While artificial intelligence (AI) is increasingly applied for decision-making processes, ethical decisions pose challenges for AI applications. Given that humans cannot always agree on the right thing to do, how would ethical decision-making by AI systems be perceived and how would responsibility be ascribed in human-AI collaboration? In this study, we investigate how the expert type (human vs. AI) and level of expert autonomy (adviser vs. decider) influence trust, perceived responsibility, and reliance. We find that participants consider humans to be (...) more morally trustworthy but less capable than their AI equivalent. This shows in participants’ reliance on AI: AI recommendations and decisions are accepted more often than the human expert’s. However, AI team experts are perceived to be less responsible than humans, while programmers and sellers of AI systems are deemed partially responsible instead. (shrink)

A correction to this paper has been published: https://doi.org/10.1007/s00146-021-01181-5.

Suzanne de Castell; On Writing of Theory and Practice, Journal of Philosophy of Education, Volume 23, Issue 1, 30 May 2006, Pages 39–49, https://doi.org/10.1111.

To commemorate 40 years since the founding of the Journal of Business Ethics, the editors-in-chief of the journal have invited the editors to provide commentaries on the future of business ethics. This essay comprises a selection of commentaries aimed at creating dialog around the theme Bringing Excitement to Empirical Business Ethics Research (inspired by the title of the commentary by Babalola and van Gils). These editors, considering the diversity of empirical approaches in business ethics, envisage a future in which quantitative (...) business ethics research is more bold and innovative, as well as reflexive about its techniques, and dialog between quantitative and qualitative research nourishes the enrichment of both. In their commentary, Babalola and van Gils argue that leadership research has stagnated with the use of too narrow a range of perspectives and methods and too many overlapping concepts. They propose that novel insights could be achieved by investigating the lived experience of leadership (through interviews, document analysis, archival data); by focusing on topics of concern to society; by employing different personal, philosophical, or cultural perspectives; and by turning the lens on the heroic leader (through “dark-side” and follower studies). Taking a provocative stance, Bal and Garcia-Lorenzo argue that we need radical voices in current times to enable a better understanding of the psychology underlying ethical transformations. Psychology can support business ethics by not shying away from grander ideas, going beyond the margins of “unethical behaviors harming the organization” and expanding the range of lenses used to studying behavior in context. In the arena of finance and business ethics, Guedhami, Liang, and Shailer emphasize novel data sets and innovative methods. Significantly, they stress that an understanding the intersection of finance and ethics is central to business ethics; financial equality and inclusion are persistent socio-economic and political concerns that are not always framed as ethics issues, yet relevant business policies and practices manifest ethical values. Finally, Charles Cho offers his opinion on the blurry line between the “ethical” versus “social” or “critical” aspects of accounting papers. The Journal of Business Ethics provides fertile ground for innovative, even radical, approaches to quantitative methods (see Zyphur and Pierides in J Bus Ethics 143(1):1–16, https://doi.org/10.1007/s10551-017-3549-8, 2017), as part of a broad goal of ethically reflecting on empirical research. (shrink)

"In recent years, we have grown accustomed to philosophical language that is intensely self-conscious and rhetorically thick, often tragic in tone. It is enlivening to read Bergson, who exerts so little rhetorical pressure while exacting such a substantial effort of thought.... Bergson's texts teach the reader to let go of entrenched intellectual habits and to begin to think differently—to think in time.... Too much and too little have been said about Bergson. Too much, because of the various appropriations of his (...) thought. Too little, because the work itself has not been carefully studied in recent decades."—from Thinking in Time Henri Bergson, whose philosophical works emphasized motion, time, and change, won the Nobel Prize for Literature in 1927. His work remains influential, particularly in the realms of philosophy, cultural studies, and new media studies. In Thinking in Time, Suzanne Guerlac provides readers with the conceptual and contextual tools necessary for informed appreciation of Bergson's work. Guerlac's straightforward philosophical expositions of two Bergson texts, Time and Free Will and Matter and Memory, focus on the notions of duration and memory—concepts that are central to the philosopher's work. Thinking in Time makes plain that it is well worth learning how to read Bergson effectively: his era and our own share important concerns. Bergson's insistence on the opposition between the automatic and the voluntary and his engagement with the notions of "the living," affect, and embodiment are especially germane to discussions of electronic culture. (shrink)

This paper addresses three aspects of Bio Art: iconography, artificial life, and wetware. The development of models for innovation require hybrid practices which generate knowledge through epistemic experimental practices. The intersection of art and the biological sciences contain both scientific data as well as the visualization of its cultural imagination. In the Bio Art Lab at the School of Visual Arts, artists use the tools of science to make art.

" L'expérience esthétique, n'est autonome, écrit Adorno, que lorsqu'elle se débarrasse du goût culinaire, la voie qui y conduit passe par le désintéressement.... ", à ce lointain écho de la rupture transcendantale au sein de l'Esthétique du goût, à ce déni pur et simple de la sensibilité et du plaisir " sensuel et grossier ", comme principes du goût, on préfèrera, ici, une présentation non morale, ou non kantienne, de la notion de goût ; une réflexion qui, de Voltaire et (...) Montesquieu à Brillat-Savarin, prend en compte le goût " lui-même " et non seulement sa métaphore ; on cherchera le raffinement et la délicatesse du goût non seulement dans les sphères supérieures de l'existence, mais aussi dans les relations primordiales de la vie, celle de la consommation, de la préparation et de la production, ainsi que le voulait Charles Fourier, (beau) frère de Brillat-Savarin. Dans les deux essais, ici étudiés, s'impose, en effet, la dimension organique et sensuelle mais néanmoins esthétique du goût, dans les choses de la nature et de l'art. L'Essai sur le goût de Montesquieu et La Physiologie du goût de Brillat-Savarin, témoignent, dans des domaines distincts mais étroitement liés, de l'Esthétique comme " science de la sensibilité ". Par leur rapprochement, on entend montrer que le goût n'est pas une " chose mentale " mais l'affaire de tous les sens, que l'âme qui goûte est l'âme qui sent. On cherchera à dépasser le divorce, qui semble s'être installé, entre le jugement esthétique et le plaisir esthétique, on tentera par là, de restaurer la continuité entre les deux pôles de la sensibilité gustative et de redonner, par une réévaluation du goût culinaire, une assise réelle, vitale et réconfortante à la notion de goût, comme sentiment délicat. (shrink)

Translator's Preface LA LOGIQUE DE HUSSERL, etude sur "Logique for- melle et logique transcendentale" the original of the present translation, was published ...

This essay by Suzanne Rosenblith and Benjamin Bindewald is motivated by the question of how do those who value civic liberalism give the religiously orthodox a reason to engage in pluralist democratic deliberations in a manner that does not allow intolerance to undermine the foundations of liberal democracy. Introducing the idea of tolerance as mutuality — that is, a will to relationship — the authors argue, strikes a balance between those theories that are too demanding of the religiously orthodox (...) and those that are not exacting enough. Applying the principle of tolerance as mutuality to the special space of public schools allows for a new way to conceptualize civic education in pluralist democracies. (shrink)

summary, crtiques, strengths and limitation of the article.

Although certain aspects of C.S. Lewis's work have been studied in great detail, others have been comparatively neglected. This collection of essays looks at Lewis's life and work, and those of his friends and associates, from many different angles, but all connected through a common theme of identity. Questions of identity are essential to the understanding of any writer. The ways authors perceive themselves and who they are, the communities they belong to by birth or choice, inevitably influence their work. (...) The way they present other people, real or fictional, are also rooted in their own conception of identity. In this volume, scholars from several countries examine gender and family roles; national, regional, racial and professional identities; membership of a particular church; ideological attachments and personal descriptions, either with regard to Lewis and those who knew him and influenced him, or in a study of their writings. Authors studied here include J.R.R. Tolkien, Dorothy L. Sayers, Charles Williams, George MacDonald and T.S. Eliot. (shrink)

Adopting a constructivist stance is not irreconcilable with executive function accounts of emerging social understanding. The executive function view allows for a gradual transition in theory of mind, while specifying the underlying cognitive processes that push that development forward. Executive function abilities can be seen as an important interactional component in the epistemic triangle.

This paper examines the absolutist grounds for denying an agent's responsibility for what he allows to happen in 'keeping his hands clean' in acute circumstances. In defending an agent's non-prevention of what is, viewed impersonally, the greater harm in such cases, absolutists typically insist on a difference in responsibility between what an agent brings about as opposed to what he allows. This alleged difference is taken to be central to the absolutist justification of non-intervention in acute cases: the agent's obligation (...) not to do harm is held to be more stringent than his obligation to prevent (comparable) harm, since as agents we are principally responsible for what we ourselves do. The paper's central point is that this representation of the absolutist response to acute cases- as grounded in a difference in responsibility for what we do as opposed to what we allow- involves a misleading theoretical inversion. I argue that the absolutist justification of non-intervention in acute cases must depend on a direct defence of the nature and the stringency of the moral norm with which the agent's non-intervention complies. The nature and stringency of this norm are basic to attribution of agent responsibility in acute cases, and not the other way around. (shrink)

James Fowler’s model of faith development conceptualized “faith” as the quest for and maintenance of meaning oriented around centers of value which may or may not be religious or spiritual in nature. Although this model foreshadowed later work in meaning in life, substantial bodies of literature have developed in each area, almost entirely independently of the other. Integration has been hindered by measurement difficulties in faith development work. Fowler’s stages of faith development and their reformulation as Streib’s religious styles are (...) usually measured through either a lengthy Faith Development Interview or short measures that do not assess the breadth of domains covered in the interview. These short measures are in many cases oriented around religious faith and impossible for a non-believer to answer. Embedded within the original model and the interview are aspects of faith development including perspective taking, social horizon, morality, locus of authority, form of world coherence, and symbolic function. A new Centers of Value and Quest for Meaning Scale is proposed to assess the aspects, allow non-believers to respond, tap centers of value that are not religious, and eventually address the theoretical assumption of structural wholeness across aspects. In a series of exploratory factor analyses, factors for each adult stage/style emerged for most of the aspects. This supports the potential importance of assessing the aspects and allows for more than one methodology to assess them. (shrink)

Proportionality is widely accepted as a necessary condition of justified self-defense. What gives rise to this particular condition and what role it plays in the justification of self-defense seldom receive focused critical attention. In this paper I address the standard of proportionality applicable to personal self-defense and the role that proportionality plays in justifying the use of harmful force in self-defense. I argue against an equivalent harm view of proportionality in self-defense, and in favor of a standard of proportionality in (...) self-defense that requires comparable seriousness and takes into account the wrong, as opposed simply to the harm that the victim is fending off. I distinguish the standard of proportionality in self-defense from proportionality in circumstances of necessity, and I discuss whether proportionality is an internal or an external constraint on the right of self-defense. (shrink)

Two articles have appeared in Law and Philosophy that provide detailed criticisms of aspects of my account of the justification of individual self-defense. One of these articles misconstrues central aspects of my account. The other raises a less central, but nonetheless an important issue that invites clarification. The criticisms raised in these two articles to which I respond here have important bearing on the nature of the justification of self-defense.

DNA sequence variation is abundant in wild populations. While molecular biologists use genetically homogeneous strains of model organisms to avoid this variation, evolutionary biologists embrace genetic variation as the material of evolution since heritable differences in fitness drive evolutionary change. Yet, the relationship between the phenotypic variation affecting fitness and the genotypic variation producing it is complex. Genetic buffering mechanisms modify this relationship by concealing the effects of genetic and environmental variation on phenotype. Genetic buffering allows the build-up and storage (...) of genetic variation in phenotypically normal populations. When buffering breaks down, thresholds governing the expression of previously silent variation are crossed. At these thresholds, phenotypic differences suddenly appear and are available for selection. Thus, buffering mechanisms modulate evolution and regulate a balance between evolutionary stasis and change. Recent work provides a glimpse of the molecular details governing some types of genetic buffering. BioEssays 22:1095–1105, 2000. © 2000 John Wiley & Sons, Inc. (shrink)

BackgroundExisting clinical ethics support (CES) instruments are considered useful. However, users report obstacles in using them in daily practice. Including end users and other stakeholders in developing CES instruments might help to overcome these limitations. This study describes the development process of a new ethics support instrument called CURA, a low-threshold four-step instrument focused on nurses and nurse assistants working in palliative care. MethodWe used a participatory development design. We worked together with stakeholders in a Community of Practice throughout the (...) study. Potential end users (nurses and nurse assistants in palliative care) used CURA in several pilots and provided us with feedback which we used to improve CURA.ResultsWe distinguished three phases in the development process. Phase one, Identifying Needs, focused on identifying stakeholder and end user needs and preferences, learning from existing CES instruments, their development and evaluation, and identify gaps. Phase two, Development, focused on designing, developing, refining and tailoring the instrument on the basis of iterative co-creation. Phase three, Dissemination, focused on implementation and dissemination. The instrument, CURA, is a four-step low-threshold instrument that fosters ethical reflection.ConclusionsParticipatory development is a valuable approach for developing clinical ethics support instruments. Collaborating with end users and other stakeholders in our development study has helped to meet the needs and preferences of end users, to come up with strategies to refine the instrument in order to enhance its feasibility, and to overcome reported limitations of existing clinical ethics instruments. (shrink)

Individuals are faced with the many opportunities to pirate. The decision to pirate or not may be related to an individual''s attitudes toward other ethical issues. A person''s ethical and moral predispositions and the judgments that they use to make decisions may be consistent across various ethical dilemmas and may indicate their likelihood to pirate software. This paper investigates the relationship between religion and a theoretical ethical decision making process that an individual uses when evaluating ethical or unethical situations. An (...) ethical decision making model was studied for general unethical scenarios and for the unethical behavior of software piracy. The research model was tested via path analysis using structural equation modeling and was found to be appropriate for the sample data. The results suggest that there is a relationship between religion and the stages of an ethical decision making process regarding general ethical situations and software piracy. (shrink)

This article explores the ethics of Samuel Beckett's humour. It takes issue with the dominant reading of Beckettian humour as the redemption of a negativity occasioned by humanity's finitude. The paradigmatic case in point is here taken to be Simon Critchley's account, wherein ethics is cast as a process of coming to terms with disappointment ensuing from the inaccessibility of the Kantian Thing-in-Itself. This article takes up a Lacanian psychoanalytic perspective to recast Beckett's humour as, far from offering solace for (...) finitude, highlighting instead the excess or remainder that insists, and resists philosophy's attempts to sublate it into a version of the Good. As such, the ethical demand evoked by Beckettian humour is not the attenuation of the disappointing lack implied by finitude, but rather a coping with the egregious excess of inhuman infinitude. (shrink)

This article combines in-depth interviews and Karen Barad's work on materiality to think about the ways in which the materiality of blood might be understood in relation to sociality and blood-borne virus prevention among BDSM (bondage and domination, dominance and submission and sadomasochism) body modification practitioners in Sydney, Australia. In doing so, it confronts questions of how the materiality of blood can be theorized in ways that neither presume a fixed, a priori ontological status or essence, nor exclude it from (...) an active role in the production of realities. In taking account of both its co-constitutive role in practice, and its figurative power (as flow) in understanding the mind/body, discourse/materiality conjunctions at work in BDSM body modification practice, we aim to illuminate further the imbrication of materiality and meaning, and generate a more complex and fruitful account of blood for the purposes of blood-borne virus prevention and education. (shrink)

My discussion is concerned with how symbolic power constitutively structures our very identities in relation to one another and at the bodily level of lived experience. Although many accounts of the self and of subjectivity as socially situated have difficulties in their explanations of agency, Zaners work suggests a basis upon which the selfs independence from others can be understood. His phenomenology of embodied subjectivity explains how the emerging self presupposes presence with others. At the same time, however, co-presence also (...) reveals the selfs distinct perspective and capacity for circumstantial possibilizing, that is to say, actualizing another possible than the actual. My aim is to examine critically the intersections between Zaners phenomenology and other theoretical accounts of the socially situated self. I also show how Zaners work contributes to these discussions a way of understanding the possibility of agency that is rooted in embodied experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Finding a Pedagogical Framework for Dialogue about Nudity and Dance ArtSuzanne Jaeger (bio)"Nudity is like calling something 'Free Beer.' I always threaten to make people do stuff naked, and I'm all for it, but to me, it's usually more trouble than it's worth. If something is swinging around, that's all anybody looks at."—Mark Morris, choreographerIntroductionIn his article on nudity in theatre dance, philosopher Francis Sparshott observes that because we (...) live in a culture in which, for the most part, we remain clothed when in public, we wonder why the dancers in a particular performance of theatre dance are undressed.1 It can be at least a little shocking and often distracting. There are, of course, times when people are naked in public, for example, when seeing a physician, on a nude beach, when using a public change room, or when engaged in a sexual encounter. For the most part, however, we wear clothes in most social contexts. Even if we allow that performances are extraordinary public situations dissimilar from everyday social interactions, because nudity is not the usual condition even for theater dance, we may well wonder why a choreographer has chosen to have the dancers undressed. In other words, the question is fair enough.Certainly, creating some sense of shock or surprise in the audience is often what artists are seeking. Furthermore, they may also be playing on their own, the audience's, or their dancers' exhibitionism. These are all possible aspects of the experience of seeing theater dancers naked on stage. Exhibitionism is itself an interesting aesthetic value, about which much could be said. Exhibitionism is also, at times, tedious, such as when it comes as a [End Page 32] demand for attention that outweighs the interest that can be generated by what the exhibitionist is actually doing. We often expect artists to show us something that goes beyond them—something that focuses our attention and interests away from the artist and onto the work of art.In the following discussion I assume that choreographers sometimes choose to present their dancers undressed because they believe it contributes to the meanings of the dance as a work of art. It is this idea that nudity can be artistically meaningful that I wish to explore. If nudity is not used solely for commercial appeal, shock value, or exhibitionism but rather to contribute to meanings evoked by the dance as an artwork, what more can be said about how the audience has access to these meanings?I begin by defining "art dance" in relation to other kinds of dance practices and then consider a distinction between nudity and nakedness raised first by Kenneth Clark and John Berger in their analyses of meaning in oil paintings and other visual representations of the human form.2 I then introduce two ideas commonly discussed in some canonical literature in the philosophy of art: first, the claim that works of art express feelings; and second, the concept of form as it is used when talking about works of art. Although the discourses of philosophical aesthetics have since moved in new directions, and the notions of expression and aesthetic form are no longer central to the problems of the day, I return to these seminal ideas because they add to our understanding of how nudity can contribute meaning to a work of art dance.I also assume in the discussion that the success of using nudity in a dance work can only be judged on a case-by-case basis. The analyses of feeling and form are meant to provide a pedagogical framework for dialogue with students about the role of nudity in the aesthetics of art dance. The examples serve as illustrations of how one might interpret meanings in particular dance works that use nudity. The educational objective of my interpretations is to promote by example the capacity of art dance observers for experiencing, understanding, and becoming meaningfully involved with works of art dance that use nudity.Part One: Definition of Art DanceWhat I have to say about nudity is said with art or theater dance in mind rather than other forms of dance. This... (shrink)