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This article analyzes the celebrations of the Argentine Bicentenary in 2010, and especially the historic-artistic parade organized by Fuerza Bruta in Buenos Aires. My hypothesis states that this parade was one of the most important performances of the Cultural Policies during the last decade to confront the traditional identitarian imaginary of White-European origin of the Argentinians, associated to elites, and legitimate a new multicultural imaginary, associated to the popular. Furthermore, I discuss the theoretical and methodological importance of analyzing music, dance and theater in order to understand the efficacy of this kind of celebrations. Therefore, I examine the ways in which these aesthetic expressions bring about intense senses and emotions that operate as powerful iconic and indexical meanings among participants. In this way, the cultural meanings and values that the ritual tries to legitimize become desirable: in this case, a new imaginary about the Argentine identity, through a festive ritual of national commemoration. [ABSTRACT FROM AUTHOR]

The article discusses photography techniques of photographer Sandro Aguilar of a ruined building in Lima, Peru, that was once a hospital. Aguilar is stated to have removed the layers of time with emotional aesthetics using lights and shades. It is stated that Aguilar's photographs are not melancholy as the other photographs on the modern ruin in Lima. His photographs are form of expressionism. The images are stated to place the observer in a visual dimension that works with the force of the imagination of the photographer.