The Tshwane Conference on African Information Ethics of 5-7 February 2007 forces the question, What is an African information ethics? This question is addressed with reference to the complexities of a distinctly African information ethics, taking into account the distinction between ethics and morality, and the assumptions of the language of the Tshwane Declaration on Information Ethics in Africa. Gilles Deleuze‘s concept of assem-blage, analyzed from the perspectives of Bruno Latour‘s concept of ―reassembling the social‖ and recent anthropological approaches to (...) global assemblages are put to work to investigate possibilities of an African information ethics, with special attention to the concepts of universality and African identity. The task of assembling an African information ethics is then analyzed in terms of Latour‘s call for building "livable collectives". (shrink)

A philosophy of information is grounded in a philosophy of documentation. Nunberg’s conception of the phenomenon of information heralds a shift of attention away from the question “What is information?” toward a critical investigation of the sources and legitimation of the question itself. Analogies between Wittgenstein’s deconstruction of philosophical accounts of meaning and a corresponding deconstruction of philosophical accounts of information suggest that because the informativeness of a document depends on certain kinds of practices with it, and because information emerges (...) as an effect of such practices, documentary practices are ontologically primary to information. The informativeness of documents therefore refers us to the properties of documentary practices. These fall into four broad categories: their materiality; their institutional sites; the ways in which they are socially disciplined; and their historical contingency. Two examples from early modern science, which contrast the scholastic documentary practices of continental natural philosophers to those of their peers in Restoration England, illustrate the richness of the factors that must be taken into account to understand how documents become informing. (shrink)

First published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.

Bertrand Russell's shorter writings against British participation in the First World War from its outbreak until the formation of Lloyd George's coalition. It includes the fullest documentation yet of the continuing government attempts to stifle Russell, then regarded as Britain's most dangerous pacifist.

The years covered by this volume of the Collected Papers of Bertrand Russell were among the most productive, philosophically speaking, of Russell's entire career. In addition to the papers reprinted here, he bought Principia Mathematica to its finished form and wrote The Problems of Philosophy, Theory of Knowledge and Knowledge of the External World . In October 1910 he began teaching at Cambridge, having accepted an appointment as lecturer in logic and the principles of mathematics at Trinity College for a (...) term of five years. A year later Ludwig Wittgenstein began to attend his lectures. Within a few months he was influencing Russell's philosophical thinking as much as, or more than, Russell was influencing his. (shrink)

As health systems around the world turn towards highly distributed, specialized and cooperative structures to increase quality and safety of care as well as efficiency and efficacy of delivery processes, there is a growing need for supporting communication and collaboration of all parties involved with advanced ICT solutions. The Electronic Health Record (EHR) provides the information platform which is maturing towards the eHealth core application. To meet the requirements for sustainable, semantically interoperable, and trustworthy EHR solutions, different standards and different (...) national strategies have been established. The workshop summarizes the requirements for such advanced EHR systems and their underlying architecture, presents different strategies and solutions advocated by corresponding protagonists, discusses pros and cons as well as harmonization and migration strategies for those approaches. It particularly highlights a turn towards ontology-driven architectures. (shrink)

This collection of essays fairly exhibits the diversity of opinions about and approaches to the study of Nietzsche within the contemporary academy’s influential and far flung Nietzsche establishment. Notwithstanding the absence of feminist interpretations of Nietzsche and despite the omission of chapters that take seriously Nietzsche’s debt to the ancients, critique of the spirit of democracy, defense of a rank order of desires and souls, recurring articulations of an aristocratic politics, attack on the morally and politically debilitating effects of professional (...) scholarship, and persistent celebration of the philosopher as the highest human type, this book will prove useful to amateurs and professionals alike. (shrink)

The Anthropology of Sport and Human Movement represents a collection of work that reveals and explores the often times dramatic relationship of our biology and culture that is inextricably woven into a tapestry of movement patterns. It explores the underpinning of human movement, reflected in play, sport, games and human culture from an evolutionary perspective and contemporary expression of sport and human movement.

This roundtable discussion is based on an online symposium – The Promise of Photography: Scale, Measure and Proportion in a Conflicted Visual Milieu – which took place on 17 September 2021. Since its inception, photography has promised to set things to scale, to grant them measure and proportion, a series of promises that have also entailed moments of irrationality or conflict that persist in and continue to shape the era of global networked digital imaging technologies. The symposium started out from (...) the diagnosis that, whilst photography continues to promise an ordered, proportionate and measured world in which things can be set to their proper scale, it also acts in many ways as an agent of dismeasure, disproportion and the unscalable. In light of this, the roundtable discussion presented here examines a range of different meanings that scale, measure and proportion have accrued in the photographic context and sets out to explore conceptual frameworks and research methodologies through which the current situation might be understood. (shrink)

This article discusses the 2019 Event Horizon Telescope image of a black hole as an ontological question for photography, contrasting its spatially distributed operations as a planetary apparatus against its temporal inscriptions of successive histories of scientific realisms following Lorraine Daston and Peter Galison. The 'becoming photographic' of this image, this text argues, hinges on the distance it traverses from its scientific milieu to its vernacular reception, making visible the cultural calibrations that produce a consensually legible image.

Even his peers called Locke's political philosophy “The ABC of Politics“: not only does he clarify why one should exit the state of nature (government guarantees protection of life, freedom, and wealth) but also what a good government has to provide. A government should protect individuals from assaults of fellow citizens, other countries, and itself. Locke also shows how to put limits to the power of political institutions: by division of powers, by law, by neutral judges, and by making people (...) trust their government -- and having the right to revolt when their trust is betrayed. This book provides a cooperative commentary to all important topics of Locke's "Two Treatises". With entries by Wolfgang von Leyden, Bernd Ludwig, Peter Niesen, Francis Oakley, Birger P. Priddat, Michaela Rehm, Michael Schefczyk, Ludwig Siep, A. John Simmons, und Simone Zurbuchen. (shrink)

Haben alle Personen und nur Personen ein Recht auf Leben? Diese in der Philosophie vorherrschende Ansicht wird hier im Zuge einer Auseinandersetzung unter anderem mit Robert Spaemann und Peter Singer bestritten. Argumentiert wird für ein inklusives Verständnis des Lebensrechts, das auch viele nichtmenschliche Tiere einschließt. Abschließend werden Konsequenzen für das Menschenrecht auf Leben angedeutet.

Die nichtideale Theorie, wie Rawls sie versteht, soll uns Wege zur vollen Verwirklichung der Gerechtigkeit aufzeigen, die moralisch zulässig, politisch möglich und wahrscheinlich wirksam sein würden. Ich übertrage diese Idee auf das von Rawls gemiedene Gebiet einer Gerechtigkeit für Tiere. Diese haben, soweit sie Unterworfene der von uns verantworteten sozialen Grundstrukturen sind, einen gültigen Anspruch auf gleichberechtigte Beachtung bei der Gemeinwohlermittlung und sollten darum auch als politische Mitglieder unserer Gemeinwesen gelten. Im Zuge einer immanenten Kritik an einem verwandten Vorschlag Robert (...) Garners möchte ich zeigen, dass die beste nichtideale Theorie in einem radikalisierten Tierschutzverständnis besteht. Abschließend antworte ich auf zwei Einwände, die Peter Niesen gegen eine frühere Fassung meiner nichtidealen Theorie erhoben hat. (shrink)

English summary: The account of the fate of Stephen takes up a large part in the Acts of the Apostles. Being the first martyr, Stephen became a Saint and the patron of many churches. There is, however, a modern exegetical tradition which blames Stephen himself for his violent death. Against this, Haaker emphasises the psychological and historical plausibility of Luke's account. The volume reflects the drama of the biblical narrative of Stephen and provides incisive examples of its reception history until (...) the 20th century. German description: Der Sammelband dokumentiert die Tagungen der Kulturhermeneutischen Sozietat e. V. der Jahre 2009 bis 2011, bei denen der Diskurs uber Emotionen und Verhalten im Zentrum stand. In den Zusammenhangen der philosophischen und theologischen Ethik werden Artikulationsformen der Moral, Entwicklungen der Theoriebildung und Probleme der Normativitat erortert. Mit Beitragen von Stefan Beyerle, Volker Caysa, Ferdinand Fellmann, Stephan Gratzel, Peter Fischer, Bernd Harbeck-Pingel, Susanne Klinger, Michael Roth, Friedrike Schick und Albrecht Scriba. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

While the Gödel centenary year 2006 triggered a lot of conference and workshop activity on Gödel, the years leading to it stand out by exhibiting several excellent publications on Gödel's life and work, most notably the completion of the Kurt Gödel Collected Works series . The two volumes of Kurt Gödel. Wahrheit & Beweisbarkeit, written in German and edited by E. Köhler et al., constitute something like the ‘German-Austrian contribution’ to this renewal of interest in Gödel's legacy, even though not (...) all of the articles in the volumes actually have German or Austrian authors.2 Indeed, as P. Weibel explains in the preface of the first volume, one of the intentions of the editors was to present Gödel as part of the cultural history of Austria. At the same time, the volumes highlight the contrast between Gödel's national reception—or lack thereof—and the way in which he was perceived and appreciated internationally, and although this discrepancy is now fortunately a thing of the past, its history is worth documenting. In this respect the two volumes will be of lasting value and importance, and the editors must be given credit not just for recording Gödel's delayed acceptance by Austrian politicians and university headquarters, but also for promoting Gödel's case. This being said, there is something extravagant and slightly queer about the two Kurt Gödel. Wahrheit & Beweisbarkeit volumes. Parts of them seem to be written for a generally educated audience, while other parts will be understandable only to logicians and philosophers who specialize in the topics covered. The volumes consist partly of biographical essays, interviews about Gödel, photos of him and his family, and letters by or to him, but they also include several non-historical articles which use …. (shrink)

P.F. Strawson's essay traces some formal characteristics of logic and grammar to their roots in general features of thought and experience.

In 1972, the young philosopher Peter Singer published "Famine, Affluence and Morality," which rapidly became one of the most widely discussed essays in applied ethics. Through this article, Singer presents his view that we have the same moral obligations to those far away as we do to those close to us. He argued that choosing not to send life-saving money to starving people on the other side of the earth is the moral equivalent of neglecting to save drowning children (...) because we prefer not to muddy our shoes. If we can help, we must--and any excuse is hypocrisy. Singer's extreme stand on our moral obligations to others became a powerful call to arms and continues to challenge people's attitudes towards extreme poverty. Today, it remains a central touchstone for those who argue we should all help others more than we do. As Bill and Melinda Gates observe in their foreword, in the age of today's global philanthropy, Singer's essay is as relevant now as it ever was. This attractively packaged, concise edition collects the original article, two of Singer's more recent popular writings on our obligations to others around the world, and a new introduction by Singer that discusses his current thinking. (shrink)

This reissue of his collection of early essays, Logico-Linguistic Papers, is published with a brand new introduction by Professor Strawson but, apart from minor ...

A historical investigation of the exclusion of Africa and Asia from modern histories of philosophy.

The relationship of part to whole is one of the most fundamental there is; this is the first and only full-length study of this concept. This book shows that mereology, the formal theory of part and whole, is essential to ontology. Peter Simons surveys and criticizes previous theories, especially the standard extensional view, and proposes a more adequate account which encompasses both temporal and modal considerations in detail. 'Parts could easily be the standard book on mereology for the next (...) twenty or thirty years.' Timothy Williamson, Grazer Philosophische Studien. (shrink)

Die Beschäftigung dem Filioque hat derzeit wieder Konjunktur. Nach der Studie von Bernd Oberdorfer (2001), die das Filioque-Problem aus primär systematisch-theologischer Perspektive untersucht, legt Peter Gemeinhardt jetzt mit seiner Marburger Dissertation ein Werk vor, das sich der Filioque-Problematik unter historischem Gesichtspunkt nähert, genauer: das die Entstehung des Filioque selbst und die damit verknüpfte Kontroverse von den Anfängen bis zum frühen 12. Jahrhundert eingehend nachzeichnet und durchaus als komplementäres Werk zu Oberdorfers Buch – auf das sich G. wiederholt bezieht (...) – gelesen werden kann. Die Arbeit legt den Schwerpunkt auf die Zeit vor 1054, die in den Augen des Vf. hinsichtlich der Filioque-Kontroverse bisher unter einem Schleier liegt, den er „vermittels einer kirchen- und dogmengeschichtlichen Untersuchung“ lüften will um „damit den gegenwärtigen Auseinandersetzungen um Sinnhaftigkeit und Legitimität des Filioque ein historisch-kritisches Korrektiv an die Hand zu geben“ (VIII). Diese Zielsetzung spiegelt sich auch darin, daß der eigentlich historische Teil der Arbeit eingerahmt wird von zwei kürzeren, die die Untersuchung im ökumenischen und systematisch-theologischen Horizont verorten. Abschnitt A bildet die Einleitung: „Das Filioque im Spannungsfeld der gegenwärtigen Ökumene“ (S.1–40). Abschnitt B zeichnet die historische Entwicklung nach: „Stationen der Filioque-Kontroverse im Frühmittelalter“ (S.41–534). Abschnitt C faßt die Ergebnisse zusammen und lenkt den Blick zurück auf die ökumenische Diskussion der Gegenwart: „Systematisierende Zusammenfassung“ (S.535–556). Am Ende finden sich – angesichts der ungeheuren Fülle des verarbeiteten Materials unerläßliche – Anhänge zur Textentwicklung des NC (S.557–562), Abkürzungen der Quellen (S.563–566), die umfangreiche Bibliographie (S.567–598) und Register (Bibelstellen; Quellen; Namen; Orte; Synoden; moderne Autoren; S.599–644), die dem dankbaren Leser die Arbeit erleichtern. (shrink)

Metz holds that we can use African communal ethics to constitute global economic practices such as appropriation, production, distribution and consumption in such a way that promotes harmonious relations. In this article, I will show that Metz’s reformist approach to constituting the global economic practices is problematic as it fails to deal with the fundamental problem that pertains to a racialised world order that is structurally configured by coloniality of being. I will show that reformist approaches such as Metz’s use (...) of African communal ethics to constitute global economic practices in a way that promotes harmonious relations are undesirable attempts that are opposed and curtailed by a structural racialised logic/ontology of the world that governs and supervises the evolution of the world economic structures and practices in a way which undermines harmonious relations and in a way which causes economic marginalisation and impoverishment of historically disadvantaged indigenous Africans. (shrink)

For thirty years, Peter Singer's Practical Ethics has been the classic introduction to applied ethics. For this third edition, the author has revised and updated all the chapters and added a new chapter addressing climate change, one of the most important ethical challenges of our generation. Some of the questions discussed in this book concern our daily lives. Is it ethical to buy luxuries when others do not have enough to eat? Should we buy meat from intensively reared animals? (...) Am I doing something wrong if my carbon footprint is above the global average? Other questions confront us as concerned citizens: equality and discrimination on the grounds of race or sex; abortion, the use of embryos for research and euthanasia; political violence and terrorism; and the preservation of our planet's environment. This book's lucid style and provocative arguments make it an ideal text for university courses and for anyone willing to think about how she or he ought to live. (shrink)