Public reason liberals argue that coercive social arrangements must be publicly justified in order to be legitimate. According to one model of public reason liberalism, known as convergence liberalism, this means that every moderately idealized member of the public must have sufficient reason, of her own, to accept the arrangement. A corollary of this Principle of Public Justification is that a coercive social arrangement fails to be legitimate so long as even one member of the public fails to have sufficient (...) reason to endorse the arrangement. This high bar for justification has led many critics, most notably David Enoch, to argue that convergence models are incapable of vindicating liberalism. They argue that in a sufficiently diverse society, there will always be someone for whom an arrangement is not justified, and therefore convergence liberalism leads to anarchy – the view that no law or coercive social arrangement is legitimate. Other critics accept that convergence liberalism could vindicate core liberal institutions but nothing more, and thus argue that the view makes libertarians effective “dictators”. In either case, critics hold that this objection is sufficient to reject convergence liberalism, either in favor of alternative public reason views or as a means of rejecting all public reason views. In this paper I argue that convergence liberalism can overcome this anarchy objection. I show that the objection largely rests on misinterpretations of convergence liberalism, and thus clarify aspects of the theory. However, I also show that internal debate over the scope of public justification – what stands in need of justification – must be resolved in favor of a wide scope, encompassing both State-based and non-State-based coercion, in order to overcome the anarchy objection. Therefore, my response to the anarchy objection has implications for how convergence liberalism should be developed going forward. (shrink)

Henry Sidgwick shared many of the feminist concerns of John Stuart Mill and was an active reformer in the cause of higher education for women, but his feminism has never received the attention it deserves and he has in recent times been criticized for promulgating a masculinist epistemology. This essay is a prolegomenon to a comprehensive account of Sidgwick's feminism, briefly setting out various elements of his views on epistemology, equality, gender, and sexuality in order to provide some initial sense (...) of how he carried on and developed the Millian project. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

This book explores five Platonic dialogues: Lysis, Charmides, Protagoras, Euthydemus, and the Republic. This book uses Socrates’ narrative commentary as its primary interpretive framework. No one has engaged in a sustained attempt to explore the Platonic dialogues from this angle. As a result, it offers a unique contribution to Plato scholarship. The portrait of Socrates that emerges challenges the traditional view of Socrates as an intellectualist and offers a holistic vision of philosophical practice.

Are there are normative reasons to have – or refrain from having – certain emotions? The dominant view is that there are. I disagree. In this paper, I argue for Strong Eliminativism – the view that there are no reasons for emotions. My argument for this claim has two premises. The first premise is that there is a deliberative constraint on reasons: a reason for an agent to have an attitude must be able to feature in that agent’s deliberation to (...) that attitude. My argument for this premise is that in order to have reasons for an attitude, we need to be able to exhibit some relevant form of control over this attitude, and this relevant form of control is deliberative control. The second premise is that no one can deliberate to any emotion. My argument for this premise turns on the claim that there is no deliberative question that is settled by forming (or giving up) an emotion. I contend that this is so due to the well-known phenomenon of recalcitrant emotions: for any deliberative question that can be settled, there is no guarantee that the relevant emotional state will follow (or be revised). Strong Eliminativism follows from these two premises. (shrink)

This chapter discusses the life and ethical philosophy of Henry Sidgwick. His masterpiece, The Methods of Ethics, first published in 1874, marks the culmination of the classical and nontheological utilitarian tradition, which took ‘the greatest happiness’ as the fundamental normative demand. Sidgwick was also a reformer who always advocated education as the crucial issue for historical progress, in ethics, economics, politics, and other areas. His practical ethics, often only indirectly utilitarian, involved finding common ground despite foundational ethical differences, and that (...) common ground was the cultivation of humanity. (shrink)

Must reasons be able to feature in our deliberation? Proponents of a deliberative constraint on reasons endorse an affirmative answer to this question. Deliberative constraints enjoy broad appeal and have been deployed as premises in support of a variety of controversial philosophical positions. Yet, despite their uses, deliberative constraints have not received systematic philosophical attention. This entry aims to fill this gap in the literature. First, I sketch what's at stake in the debate over whether a deliberative constraint is true. (...) Then, I offer a taxonomy of the different versions of a deliberative constraint. Finally, I assess some of the arguments for and against a deliberative constraint. (shrink)

A review of the strategic management, policy, information management, and the marketing literature reveals that many large and medium sized companies now collect and use business intelligence. The number of firms engaging in these activities is increasing rapidly.While the whys and hows of this practice have been discussed in the academic and professional literature, the ethics of intelligence gathering have not been adequately discussed in a public forum. This paper is intended to generate discussion by advancing criteria which could be (...) used as the basis for judging actions of those involved in business intelligence and for creating reasonable policies in this sensitive area of practice. (shrink)

Bart Schultz argues that utilitarian philosophy must be decolonized and reimagined for the current moment: a time of new and looming existential threats, in a world desperate for social change. Where dominant ethical and political approaches have failed to adequately deal with the enormous challenges we face, utilitarianism - as a set of lived practices, not simply a theoretical construction - may hold out some hope of seriously addressing them. Drawing on alternatives to the well-known Eurocentric story of utilitarianism (...) (and an extensive review and critique of that story) and incorporating the works of Peter Singer, Katarzyna de Lazari-Radek, Derek Parfit, Martha Nussbaum, and other major philosophers, Schultz crafts a groundbreaking new framework of utilitarianism born of struggle and resistance. (shrink)

Vico’s theory of poetic origins greatly influenced Harold Bloom’s theory of poetry, called “the anxiety of influence.” Neither simple acceptance nor rejection, the complex influence is explained at main stages of Bloom’s career. In Bloom’s early writings, Vico’s ideas are virtually ignored. Starting with The Anxiety of Influence, Vico’s influence is acknowledged to be strong but it is repressed; Vico’s ideas are mentioned in only a few brief passages and usually presented through those of other thinkers, or are interpreted to (...) be the same. In subsequent works, Bloom does discuss Vico’s ideas more. Finally, in Bloom’s Western Canon, Vico’s importance seems to be the greatest, since all the literature is categorized according to Vico’s idea of a cycle of three ages, although, once again, his ideas are not analyzed. (shrink)

For nearly twenty-five years medievalists have been raising their voices to defend the Middle Ages against Philippe Ariès and his claim that “the idea of childhood did not exist” in medieval society. From Urban Holmes to Shulamith Shahar scholars have marshaled what evidence they could to counter the “negative stereotype” of the medieval family first proposed by Ariès, then seconded by Jacques Le Goff and others, and to demonstrate that “medieval society knew the age of childhood.” Exhilarated by the ease (...) with which they were able to restore childhood to the Middle Ages, a number of writers have gone on to challenge a less famous claim of Ariès, that before the eighteenth century “people had no idea of what we call adolescence.” Medieval historians have contested this notion as well, arguing that “in the medieval period adolescence too was seen as a distinct life stage.”. (shrink)

Normal 0 21 false false false PT-BR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabela normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} No presente artigo expomos alguns aspectos das concepções gödelianas acerca da percepção. Procuramos mostrar aqui que a comparação realizada por Gödel entre percepção sensível e racional, bem como suas concepções sobre esta última, correspondem a (...) uma análise do conceito de percepção. Em uma primeira seção, expomos a analogia gödeliana entre percepção sensível e racional, salientando que ambas são comparadas tendo em vista seu status de relação de acesso a entes. A partir disto, argumentamos, na segunda seção, que subjazendo à analogia há uma análise do conceito de percepção como o conceito geral ou formal de uma relação de acesso, do qual a percepção sensível e a racional são casos particulares. Tal análise, como defendemos, acaba por ser mais adequada ao uso comum que fazemos deste conceito do que pareceria à primeira vista. (shrink)

BackgroundHealth research often uses health information, a subcategory of personal information, collected during clinical encounters. Conditions under which such health information can be used for the secondary purpose of research are set out in state, national and international law. In Australia, consent is required or the relevant conditions for a waiver of consent must be met and approved by a human research ethics committee (HREC). Consent for use of health information for research is rarely sought at an emergency department (ED) (...) presentation. Research often occurs after the index visit and gaining consent can be difficult. Waiver of consent provisions are frequently used, but acceptability of this approach to patients is unclear.ObjectiveTo identify ED patients’ knowledge and attitudes towards the use of health information for research, consent preferences and acceptability of waiver of consent.MethodsAn online, anonymous survey of adult patients attending two large EDs in Melbourne, Australia.Results103 patients completed the survey. We found that 52% were unaware that health information might be used for research. A majority (77%) felt that HREC approval for use of health information without consent was acceptable. However, 36% would prefer to be contacted regarding consent.ConclusionThese findings suggest a lack of awareness that health information can be used for research and that waiver of consent is acceptable, but not necessarily preferred, in most of the ED patient population. Efforts to increase awareness and provide opportunities to express preferences about health information use for research are needed. (shrink)

This paper shows how, according to st. thomas aquinas, basic descriptive moral principles can be both substantive and necessarily true. aquinas's position on reference (the function of the subject term) is similar to that of the contemporary logician, saul kripke, who argues for necessary informative propositions. such propositions in aquinas (which are analyzed in detail in the paper) include definitions-e.g., "human beings, or men, are rational animals"-and property statements. the latter encompass those concerned with natural inclinations. from this foundation the (...) necessity of fundamental moral principles is explained. still, moral principles can be refined as we discover more about human nature; "if" true, such statements will be necessarily true. the paper ends with an explanation of how basic moral principles can be considered to be not simply "per se", but also "per se nota". (shrink)

The so-called Menschenpark-debate on genetic engineering—originating in 1999—turned out to be one of the most controversial and contentious debates in German philosophy. It is also regarded as the first manifestation of the struggle between Sloterdijk and Habermas. While Sloterdijk’s ideas had a significant impact on Habermas’s theory, Sloterdijk’s philosophy has been consistently ignored and dismissed until today due to two reasons. First, he was accused of advocating for fascist ideology. Second, philosophers from the same academic circles claimed that his method (...) does not meet academic standards. The debate therefore signifies a larger problem that concerns the methodological difference between analytic-Continental philosophies that work on a formal level and Continental philosophies that work with a tropological account experimenting with different non-formal philosophical expressions. I will carve out this distinction with respect to the Menschenpark-debate to argue that Sloterdijk is an integral part of our philosophical historical moment. (shrink)

Dehumanization by algorithms raises important issues for business and society. Yet, these issues remain poorly understood due to the fragmented nature of the evolving dehumanization literature across disciplines, originating from colonialism, industrialization, post-colonialism studies, contemporary ethics, and technology studies. This article systematically reviews the literature on algorithms and dehumanization (n = 180 articles) and maps existing knowledge across several clusters that reveal its underlying characteristics. Based on the review, we find that algorithmic dehumanization is particularly problematic for human resource management (...) and the future of work, managerial decision-making, consumer ethics, hard- and soft-law regulation, and basic values, including privacy and consumer rights. From the literature synthesis, we also derive the following definition of algorithmic dehumanization: the act of using algorithms and data in a way that results in the intentional or unintentional treatment of individuals and/or groups as less than fully human, thereby violating human rights, including liberty, equality, and dignity. Ultimately, we present a dehumanization avoidance model that serves as a structured research agenda and practical guide to address the challenges raised by algorithmic dehumanization. Thus, the model indicates promising pathways for future research at the intersection of AI and society and facilitates reflection on organizational processes that support improving corporate capabilities and managerial decision-making to avoid algorithmic dehumanization. (shrink)

Diotima, the priestess of Plato’s Symposium, is an important reference for Proclus’ thinking about the role of women in philosophical and religious practices. This character does not just offer Proclus an example for women’s ability to attain the same level of virtue than men, but she is also a model for the joint work of philosophical and religious practices. Thereby she stands for practices which are orientated on the human condition and therefore depend on intermediary entities as demons, and for (...) practices which transcend both the human condition and the intermediary entities. Most interesting in Proclus’ presentation of Diotima as a priestess and a philosopher is that he does not present her to fulfill these roles by masculinizing her soul through a sole focus on the intelligible entities – as for example Porphyry advises his wife Marcella – but by using the female element in her soul, i.e. the circuit of the Different, as an intermediate through which she can get in touch with the demons and – through them – also with higher entities. The ideal which Diotima incorporates is therefore not becoming masculine but harmonizing the male and female elements within the soul. (shrink)

ABSTRACT Most of the ethical decision making literature that guides mental health practice comes from the Western hemisphere. The well-meaning application of Western values in supervision can result in the intrusion of ethical standards that may not match the context and lacks sensitivity. In this qualitative study, researchers explored the supervisory experiences of 25 mental health professionals of 14 different nationalities, navigating complex ethical challenges in supervision practice in 17 countries. Using thematic analysis, several well-supported themes emerged. Recommendations for practice (...) include the importance of supervisors taking primary responsibility for initiating cultural discussions and fostering a collaborative approach to navigating complex cultural dilemmas. (shrink)

Derek Parfit’s long-awaited work On What Matters is a very ambitious, very strange production seeking to defend both a nonreductive and nonnaturalistic but nonmetaphysical and nonontological form of cognitive intuitionism or rationalism and an ethical theory (the Triple Theory) reflecting the convergence of Kantian universalizability, Scanlonian contractualism, and rule utilitarianism. Critics have already countered that Parfit’s metaethics is unbelievable and his convergence thesis unconvincing, but On What Matters is a truly Sidgwickian work, the implications of which largely remain to be (...) worked out. Parfit does not go far enough in spelling out exactly what matters and why, what normative reasons we actually have, and where we should go from here, if we take him seriously. (shrink)

This volume contains essays on an array of topics originally presented orally by a master teacher and scholar. With characteristic rhetorical elegance, Msgr. Synan, late professor at the Pontifical Institute in Toronto, delivered these papers in a variety of settings on issues relating to his specialty of mediaeval Christian philosophy and to his interest in Jewish-Christian dialogue, on the theology of sanctity and of death, and on morally significant historical events. Medieval figures represented here include Aquinas, Augustine, Abelard, and Godfrey (...) of St. Victor; some topics treated are war and peace, philosophical innovations, ecclesiology, evil, goliardic verse, law and abortion, Church councils and Jews in the Middle Ages, and convictions uniting Jews and Christians. This book also contains representative sermons–including a Month’s Mind for Etienne Gilson, an introduction detailing Synan’s background and professional contributions, an updated bibliography of his published works, and an extensive index. Especially appealing to those who knew Synan are three posthumous tributes and thirteen photographs from throughout his life. The selections in this volume are scholarly but non-technical, intended for anyone moved to seek elucidation of the topics discussed. (shrink)