In this article, we report on eight grand challenges for value sensitive design, which were developed at a one-week workshop, Value Sensitive Design: Charting the Next Decade, Lorentz Center, Leiden, The Netherlands, November 14–18, 2016. A grand challenge is a substantial problem, opportunity, or question that motives sustained research and design activity. The eight grand challenges are: Accounting for Power, Evaluating Value Sensitive Design, Framing and Prioritizing Values, Professional and Industry Appropriation, Tech policy, Values and Human Emotions, Value Sensitive Design (...) and Intelligent Algorithms, and Value Tensions. Each grand challenge consists of a discussion of its importance and a set of tractable key questions. (shrink)

In this article, we introduce the Special Issue, Value Sensitive Design: Charting the Next Decade, which arose from a week-long workshop hosted by Lorentz Center, Leiden, The Netherlands, November 14–18, 2016. Forty-one researchers and designers, ranging in seniority from doctoral students to full professors, from Australia, Europe, and North America, and representing a wide range of academic fields participated in the workshop. The first article in the special issue puts forward eight grand challenges for value sensitive design to help guide (...) and shape the field. It is followed by 16 articles consisting of value sensitive design nuggets—short pieces of writing on a new idea, method, challenge, application, or other concept that engages some aspect of value sensitive design. The nuggets are grouped into three clusters: theory, method, and applications. Taken together the grand challenges and nuggets point the way forward for value sensitive design into the next decade and beyond. (shrink)

Much contemporary art seems morally out of control. Yet, philosophers seem to have trouble finding the right way to morally evaluate works of art. The debate between autonomists and moralists, I argue, has turned into a stalemate due to two mistaken assumptions. Against these assumptions, I argue that the moral nature of a work's contents does not transfer to the work and that, if we are to morally evaluate works we should try to conceive of them as moral agents. Ethical (...) autonomism holds that art's autonomy consists in its demand that art appreciators take up an artistic attitude. A work's agency then is in how it merits their audiences' attitudinal switch. Ethical autonomism allows for the moral assessment of art works without giving up their autonomy, by viewing artistic merit as a moral category and art-relevant moral evaluation as having the form of art criticism. (shrink)

Roger Scruton’s ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer’s manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. I argue that the musician’s manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which brings to life (...) the sui generis musical persona of musical expressiveness. (shrink)

I.What are the genre characteristics of an autobiography? Is it journalism about anecdotes from the writer’s life? Or is it a personal fiction based on truthful memories that conveys the nature and logic of the writer’s youth? Biographies certainly differ from philosophical texts with their argumentative strategies. How was I to read Germs? If I just read on, like one reads a novel, I might overlook details relevant to the life recounted. Reading intently, in contrast—like you would a philosophy book—might (...) make one miss the peculiar scope of events. Anecdotes may lack insight into the social context, the psychological background, and the future of those involved. A remark from Aristotle about the difference between art (poetry) and history motivates me in this review. Poetry, Aristotle thinks, is more philosophical than history because it delivers universal knowledge:By universal truths are to be understood the kinds of thing a certain type of person will probably or necessarily say or do in a given situation; and this is the aim of poetry, although it gives individual names to its characters. The particular facts of the historian are what, say, Alcibiades did, or what happened to him. (Aristotle, 1986, 1451b7, p. 43–44). (shrink)

Cellular, or mobile phones are great: they allow people to communicate over long distances whenever and wherever they are, and instantaneously at that when the one called is wearing one too. Having said that, though, it must immediately be added that they, also, have a complex disadvantage, and it is one we are hard pushed to understand. In fact, due to its complexity people simply tend to neglect it, even though everyone in his right mind has had experience with it. (...) Now Walter Benjamin defined aura as “a distance however close it may be”.1) This has standardly been interpreted as a characterisation of an experience of presence, also by Benjamin. This aura supposedly suffered from the rise of photography. Aura can, also, be understood as inertia, the absence of something present. And whether aura is gone or widespread I gladly leave to more speculative-minded thinkers. I submit that we experience a person’s “aura”—her distance however close she may be—when perception tells us the person is present yet our mind realises that she isn’t. I am referring here to the observation had of another person engaged in a cell phone conversation. The inertia of the cell phone caller consists in her incapacity to address those who observe her. I think there is an immoral streak to her selfappointed moral autonomy. In a previous edition of this Dutch-Russian exchange on inertia I argued that our trafficking with facial expressions forms the model with which we’d best understand the workings of art—facial expression is the anthropological foundation of art. My discussion, today, of the cell phone conversation is meant to add to that previous suggestion. (shrink)

A collection of essays on Wollheim's philosophy of art; includes a response from Wollheim himself.

I thought it useful, in responding to the paper written by J.A. Selling, to look at the relation between fundamental and applied ethics and between faith, ethics and science. Not so much because I do not share his opinion — I agree with the content of his paper — nor to limit the reflection to the general ethical foundation, but because the meaning and range of the term ‘Christian ethics’, as it relates to applied ethics, is anything but evident. This (...) is particularly true for ethical judgments within those social sectors where religion no longer plays a commonly accepted role as a public source of legitimation. Does not the communis opinio hold that religious traditions have nothing to contribute to ethics, and certainly to applied ethics, that cannot be known and confirmed from human reason? Therefore, within a pluralistic society, reference to religious arguments in ethical reflection seems more hindersome than helpful when we seek a pragmatic consensus on rational, nonconfessional grounds, and strive towards a common value judgment on matters where religions are not competent.I believe that there are many positive arguments to support this communis opinio. I expect they will be used in our further discussion. When I continue to plead for a countercultural link between the Christian worldview and applied ethics, I do so to clarify the meaning of our position as a Centre. I believe that we must avoid understanding our position only as a sociological or political arrangement. We would do better to wonder whether there is any inherent link between Christianity and applied ethics, and if so, where this link lies. If there is no link, our function is reduced to a sociopolitical arrangement, which I personally would find regrettable. (shrink)

Introduction: In The Netherlands, physicians have to be convinced that the patient suffers unbearably and hopelessly before granting a request for euthanasia. The extent to which general practitioners (GPs), consulted physicians and members of the euthanasia review committees judge this criterion similarly was evaluated. Methods: 300 GPs, 150 consultants and 27 members of review committees were sent a questionnaire with patient descriptions. Besides a “standard case” of a patient with physical suffering and limited life expectancy, the descriptions included cases in (...) which the request was mainly rooted in psychosocial or existential suffering, such as fear of future suffering or dependency. For each case, respondents were asked whether they recognised the case from their own practice and whether they considered the suffering to be unbearable. Results: The cases were recognisable for almost all respondents. For the “standard case” nearly all respondents were convinced that the patient suffered unbearably. For the other cases, GPs thought the suffering was unbearable less often (2–49%) than consultants (25–79%) and members of the euthanasia review committees (24–88%). In each group, the suffering of patients with early dementia and patients who were “tired of living” was least often considered to be unbearable. Conclusions: When non-physical aspects of suffering are central in a euthanasia request, there is variance between and within GPs, consultants and members of the euthanasia committees in their judgement of the patient’s suffering. Possible explanations could be differences in their roles in the decision-making process, differences in experience with evaluating a euthanasia request, or differences in views regarding the permissibility of euthanasia. (shrink)

My pleasure in being here, at the Studiecentrum Soeterbeeck, to discuss the book Roger Scruton wrote on beauty, is twofold. It so happens that I am finishing a book on facial expression and facial beauty, and the chapter I sent to Roger to request his comments, resurfaced unopened in my own mail box, last week. Apparently something went wrong in the mail. Today I might get some of those comments. Secondly, reading Roger’s book, an impression of a kindred spirit has (...) stuck with me throughout.1) Sometimes, though, something like an ungrounded preference surfaces, which for Roger, clearly has intuitive force, maybe even the force of a conclusion, but for me this doesn’t always ring true. I only mention two instances where my own preferences would be different. One is, where after rightly criticising the reverence allotted to Duchamp’s Fountain, in a single sentence (on p. 98) both Radiohead and Brahms are mentioned, in an obvious effort to disqualify the former. The other is where he defends film as an art by comparing it to traditional art, by pointing to shots from an Ingmar Bergman movie, which “would sit on your wall like an engraving, resonant, engaging and composed.” (p. 102). What the incidental surfacing of such preferences makes available to us is that doing aesthetics is not a merely technical philosophical endeavour, but involves art criticism, from time to time. If you don’t love art or its core values, how could you do aesthetics? And there is a deeper thought behind this in Roger’s writings: that the use of taste belongs to the good life.2) All this, also, indicates my predicament, here and now. I feel most inclined.. (shrink)

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This paper discusses the viability of claims of mathematical beauty, asking whether mathematical beauty, if indeed there is such a thing, should be conceived of as a sub-variety of the more commonplace kinds of beauty: natural, artistic and human beauty; or, rather, as a substantive variety in its own right. If the latter, then, per the argument, it does not show itself in perceptual awareness – because perceptual presence is what characterises the commonplace kinds of beauty, and mathematical beauty is (...) not among these. I conclude that the reference to mathematical beauty merely expresses the awe in the mathematician about the intricate complexities and simplicity of certain proofs, theorems or mathematical “objects.”. (shrink)

In this Editor’s column I discuss certain fruits and limits of applying the notion of ‘performance’ to works of art. Art works can be viewed as perfor- mances, the public furnishing of works’ final form. Concerts can be viewed as performances of a work scored by someone else, the composer, but not all arts are double in this sense. Moreover, art can be viewed as mirroring the psychological, phenomenological and rhetorical aspects of human interaction, which exemplify the way people scrutinise (...) moral situations. Not all performances are artistic, let alone art. (shrink)

In the field of the social sciences, there exists an old and ongoing debate, circling around the question if social scientists should be concerned with the study of society, or rather with the search for the good society. Should they limit their role to the value neutral observation of social phenomena, or should they allow themselves to become fully involved in the quest for the normative conditions of the best possible society? And should they pursue the project of building a (...) grand theory, or rather agree to become practical, moving into the tricky areas of social work, moral education and politics?Today we will not try to solve this old dispute. I only want to refer to it because today’s speaker, Professor Robert Bellah, is a clear proponent of the second alternative, of understanding social science as a moral inquiry. Sociology, in his understanding is a moral science, as it implies a practical exercise: it provides a critical observation and reflection on the structural and cultural conditions of the concrete societal projects we are engaged in as members and citizens. How can our society become and remain independent? How can it be just and fair to all its members? How can it remain innovative and democratic, true to its traditions and open to newcomers?These are core issues of sociology as a moral and humanistic discipline. In trying to answer those questions, we are standing in a long tradition, reaching back to Aristotle, including the classics of modern times, Machiavelli and Hobbes, Marx and Tocqueville, as well as the founding fathers of contemporary sociology, Emile Durkheim and Max Weber. (shrink)

Debt reduction for the poorest countries of the world has become a self-evident goal for all people who feel concerned about the problems of the Third World, about absolute poverty and misery. Also, right-minded people think it is a primary ethical requirement that rich countries and powerful financial institutions should loosen the constraints imposed upon the weakest regions of the world. However, a closer look reveals that this is not just a technical matter, but that this issue is ridden with (...) hard choices and difficult ethical dilemmas. Giving and helping are much more delicate matters than a naïve and benevolent observer might think. A contribution touching upon the ethical background of the debate about debt reduction is a good opportunity to tackle these sorts of problems.Ethics has become fashionable nowadays. Paradoxically, the more people are convinced that self-interest is the main motivating force for the rich and the poor, and the more they think that powerful interest groups are ruling the world, the greater the attraction and the authority of ethical arguments. At the same time ethics has become a rather vague point of reference, supposed to encompass all kinds of benevolent drives, neglecting the evidence that beneficence does not always yield good results. So we shall start with some very general remarks about the nature of ethics, with a reminder of the specificity of ethical arguments for helping the poor and with an analysis of some difficulties in reaching this objective. In the second part of this text, we tackle the more concrete ethical dilemmas related to the issue of debt reduction. (shrink)

A philosophical analysis of the future of art must explicate art’s nature, as well as discuss the historical nature of art practice. Only so can one explain those contemporary developments in art which have led many people to doubt whether art even has a future. Arguably, art practice as we know it started with the installing of the modern system of the fine arts. I explain the pragmatics of art so understood, and suggest that we can define art, internally. We (...) need not resort to a nominalist approach that claims that something is a work of art if some representative of the art world says it is. Instead of such empty proceduralism, I explain how all art’s focal objects, persons and activities are mutually adjusted and can only be understood in light of the whole. Within that whole of art practice, the contemporary samples of art’s alleged failure can be assessed. Now the modern system treats the arts as aesthetic, and prescribes that to judge a work one has to experience it for oneself. Why this should be so, I explain in terms of the perceivability of the artist in the work. Next, art develops as a whole rather than in a piecemeal manner. Particular contemporary works may alienate the audience from art practice, yet once they are recognisably in a procedure which has clear artistic potency they can be incorporated fruitfully in the modern system as explained. In all, the future of art is the future of the modern system, unless the system as a whole goes. We see this happen with the Taliban, but do not ourselves seem to be vulnerable to such onslaught. Yet, our culture may be in the process of eliminating the human mind from the objective reality, and if nothing stops us, art too will come to an end. Luckily, by then we will not be such as to lament that demise. (shrink)

Emmanuel as the Torah Incarnate: The names of ]esus in Matthew's storyTwo tendencies in traditional titular Christology are indicated as methodologically and theologically inadequate. Alternatively, the more prominent names of Jesus are discussed as means by which the narrator in Matthew's story characterises Jesus as the fulfiller of the law and the prophets. The Matthaean Jesus can as such be depicted as Emmanuel, the Torah Incarnate. The names dealt with are Teacher, Rabbi, Kyrios, Son of David, Prophet, Messiah, King of (...) the Jews, Son of man and Son of God. (shrink)

OBJECTIVES: Cognitive and sensory difficulties frequently jeopardize informed consent of frail elderly patients This study is the first to test whether preliminary research experience could enhance geriatric patients' capacity to consent. DESIGN/SETTING: A step-wise consent procedure was introduced in a study on fluid balance in geriatric patients. Eligible patients providing verbal consent participated in a try-out of a week, during which bioelectrical impedance and weight measurements were performed daily. Afterwards, written informed consent was requested. Comprehension, risk and inconvenience scores (ranges: (...) 0-10) were obtained before and after the try-out by asking ten questions about the study's essentials and by asking for a risk and inconvenience assessment on a ten-points rating scale. SUBJECTS AND RESULTS: Seventy of the 78 eligible subjects started the try-out and 53 (68%) provided written consent. The comprehension score increased from 5.0 (+/- 2.3) to 7.0 (+/- 1.9) following the try-out (P < 0.001). The number of subjects capable of weighing risks and inconveniences increased from 32 to 48 (P < 0.001). CONCLUSIONS: Research experience improved the capacity to consent, still enabling an acceptable participation rate. Therefore, experienced consent seems a promising tool to optimize informed consent in frail elderly subjects. (shrink)

Amsterdam University Press is a leading publisher of academic books, journals and textbooks in the Humanities and Social Sciences. Our aim is to make current research available to scholars, students, innovators, and the general public. AUP stands for scholarly excellence, global presence, and engagement with the international academic community.