We present a technique for the analysis of pattern formation by a class of models for the formation of ocular dominance stripes in the striate cortex of some mammals. The method, which employs the adiabatic approximation to derive a set of ordinary differential equations for patterning modes, has been successfully applied to reaction-diffusion models for striped patterns [1]. Models of ocular dominance stripes have been studied [2,3] by computation, or by linearization of the model equations. These (...) techniques do not provide a rationale for the origin of the stripes. We show here that stripe formation is a non-linear property of the models. Our analysis indicates that stripe selection is closely linked to a property in the dynamics of the models which arises from a symmetry between ipsilateral and contralateral synapses to the visual cortex of a given hemisphere. (shrink)

No one before Platter and Kepler proposed retinal reception of an inverted visual image. The dominant tradition in visual theory, especially that of Alhazen and his Western followers, subordinated the intra-ocular geometry of visual rays to the requirement for an upright image and to preconceptions about the precise nature of the visual spirit and its part in vision. Henry of Langenstein and an anonymous glossator in the late Middle Ages proposed alternatives to Alhazen, including the suggestion of double inversion (...) of the image. Leonardo da Vinci was aware of both Alhazen's theory and Henry's contradiction, but perhaps not of the anonymous hypothesis of double inversion. Leonardo's visual ‘theory’ has more the character of a critique than of a theoretical alternative, and he did not transcend the medieval concept of visual spirit. (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s iconoclastic, anti- (...) class='Hi'>ocular thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

Nikos K. Logothetis University of Manchester, Manchester, UK In binocular rivalry, the visual percept alternates stochastically between two dichoptically presented stimuli. It is established that both processes related to the eye of origin and binocular, stimulus-related processes account for these fluctuations in conscious perception. Here we studied how their relative contributions vary over time. We applied brief disruptions to rivalry displays, concurrent with an optional eye swap, at varying time intervals after one stimulus became visible (dominant). We found that early (...) in a dominance phase the dominant eye determined the percept by stabilizing its own contribution (regardless of the stimulus), with an additional yet weaker stabilizing contribution of the stimulus (regardless of the eye). Their stabilizing contributions declined in parallel with time so that late in a dominance phase the stimulus (and in some cases also the eye-based) contribution turned negative, favoring a perceptual (or ocular) switch. Our findings show that depending on the time, first processes related to the eye of origin and then those related to the stimulus can have a greater net influence on the stability of the conscious percept. Their co-varying change may be due to feedback from image- to eyeof-origin representations. (shrink)

How can the question of authority, the power and presence of the English, be posed in the interstices of a double inscription? I have no wish to replace an idealist myth—the metaphoric English book—with a historicist one—the colonialist project of English civility. Such a reductive reading would deny what is obvious, that the representation of colonial authority depends less on a universal symbol of English identity than on its productivity as a sign of difference. Yet in my use of “English” (...) there is a “transparency” of reference that registers a certain obvious presence: the Bible translated into Hindi, propagated by Dutch or native catechists, is still the English book; a Polish émigré, deeply influenced by Gustave Flaubert, writing about Africa, produces an English classic. What is there about such a process of visibility and recognition that never fails to be an authoritative acknowledgement without ceasing to be a “spacing between desire and fulfillment, between perpetuation and its recollection … [a] medium [which] has nothing to do with a center” ?This question demands a departure from Derrida’s objectives in “The Double Session”; a turning away from the vicissitudes of interpretation in the mimetic act of reading to the question of the effects of power, the inscription of strategies of individuation and domination in those “dividing practices” which construct the colonial space—a departure from Derrida which is also a return to those moments in his essay when he acknowledges the problematic of “presence” as a certain quality of discursive transparency which he describes as “the production of mere reality-effects” or “the effect of content” or as the problematic relation between the “medium of writing and the determination of each textual unit.” In the rich ruses and rebukes with which he shows up the “false appearance of the present,” Derrida fails to decipher the specific and determinate system of address that is signified by the “effect of content” . It is precisely such a strategy of address—the immediate presence of the English—that engages the questions of authority that I want to raise. When the ocular metaphors of presence refer to the process by which content is fixed as an “effect of the present,” we encounter not plenitude but the structured gaze of power whose objective is authority, whose “subjects” are historical. Homi K. Bhabha is lecturer in English literature and literary theory at the University of Sussex. He is working at present on Power and Spectacle: Colonial Discourse and the English Novel and is commissioning and editing a collection of essays entitled Nation and Narration: Post-structuralism and the Culture of National Identity. He is also writing the introduction to the new English edition of Frantz Fanon’s Black Skin, White Masks. (shrink)

Les Arts et les Images se veut une introduction aux principaux terrains d’investigation de Dominic McIver Lopes, philosophe canadien contemporain, figure incontournable de l’esthétique et de la philosophie de l’art en langue anglaise au cours des vingt dernières années. Il ouvre une réflexion sur les méthodes employées en esthétique et philosophie de l’art aujourd’hui, qu’on soit un philosophe dit « analytique » ou bien « continental », Lopes cherchant à penser le lien entre les deux traditions. -/- À travers leur (...) textes respectifs, Laure Blanc-Benon, Jacques Morizot et Frédéric Pouillaude instaurent un dialogue avec Dominic McIver Lopes, sur plusieurs de ses livres : Understanding Pictures (1996), ouvrage de référence sur la question philosophique des images et de la représentation, Beyond Art (2014), livre qui traite de la question classique au XXe siècle de la définition de l’œuvre d’art, et Four Arts of Photography (2016) dans lequel Dominic Lopes met en avant une nouvelle philosophie de la photographie. À ce dialogue s’ajoutent trois textes de Lopes inédits en français, portant sur la méthode de l’esthétique et de la philosophie de l’art et également sur la question de la beauté et de la valeur esthétique. (shrink)

In _ Psychiatry in the Scientific Image, _Dominic Murphy looks at psychiatry from the viewpoint of analytic philosophy of science, considering three issues: how we should conceive of, classify, and explain mental illness. If someone is said to have a mental illness, what about it is mental? What makes it an illness? How might we explain and classify it? A system of psychiatric classification settles these questions by distinguishing the mental illnesses and showing how they stand in relation to one (...) another. This book explores the philosophical issues raised by the project of explaining and classifying mental illness. Murphy argues that the current literature on mental illness -- exemplified by the Diagnostic and Statistical Manual of Mental Disorders -- is an impediment to research; it lacks a coherent concept of the mental and a satisfactory account of disorder, and yields too much authority to commonsense thought about the mind. He argues that the explanation of mental illness should meet the standards of good explanatory practice in the cognitive neurosciences, and that the classification of mental disorders should group symptoms into conditions based on the causal structure of the normal mind. (shrink)

Can love really be considered another form of technology? Dominic Pettman says it can - although not before carefully redefining technology as a cultural challenge to what we mean by the "human" in the information age. Using the writings of such important thinkers as Giorgio Agamben, Jean-LucNancy, and Bernard Stiegler as a springboard, Pettman explores the "techtonic" movements of contemporary culture, specifically in relation to the language of eros. Highly ritualized expressions of desire - love, in other words - always (...) reveal an era's attitude toward what it means to exist as a selfamong others. For Pettman, the articulation of love is a technique of belonging: a way of responding to the basic plurality of everyone's identity, a process that becomes increasingly complex as the forms of mediated communication, from cell phone and text messaging to the mass media, multiply andmesh together.Wresting the idea of love from the arthritic hands of Romanticism, Pettman demonstrates the ways in which this dynamic assemblage - "the stirrings of the soul" - have always been a matter of tools, devices, prosthetics, and media. Love is, after all, something we make. And, love, this book argues,is not eternal, but external. (shrink)

Death and grief in the ancient world -- Predictions and disability in Rome.

Epistemic decision theory produces arguments with both normative and mathematical premises. I begin by arguing that philosophers should care about whether the mathematical premises (1) are true, (2) are strong, and (3) admit simple proofs. I then discuss a theorem that Briggs and Pettigrew (2020) use as a premise in a novel accuracy-dominance argument for conditionalization. I argue that the theorem and its proof can be improved in a number of ways. First, I present a counterexample that shows that (...) one of the theorem’s claims is false. As a result of this, Briggs and Pettigrew’s argument for conditionalization is unsound. I go on to explore how a sound accuracy-dominance argument for conditionalization might be recovered. In the course of doing this, I prove two new theorems that correct and strengthen the result reported by Briggs and Pettigrew. I show how my results can be combined with various normative premises to produce sound arguments for conditionalization. I also show that my results can be used to support normative conclusions that are stronger than the one that Briggs and Pettigrew’s argument supports. Finally, I show that Briggs and Pettigrew’s proofs can be simplified considerably. (shrink)

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...) represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

In diesem Open-Access-Buch wird Marc Richirs Projekt einer Neugründung der Phänomenologie untersucht, das unter dem Leitfaden der Spannung des konkreten Leibes und der subjektiven Leiblichkeit als Weltbezüglichkeit das Phänomen als Phänomen in den Blick zu bekommen versucht. Das Selbst fällt für Richir weder mit dem Leib (dem Phänomenologischen) noch mit dem Körper (dem Symbolischen) zusammen. Zwischen beiden Registern besteht ein unvermeidlicher Abstand, der auf den Überschuss der Erfahrung, das Abenteuer der Sinnbildung in ihrer unendlichen Mannigfaltigkeit hindeutet. Die These der Studie (...) ist, dass der Überschuss des Leibes und der Leiblichkeit im Überschuss des Sprachphänomens bezeugt ist und dass die Spannung zwischen der phänomenologischen Darstellung des Leibes bzw. der Leiblichkeit und ihrer symbolischen Bestimmung im Sprachlichen aufgezeigt werden kann. Zudem wird die interdisziplinäre Anschlussfähigkeit des Ansatzes Richirs profiliert. Der Autor Dr. Dominic Nnaemeka Ekweariri studierte an der Päpstlichen Universität Urbaniana Rom, an der Imo State University Nigeria sowie an der Ruhr-Universität Bochum und erhielt seinen Ph.D. von der Bergische Universität Wuppertal. Er ist Mitglied des Marc Richir Archivs am Institut für Transzendentalphilosophie und Phänomenologie an der Bergischen Universität Wuppertal, wissenschaftlicher Mitarbeiter am Lehrstuhl für Fundamentaltheologie und Religionsphilosophie an der Westfälischen Wilhelms-Universität in Münster und Postdoktorand am Institut Catholique de Paris in Frankreich. (shrink)

Ethical discussions about medical treatment for seriously ill babies or children often focus on the ‘value of life’ or on ‘quality of life’ and what that might mean. In this paper, I look at the other side of the coin—on the value of death, and on the quality of dying. In particular, I examine whether there is such a thing as a good way to die, for an infant or an adult, and what that means for medical care. To do (...) that, I call on philosophy and on personal experience. However, I will also make reference to art, poetry and music. That is partly because the topic of mortality has long been reflected on by artists as well as philosophers and ethicists. It is also because, as we will see, there may be some useful parallels to draw. (shrink)

[David Charles] Aristotle, it appears, sometimes identifies well-being with one activity, sometimes with several, including ethical virtue. I argue that this appearance is misleading. In the Nicomachean Ethics, intellectual contemplation is the central case of human well-being, but is not identical with it. Ethically virtuous activity is included in human well-being because it is an analogue of intellectual contemplation. This structure allows Aristotle to hold that while ethically virtuous activity is valuable in its own right, the best life available for (...) humans is centred around, but not wholly constituted by, intellectual contemplation. /// [Dominic Scott] In Nicomachean Ethics X 7-8, Aristotle distinguishes two kinds of eudaimonia, primary and secondary. The first corresponds to contemplation, the second to activity in accordance with moral virtue and practical reason. My task in this paper is to elucidate this distinction. Like Charles, I interpret it as one between paradigm and derivative cases; unlike him, I explain it in terms of similarity, not analogy. Furthermore, once the underlying nature of the distinction is understood, we can reconcile the claim that paradigm eudaimonia consists just in contemplation with a passage in the first book requiring eudaimonia to involve all intrinsic goods. (shrink)

This book is a formidably compelling source of insights for those who are interested in subjects ranging from moral philosophy, social justice, hermeneutics and education. It reconciles traditional theories of ethics by re-framing them through hypertextual techniques, bringing together contrasting and contradictory ethical views.

What exactly is the human element separating humans from animals and machines? The common answers that immediately come to mind—like art, empathy, or technology—fall apart under close inspection. Dominic Pettman argues that it is a mistake to define such rigid distinctions in the first place, and the most decisive “human error” may be the ingrained impulse to understand ourselves primarily in contrast to our other worldly companions. In _Human Error_, Pettman describes the three sides of the cybernetic triangle—human, animal, and (...) machine—as a rubric for understanding key figures, texts, and sites where our species-being is either reinforced or challenged by our relationship to our own narcissistic technologies. Consequently, species-being has become a matter of _specious_-being, in which the idea of humanity is not only a case of mistaken identity but indeed the mistake of identity. _Human Error_ boldly insists on the necessity of relinquishing our anthropomorphism but also on the extreme difficulty of doing so, given how deeply this attitude is bound with all our other most cherished beliefs about forms of life. (shrink)

Accession Number: ATLA0001788471; Hosting Book Page Citation: p 26-43.; Physical Description: diag, table ; Language(s): English; Issued by ATLA: 20130825; Publication Type: Essay.

This paper is a critical analysis of the concept of mental disorder recently advanced by Jerome Wakefield. Wakefield suggests that mental disorders are most aptly conceived as "harmful dysfunctions" involving two distinct and separable components: the failure of the mechanism in the person to perform a natural function for which the mechanism was designed by natural selection, and a value judgment that the dysfunction is undesirable.

It is widely assumed that science is the enemy of religious faith. The idea is so pervasive that entire industries of religious apologetics converge around the challenge of Darwin, evolution, and the "secular worldview." This book challenges such assumptions by proposing a different cause of unbelief in the West: the Christian conscience. Tracing a history of doubt and unbelief from the Reformation to the age of Darwin and Karl Marx, Dominic Erdozain argues that the most powerful solvents of religious orthodoxy (...) have been concepts of moral equity and personal freedom generated by Christianity itself. Revealing links between the radical Reformation and early modern philosophers such as Baruch Spinoza and Pierre Bayle, Erdozain demonstrates that the dynamism of the Enlightenment, including the very concept of "natural reason" espoused by philosophers such as Voltaire, was rooted in Christian ethics and spirituality. The final chapters explore similar themes in the era of Darwin and Marx, showing how moral revolt preceded and transcended the challenges of evolution and "scientific materialism" in the unseating of religious belief. The picture that emerges is not of a secular challenge to religious faith, but a series of theological insurrections against divisive accounts of Christian orthodoxy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Collective Violence and Birthday PartiesA Girardian Analysis of the PiñataDominic Pigneri (bio)The piñata is a tradition most commonly associated with Latin America, but this party game has a mysterious origin. Some suppose that the origin of the practice was brought to the Americas by the Spanish, who received the custom from the Italians.1 Some say that the Italians, through Marco Polo, appropriated the ritual from the Chinese.2 Others see (...) the Mexican piñata as originating locally in an Aztec religious ritual.3 But looking at this festival activity through a Girardian lens we can see that wherever a custom came into being, it seems that its origins lie in the lethal practice of collective violence. The following description may serve as an exemplar of the tradition:In Mexico, a plain, round clay cooking pot called an olla is decorated and finally almost entirely concealed by ruffles and streamer coverings shaped into animals, stars, etc. It is filled with nuts, sugar cane, fruits and small toys and is hung overhead from a rope. One participant in the game is blindfolded and given a long stick with which he or she tries to hit the pot. Several people (usually children) take turns at being blindfolded and swinging the stick, and finally when someone hits the pot [End Page 209] hard enough to break it, the other players scramble on the ground for the scattered prizes. It is a kind of noisy and happy version of a grab-bag, and the game goes on for quite a few minutes, since a controlling cord is used to swing the pot out of reach of the batters. There are several sing-song chants which the children say as the game goes on with each new target.4While the clay pot is the most traditional, piñatas are also made from other materials, including papier-mâché and cane plants.5 Furthermore, the piñata has a place in many different festivals; it is especially associated with Christmas, Easter, and birthday parties all over the Americas where there is a Latin influence.While the ritual of the piñata contains no explicit violence, the ritual itself contains many of the elements of the scapegoat mechanism René Girard describes in Violence and the Sacred. What Girard describes here is the banding together of society as they focus their internal animosity onto an arbitrary third-party victim. The peace that arrives after this violence is so profound that it is instinctually associated with the divine. This peace inspires a reenactment of this violence as a religious ritual. Therefore, religion functions as the force that keeps internal violence from turning all members of a society against one another. This controlled violence is the safety valve that releases the violence that would otherwise rend the social fabric of a community.6 Religion also veils the violence, which grants peace. It is important that the violence be expressed, but also hidden. Girard says, "Men cannot confront the naked truth of their own violence without the risk of abandoning themselves to it entirely. They have never had a very clear idea of this violence, and it is possible that the survival of all human societies of the past was dependent on this fundamental lack of understanding."7 This is the significance of the ritualism of cultic sacrifice.This relates to our current question of the piñata in the sense that the practice is reminiscent of a sacrificial ritual, especially when the piñata takes the shape of a being like an animal or human person. First, destruction is the initial aim of the activity. The piñata, like the oblation, must be destroyed in some way. This is what grants the ritual its efficacy. Second, there is a need for rubrics, a carefully followed procedure for the desired effect to come about. In cultic sacrifice, this can take place in a variety of ways, from ritualistic washing of the priest and the victim to the exact procedure and order for dissecting the victim. Similarly, as we saw in the description of the piñata above, there is a procedure. The piñata is... (shrink)

Why me? -- Sticks and stones -- Hammer of God -- God is great -- The problem of atheists -- Guardian angels -- Nations under God -- God knows.

This essay considers the relationship between the work of contemporary artist Torsten Lauschmann and themes in a growing area of research: philosophy of technology. Themes considered include relations between technology and contemporary urban dwelling, technology and the “everyday,” and Heidegger’s problematic but canonical understanding of technology not as a set of “mere means” but as a “way of revealing.” I argue that Lauschmann’s art renders these themes relevant for our increasingly technologically mediated forms of everyday experience by engaging in a (...) paradoxical practice of creating what McLuhan called “anti-environments.” Part One relates Lauschmann’s art to three concepts surfacing in McLuhan’s late work: “figure,” “ground,” and “anti-environment.” Part Two relates Lauschmann’s art to Merleau-Ponty’s critique of photography in terms of the ontology of dynamic movement. Part Three relates Lauschmann’s art to Heidegger, implying a form of “affective critique” that — by questioning the environmental conditions that constitute works of art — points beyond vexed aspects of Heidegger’s approach, such as its apparent pessimism and tendency to homogenize disparate technologies. The essay’s broader argument is that Lauschmann’s art, like the philosophical reflections to which it is related, is engaged in a practice of challenging settled common-sense notions regarding technologically mediated experience. (shrink)

The addition of "actually" operators to modal languages allows us to capture important inferential behaviours which cannot be adequately captured in logics formulated in simpler languages. Previous work on modal logics containing "actually" operators has concentrated entirely upon extensions of KT5 and has employed a particular modeltheoretic treatment of them. This paper proves completeness and decidability results for a range of normal and nonnormal but quasi-normal propositional modal logics containing "actually" operators, the weakest of which are conservative extensions of K, (...) using a novel generalisation of the standard semantics. (shrink)

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new understanding of the art form for the 21st century.

Philosophers have championed contextualist and relativist semantics for aesthetic discourse that attempt to explain faultless disagreement. However, both types of semantics do a good job explaining faultless disagreement. As a rule, more explananda assist in theory choice. This chapter proposes that three more facts need explaining. Aesthetic disputes revolve around objects, even as they express attitudes. They also extend into lengthy exchanges wherein reasons are offered and withdrawn. Finally, they play a role in the formation and regulation of aesthetic practices. (...) Different views about the point of aesthetic disputes interpret these three facts differently. One option has it that we use aesthetic disputes to align with peers who share the same preferences. This option is friendly to relativist semantics. The alternative states that we use aesthetic disputes to coordinate language and concepts to fit aesthetic genres. This option mandates contextualist semantics. The weight of evidence tilts towards contextualism. (shrink)

This paper proposes a description of the moral obligations of economic agents. It will show that a threefold division should be adopted to distinguish moral obligations applying to their interactions in the market, obligations applying to their interactions inside business firms and obligations applying to their interactions with agents outside the market. Competition might be permissible in the first case since markets are special patterns of social interactions (called adversarial schemes). They produce their benefits when agents try to satisfy exclusive (...) preferences at the expense of others. However, moral obligations inside the firm and moral obligations outside the market are of a different nature. This argument will be developed in the two first parts of this paper. In the third part, it will outline the relevant strengths of that account in relation with two popular views of economic agents’ moral obligations: the shareholder primacy view and the stakeholder theory. (shrink)

When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...) paper argues that the claims are compatible. While seeing things in photographs is quite unlike seeing things face-to-face, nevertheless seeing things in photographs is one way of seeing things. The differences between seeing things by means of photographs and by means of the naked eye provide the elements of an account of the aesthetic interests photographs engage. (shrink)

Dominic LaRochelle | : Les religions ne constituent pas des monolithes immuables et inchangés dans le temps. Elles évoluent au fil de l’histoire humaine, changent au gré des transformations culturelles et sociales des communautés dans lesquelles elles s’implantent, négocient avec les instances séculières et religieuses leur pertinence et leur droit d’exister ; bref, elles innovent constamment pour s’assurer une place dans un monde lui aussi en constant changement. Cet article propose deux outils pour analyser les innovations au sein des traditions (...) religieuses : les théories de la réception, inspirées des travaux de Hans Robert Jauss, et l’invention des traditions, inspirée du célèbre ouvrage d’Eric J. Hobsbawm et Terence O. Ranger. L’intérêt de l’utilisation de ces outils en histoire est qu’ils permettent, entre autres choses, de dépasser les oppositions classiques tradition/modernité et authenticité/innovation en analysant les religions du point de vue des ruptures et des transformations à l’intérieur de celles-ci. Ces outils seront appliqués à un cas particulier, celui de la réception et de la réinvention du taoïsme dans les sociétés occidentales au XXe siècle. Cette tradition religieuse chinoise vieille de plusieurs siècles a en effet été réinventée en Occident et transformée en une tradition spirituelle universelle répondant aux attentes des Occidentaux en matière de spiritualité contemporaine. | : Religions are not immutable monoliths that remain unchanged over time. They evolve over the course of human history ; changing according to the cultural and social transformations of the communities in which they are established and negotiating with secular and religious authorities for their relevance and right to exist. In short, they continually innovate to secure a place in a constantly changing world. This article proposes two tools to analyze innovations within religious traditions : reception theories, inspired by the works of Hans Robert Jauss, and the invention of tradition, inspired by the celebrated work of Eric J. Hobsbawm and Terence O. Ranger. The interest of using these tools in a historical approach is that they allow us, among other things, to overcome the traditional oppositions of tradition vs. modernity and authenticity vs. innovation by analyzing religions from a rupture and transformation point of view. These tools will be applied to a particular case, namely the reception and reinvention of Taoism in Western societies in the twentieth Century. This centuries-old Chinese religious tradition has been reinvented in the West and transformed into a universal spiritual tradition that meets the expectations of Westerners for contemporary spirituality. (shrink)

Controversial cases in medical ethics are, by their very nature, divisive. There are disagreements that revolve around questions of fact or of value. Ethical debate may help in resolving those disagreements. However, sometimes in such cases, there are opposing reasonable views arising from deep-seated differences in ethical values. It is unclear that agreement and consensus will ever be possible. In this paper, we discuss the recent controversial case of Vincent Lambert, a French man, diagnosed with a vegetative state, for whom (...) there were multiple court hearings over a number of years. Both family and health professionals were divided about whether artificial nutrition and hydration should be withdrawn and Lambert allowed to die. We apply a ‘dissensus’ approach to his case and argue that the ethical issue most in need of scrutiny is different from the one that was the focus of attention. (shrink)