Knowledge, economy, technology and society: The politics of discourse

The WSIS is centrally interested in knowledge and has defined for itself a mission that is broadly humanitarian. Its development ‘talk’ is, rightly, replete with notions of equity, preserving culture, justice, human rights and so on. In incorporating such issues into knowledge society and economy discussions, WSIS has adopted a different posture towards knowledge than is seen in dominant discourses. This study analyses the dominant knowledge discourse using a large corpus of knowledge-related policy documents, discourse theory and an interrelational understanding of knowledge. I show that it is important to understand this dominant knowledge discourse because of its capacity to limit thought and action in relation to its central topic, knowledge. The results of this study demonstrate that the dominant knowledge discourse is technocratic, frequently insensitive to the humane mission at the core of the WSIS, and is based on a partial understanding of what knowledge is and how knowledge systems work. Moreover, I show that knowledge is inherently political, that the dominant knowledge discourse is politically oriented towards the concerns of business and technology, but that an emancipatory politics of knowledge is possible.

The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.