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Notes notes to the introduction . Florida 2002; Peck 2005; see also Yúdice’s (2003) important discussion of “culture as resource.” . Literature documenting these patterns is growing, but see in particular Dávila 2004; Gregory 2007; Reguillo and Godoy-Anativia 2005. . National Endowment for the Arts, “About Art Works,” http://www.arts.gov/ artworks/?page_id=79. . Elsewhere I discuss these dynamics in greater detail (Dávila 2004). . See Roman-Velázquez 2008 on the public ordinances that have restricted the consumption of Old San Juan as a space of leisure and entertainment for popular classes. . For discussions about the uniqueness of aesthetic value and how it is constructed as being intrinsic to artistic works themselves or as stemming from the market , or whether the test of time is its best determinant, see Hutter and Throsby 2007. . For more on the concept of mobility, see Cresswell 2006 and Seiler 2008. Another relevant body of literature that touches on mobility revolves around the new international division of cultural labor, looking at the division and organization of creative labor across states. See, for instance, Miller et al. 2008. . DeHart discusses these hierarchies in relation to development policies in Latin America. Her conceptualization of hierarchies in mobility draws from the work of Freeman (2001) and Massey (1994) on the gendering of space and globalization. notes to chapter 1 . See Segal 2009 on the decline of Americans’ love affair with shopping malls. See also reports by the International Council of Shopping Centers, a trade organization for shopping malls that traces the development of the industry and the rise of emerging economies in its monthly Shopping Center Today, http://www.icsc.org/sct/. . Compañia de Comercio y Exportación de Puerto Rico 2008. . These include proposals such as the “Golden Triangle” development in Old San Juan, the transformation of Roosevelt Roads military base into the “Riviera del Caribe,” and the “Science City” development, a comprehensive cancer center that will also incorporate medical tourism. More information on these projects can be obtained through Puerto Rico’s Department of Economic Development. . At the Caribbean Conference of the International Council for Shopping Centers in San Juan, the PowerPoint presentation by government officials from the Office of Notes to Chapter 1 Economic Development described Puerto Rico as having twenty-eight million square feet of commercial space, which are largely concentrated in the metropolitan area. Presentation by Marcos Rodríguez-Ema, ICSC Conference in San Juan, 2011. These numbers, however, are currently in flux, as developments are on the rise. . Since I conducted my research, a proprietary marketing research report on the shopping habits of Puerto Rican women was produced; it seems to echo my findings about their strategies for maximizing their resources and their overall thriftiness. This report is only available by purchase and is not widely distributed, but discussion of some of its findings can be found at the website of the Asociación de Ejecutivos de Ventas y Mercadeo de Puerto Rico: http://www.smepr.org/index.php?src=events&cat egory=*n&srctype=detail&refno=81. notes to chapter 2 . See Dávila 1997 for a discussion that provides a historical perspective on the partisan debates over which of the two dominant parties (the pro-commonwealth or the pro-statehood party) is supposedly more concerned with Puerto Rican culture and how these debates have impacted cultural policy and the funding of local events. . This law was amended as Law 166 (August 11, 1995) and has been amended various times since, though the designation of what constitutes folk art and an artisan has remained unchanged. As of July 2011, the staff was in the process of changing criteria for their evaluations, but these are yet to be made public or adopted as part of any formal legislation. . This echoes the symbolic strategies that management and workers have adopted worldwide to veil and resist their exploitation by claiming alternative identities and postures, such as through fashion. See, for instance, Freeman’s (2000) classic discussion of pink-collar identities in the Caribbean informatics industry. notes to chapter 3 . Méndez Berry 2010a. . The Urban Artists Initiative was a privately funded program founded by Bill Aguado, one of the Cultural Equity Group members and a former executive of the New York Foundation for the Arts, as a consortium of organizations that included the Harlem Arts Alliance and the Asian American Arts Alliance. This program was the result of a ten-year discussion about the need to develop infrastructure for assisting individual artists...
