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How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a public, thus generating the necessary recognition for additional subjects. We propose a typology that categorizes artworks' contribution to an inclusive public sphere. The typology is based on two axes: (a) artworks' explicitness in attributing the status of a subject to a previous object and (b) the number of people that get to see the artwork. In order to illustrate the applicability of the typology and in order to understand how the two dimensions relate to one another, we analyze how two artworks include the non‐human as subjects into the public sphere: Eduardo Navarro's Sound Mirror (shown at the 2016 São Paulo Biennal) and Prabhakar Pachpute's Mountain Escape (exhibited in the 2016 Colombian Salón Nacional de Artistas). Comparing both artistic strategies we find that there may be a trade‐off between the explicitness and the reach of a new subjectification.

AbstractShared beliefs are seen as a basis for policy coordination in the literature. Actors sharing beliefs coordinate their activities in order to translate their beliefs into policies. However, the literature shows that actors also coordinate for policy change across such belief coalitions for diverse reasons. Drawing on the literature on incentives in collective action organisations, we systematise these motives. We argue that rational motivations, such as access to material resources, as well as relational motivations, including power and reputation gains, may convince actors to coordinate. Based on 25 semi-structured expert interviews, we illustrate our propositions with a case study on the motivations that led actors to coordinate and support a vocational education and training (VET) programme for refugees in Switzerland. Coordination between a coalition of VET actors and a coalition of migration actors succeeded despite divergent policy beliefs, mainly due to rational motivations.

AbstractThe lack of skilled labour pushes mature knowledge economies towards importing skills. Previous studies have shown that migrants' economic and social integration in their host societies depend on the recognition of their skills. Yet, the degree to which the certificates of migrants and their practical experience are recognised and additional training is offered, is contested. Interests conflict not only between unions and employers, but also among employers and unions themselves. We argue that social partners' preferences on foreign qualification recognition (FQR), recognition of experience and industry‐wide training (in the following: FQR and related measures) are mainly determined by the existence of occupational labour markets. An occupational labour market segments the labour market and subsequently restricts access to these segments. FQR and related measures constitute a regulated avenue into these occupational labour markets, protecting these labour markets from an uncontrolled influx of workers. Empirically, this contribution compares whether and how hospitality and construction industries—two sectors that depend heavily on migrants and difficult to organise due to seasonal activity—recognise and remunerate foreign skills. The construction sector recognises and remunerates foreign skills to a much larger extent than the hospitality industry. Adopting the method of difference and based on expert interviews, the paper shows that the more social partners protect their domestic occupational labour market, the more they also support FQR and related measures. The article discusses the implications for migrants' wages and social inclusion, contributing to the analysis of socio‐economic tensions in mature knowledge economies.

Coreografías transculturales es un homenaje a una vida de investigación interdisciplinar. A lo largo de su extensa carrera, Yvette Sánchez ha experimentado una y otra vez con las porosas fronteras entre disciplinas utilizando sus intersecciones para poner en escena audaces pas-de-deux alejados de lo convencional. De esta forma, ha enriquecido la investigación sobre cuestiones transculturales conectándola, entre otras cosas, con la práctica empresarial. Esta publicación conmemorativa busca reflejar las múltiples facetas de su obra y reúne contribuciones de campos tan diversos como la antropología o la lírica. Choreographien transkultureller Begegnungen feiert ein Leben für interdisziplinäre Forschung: In ihrer gesamten Karriere experimentierte Yvette Sánchez immer wieder mit den porösen Grenzen zwischen den Disziplinen und nutzte deren Schnittflächen, um unkonventionelle Pas-de-deux zu inszenieren. Dadurch konnte sie die Forschung zu transkulturellen Fragestellungen bereichern und mit der unternehmerischen Praxis verbinden. Diese Festschrift spiegelt die enorme Vielfalt von Yvette Sánchez' Schaffen wider und vereint Beiträge aus so unterschiedlichen Bereichen wie der Anthropologie und der Lyrik. Choreographing Transcultural Encounters celebrates a life in academia: throughout her career, Yvette Sánchez experimented with the permeability of disciplinary boundaries and used overlaps to choreograph unconventional pas-de-deux. She thus enriched the field of transcultural studies not only with novel contributions, but also with her attempts at bringing research into a dialogue with business practice. This liber amicorum reflects the many facets of Yvette Sánchez oeuvre and combines contributions from anthropology to poetry and beyond