A paradigm for peace discovered in the cosmopolitan neighborhoods of poor urban immigrants.

Background: Expanded newborn screening generates incidental results, notably carrier results. Yet newborn screening programmes typically restrict parental choice regarding receipt of this non-health serving genetic information. Healthcare providers play a key role in educating families or caring for screened infants and have strong beliefs about the management of incidental results. Methods: To inform policy on disclosure of infant sickle cell disorder (SCD) carrier results, a mixed-methods study of healthcare providers was conducted in Ontario, Canada, to understand attitudes regarding result management (...) using a cross-sectional survey (N = 1615) and semistructured interviews (N = 42). Results: Agreement to reasons favouring disclosure of SCD carrier results was high (65.1%–92.7%) and to reasons opposing disclosure was low (4.1%–18.1%). Genetics professionals expressed less support for arguments favouring disclosure (35.3%–78.8%), and more agreement with arguments opposing disclosure (15.7%–51.9%). A slim majority of genetics professionals (51.9%) agreed that a reason to avoid disclosure was the importance of allowing the child to decide to receive results. Qualitatively, there was a perceived “duty” to disclose, that if the clinician possessed the information, the clinician could not withhold it. Discussion: While a majority of respondents perceived a duty to disclose the incidental results of newborn screening, the policy implications of these attitudes are not obvious. In particular, policy must balance descriptive ethics (ie, what providers believe) and normative ethics (ie, what duty-based principles oblige), address dissenting opinion and consider the relevance of moral principles grounded in clinical obligations for public health initiatives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art, Mind, and IntentionNoël CarrollArt and Intention: A Philosophical Study, by Paisley Livingston ; 266 pp. oxford: oxford University Press, 2005, $74.00, $35.00 paper.The relevance of intention to the philosophy of art was perhaps first made explicit by G.W.F. Hegel who, in his monumental The Philosophy of Fine Art, narrowed the domain of aesthetics to art on the grounds that the beauty that pertains to art is the product (...) of mind. Though Hegel does not single out intention as the aspect of mind that impresses him, his definition of fine art in terms of that which possesses an aim that imbues the pertinent art with content makes it probable that what he is talking about is intention. Since Hegel's day, but maybe most especially in the last three decades, philosophers of art have relied upon the notion of intention to attempt to solve many of the recurring problems of their field, including not only issues involving art status, but those involving authorship, interpretation, and fictional truth, among others. In Art and Intention: A Philosophical Study, Paisley Livingston has performed the very valuable service of corralling a substantial number of topics regarding the intersection of art and intention between the covers of one book.Although there are books devoted to exploring the relation of art and intention with respect to specific topics, most notably interpretation, there is, to my knowledge, no other book like Livingston's that surveys such a diversity of issues concerning the nexus of intention and the [End Page 394] philosophy of art. Thus, Art and Intention should be a welcome addition to the library of any aesthetician.Art and Intention comprises seven chapters. The first chapter, reasonably enough, involves a discussion of what it is to be an intention. For Livingston, who follows the action theorist Alfred Mele quite closely, an intention standardly consists of a propositional attitude in addition to a propositional content toward which said attitude is directed. The propositional attitude is executive in nature—that is, where x is the content, the intender is firmly settled upon or committed to perform x, or, at least, to try to perform x. The propositional content of an intention, in turn, is what Livingston calls a plan. An intention then is an executive attitude towards plans.I am a bit unhappy with this formulation, since I worry that it may be somewhat misleading. To my ear, the word plan insinuates the idea of a formulated method, whereas many intentional actions, including those of artists, are scarcely worked out beforehand but emerge instead in the heat of doing things. Livingston is aware of this and appears to require no more of plans in his sense than that they involve at least a rudimentary grasp of the means for carrying off the purposes at hand. This seems right to me, but it still strikes me as strained to call this sort of procedural knowledge a plan.When Jasper Johns denies that he plans to make a picture in a certain way, but rather only follows a thought that pulls in a certain direction, he does not mean to disagree with Livingston, though his choice of words seems at odds with Livingston's.1 For Johns's, like many others, plan means a precise formulation, whereas for the action theorist it is a technical term of art with broader signification. Nevertheless, since the word still retains its ordinary meaning, the possibility for confusion here is rife. So, perhaps another word can be found or, maybe, coined.Chapter 2 concerns intention and the creation of art. Livingston spends the first part of the chapter fending off counterexamples, like automatic writing, that might be adduced to challenge the claim that artworks require intentions. I am very sympathetic with his treatment of the examples he canvasses. However, I would be curious to hear what he would say about a case that I've heard described of a show at MOMA several decades back where images culled from surveillance cameras, operating automatically, were exhibited.2 These specific images were not produced intentionally by anyone. But aren't they art? Perhaps the curators will be assigned the... (shrink)

Philosophers of science, e.g. Cartwright (1979) and Skyrms (1980), have given accounts of general causation in probabilistic terms; not surprising since we often accept general causal sentences as true despite being aware of apparent counterinstances. Consider:(E1) Smoking is a cause of heart attacks.We accept (E1) as true though aware of smokers who never have a heart attack. Here I quickly review familiar problems in two existing probabilistic accounts, offer a new objection, and suggest the beginnings of an alternative account.The traditional (...) model of general causation maintains that causes, and only causes, raise the probability of the effect That is:(TM) F is a cause of G if and only if.Despite some intuitive appeal, the traditional model faces at least three basic objections. First, consider cases of epiphenomena in which there are properties F, G, and H such that F is a cause of G, F is a cause of H, but G is not a cause of H and H is not a cause of G. (shrink)

Dans une lettre adressée à Bertrand Russell, le 17 mai 1905, Hugh MacColl raconte avoir abandonné l’étude de la logique après 1884, pendant près de treize ans, et explique que ce fut la lecture de l’ouvrage de Lewis Carroll, Symbolic Logic (1896), qui ralluma le vieux feu qu’il croyait éteint. Dès lors, il publie de nombreux articles contenant certaines de ses innovations majeures en logique. L’objet de cet article est de discuter la familiarité de MacColl et son appréciation du (...) travail de Carroll, et de comprendre comment cela l’amena à réinvestir le domaine de la logique. Rien n’indique que les deux hommes se soient jamais rencontrés ou aient échangé une correspondance personnelle. Cependant, MacColl recensa dans le journal The Athenaeum plusieurs ouvrages de Carroll, essentiellement en géométrie et en logique. Souvent, Carroll répondait aux critiques de MacColl dans les éditions suivantes de ses ouvrages. Une discussion de ces sources fournit des éclaircissements intéressants sur les investigations mathématiques et logiques de MacColl et Carroll. (shrink)

Dans une lettre adressée à Bertrand Russell, le 17 mai 1905, Hugh MacColl raconte avoir abandonné l’étude de la logique après 1884, pendant près de treize ans, et explique que ce fut la lecture de l’ouvrage de Lewis Carroll, Symbolic Logic (1896), qui ralluma le vieux feu qu’il croyait éteint. Dès lors, il publie de nombreux articles contenant certaines de ses innovations majeures en logique. L’objet de cet article est de discuter la familiarité de MacColl et son appréciation du (...) travail de Carroll, et de comprendre comment cela l’amena à réinvestir le domaine de la logique. Rien n’indique que les deux hommes se soient jamais rencontrés ou aient échangé une correspondance personnelle. Cependant, MacColl recensa dans le journal The Athenaeum plusieurs ouvrages de Carroll, essentiellement en géométrie et en logique. Souvent, Carroll répondait aux critiques de MacColl dans les éditions suivantes de ses ouvrages. Une discussion de ces sources fournit des éclaircissements intéressants sur les investigations mathématiques et logiques de MacColl et Carroll. (shrink)

John Venn and Charles L. Dodgson (Lewis Carroll) created systems of logic diagrams capable of representing classes (sets) and their relations in the form of propositions. Each is a proof method for syllogisms, and Carroll's is a sound and complete system. For a large number of sets, Carroll diagrams are easier to draw because of their self-similarity and algorithmic construction. This regularity makes it easier to locate and thereby to erase cells corresponding with classes destroyed by the (...) premises of an argument, a particularly difficult task in Venn diagrams for more than four sets. Carroll diagrams can represent existential propositions easily, so they are capable of clearly representing more complex problems than Venn's system can. Finally, both Carroll and Venn diagrams are maximal, in the sense that no additional logic information like inclusive disjunctions is able to be represented by them. Carroll's logic diagrams and logic trees constitute his visual logic system. (shrink)

Lewis Carroll: Logic Charles L. Dodgson, 1832-1898, was a British mathematician, logician, and the author of the ‘Alice’ books, Alice’s Adventures in Wonderland and Through the Looking Glass and What Alice Found There. His fame derives principally from his literary works, but in the twentieth century some of his mathematical … Continue reading Lewis Carroll: Logic →.

Lewis Carroll: Logic Charles L. Dodgson, 1832-1898, was a British mathematician, logician, and the author of the ‘Alice’ books, Alice’s Adventures in Wonderland and Through the Looking Glass and What Alice Found There. His fame derives principally from his literary works, but in the twentieth century some of his mathematical … Continue reading Lewis Carroll: Logic →.

In the period 1893–1897 Charles Dodgson, writing as Lewis Carroll, published two books and two articles on logic topics. Manuscript material first published in 1977 together with letters and diary entries provide evidence that he was working toward a visual proof system for complex syllogistic propositional logic based on a mechanical tree method that he devised.

"A very good book indeed: there is scarcely an issue anyone has thought to raise about the topic which Childress fails to treat with sensitivity and good judgement....Future discussions of paternalism in health care will have to come to terms with the contentions of this book, which must be reckoned the best existing treatment of its subject."--Ethics. "A clear, scholarly and balanced analysis....This is a book I can recommend to physicians, ethicists, students of both fields, and to those most affected--the (...) patients themselves."--Edmund D. Pellegrino, John Carroll Professor of Medicine and Medical Humanities, Georgetown University Medical Center. (shrink)

Introduction: liberal-rationalism and the progress model i This study stands primarily as an essay in morals. It is governed by Nietzsche's contention that ...

Intimate relationships between emotion and action have long been acknowledged, yet contemporary theories and experimental research within affective and movement neuroscience have not been linked into a coherent framework bridging these two fields. Accumulating psychological and neuroimaging evidence has, however, brought new insights regarding how emotions affect the preparation, execution, and control of voluntary movement. Here we review main approaches and findings on such emotion–action interactions. To assimilate key emotion concepts of action tendencies and motive states with fundamental constructs of (...) the motor system, we underscore the need for integrating an information-processing approach of motor control into affective neuroscience. This should provide a rich foundation to bridge the two fields, allowing further refinement and empirical testing of emotion theories and better understanding of affective influences in movement disorders. (shrink)

How do we know that our own actions belong to us? How are we able to distinguish self-generated sensory events from those that arise externally? In this paper, I will briefly discuss experiments that were designed to investigate these questions. In particularly, I will review psychophysical and neuroimaging studies that have investigated how we recognise the consequences of our own actions, and why patients with delusions of control confuse self-produced and externally produced actions and sensations. Studies investigating the failure of (...) this 'self-monitoring' mechanism in patients with delusions of control will be discussed in the context of the hypothesis that overactivity in the parietal cortex and the cerebellum contribute to the misattribution of an action to an external source (). (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure (...) in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Paraesthetics' is a neologism invented by David Carroll to unlock the extra-aesthetic relationship between art and literature in the work of Michel Foucault, ...

This is a review of Marc Lange's _Natural Laws in Scientific Practice<D>.

Diane Blakemore; XI*—Performatives and Parentheticals, Proceedings of the Aristotelian Society, Volume 91, Issue 1, 1 June 1991, Pages 197–214, https://doi.org/.

Self-produced tactile stimulation usually feels less tickly—is perceptually attenuated—relative to the same stimulation produced externally. This is not true, however, for individuals with schizophrenia. Here, we investigate whether the lack of attenuation to self-produced stimuli seen in schizophrenia also occurs for normal participants following REM dreams. Fourteen participants were stimulated on their left palm with a tactile stimulation device which allowed the same stimulus to be generated by the participant or by the experimenter. The level of self-tickling attenuation did not (...) differ between REM and non-REM sleep awakening conditions, where presence or absence of an accompanying dream was not controlled for. However, for the female participants, when awakening occurred from an REM sleep dream, self-stimulation ratings were higher than for external stimulation, whereas ratings after NREM sleep unaccompanied by a dream were lower for self-stimulation than for external stimulation. These results indicate deficits in self-monitoring and a confusion between self- and externally generated stimulation accompany REM dream formation. (shrink)