Cruz-Diez and Alejandro Otero in urbanization projects and the construction of the Guri hydroelectric dam in South-Eastern Venezuela; the photographic making of Caracas during the 1970s construction boom in the books of Soledad Mendoza and Ramón Paolini; and, finally, the crisis and breakdown of the dream of unlimited wealth in two film pieces by Carlos Oteyza and Antonio Llerandi. While studies about oil and cultural production usually trace the relations between fossil fuels and the formation of modernity in the global North, I contend that a vision from the nature-exporting societies of the global South is fundamental to understand the cultural logics of nature extraction at a planetary scale. Similarly, I propose that the relationship between culture and petroleum will not be clarified by tracking its representations in literary or artistic works, but rather by looking at how often the realm of culture is already intertwined with a global ecology of nature, capital, and power. Finally, in arguing this, I seek to highlight the cultural work of states in the extractive peripheries as an essential object of analysis for the environmental humanities, as well as for a broader rethinking of the uneven ecology of capitalism and the geopolitics of socioecological change.

Approved for public release; distribution is unlimited / The Venezuelan Navy, depends on its personnel, equipment, and facilities to successfully accomplish the Navy's mission. Therefore Naval operations rely on the ability of the officers to plan, organize, lead, and control the organization. Naval officers, whether senior or junior, hold positions as managers. For this reason a study was made of the educational background of officer candidates to determine the amount of management education they have received at the Naval Academy. From this study it was learned that although naval officers are generally well educated and trained; they are weak in the management area. In this thesis an attempt is made to show the basic elements necessary to improve such managerial education. Conclusions were drawn and recommendations were made to help the managerial development of Venezuela's Naval officers. / http://archive.org/details/improvementofman00camp / Commander, Venezuelan Navy

This thesis examines the political style and public image of Venezuelan President Hugo Chávez. It argues that Chávez fulfills the criteria of a classical populist, in accordance with renowned cases of populism in Latin American history. His style is further analyzed through Chávezs relationship with his Venezuelan supporters and his diplomacy in the Latin American community. Three characteristics are emphasized: the radicalism of his image and policy, a casual and accessible approach, and the use of historical references. This thesis relies on primary sources such as speeches, interviews, and government publications, as well as media coverage of the Chávez regime. This study expounds the polarization of Venezuelan politics under Chávez, and connects his leadership to a larger trend in Latin American history.

This thesis examines the political style and public image of Venezuelan President Hugo Chávez. It argues that Chávez fulfills the criteria of a classical populist, in accordance with renowned cases of populism in Latin American history. His style is further analyzed through Chávezs relationship with his Venezuelan supporters and his diplomacy in the Latin American community. Three characteristics are emphasized: the radicalism of his image and policy, a casual and accessible approach, and the use of historical references. This thesis relies on primary sources such as speeches, interviews, and government publications, as well as media coverage of the Chávez regime. This study expounds the polarization of Venezuelan politics under Chávez, and connects his leadership to a larger trend in Latin American history.

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Paradoja: Concerto for Orchestra consists of three contrasting movements: slow, fast, slow (Paradoja = "paradox," Sp.). These movements are framed by a motif that opens and closes each of them, and connects them all. This framing motif is based on an alternation between a rhythmical pattern in the bass drum, and a melody sung by a boy mezzo-soprano, both over a string pedal. The first movement, Lamentos (Sorrows), is dramatic in character; it goes from simple to complex in its orchestration, harmony, texture, dynamics and tempo changes. The second movement, Algarabía (Tangle), reflects a festive affection; it presents a contrast to the first in character, tempo and spirit. The third movement, Sosiego (Serenity) provides a peaceful ending to the piece; it is lighter than the other two movements in texture and orchestration. The general harmonic language of Paradoja: Concerto for Orchestra is non-tonal yet centric, with surface references to functional harmony. However, the pitch content varies from movement to movement. The first movement is highly chromatic and based in the twelve-tone collection. The melodies are created by a combination of small pitch-class sets and sometimes are broken down and distributed among different instruments. Harmony is the result of the juxtaposition and counterpoint of these melodies, which vertically reiterate the same cells or creates new sets. The second movement is based on smaller collections than the first, and it is less chromatic. Contrast is often created by changing the collections or simply transposing them. The third movement is the most homophonic and the least chromatic of all three. It is based on a combination and juxtaposition of diatonic and non-diatonic collections that interact with each other. Paradoja: Concerto for Orchestra is examined in two broad categories. The first is a structural analysis, which includes details of form and pitch selection such as pitch collections, set classes and motives. The second is a stylistic analysis, which includes aspects of style such as rhythm, orchestration. The conclusion refers to the influence of historical models and aspects of the compositional process. Both the structural and stylistic analyses demonstrate how I have tried to merge diverse stylistic music elements to obtain a new personal idiom. / Music Composition / Accompanied by one .pdf score: Paradoja: Concerto for Orchestra: Full Orchestral Score.