Sounding the Gallery

Forward-thinking investors are constantly looking for the next BRIC-what foreign market is on the brink of expansive growth? Will these investments payoff, or are the potential risks too great? Investing in these emerging markets requires a careful analysis of potential risks and benefits which vary greatly from country to country and even from day to day. In Cracking the Emerging Markets Enigma, emerging markets expert Andrew Karolyi outlines a practical strategy for evaluating the opportunities and-more importantly-the risks of investing in emerging markets. Karolyi's proposed system evaluates multiple dimensions of the potential risks faced by prospective investors. These categories of risk reflect the uneven quality or fragility of the various institutions designed to assure integrity in capital markets-political stability, corporateopacity, limits placed on foreign investors, and more. By distilling these analyses into a numerical scoring system, Karolyi has devised a way to assess with ease emerging markets by different dimensions of risk and across all dimensions together. This novel assessment framework already has been tested in the market to great success. Researchers, students, firms, and both seasoned and novice investors are poised to gain a clear understanding of how to evaluate potential investments in emerging markets to maximize profits.Sounding the Gallery explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to soundtheir images in a quick and easy manner. But video not only provided artists and composers with the opportunity to produce unprecedented forms of audiovisuality; it also allowed them to create interactive spaces that questioned conventional habits of music and art consumption. Early video's audiovisualsynergy could be projected, manipulated and processed live. The closed-circuit video feed drew audience members into the heart of the audiovisual experience, from where they could influence the flow, structure and sound of the video performance. Such activated spectatorship resulted in improvisatory and performative events in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial experience. Many believed that such audiovisual video work signalled a brand-new art form that only began in 1965. Using early video work as an example, this book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatializing their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together, acting as a conduit that facilitated the fusion andmanipulation of pre-existing elements. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late1960s.