Forming the Research Component of the U.S. Defense Budget Policy
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Abstract:
The authors examine the structure and principles of the defense spending for research and development in the U.S., as well as the main agencies and contractors involved. The article offers specific cases to illustrate the role of key players of the U.S. budgetary process, the U.S. President, Congress, Department of Defense, and their relations with the scientific community. Spending in this area is organized as a three-level structure, which includes development of new weapons systems, creation of military platforms and systemic integration of the armed forces. One of the most noteworthy participants on the weapons development level is the Defense advanced research projects agency (DARPA), which provides support for R&D projects able to facilitate technological breakthroughs and provide results applicable by the armed forces. The emphasis of the article is on the participation of the private sector on all levels of the defense spending and especially in the systemic integration. At this level even formulating the request becomes a highly challenging task, which demands involvement of the most highly qualified specialists and organizations. The authors analyze the advantages and disadvantages of the wide participation of commercial enterprises and provide cases illustrating possible conflicts between government and private actors and ways of their resolution.Keywords:
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Defence industry
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Defence industry
Division of labour
National innovation system
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I feel very honoured to have been selected to join a new task force which will be advising ministers on ways to increase staff involvement in improving patient services in the NHS.
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Who—or what—has the power to effect historical change? Historians have long been interested in agency, questioning the extent to which certain people at certain times—enslaved people, women, other minorities for example—have been able to act rather than simply be acted upon. Design historians, historians of material culture and museum curators have long considered the power of objects to influence our lived experience. This book goes one step further, drawing attention to the ways in which designed objects can be understood to have agency through their power to both facilitate and constitute identities. Designed objects imply an intended use, an imagined performance, and thus to pay attention to them is to consider who is afforded agency through design, and who might not be. The ‘tricky’ and ‘slippery’ nature of agency is acknowledged in the introduction: ‘Agency is not monolithic, unidimensional, or unidirectional…Agency is not equally experienced or expressed precisely because it...
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