Suchergebnisse

THE AUTHOR ENDEAVORS TO GIVE RENEWED DIRECTION TO THE INTER-PARADIGM DEBATE IN INTERNATIONAL RELATIONS. HE ARGUES THAT THE DEBATE SHOULD NOT BE ENTIRELY A COMPETITIVE AND COMPARATIVE SEARCH FOR A GENERAL THEORY OF INTERNATIONAL RELATIONS THAT ESTABLISHES THE LEGITIMATE PARAMETERS OF THE FIELD. YET, AT THE SAME TIME, PLURALISM, RELATIVISM, AND INCOMMENSURABILITY SHOULD NOT PUSH THE VARIOUS PARADIGMS INTO BEING SIMPLY IDEALIST WORLD-VIEWS OR TEXTS THAT BEAR A CONTESTED CORRESPONDENCE WITH REALITY. THE AUTHOR'S INTENT IS TO GIVE RENEWED CLARITY TO THE EXPLICITLY POLITICAL CONTENT OF THE PARADIGMS, TO SHOW HOW EACH EXPRESSES THE WORLD AS A MORE OR LESS DISTINCTIVE, YET NOT EXCLUSIVE, POLITICAL SPACE.

Recent developments in statistical methodology have facilitated international innovation comparisons. These, however, inevitably reflect both the industrial structure of the underlying economies, and the innovativeness of firms within each element of the industrial structure. The authors consider the extent to which structural differences between economies can influence international innovation comparisons. The impact of structural differences is considered both in conceptual and in empirical terms, with the aid of data from the first and second Community Innovation Surveys (CIS 1 and CIS 2). Conceptual analysis suggests a very restricted range of scenarios under which structural adjustment will be effective. Empirical results are more reassuring, however, suggesting that, although structural effects are in some cases quite large, they do not significantly distort international innovation relativities. The comparisons do, however, highlight significant inconsistencies between different innovation indicators and suggest policy priorities.

This thesis focuses on how international art collectives can function as a connective tissue for students to engage in international exchange, collaboration and art-making. I have analyzed the sustainability, structural operation and political implications of such exchanges at the university level and in the professional art world. Examining different programs such as the International Art Collaboration Network (INTAC), InSite, and Border Art Workshop/Taller de Arte Fronterizo as comparative case studies, I address the following questions in my research: What models exist in North America for individuals who wish to implement transnational art collaborations in their art practice or as a pedagogical strategy? As artists, educators and arts administrators, how can we adopt theses existing collaborative ideas and methods as a response to globalization and further the goals of cultural integration? INTAC served as the main focus of my investigation. INTAC is a network that has been connecting students around the world to work collaboratively on lens-based art projects for the past ten years. My data collection was based on surveys and interviews with students, professors, and INTAC alumni. As part of my fieldwork, I followed and documented the work produced by four Chicago-based artists who participated in the 2018-2019 INTAC collaboration. I gathered artwork, interviews and exhibition documentation. I also looked at other historical collaborations between the US and Mexico and interviewed artists from various collectives who have worked in collaboration. These programs are critical to local and international communities because they provide an accessible entry point into complicated conversations through artwork. Such models can be replicated at the university level and in the artistic community. Through research I found that the challenges in collaborations are outweighed by the many benefits of a transnational exchange. When ideas are exchanged and conversations are held between artists and cultural producers, we can begin to challenge and destroy current hateful rhetoric that is dividing us. At their best collaborations connect us as equals, creating a space where all members are significant contributors through a democratic and egalitarian model of collaboration. Online communication generates the spaces in which these kinds of collaborations can be planned and accomplished. Through artistic collaboration and dialogue, participants from different countries share their art, and think critically about the world, border politics, international relations and citizenship. We have a responsibility to look for answers to the ever increasing demand for human and cultural integration in a global world plagued by the challenges posed by borders and geopolitical barriers.