Science Technology And Art In International Relations

This volume brings together 19 original chapters, plus four substantive introductions, which collectively provide a unique examination of the issues of science, technology, and art in international relations. The overarching theme of the book links global politics with human interventions in the world: We cannot disconnect how humans act on the world through science, technology, and artistic endeavors from the engagements and practices that together constitute IR. There is science, technology, and even artistry in the conduct of war—and in the conduct of peace as well. Scholars and students of international relations are beginning to explore these connections, and the authors of the chapters in this volume from around the world are at the forefront.

An increasing number of scholars have begun to see science and technology as relevant issues in International Relations (IR), acknowledging the impact of material elements, technical instruments, and scientific practices on international security, statehood, and global governance. This two-volume collection brings the debate about science and technology to the center of International Relations. It shows how integrating science and technology translates into novel analytical frameworks, conceptual approaches and empirical puzzles, and thereby offers a state-of-the-art review of various methodological and theoretical ways in which sciences and technologies matter for the study of international affairs and world politics. The authors not only offer a set of practical examples of research frameworks for experts and students alike, but also propose a conceptual space for interdisciplinary learning in order to improve our understanding of the global politics of science and technology. The second volume raises a plethora of issue areas, actors, and cases under the umbrella notion techno-politics. Distinguishing between interactional and co-productive perspectives, it outlines a toolbox of analytical frameworks that transcend technological determinism and social constructivism.

This volume brings together 19 original chapters, plus four substantive introductions, which collectively provide a unique examination of the issues of science, technology, and art in international relations. The overarching theme of the book links global politics with human interventions in the world: We cannot disconnect how humans act on the world through science, technology, and artistic endeavors from the engagements and practices that together constitute IR. There is science, technology, and even artistry in the conduct of war—and in the conduct of peace as well. Scholars and students of international relations are beginning to explore these connections, and the authors of the chapters in this volume from around the world are at the forefront.

An increasing number of scholars have begun to see science and technology as relevant issues in International Relations (IR), acknowledging the impact of material elements, technical instruments, and scientific practices on international security, statehood, and global governance. This two-volume collection brings the debate about science and technology to the center of International Relations. It shows how integrating science and technology translates into novel analytical frameworks, conceptual approaches and empirical puzzles, and thereby offers a state-of-the-art review of various methodological and theoretical ways in which sciences and technologies matter for the study of international affairs and world politics. The authors not only offer a set of practical examples of research frameworks for experts and students alike, but also propose a conceptual space for interdisciplinary learning in order to improve our understanding of the global politics of science and technology. This first volume summarizes various time-tested approaches for studying the global politics of science and technology from an IR perspective. It also provides empirical, theoretical, and conceptual interventions from geography, history, innovation studies, and science and technology studies that indicate ways to enhance and rearticulate IR approaches. In addition, several interviews advance possibilities of multi-disciplinary collaboration.

How the tools of STS can be used to understand art and science and the practices of these knowledge-making communities. In Art, Science, and the Politics of Knowledge, Hannah Star Rogers suggests that art and science are not as different from each other as we might assume. She shows how the tools of science and technology studies (STS) can be applied to artistic practice, offering new ways of thinking about people and objects that have largely fallen outside the scope of STS research. Arguing that the categories of art and science are labels with specific powers to order social worlds—and that art and science are best understood as networks that produce knowledge—Rogers shows, through a series of cases, the similarities and overlapping practices of these knowledge communities. The cases, which range from nineteenth-century artisans to contemporary bioartists, illustrate how art can provide the basis for a new subdiscipline called art, science, and technology studies (ASTS), offering hybrid tools for investigating art–science collaborations. Rogers’s subjects include the work of father and son glassblowers, the Blaschkas, whose glass models, produced in the nineteenth century for use in biological classification, are now displayed as works of art; the physics photographs of documentary photographer Berenice Abbott; and a bioart lab that produces work functioning as both artwork and scientific output. Finally, Rogers, an STS scholar and contemporary art–science curator, draws on her own work to consider the concept of curation as a form of critical analysis.

Art and science work is experiencing a dramatic rise coincident with burgeoning Science and Technology Studies (STS) interest in this area. Science has played the role of muse for the arts, inspiring imaginative reconfigurations of scientific themes and exploring their cultural resonance. Conversely, the arts are often deployed in the service of science communication, illustration, and popularization. STS scholars have sought to resist the instrumentalization of the arts by the sciences, emphasizing studies of theories and practices across disciplines and the distinctive and complementary contributions of each. The manifestation of this commonality of creative and epistemic practices is the emergence of Art, Science, and Technology Studies (ASTS) as the interdisciplinary exploration of art–science. This handbook defines the modes, practices, crucial literature, and research interests of this emerging field. It explores the questions, methodologies, and theoretical implications of scholarship and practice that arise at the intersection of art and STS. Further, ASTS demonstrates how the arts are intervening in STS. Drawing on methods and concepts derived from STS and allied fields including visual studies, performance studies, design studies, science communication, and aesthetics and the knowledge of practicing artists and curators, ASTS is predicated on the capacity to see both art and science as constructions of human knowledge- making. Accordingly, it posits a new analytical vernacular, enabling new ways of seeing, understanding, and thinking critically about the world. This handbook provides scholars and practitioners already familiar with the themes and tensions of art–science with a means of connecting across disciplines. It proposes organizing principles for thinking about art–science across the sciences, social sciences, humanities, and arts. Encounters with art and science become meaningful in relation to practices and materials manifest as perceptual habits, background knowledge, and cultural norms. As the chapters in this handbook demonstrate, a variety of STS tools can be brought to bear on art–science so that systematic research can be conducted on this unique set of knowledge-making practices.

This book responds to a gap in the literature in International Relations (IR) by integrating technology more systematically into analyses of global politics. Technology facilitates, accelerates, automates, and exercises capabilities that are greater than human abilities. And yet, within IR, the role of technology often remains under-studied. Building on insights from science and technology studies (STS), assemblage theory and new materialism, this volume asks how international politics are made possible, knowable, and durable by and through technology. The contributors provide empirically rich and pertinent accounts of a variety of technologies relevant to the discipline, including drones, algorithms, satellite imagery, border management databases, and blockchains. Problematizing various technologically mediated issues, such as secrecy, violence, and questions of how authority and evidence become constituted in international contexts, this book will be of interest to scholars in IR, in particular those who work in the subfields of (critical) security studies, International Political Economy, and Global Governance.

Exploring how changes in advanced technology deeply affect international politics, this book theoretically engages with the overriding relevance of investments in technological research, and the ways in which they directly foster a country’s economic and military standing. Scholars and practitioners present important insights on the technical and social issues at the core of technology competition.