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EN
The paper shows that four Central European economies (Poland, the Czech Republic, Hungary and Slovakia) are not competitive on a global scale and that the reason is not only the fact that their systems of higher education, innovation and research lag behind those of the countries of Western Europe. The existing gap between the two parts of Europe is associated with many diverse factors and the combination of all of them has a powerful impact on the competitiveness of the economies of this region. The relatively low level of knowledge production is by no means a prevalent factor. For this reason in less competitive economies (such as those in Central Europe) expectations regarding the systems of higher education in the field of their role in rising economic competitiveness to a higher level should not be excessive since the burden formed by numerous extra-academic pillars of competitiveness is hard to overcome.
PL
Prezentowany artykuł pokazuje, że cztery gospodarki środkowoeuropejskie (Polska, Czechy, Węgry i Słowacja) nie są konkurencyjne w skali globalnej nie tylko dlatego, że ich systemy szkolnictwa wyższego, innowacji i badań naukowych pozostają w tyle w stosunku do krajów Europy Zachodniej. Istnieje rozziew między dwiema częściami Europy powiązany z mnogością różnych czynników, a ich połączenie wywiera potężny wpływ na konkurencyjność gospodarek w regionie. Stosunkowo niski poziom produkcji wiedzy nie jest czynnikiem dominującym. Dlatego w gospodarkach mniej konkurencyjnych (takich jak środkowoeuropejskie) oczekiwania stawiane systemom szkolnictwa wyższego w kwestii ich roli w podnoszeniu konkurencyjności gospodarczej nie powinny być zbyt wysokie, ponieważ balast tworzony przez liczne pozaakademickie filary konkurencyjności jest trudny do pokonania.
EN
This article attempts to look at educational turn in art and its possible consequences from the perspective of contemporary female visual artists. What types of practices will be affected by educational turn? Which entities will actually benefit from it? Basing largely on her own research (in-depth interviews with female artists), the author analyses the artists’ attitudes to educational activities, which they either undertake or reject, and with respect to changes occurring in institutions of modern art that tend to be increasingly more focused on production of knowledge. Seeking to find answers to questions about the relationship between educational and artistic practices, the article also ponders on the feminisation of the sector of art and the visibility of women’s work in it.
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