Search results

The purpose of this chapter is to illustrate the contribution made by migrants in the territory that hosts them, particularly when they transfer their knowledge to members of the community. In the specific case of the sea urchin fishery, it is described how the Morishita family in Baja California undertakes the sea urchin value chain, from the location of population banks to the commercialization of the product in the Japanese market and, by therefore, the promotion of development in rural places while starting a culture of export and currency generation. An adventure of opportunities that has been successful for more than 50 years, whose origin is the sustainable use of “a plague” that today is a delicacy for many.

It is well known that entrepreneurship is a complex phenomenon, which takes place under great uncertainty. Much of the existing research that explores the venture creation process has assumed a linear, unitary process. The proposal presented in this chapter involves the venture creation process viewed as an iterative, non-linear, feedback-driven system called the Startup Path – a framework that brings together the entrepreneur as an individual, with its journey on the venture creation process.

This paper presents a comparative analysis of artwork produced in the context of social movements waged by Mexicans and Chicanos (U.S. inhabitants of Mexican descent) during the two decades between the mid-1960s and the mid-1980s. Despite the fact that activists in these movements shared many elements of Mexican culture and history, were part of the same generation of radical social movements born in the 1960s, and experienced some significant interchange among movement participants from each side of the U.S.-Mexico border, an examination of movement art reveals significant differences in key elements of the movements’ collective identity and expression of political citizenship. Analysis of the artwork also highlights different aesthetic choices made by movement artists, particularly with regard to the deployment of formal elements associated with the “Mexican School” of art made famous by artists associated with the Mexican Revolution of the early 20th century. Variations in the representational strategies developed by movement artists reflect the distinct relationship of movement constituents in Mexico and the U.S. to each nation's prevailing regimes of accumulation and modes of regulation. The analysis is based on an examination of 374 pieces of art.