This volume celebrates the work of Laszlo Zsolnai, a leading researcher and scholar in the field of the ethical and spiritual aspects of economic life, who has made significant contributions to the connection between ethics, spirituality, aesthetics and economic theory. The book offers a selection of essays concerned with the ethical, spiritual and aesthetic context within which economics as a social studies discipline should be situated in order to avoid the sort of dehumanising consequences that theories based (...) on utility maximisation and rational choice necessarily entail. It presents the economic activities of human beings not as some sort of preordained obedience to universal laws that operate independently of other human concerns, but, rather, as a part of the human desire for the Aristotelian good life. It looks at the various considerations –moral, spiritual and aesthetic – that take part in the formation of economic decisions in sharp contrast with theories that purport to explain economic phenomena solely on the basis of utility maximisation. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the (...) public good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

"The premise of this collection is that despite this perceptual sharing, "sublime economy" has yet to be investigated in a purely cross-disciplinary way.

Purpose of the article is to present in two parts the selected aspects of application of monetary policy in the euro area pre and post 2008 as well as insitutional adaptations brought by the EU legislator. Methodology/methods In order to better explain these points, the article relies partially on a comparison with the framework and application of the monetary policy by the Federal Reserve as well as on a historic method when outlining the influence of definition of financial stability (...) from the ECB/eurosystem towards other prominent central banks. Scientific aim The article presents selected aspects of the monetary policy in the part of the EU where single currency was introduced in order to outline state of the art governance structure as well as a certain institutional creativity in application of powers conferred upon the central banks by the Treaty on the Functioning of the European Union and Protocol on the Statute of the European System of Central Banks and of the European Central Bank. The goal is to prove the hypothesis of robustness of the framework and present the limits that can only be pushed further by the legislative power. The conclusions confirm on the one hand that the framework of monetary policy based on strong institutional safeguards such as legislative power and independence is very resilient and can prove efficient and creative enough to stabilise an innovative monetary system, however, on the other hand, validate the hypothesis that certain adaptations can only be performed on the basis of a legislative adaptations. (shrink)

Purpose of the article is to present in two parts the selected aspects of application of monetary policy in the euro area pre and post 2008 as well as insitutional adaptations brought by the EU legislator. Methodology/methods In order to better explain these points, the article relies partially on a comparison with the framework and application of the monetary policy by the Federal Reserve as well as on a historic method when outlining the influence of definition of financial stability (...) from the ECB/eurosystem towards other prominent central banks. Scientific aim The article presents selected aspects of the monetary policy in the part of the EU where single currency was introduced in order to outline state of the art governance structure as well as a certain institutional creativity in application of powers conferred upon the central banks by the Treaty on the Functioning of the European Union and Protocol on the Statute of the European System of Central Banks and of the European Central Bank. The goal is to prove the hypothesis of robustness of the framework and present the limits that can only be pushed further by the legislative power. The conclusions confirm on the one hand that the framework of monetary policy based on strong institutional safeguards such as legislative power and independence is very resilient and can prove efficient and creative enough to stabilise an innovative monetary system, however, on the other hand, validate the hypothesis that certain adaptations can only be performed on the basis of a legislative adaptations. (shrink)

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as it (...) merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)

This book takes an interdisciplinary, transnational and cross-cultural approach to reflect on, critically examine, and challenge the surprisingly robust practice of making art after death in an artist's name, through the lenses of scholars from the fields of art history, economics and law, as well as practicing artists. Works of art conceived as multiples, such as sculptures, etchings, prints, photographs and conceptual art, can be - and often are - remade from original models and plans long after the artist has (...) passed. Recent sales have suggested a growing market embrace of posthumous works, contemporaneous with questioning on the part of art history. Legal norms seem unready for this surge in posthumous production and are beset by conflict across jurisdictions. Non-Western approaches to posthumous art, from Chinese emulations of non-living artists to Native American performances, take into account rituals of generational passage and emotional aspects foreign to Western ideas. The book will be of interest to scholars working in art history, the art market, art law, art management, museum studies, and economics. (shrink)

Much recent discussion surrounding valuation of the arts and culture, particularly in the policy arena, has been dominated by a concern to identify an economic and financial basis for valuation of art works, arts, activities and more general ways in which we express our culture. Whereas a great deal can be gained from a fuller understanding of the economic value of art, there is a real danger that financial considerations will tend to crowd out all other aspects (...) of value. This book moves beyond the limitations implicit in a narrow economic approach, bringing different disciplinary viewpoints together, opening up a dialogue between scholars about the processes of valuation that they use and exploring differences and identifying common ground between the various viewpoints. The book's common theme – the tension between economic and cultural modes of evaluation – unites the chapters, making it a coherent and unified volume that provides a new and unique perspective on how we value art. (shrink)

Building on a theory of human intelligence, this book explores the importance of - and limits of - cost/benefit calculus (safety first in hostile environment), on the evolution of economic activity and political discourse. Arguing that intelligence consists of wisdom, cost/benefit reasoning, and creative genius, the book explores the history of the world from hunting and gathering to modern times, drawing on art, literature and invention. It emphasizes ethics, expectations and the importance of historical experience in shaping the humanist (...) economics story. (shrink)

This book concentrates upon how economic rationalities have been embedded into particular historical practices, cultures, and moral systems. Through multiple case-studies, situated in different historical contexts of the modern West, the book shows that the development of economic rationalities takes place in the meeting with other regimes of thought, values, and moral discourses. The book offers new and refreshing insights, ranging from the development of early economic thinking to economic aspects and concepts in the works (...) of classical thinkers such as Thomas Hobbes, John Locke and Karl Marx, to the role of economic reasoning in contemporary policies of art and health care. With economic rationalities as the read thread, the reader is offered a unique chance of historical self-awareness and recollection of how economic rationality became the powerful ideological and moral force that it is today. (shrink)

In this volume, Charles Kindleberger makes a powerful case against the idea that any one model could be used to unlock the basic secret of economic history. It is essentially an exercise in methodology, addressed to economists and economic historians alike. He argues that too many economists discover a relationship or a uniformity in economic behaviour, develop a model, and use it to explain more than it is capable of, including, on occasion, all economic behaviour. These (...) lectures discuss four 'laws' in economics to show how uniformities can illuminate economic history in particular aspects. They illustrate the view that the economist or economic historian seeking to test analysis against historical data should have a variety of different models, and not just one. The implication is that however scientific and technical the tools, choosing them carefully to fit particular circumstances is itself an art. (shrink)

This contribution focuses on three aspects of Nietzsche’s art of living that have become relevant today especially in the United States (but not only here): first, regarding some facets of the economic-political conditions of any contemporary art of living; second, the widespread adoption of Nietzsche’s notion of self-overcoming and artistic self-design in entrepreneurship and individual’s lives; and third, how his notion of ‘incorporation’ has been further developed in current approaches to habit design. Eventually I will show via the (...) example of Anthony Robbins that some notions of Nietzsche’s art of living have become most popular outside of academia, namely in the commercial industries of what has been called ‘self-growth’ or ‘self-development.’. (shrink)

ABSTRACT This article advances a critical approach to the analysis of social policy texts drawing on the philosophical perspectives of hyperrealism, surrealism, ethics, and Critical Discourse Analysis. Drawing on official government texts and speeches on the continuing development of Singapore’s education policy, the paper examines the way metaphors of flexibility, diversity, choice, and opportunity are used within an evolving ideological context that work to continually produce truth conditions as justifications for inequality. In doing this, the analysis foregrounds a functional aspect (...) of policy metaphors as divisive mechanisms of neo-liberalism through associating individuals with the appearance of discriminatory forms of economic materiality which does not in fact exist in reality. (shrink)

In the United States, property rights are afforded protection, but moral rights are not. Up until 1989, the United States adamantly refused to join the Berne Copyright Convention, the first multilateral copyright treaty, now ratified by seventy-eight countries. The American government refused to comply because the Berne Convention grants moral rights to authors. This international policy was—and is—incompatible with United States copyright law, which recognizes only economic rights. Although ten states have enacted some form of moral rights legislation, federal (...) copyright laws tend to prevail, and those are still wholly economic in their motivation. Indeed, the recent pressure for the United States to agree, at least in part, to the terms of the Berne Convention came only as a result of a dramatic increase in the international piracy of American records and films.In September 1986, Senator Edward M. Kennedy of Massachusetts first introduced a bill called the Visual Artists Rights Act. This bill attempts to amend federal copyright laws to incorporate some aspects of international moral rights protection. The Kennedy bill would prohibit the intentional distortion, mutilation, or destruction of works of art after they have been sold. Moreover, the act would empower artists to claim authorship, to receive royalties on subsequent sales, and to disclaim their authorship if the work were distorted.4 This legislation would have prevented Clement Greenburg and the other executors of David Smith’s estate from authorizing the stripping of paint from Several of Smith’s later sculptures so that they would resemble his earlier—and more marketable—unpainted sculptures. Such moral rights legislations would have prevented a Japanese bank in New York from removing and destroying a sculpture by Isamu Noguchi simply because the bank president did not like it. And such legislation would have prevented the United States government from destroying Tilted Arc. 4. Although this section appeared in the original version of Kennedy’s bill, the current version provides for a study of resale royalties. Richard Serra is known for his large-scale site-specific works in landscapes, urban environments, and museums. (shrink)

This paper presents an emerging aspect of intentionality through recent Artificial Intelligence (AI) developments in art and design. Our main thesis is that, if we focus just on the outcome of the artistic process, the intentionality of the artist does not have any relevance. Intention is measured as a result of actions regardless of whether they are human-based or not as long as there is an esthetical value intersubjectively acknowledged. In other words, what matters is the ‘intentio’ embedded in the (...) work of art (the output) rather than the ‘intendere’ (the process). By considering the former aspect, intentionality becomes free of human intervention, therefore 'unintentional'. This thesis is supported through a range of examples related to AI in general and AI art in particular. However, in the case of a self-driving vehicle, the macro-goal of the system is fixed by humans, even though the AI system itself will take care of decomposing the macro-goal into a set of micro-goals and take the corresponding decisions. In the case of art, the system does not need to have any exterior goal to the extent that art is pure freedom of expression, as many philosophers have acknowledged. In this sense, the decisions of any AI system generating art or design are independent of humans and must be judged only on the ground of the final outcome. A work of art will be judged ‘artistic’ to the extent that humans will recognize an artistic intent in the work itself. In particular, the introduction of random processes makes an AI-generated artwork fully independent of human creativity. (shrink)

Developed from two reports to seminars organized by the Congress of Cultural Freedom, in 1962 and 1963, The Art of Conjecture constitues a programmatic document for the work of Futuribles, a team of intellectuals collecting materials on the role of the social sciences. The intellectual fabric of this work are woven with a fine mixture of hard-nosed mathematical analysis, derived from demographic and economic forecast, and less accurate, more imaginative, modelings for short and long term social forecast. Much of (...) the book is devoted to an analysis of common and special conceptions of the future. Here lies the greatest philosophical interest of this work. The method pivots around techniques of long term economic forecasting. The political and human aspects are ever present in the course of the study. Toward the end the author asks himself, and us, the question: should forecast be based on technological sources alone? The question has already been answered in such brilliant chapters as, "The Conditions of Political Foreseeability," "The Ecology of Social Ideas," "The Social Career of Ideas," "The Force of Moral Ideas," and "Empirical Relations between Ideas."—A. M. (shrink)

This study aims to identify artificial intelligence (AI) technologies that are applied in climate-smart agricultural practices and address ethical concerns of deploying those technologies from legal perspectives. As climate-smart agricultural AI, the study considers those AI-based technologies that are used for precision agriculture, monitoring peat lands, deforestation tracking, and improved forest management. The study utilized a systematic literature review approach to identify and analyze AI technologies employed in climate-smart agriculture and associated ethical and legal concerns. The study findings indicate several (...) ethical concerns for deploying AI in climate-smart agricultural practices pertaining to data inaccuracy, other technical errors based on wrong recommendations or wrongful acts, data ownership and intellectual property issues, and economic issues resulting in digital division and privacy and security related issues. In this study, the ethical concerns were further examined based on criminal law, tort law, privacy and data protection law, and intellectual property law. In this regard, the study finds that the current tort law pattern is more suitable than the criminal law pattern to address some major ethical concerns, such as data inaccuracy and other technical errors based on wrong recommendations or wrongful acts. Finally, the study recommends that at the global level, all countries need to fill up the current gap of international law on climate-smart agriculture through agreeing on a standard set of legal provisions and enhancing collaboration in innovation and deployment of climate-smart agricultural AI. It further recommends that at the local level, countries need to adopt suitable regulations addressing multi-stakeholders’ interests associated with the deployment of climate-smart agricultural AIs. (shrink)

For almost two years now the COVID-19 pandemic impacted in most different forms habits, models of organization, socio-political dynamics and economic assets. Arrangements and orders taking decades to reach stabilization have demonstrated an unsuspected precarity, demanding a profound reorganization of dynamics we had been long accustomed to. As the distant, sanitized character of interaction, transmission, fruition and creation processes has turned from a contingent measure into the unamenable norm of these days’ routine, every aspect of social interaction is changing (...) accordingly. “Contact”, “contagion”, “proximity” and “distance” are not features of a transient period anymore: they are keywords of today’s experience. Indeed, while these concepts were already at stake in masscommunication and social media, it was not before nowadays that their precipitate on art forms could be taken into account more pristinely, for especially performative arts never had to amend their “familiar ground” in order to pursue their goals. Hence, how did artforms adjust themselves to wholly new forms of participation? What are we supposed to expect next? The main aim of this paper is to sketch out, relying on some classical loci of the history of Western aesthetics such as Plato, Aloïs Riegl, Walter Benjamin, this new, re-configured notion of aesthetic and artistic experience in the time of the COVID-19 pandemic. (shrink)

Instead of simply following the current neoliberal mantra of proclaiming economic growth as the single most important factor for maintaining well-being, Education and Schmid's Art of Living revisits the idea of an education focused on personal development and the well-being of human beings. Drawing on philosophical ideas concerning the good life and recent research in positive psychology, Teschers argues in favour of shifting the focus in education and schooling towards a beautiful life and an art of living for today's (...) students. Containing a thorough discussion of the ideas of contemporary German philosopher Wilhelm Schmid, this book considers the possible implications of developing a more humanistic and life-centred approach to educational policy, research and practice, showing that Schmid's concept of Lebenskunst provides a firm philosophical basis for this endeavour. Among others, this book draws on analytical and continental traditions to challenge current views and assumptions in regard to education and the role of schooling for contemporary societies. As a result, Teschers' work is sure to spark a debate about the direction of educational policy and practice in the 21st century. Education and Schmid's Art of Living is essential reading for academics and students with an interest in education. Given the importance of such topics as the relationship between education and society, teacher education and how best to structure schools and learning environments, Teschers' work will appeal to academics and students in a diverse range of fields, including education, philosophy, sociology and psychology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Art, Artists and Pedagogy. Philosophy and the Arts in Education ed. by Christopher Naughton, Gert Biesta, David R. ColeAnnette ZiegenmeyerChristopher Naughton, Gert Biesta, and David R. Cole, eds., Art, Artists and Pedagogy. Philosophy and the Arts in Education (New York: Routledge, 2018)The question about the role and purpose of the arts in education in the twenty-first century is an important issue being currently discussed in various publications.1 Despite (...) many valuable approaches about how to reflect on the challenges arts and education face today, no adequate and sustainable solution seems to have been worked out yet.In their book Art, Artists and Pedagogy, Christopher Naughton, Gert Biesta and David R. Cole (editors) and other co-authors explore new ways to rethink arts education in the twenty-first century via two main philosophies in education. The first one is based on Gert Biesta’s work, The Rediscovery of Teaching, that focuses on the relation of the arts to the world and on what kind of society we may wish to envisage by using concepts such as “grown-up-ness” and “middle ground.”2 The second one is based on Gilles Deleuze and Félix Guattari, who provide a theoretical framework to look more deeply into the influence of state and global capital when taking decisions on how art education should develop in the future. Within their different positions, both philosophies also complement each other by sharing some relevant aspects concerning, for example, the value of arts in society. [End Page 104]Besides the editors who are leading academics in the arts, philosophy, and education, most of the co-authors are established professors and senior lecturers from Australia, New Zealand, Canada, and the USA. Considering the fact that the book is intended for educators who teach the arts at different age-levels in schools and universities or for artists working in the community, it is surprising that there are not more voices of contemporary artists and teachers integrated in the publication to capture the philosophical discourse being perceived from their viewpoints. This could add an interesting counterpoint to the philosophical approaches and thus widen the perspective on the subject.The book comprises fifteen chapters which can be read either individually or sequentially. In the introductory chapter, Biesta reflects on the potential of the arts in an era of growing economization of education. Representing the exploration and transformation of our desires, the arts can thus become a positive force for the ways in which we seek to exist in the world in grown-up modes. As a consequence, Biesta suggests an “approach of resistance in how we engage with others and how we come to terms with our own desires and those of the others.”3 He sees the work of the teacher as “interruptive” in that it raises the question about which desires appear to be helpful towards existing in a grown-up way in the world.4Many articles in the book use aspects of Biesta’s philosophy as a (methodological) starting point and lens to further develop their approach. To begin with, Mary Ann Hunter reflects on Biesta’s concept of “interruption” by examining how school partnerships with artists can be valued as a necessary interruption.5 According to Hunter, the way artists act “unteacherly” presents a chance to interrupt the regulatory practices of schooling and to thus ameliorate some of the negative impacts of assessment-focused teaching. Julianne Moss and Anne-Marie Morrissey also refer to Biesta, but concentrate on issues of identity and subjectivity by showing how the teacher comes to terms with herself, her desires, and those of the students (by mitigating her own knowledge and skills with those of her class). Robyn Ewing and John Saunders focus on the concept of grown- up-ness. With reference to a drama project with children from a primary school in the context of an Australian teacher professional learning program, Ewing and Saunders show that the process of co-creating drama work with children provides an open space within teaching where “transformative learning” can be experienced. Nico de Vos focuses on another interesting aspect by bringing in the philosophical idea of bodily connectedness in... (shrink)

This article explores what it can mean to navigate notions of productive idiocy with aspects of mātauranga Māori (Māori knowledge), through some recent art-as-activism practices of the author, Aotearoa/New Zealand artist Mark Harvey. The works explicated include Waitākere Drag and Auau in the Te Wao Nui ā Tiriwa forest ranges and Productive Promises, which was part of TEZA (Trans Economic Zone of Aotearoa) in Ōtautahi/Christchurch. Avital Ronell’s Nietzschean-influenced perspectives on idiocy are drawn from in relation to Western and (...) Māori perspectives, along with Roger Sansi’s work on idiocy as dissent. From this aggregation of epistemologies, it is proposed that idiocy can be productive through art as activism and that this can align with Indigenous Māori perspectives on playing the fool as a form of resistance and refusal. Examples of Māori concepts engaged with here include perspectives on relationship building, human relationships with forests and the environment, and sovereignty under Te Tiriti o Waitangi (The Treaty of Waitangi). These art-activism projects promised micro-attempts at making positive changes for the communities in which they were situated through performatively generated actions from a Māori perspective within the shroud of ongoing colonization and capitalism. (shrink)

The economic aspect of teachers's salaries.--Public school maintenance.

Alongside other types of mass atrocities, genocide has received extensive scholarly, policy, and practitioner attention. Missing, however, is the contribution of economists to better understand and prevent such crimes. This edited collection by 41 accomplished scholars examines economic aspects of genocides, other mass atrocities, and their prevention. Chapters include numerous case studies, probing literature reviews, and completely novel work based on extraordinary country-specific datasets. Also included are chapters on the demographic, gendered, and economic class nature of genocide. (...) Replete with research- and policy-relevant findings, new insights are derived from behavioral economics, law and economics, political economy, macroeconomic modeling, microeconomics, development economics, industrial organization, identity economics, and other fields. Analytical approaches include constrained optimization theory, game theory, and sophisticated statistical work in data-mining, econometrics, and forecasting.A foremost finding of the book concerns atrocity architects' purposeful, strategic use of violence, often manipulating nonrational proclivities among ordinary people to sway their participation in mass murder. Relatively understudied in the literature, the book also analyzes the options of victims before, during, and after mass violence. Further, the book shows how well-intended prevention efforts can backfire and increase violence, how wrong post-genocide design can entrench vested interests to reinforce exclusion of vulnerable peoples, and how businesses can become complicit in genocide. In addition to the necessity of healthy opportunities in employment, education, and key sectors in prevention work, the book shows why new genocide prevention laws and institutions must be based on reformulated incentives that consider insights from law and economics, behavioral economics, and collective action economics. (shrink)

Waterfowl--ducks, geese, and swans--are a pervasive, ubiquitous element in Etruscan art, just as they are in well-watered Etruria itself. From the formative Villanovan Period though the terminus of Etruscan culture, waterfowl are regularly depicted in a variety of plastic and glyphic media: pottery, painting, metalwork, and stone. Waterfowl are particularly frequent in funerary contexts. Minimal attention, however, has been accorded this unique branch of avians; waterfowl are generally assumed to have little more than decorative value in the present literature, Nonetheless, (...) it can be shown that ducks, geese, and swans were endowed with social, medicinal, magical, and religious significance in ancient culture and, indeed, in most cultures where waterfowl gather in large numbers. A goodly portion of Etruscan art, as well as comparanda from contemporaneous peoples with whom the Etruscans, directly or indirectly, enjoyed economic and cultural intercourse--the Hellenic lands, Asia Minor and Egypt, central and northern Europe--bears out the preceding statement. This study first examines the natural history of the waterfowl of Etruria, as critical an aspect in their deployment as symbols as are the natural behaviors of the snake and lion in their respective symbolisms. Next, the various roles of waterfowl in medicine, magic and mythology, as well as etymological studies of both Etruscan and Indo-European words for "waterfowl" are investigated and analyzed. Certain aspects of Etruscan conceptions of the afterlife that eventually prove germane are also discussed. Analysis of the combined data helps elucidate the meaning of a number of Etruscan monuments in which waterfowl appear, and simultaneously calls for a reassessment of others, e.g., Villanova and later armor (helmets, pectorals, shield); Orientalizing pieces such as the Regolini-Galassi fibula; Archaic and later bronze mirrors; the Aurora Krater; tomb paintings; and duck askoi. To be sure, there are representations of waterfowl in Etruscan art where the birds serve as decorative elements only -- their beauty is universally admired -- but, as have other cultures, the Etruscans saw considerably more in ducks, geese, and swans than just graceful birds gliding about the waters. (shrink)

In this essay, we explore the philosophical and theoretical resonances of the artwork Qatipana from the perspective of some key insights of Gilbert Simondon’s information processing system approach. Qatipana (Quechua word that means flow, sequence, transmission) is a hybrid ecosystem of information flow which, even though not the kind of dispositive systems theory was designed to read, offers some valuable empirical insights to test some key aspects of Simondon’s information processing systems. In particular, we are interested in observing how (...) Simondon’s becoming and individuation play out in an algorithmic cycle performed by the cognitive system of an Artificial Intelligence agent: how does mono-technology and computerization of cultural techniques influence the nature of knowing the affection of being with others (people, things, animals)? We contrast Simondon’s contributions with the work of Norbert Wiener and Stafford Beer on information in cybernetics and the cosmotechnics and Technodiversity of Chinese philosopher Yuk Hui. Furthermore, we offer a provisional assessment of the reach, limits, and possibilities this kind of symbiotic crossing of technologies and arts: it is a field filled with challenges and unresolved complexities that should encourage us to recognize the urgency that is implied in the disruptive (and creative) we can see unfolding in social and political life. The already pervasive (and growing) presence of computational systems has become both a tremendous risk and a vertiginous deployment of liberating opportunities. Latin America and elsewhere are desperately calling for an insightful and imaginative engagement. (shrink)

The article gives a definition of the technical and economic potential of the application of the deforming broaching process. Research of the consequences of introducing deforming broaching into technological processes at manufacturing enterprises is carried out on the basis of application of system resource and matrix approach. On the basis of the performed researches, a methodological basis for the economic evaluation of the results of applying deforming broaching on the pro-duction has been developed. The article has improved the (...) well-known scientific and methodological foundations for the determination of technical and economic results of the application of deforming broaching due to the complex identifica-tion of production-organizational decisions - in technical and forms of evaluation in economic spheres. The developed approach gives an opportunity to more accu-rately assess the economic effect of introducing deforming broaching on the min-ing, metallurgical and machine building industries. It can be used to assess the economic effect of introducing other process parts processing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. Galenson's book "Painting (...) Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)

Introduction: having it all -- The sustainable society -- Pursuing the good -- The value of moderation -- Marshmallows and treadmills -- The joy of missing out.

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 2-15 [Access article in PDF] Economic Aspects of Social and Environmental Violence John B. Cobb Jr. Claremont School of Theology I When we think of violence, what first comes to mind are violent acts by individuals or groups against other individuals. We think of rapes and murders, lynchings and muggings, beatings and armed robberies. We want the police to protect us from this (...) violence. Unfortunately, we know that police are tempted, in turn, to employ their power in violent ways, chiefly against those guilty of crimes, but sometimes against the innocent. The cycle of violence on the part of individuals and groups goes on.Bad as this violence is, it is worse when the state, instead of restricting it, supports and requires it. Political authorities have always exercised violence against their own people, especially those they suspected of being threats to their power. But in the twentieth century, state violence reached previously unheard of levels. For the sake of building a communist society, Stalin killed millions and imprisoned millions more. The Nazis undertook to purify Germany of Jews, gypsies, and other undesirables through extermination undertaken through bureaucratic processes.We Americans do not think of ourselves as having employed state power in any such way. We know that national power was used violently to drive Native Americans off their land down through the nineteenth century. We know that southern states used their power to enforce segregation and protect whites who engaged in violent acts against blacks in order to maintain total white domination over them. But we now think of the national government much more as the protector of human rights. This is not entirely false.We tend not to recognize, however, the amount of violence the national government is exercising in the wars against crime and drugs. In order to reduce individual violence as well as drug use, we have created a prison population of two million. One-fourth of all the prisoners in the world are in the United States, most of them jailed for nonviolent crimes. Although drug use is more or less equally spread among ethnic and economic groups, most of those imprisoned for this crime are poor and ethnic minorities. In the name of law and order, enormous violence is inflicted by the United States against the people of its ghettos. [End Page 3]In this same century war also took on new dimensions. It has been waged against entire populations instead of armies. The aim at total destruction came to its fullest expression when twice the United States dropped atomic bombs on Japan.World War II has made all of us sadly aware of the horrors of state violence. It has turned us against nationalism. We are appalled as we see nationalism raise its ugly head again in the former Soviet Union and especially in the former Yugoslavia. When ethnic groups undertake to destroy each other, our moral condemnation is unambiguous. Personal, group, and state violence remains a problem, but at least the wrong involved in this is widely understood.In all civilization there has been another kind of violence—economic. In much of history economic violence has been closely related to the forms noted above. The rich have been able to impose their will on the poor because they could employ persons to exercise violence for them and they could influence state action. We see this glaringly in the "goon squads" employed by the wealthy in some Latin American countries to intimidate and kill those who protest their actions. These goon squads often work closely with the military power of the state.We know that in this country as well, wealth reduces the chance of conviction for crimes. It also buys influence in government. On the whole the United States government throughout history has supported the interests of those with money. Today the power of wealth in the political process is clearly evident. We recognize that this situation is corrupt, but we do not ordinarily think of it as a form of violence. This is because the violent consequences are indirect, and we are... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 47-60 [Access article in PDF] Economic Aspects of Social and Environmental Violence from a Buddhist Perspective Sulak Sivaraksa Pacarayasara I have been asked to write on some economic aspects of social and environmental violence, approaching the subject from a Buddhist perspective. Indeed this invitation offers a wide range of choices, but I shall try to keep my subject matter fairly general (...) and straightforward. The present economic reality, widely known as neoliberal capitalism, prizes the accumulation of profits over human well-being and environmental sustainability. As such, it is criminal and hence definitely not the way to regulate or organize the global society. The present trend, however, is increasingly giving the agents and institutions of capital a free hand to do so.The main beneficiaries of this violent and highly unjust system are invariably transnational corporations (though some critics prefer to call them transnational tyrannies), big financial investors, and their supporters. Roughly two-thirds of what is known today as world trade are simply intrafirm or interfirm trade. Small wonder that they are virtually the present-day "masters of the universe," increasingly accumulating special rights, influence, and power vis-à-vis the mass of humanity. An open secret is that the wealthiest 20 percent of the world's population receive 83 percent of the world's total income—a fact that no longer creates consternation or moral outrage in the mainstream; rather, it is taken as a healthy phenomenon that will contribute to human progress. Moreover, the environment is being plundered to quench the greed—which happens to be a bottomless pit—of the few. Inevitably, this creates a two-tiered system both within and between countries; a small opulent minority builds their castles on the suffering and impoverishment of the absolute majority of humanity. A large segment of humanity enjoys freedom with no opportunities and has the freedom to starve but does not enjoy freedom from poverty. Everyday thousands of children are dying from easily preventable disease. Millions more are malnourished or starving. It is against this backdrop that we need to discuss some of the economic aspects of social and environmental violence from a Buddhist perspective.Let us first deal with the production side of the capitalist equation. What is its main driving force and value system? How do they impact social organization and the environment? [End Page 47] Undeniably, the fuel that keeps the capitalist engine running is profit: the more of it, the better, the argument goes. Hence, corporations must be free to pursue it at all costs. The ends justify the means. It is also argued that the profit generated by the system will eventually trickle down to benefit the mass of humanity. The available evidence points otherwise. To be fair, capitalism does generate some benefits to humanity, but they are largely unintended by-products of the system.In the mainstream discourse, profit is said to derive solely from entrepreneurship —a concept that acts as a bicarbonate of soda for intellectual and moral indigestion. In reality, the easiest and cheapest way to reap massive profit is exploitation or ostracism: One is rich by keeping or making others poor, directly or otherwise. The masters then seek solace in the tenuous assumption that the global economy utilizes the best and disposes the rest. Furthermore, the environment is seen as a subsystem of international capitalism, not vice versa. Hence it is to be raped in order to lubricate the wheels of the capitalist machine. Put differently, the insatiable quest for profit upheld by capitalism really reflects greed, hatred, moral callousness, and wanton criminal negligence toward the well-being of the people and environment. The name of the game is getting ahead even at another's expense, to rise to the top of the pecking order. If one frequents any bookstore, one is likely to find business books with interesting titles such as Divide and Rule and Colonizing the Market. This nefarious aggressiveness is benignly known as "free competition" in mainstream parlance. Those who succeed to the top are lauded as "efficient." If allowed to have a firm... (shrink)

The twentieth century has been called the age of science. Indeed, one of its most salient features is a continuous and accelerating advance in our knowledge of nature, accompanied by progress in technology and engineering. The middle of the century witnessed a new revolution in science and technology which brought about radical changes in economic production and everyday life, which brought nature under further control on our planet and ventured into outer space. These advances in science and technology in (...) an age of automation and electronic "brains," of nuclear energy and artificial satellites, exercise a growing influence on all aspects of social life, including the way in which art develops. (shrink)

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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The economics of science is a discipline with a long history, and yet one where there if often too little dialogue between its constituent parts. The articles in this issue's focused discussion begin to address that problem by examining recent developments in science's economic circumstances from a variety of disciplinary perspectives.

The economic and social essence of the current revolution in science and technology taking place under the conditions of socialism is that it shapes new societal needs and at the same time creates the conditions for satisfying them.

Of the requisites for economic development, human capital is the most “policy-proof,” is the one which developed nations can most effectively render on large scale, and is that which American colleges of Agriculture are uniquely equipped to render. Graduate study in agricultural economics is a popular choice of third world students as it occupies a pivotal position between agricultural science and the liberal arts, giving it substantial relevance to economic development. It is necessary to understand the history, economics, (...) sociology, and psychology of the institutions that are central to economic development. Graduate programs in agricultural economics have fallen short of their potential to contribute to human capital and hence to the process of economic development. It is recommended that these programs capitalize on the disciplinary ties to both agricultural science and to the liberal arts, and in particular, 1) place greater emphasis on international aspects of macroeconomics, 2) include in the study of microeconomics more realistic treatment of what prices and markets can and cannot accomplish, and 3) emphasize the importance of effective communication in preparing returning third world students for their responsibilities in bridging the gap between research and policy. (shrink)