There is considerable uncertainty about the implications of the new genetics for health services. These are the enthusiasts who argue that molecular genetics will transform health care and others argue that the scope for genetic interventions is limited. The aim of this paper is to examine some of the questions, tensions and difficulties which face health care providers particularly in developed countries as they try to come to terms with the dilemmas raised by new genetic health care technologies (NGHTs). It (...) identifies questions for research which may help the development of robust and flexible strategies for implementation. (shrink)

Bas Van Fraassen is a nifty philosopher of science. He received his PhD in Pittsburgh in 1966, under the guidance of Adolf Grünbaum, he taught at Yale University, the university of Toronto, the University of Southern California, he has been McCosh Professor of Philosophy in Princeton, and eventually joined the department of philosophy at San Francisco State University, where he has the title of Distinguished Professor of Philosophy. He first gained attention with his book An Introduction to the Philosophy of (...) Time and Space where he tried to develop a formal theory of space and time based on the notion of causality. The book had an enormous legacy, with experts of the likes of John Earman and David Malament joining the debate. However, he achieved V.I.P. status with his classic The Scientific Image, where he defends a combination of empiricism and antirealism towards unobservable entities based on a re-definition of what the scientific enterprise is. His last achievement is the tome Scientific Representation: Paradoxes of Perspectives, where he combines his scientific empiricism with the view that theories are best thought as models or structures, rather than sets of sentences. In this interview, we talk about his philosophical influences and the birth of The Scientific Image during a journey through North-Africa, Turkey and Eastern Europe, we talk about saving the phenomena and suspending judgement over the existence of unobservable entities, living in world full of mysteries and leaving unanswerable questions unanswered, rationality and irrationality, living in a simulation, the historical interplay between theorizing and experimenting, the meaning of particle detectors for an empiricist, the unity of science and physicalism, the condemnation of Galilei by the Church, and the distinction between Appearance and Reality…. (shrink)

Our thesis is that there is no moral requirement to refrain from emitting reasonable amounts of greenhouse gases solely in order to enjoy oneself. Joyriding in a gas guzzler provides our paradigm example. We first distinguish this claim that there is no moral requirement to refrain from joyguzzling from other more radical claims. We then review several different proposed objections to our view. These include: the claim that joyguzzling exemplifies a vice, causes or contributes to harm, has negative expected value, (...) exceeds our fair share of global emissions, and undermines political duties. We show why none of these objections succeeds and conclude that no good reason has yet been proposed that shows why joyguzzling violates a moral requirement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" degree for (...) artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" degree for (...) artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

This commentary briefly reviews the challenges associated with the concept of cyber deterrence. It considers the concept of deterrence more broadly before identifying the specific issues that make both deterrence by denial and by punishment particularly difficult in cyberspace. However, overall, it argues that the concept is valid and indeed essential in contributing to delivering strategic stability.

In order to apply known general theorems about the effective properties of recursive structures in a particular recursive structure, it is necessary to verify that certain decidability conditions are satisfied. This requires the determination of when certain relations, called back and forth relations, hold between finite strings of elements from the structure. Here we determine this for recursive reduced abelian p-groups, thus enabling us to apply these theorems.

The number of International Baccalaureate Diploma Programme (IBDP) schools has increased rapidly in China in recent years. However, access to schools offering the IBDP remains restricted to a relatively elite minority of China’s population due to enrolment barriers for Chinese nationals and relatively high school fees. An implication is that students potentially remain in physical, cultural and socio-economic isolation from host communities. Within this context, this study explored how, and the extent to which, two core components of the IBDP – (...) namely, the Learner Profile and Creativity, Action, Service – help foster inter-cultural understanding between students and other communities within Chinese society. To this end, in mid 2013 interview data were gathered from IBDP teachers, IBDP administrators, and IBDP students from five elite IBDP schools in Beijing and Shanghai. Findings revealed a perception that the Learner Profile could provide a strong theoretical appreciation of the norms and values of other cultures, while Creativity, Action, Service could break down physical divides by offering students an opportunity to interact with people of different cultures and socio-economic groups. Nevertheless, interviewees also noted tensions with the implementation of these components in the context of results-oriented elite IBDP schools in China. (shrink)

Many suggest that we should look backward and measure the differences among various parties' past emissions of greenhouse gases to allocate moral responsibility to remedy climate change. Such backward-looking approaches face two key objections: that previous emitters were unaware of the consequences of their actions, and that the emitters who should be held responsible have disappeared. I assess several arguments that try to counter these objections: the argument from strict liability, arguments that the beneficiary of harmful or unjust emissions should (...) pay, and arguments from distributive justice. I argue that none of these successfully justify a backward-looking approach to the temporally remote portion of the climate burden. (shrink)

Many people argue that we should practice conscientious consumption. Faced with goods from gravely flawed production processes, such as wood from clear-cut rainforests or electronics containing conflict minerals, they argue that we should enact personal policies to routinely shun tainted goods and select pure goods. However, consumers typically should be relatively uncertain about which flaws in global supply chains are grave and the connection of purchases to those grave flaws. The threat of significant uncertainty makes conscientious consumption appear to be (...) no better, or even worse, than an overlooked option. This overlooked option is consumption with relinquishment: disregarding each product’s possible connections with upstream grave flaws and using the time, money, and energy saved in this way to address grave flaws directly. (shrink)

Dale Jamieson has claimed that conventional human-directed ethical concepts are an inadequate means for accurately understanding our duty to respond to climate change. Furthermore, he suggests that a responsibility to respect nature can instead provide the appropriate framework with which to understand such a duty. Stephen Gardiner has responded by claiming that climate change is a clear case of ethical responsibility, but the failure of institutions to respond to it creates a (not unprecedented) political problem. In assessing the debate between (...) Gardiner and Jamieson, I develop an analysis which shows a three-part structure to the problem of climate change, in which the problem Gardiner identifies is only one of three sub-problems of climate change. This analysis highlights difficulties with Jamieson’s argument that the duty of respect for nature is necessary for a full understanding of climate ethics, and suggests how a human-directed approach based on the three-part analysis can avoid Jamieson’s charge of inadequacy. (shrink)

Deep decarbonization – slashing global greenhouse gas emissions to net-zero – now dominates global climate policy. Two recent books assess feasible routes to achieve deep decarbonization. Bill Gates’ How to Avoid a Climate Disaster explains in depth why deep decarbonization requires significant innovations in tech, and Danny Cullenward and David Victor’s Making Climate Policy Work emphasizes the importance of policy innovation (beyond carbon pricing) for driving clean tech breakthroughs. In this critical review essay, I summarize and assess both books. In (...) the final section, I raise several normative questions, which the pair of books might lead us to. (shrink)

Originally presented as the author's thesis, Munich, 1972.

Dasein is an entity that can be understood as being-in-the-world, in which the "world" refers to the referential context of meanings. In this context are the environments where the human being as historically constituted relates to other entities, among them the entity called "book" which can mean more than a mere instrument in its instrumentality (Zuhandenheit), but be this entity "the book of my childhood", "of adolescence", etc., unveiling his deliverance in the "for what it is read". The book speaks (...) because the one who wrote it, the Dasein-author, is possessed of language just as the Dasein-reader who relates to the work. Calvin states that the book, as an author’s self-portrait, presents a written world, whose source is the unwritten world, that is, the reality that is more surprising and frightening than what is in the book. The relationship of literature with the philosophy that once belonged to opponents has changed with the writers' attempt to reconcile both movements, including one more element in a triple relationship - Science - Philosophy - Literature. Like the human being, the book has undergone significant changes, such as the rise of digital books. The purpose of the article is to understand these aspects and philosophically interpret some excerpts from world-known works. (shrink)

To acquire one’s native phonological system, language-specific phonological categories and relationships must be extracted from the input. The acquisition of the categories and relationships has each in its own right been the focus of intense research. However, it is remarkable that research on the acquisition of categories and the relations between them has proceeded, for the most part, independently of one another. We argue that this has led to the implicit view that phonological acquisition is a “two-stage” process: Phonetic categories (...) are first acquired and then subsequently mapped onto abstract phoneme categories. We present simulations that suggest two problems with this view: First, the learner might mistake the phoneme-level categories for phonetic-level categories and thus be unable to learn the relationships between phonetic-level categories; on the other hand, the learner might construct inaccurate phonetic-level representations that prevent it from finding regular relations among them. We suggest an alternative conception of the phonological acquisition problem that sidesteps this apparent inevitability and acquires phonemic categories in a single stage. Using acoustic data from Inuktitut, we show that this model reliably converges on a set of phoneme-level categories and phonetic-level relations among subcategories, without making use of a lexicon. (shrink)