In his article, a unified brain-based determination of death is described by James Bernat (2024) as a permanent cessation of systemic circulation causing a permanent cessation of brain circulation...

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and often (...) displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

In these essays, we are concerned with virtue in journalism and the media but are mindful of the tension between the commercial foundations of publishing and broadcasting, on the one hand, and journalism's democratic obligations on the other. Adam outlines, first, a moral vision of journalism focusing on individualistic concepts of authorship and craft. Next, Craft attempts to bridge individual and organizational concerns by examining the obligations of organizations to the individuals working within them. Finally, Cohen discusses the importance of (...) resisting the powerful corporate logic that pervades the news media in the United States and calls on journalists to be courageous. (shrink)

Global properties of canonical derivability predicates in Peano Arithmetic) are studied here by means of a suitable propositional modal logic GL. A whole book [1] has appeared on GL and we refer to it for more information and a bibliography on GL. Here we propose a sequent calculus for GL and, by exhibiting a good proof procedure, prove that such calculus admits the elimination of cuts. Most of standard results on GL are then easy consequences: completeness, decidability, finite model property, (...) interpolation and the fixed point theorem. (shrink)

ABSTRACT Fine examination of our accumulated cultural knowledge is especially helpful in studying the emotions, which are only tangentially accessible to experimental manipulation. Here I use the six properties of emotions that Elster has summarized to suggest how they show a need for changes in the science of motivation. The apparent adaptive purpose of emotions lies in their action tendencies – what they add to the cold calculation of advantage. Subjectively they stand out by their intrusiveness, the duration of which (...) often has a half-life. Emotions each have a valence, which suggests that they are not only motivating but also motivated, an implication that requires re-examination of how negativity works. Emotions are also experienced as ‘triggered’, but are so malleable that triggering cannot mean a simple conditioned reflexiveness. Emotions are not only triggered – or motivated – by beliefs, but motivate beliefs in turn, and can be fed back on themselves in a ‘wildfire’ phenomenon. These feedback effects are further evidence against emotions being reflexive. With regard to the three great revolutions, I argue that enthusiasm differs from romantic love only in its object, and urgency comes from the dysphoria of using response suppression for self-control. I can add nothing further to Elster’s masterful history. (shrink)

In 2005 St Andrews Studies published a volume of essays by Anscombe entitled Human Life, Action and Ethics, followed in 2008 by a second with the title Faith in a Hard Ground. Both books were highly praised. This third volume brings essays on the thought of historical philosophers in which Anscombe engages directly with their ideas and arguments. Many are published here for the first time and the collection provides further testimony to Anscombe's insight and intellectual imagination.

Lichtenbergs Schriften können wir uns als der wunderbarsten Wünschelrute be‐dienen; wo er einen Spass macht, liegt ein Problem verborgen.

This article focuses mainly on (1) the policy of Delft University of Technology since 1992 as regards the university-wide introduction of a compulsory course on ethics and engineering, and (2) the ideal structure of such a course, including the educational goals of the course.

Es ist eigentlich zu früh, Anmerkungen zu einem Buch zu machen, das nach dem Selbstverständnis seines Autors erst in einem zweiten Buch zur Sache kommen soll, nämlich zu dem, was er «die inhaltliche Auseinandersetzung mit einzelnen anthropologischen Themenbereichen» nennt. Damit stellt sich natürlich gleich die Frage: Was soll denn das erste, also das hier vorliegende Buch leisten? Man kann dessen Aufgabe so umreißen: Es soll den Rahmen abstecken, innerhalb dessen die anthropologische Diskussion des 13. Jahrhunderts stattfand. Mit dieser Aufgabenbestimmung geht (...) die Annahme einher, dass die Forschung diesen Rahmen bislang nicht oder doch nicht richtig abgesteckt hat. Diese Annahme stützt sich auf Mängel der mediävistischen Anthropologie. (shrink)

Ludwig Wittgenstein was born in 1889, son of parents of Jewish extraction but not Jewish religion. Asked how his family came by the name ‘Wittgenstein’ Ludwig said they had been court Jews to the princely family and so had taken the name when Jews were required by law to have European-style names. The father, Karl, was a Protestant, the mother a Catholic. The Jewish blood was sufficient to bring the family later on into danger under Hitler's Nuremberg Laws. They did (...) not think of themselves as Jews or belong to the Jewish community in Vienna. The children were brought up sort-of Catholic though so far as I know only the eldest, Hermine, towards the end of her life, took this seriously and made a profession of faith before friends and household. At 9 years of age Ludwig and Paul, a year or two older than Ludwig, talked together and decided that their religion was all nonsense. Paul became a pianist of some fame, but soon after his debut in Vienna he became a wounded prisoner on the Russian front and his arm was lopped off by a surgeon who did not know he was a pianist. (shrink)

Relatively congruence regular quasivarieties and quasivarieties of logic have noticeable similarities. The paper provides a unifying framework for them which extends the Blok-Pigozzi theory of elementarily algebraizable (and protoalgebraic) deductive systems. In this extension there are two parameters: a set of terms and a variable. When the former is empty or consists of theorems, the Blok-Pigozzi theory is recovered, and the variable is redundant. On the other hand, a class of membership logics is obtained when the variable is the only (...) element of the set of terms. For these systems the appropriate variant of equivalent algebraic semantics encompasses the relatively congruence regular quasivarieties. (shrink)