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...

Coercion and pressure in mental healthcare raise moral questions. This article focuses on moral questions raised by the everyday practice of pressure and coercion in the care for the mentally ill. In view of an example from literature—the story of Ulysses and the Sirens—several ethical issues surrounding this practice of care are discussed. Care giver and patient should be able to express feelings such as frustration, fear and powerlessness, and attention must be paid to those feelings. In order to be (...) able to evaluate the intervention, one has to be aware of the variety of goals the intervention can aim at. One also has to be aware of the variety of methods of intervention, each with its own benefits and drawbacks. Finally, an intervention requires a context of care and responsibility, along with good communication and fair treatment before, during and after the use of coercion and pressure. (shrink)

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)

I want to suggest that Plato arrived at a revised theory of forms in the later dialogues. Or perhaps I might rather say that he constructed a new underpinning for the theory. This can be discerned, I believe, in the Sophist, taken together with certain parts of the dialectic of the Parmenides which use the same language as the Sophist.

A sceptical response to the idea that wisdom may be turned into a new academic subject or science, and to the idea that to do so would be in any way be wise. .

_The Ethics of Homelessness_ is a compilation of essays analysing the philosophical, legal and social implications of the seemingly intractable condition that people endure without a home, where their fundamental human rights, autonomy and privacy are compromised. Authors use literature and arguments to demonstrate the failings of public policy.

The title of this article will perhaps seem excessively contentious to the reader. What solitude of Vladimir Ivanovich Vernadskii, he might ask, if he has even the slightest familiarity with the scientist's biography?

I do not mean to suggest that Kroner's book is not in many places interesting and learned, nor that, in its original form of lectures, it had no value. But, apart from the exaggeration and distortion of the central thesis, the detailed treatment of historical points leaves one with little confidence and robs the work of what usefulness it might have had. Thus an unquestioning application of Nietzche's division of Greek thinkers into 'Dionysiac' and 'Apollonian' leads to remarks like the (...) following: "Aristotle has little in common with the Dionysian romanticism and universal dynamism of Heraclitus, and yet there is a kinship between them based upon becoming instead of being". What evidence we have for the Presocratic period is harshly treated. On p. 85 this is the 'more literal' of two versions of Anaximander's fragment and its introduction: "All things are going back through destruction, whence they had come through generation, according to what is due; for they suffer just punishment by repayment to each other the wrong in the succession of time"--but Anaximander did not, in fact, write nonsense like this. Even a simple sentence like Heraclitus fr. 113 is mistranslated as "Thinking is the same for all," where the Greek is ξυνόν and not τὸ αὐτό. Nor is Kroner incapable of rebuking others for mistakes of his own; thus on p. 110 he writes: "J. Burnet, e.g., waters down the words of Parmenides which literally rendered are: 'The same is to know and that on behalf of which thought is,' by letting Parmenides say: 'You cannot find thought without something that is as to which it is uttered.'" But Burnet was translating not the line translated by Kroner, but the following one, a line ignored by Kroner and one which seriously damages his interpretation of Parmenides. Then the Greek word ἰδέαι, used of Plato's Forms, is implied to connote ideas existing in the mind; Socrates is the most worth-while of Greek thinkers because in some respects he resembled Jesus Christ; he was not really an ethical thinker, though, and in any case Plato's Forms owed nothing to him--and so on. The best treatment is of Aristotle; and there are many short sections of acute discussion, as, for example, on the meaning of the second part of the Parmenides. But the mind may be spinning so wildly by the time it reaches them that it is incapable of recognizing them. Cambridge University. (shrink)

We use a result due to Rolin, Speissegger, and Wilkie to show that definable sets in certain o-minimal structures admit definable parameterizations by mild maps. We then use this parameterization to prove a result on the density of rational points on curves defined by restricted Pfaffian functions.

The meaning of the once widely used term the Gibbs Free Energy in terms of available work energy is perfectly illustrated for chemical reactions by the Van’t Hoff Equilibrium Box. Combining this with DeDonder’s extent of reaction variable and using the reaction of $$\hbox {NH}_3$$ to $$\hbox {H}_2$$ and $$\hbox {N}_2$$ at $$200^{\circ }\hbox {C}$$ as an example shows the difference between total work energy and available work energy, and in addition allows calculation of the equilibrium composition, demonstration of the (...) minimum in the Gibbs energy curve, and the standard relationship between $$\Delta _\textrm{r}G^{\circ }$$ and $$\ln {K}$$. (shrink)

Obstetricians face difficult decisions when the interests of fetus and mother conflict. An example is the problem of choosing the delivery method when labour begins prematurely and the fetus is breech. Vaginal delivery involves risks for the breech fetus of brain damage or death caused by umbilical cord compression and head entrapment. Caesarean section might avoid these dangers but involves risks for the mother, including infection, haemorrhage and even death in a small percentage of cases. If a caesarean section is (...) performed the infant might die anyway, due to complications of prematurity. Thus, decisions about delivery method involve balancing the risks to mother and fetus. Uncertainty about the frequency of fetal injuries in vaginal breech deliveries adds to the difficulty of these decisions. (shrink)

The tension between scientific openness versus secrecy has existed for centuries (Hull 1985). However, both academics and practitioners have recently argued that openness by private firms has many positive attributes. The purpose of this research effort is to review the extant literature on openness and to develop hypotheses regarding its impact on organizational outcomes. We then use a unique database to test the idea with 87 companies. Our findings are that openness is beneficial to the firm from a science, technological, (...) and financial perspective and, perhaps, to the employees from an ethical viewpoint. The managerial and societal implications are also discussed. (shrink)

It is hardly necessary to recapitulate Rhys Roberts' cumulative and convincing proof that the treatise ‘On the Sublime’ was not written by Cassius Longinus, the tutor of Zenobia, but belongs to the early days of the Empire. Not the least convincing of the arguments for this date is the fact that the treatise is suggested by and put out as a substitute for the Περ ״ϒψоνς of Caecilius of Calacte, who according to Suidas taught rhetoric in Rome in the time (...) of Augustus. Now Caecilius was an intimate friend of Dionysius of Halicarnassus : they were both Atticists and fellow-workers in leading literary Romans back to the best models of Greek prose style. But Dionysius is no candidate for the authorship of the extant treatise, which is not one that he could have written. On the other hand he gives a plain indication by which to identify its writer, which Rhys Roberts mentioned but did not adopt. It is the object of this paper to put this identification seriously forward. (shrink)

Theater is an art or theater is not an independent art. Each of these antithetical propositions has its supporters. It is usually the supporters of the second who come up with anything resembling intelligible argumentation. The first is usually accepted as fact, sanctified by universal acknowledgement, without criticism, without much reflection—it is just accepted: theater unquestionably gives satisfaction. What kind? Aesthetic! And so, theater is an art!

A comprehensive assessment of a health technology requires that a wide variety of questions are addressed. These range from whether the use of a technology results in achievement of its intended effects at acceptable costs and without incurring undue risks to the patient, to whether its use may challenge existing social arrangements and values. Clearly, this is a major challenge, since it requires the use of quite different methods of inquiry. In the past decades, we have rarely witnessed assessments where (...) both types of questions were addressed in a balanced way. Rather, a wide gap exists between inquiries with a strong empirical focus and an almost complete neglect of underlying normative issues, and inquiries which are largely discursive, but with a serious disregard of relevant empirical data. The complex interplay between normative frameworks and empirical data in the assessment of health technologies is illustrated in two case studies: the assessment of surgical management of children with glue ears, and the assessment of Extra Corporeal Membrane Oxygenation in neonates. (shrink)