There is one character too many in the triad sound, event source, thing source. As there are neither phenomenological nor metaphysical grounds for distinguishing sounds and sound sources, we propose to identify them.

Bio-heteronormative conceptions of the family have long reinforced a nuclear ideal of the family as a heterosexual marriage, with children who are the genetic progeny of that union. This ideal, however, has also long been resisted in light of recent social developments, exhibited through the increased incidence and acceptance of step-families, donor-conceived families, and so forth. Although to this end some might claim that the bio-heteronormative ideal is not necessary for a social unit to count as a family, a more (...) systematic conceptualization of the family—the kind of family that matters morally—is relatively underexplored in the philosophical literature. This paper makes a start at developing and defending an account of the family that is normatively attractive and in line with the growing prevalence of non-conventional families and methods of family-formation. Our account, which we call a constitutive-affirmative model of the family, takes the family to be constituted by an ongoing process of relevant affective and affirmative relations between the putative family members. (shrink)

Aims and background: The present work assessed the impact of two decrees on ethics committees in Italy, aimed at bringing the national laws on the conduct of clinical trials into line with the rest of the EC, and regulating and facilitating not-for-profit research.Material and methods: Prospectively collected data from an Italian multicentre study were examined with respect to the ethics review process. Administrative and time elements of the review process were audited. Main outcome measures were time between the application submission (...) and the ethics committee definitive opinion, type and number of application submission forms, number of ethics committees that refused fee exemption, and time between the ethics committee approval and the administrative authorisation.Results: A total of 134 local research ethics committees were approached. Application submission procedures and application forms varied greatly; paper submission was mandatory. The median time from submission to approval was 72 days. Only two LRECs refused the fee exemption. The median time from LREC approval to administrative agreement was 50 days and only 9.6% of local authorities came to a verbal agreement with the sponsor.Conclusions: Italian LRECs are still not sufficiently efficient in complying with the Directive 2001/20/EC requirement . Better coordination of LRECs work is needed although the optimal level of coordination between them is still not known. In the meantime, national guidelines are needed concerning the application of Directive 2001/20/EC. The behaviour of Italian LRECs towards not-for-profit research was excellent although only the fee exemption was requested. (shrink)

Introduction / Jeffrey R. Di Leo, Peter Hitchcock, and Sophia A. McClennen -- Theory and history -- The rights to debt? / Sophia A. McClennen -- Kant at the Federal Reserve : on the aesthetics of quantitative easing / Peter Hitchcock -- Materialism : debt and sensuality / Christopher Breu -- The indebted man's cognitive mapping : boundaries and biohorror in the neoliberal debt economy / Liane Tanguay -- Living in the debt age -- The debt experience / Jeffrey J. (...) Williams -- Paying your debt to society : the neoliberal state and the logic of quid pro quo / Esther Peeren -- Indebted youth and neoliberalism / Tyler J. Pollard -- Austerity politics and the neoliberal target austerity politics and the neoliberal targeting of the body in public education / Kenneth J. Saltman -- Resisting the debt age -- On debt resistance / Jeffrey R. Di Leo -- Debt and financial literacy education : an ethics for capital or the other / Chris Arthur -- Student debt and the social functions of consolidation college / Christopher Newfield -- Confronting the creditor class / Andrew Ross -- Index. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Question of Style in Philosophy and the ArtsJeffrey R. Di LeoThe Question of Style in Philosophy and the Arts, edited by Caroline van Eck, James McAllister and Renée van de Vall; xi & 245 pp. Cambridge: Cambridge University Press, 1995, $49.95.The question, “Should philosophers concern themselves with questions of style?” motivates this rich collection of twelve essays on the interrelatedness of content and its formal representation in (...) both philosophical writing and the arts. Alongside issues such as aestheticized forms of philosophizing and the relationship between method and style, there are articles on Heinrich von Kleist’s Marionettentheater, the graphic works of William Hogarth, Alexis de Tocqueville’s use of metaphor and paradox, the use of ellipses in Johannes Kepler’s astronomical theories, and eclecticism in eighteenth-century English architecture.Style has been an explicit concern for historians and theorists of the arts long before it came to the fore in philosophy. The editors think philosophers can learn a lot not only about the concept of style but also about philosophical style by looking into the practices of musicians, architects, and painters and by thinking about how styles are formed, transformed, and understood in the arts. By comparing the arts and philosophy, we can move toward something lacking in contemporary discussions, namely stylistic categories specific to philosophy. Richard Wollheim’s essay, for example, offers many categories appropriate to painting that could be relevant to philosophical writing.A provocative point traced here is that until the end of the eighteenth century, “style” had little to do with the meaning of a work of art—the term merely denoted an artwork’s place in the hierarchy of art. Before 1800, there was hardly a question of choice among styles: contributions to a practice were regarded not as belonging to one style or another, but as falling within or being alien to a practice. Only in the early nineteenth century did style become a key element in the meaning of a work, when it took the place previously occupied by nature, antiquity, or absolute standards of reason. With the traditional bearers of meaning gone, one could no longer look to content for meaning, and artists turned to style to create meaningful art—style being that aspect of writing, painting, or building traditionally associated with ornament, that could be varied without changing the content. Gradually, the “variable” element in art became the prime bearer of meaning.The claim here is that an analogous transition from stylistic monism to pluralism occurred in philosophy about a century after it did in art. This shift away from the monistic geometrical and mathematical standards of philosophical reasoning established in the late sixteenth century was brought about by philosophers such as Nietzsche and Wittgenstein. Lambert Weising suggests that, with Wittgenstein, there is a substitution of style for truth—a point which seems equally true of others, notably Nietzsche. A consequence of this new [End Page 187] pluralism is a loosening of what can be called philosophical reasoning, and an increasing receptiveness to and acceptance of a diversity of philosophical styles. Questions of style do tend to arise in connections with philosophers of the literary sort—Plato or Kierkegaard. Now philosophers have much less difficulty regarding as philosophical a work such as Pascal’s Pensées, which has traditionally been treated more as literature than as philosophy.One of the challenges of this collection is to refute the view of those who deny that the content of their philosophical writing depends at all on style. This would give support to a thesis defended by Martha Nussbaum in this journal in 1983: “No stylistic choice can be presumed to be neutral—not even the choice to write in a flat or neutral style” (p. 146). Beryl Lang, who has addressed this question in other books and articles, argues that style is relevant to all philosophical writing, even that professed to be “style-less.” Lang correctly shows that philosophers’ general disregard for expressiveness, and their belief that the proper philosophical method will lead all who follow it to the same results, has itself become a feature of philosophical writing. So “style-less” writing is a philosophical... (shrink)

It is introduced a new algebra$$(A, \otimes, \oplus, *, \rightharpoonup, 0, 1)$$(A,⊗,⊕,∗,⇀,0,1)called$$L_PG$$LPG-algebra if$$(A, \otimes, \oplus, *, 0, 1)$$(A,⊗,⊕,∗,0,1)is$$L_P$$LP-algebra (i.e. an algebra from the variety generated by perfectMV-algebras) and$$(A,\rightharpoonup, 0, 1)$$(A,⇀,0,1)is a Gödel algebra (i.e. Heyting algebra satisfying the identity$$(x \rightharpoonup y ) \vee (y \rightharpoonup x ) =1)$$(x⇀y)∨(y⇀x)=1). The lattice of congruences of an$$L_PG$$LPG-algebra$$(A, \otimes, \oplus, *, \rightharpoonup, 0, 1)$$(A,⊗,⊕,∗,⇀,0,1)is isomorphic to the lattice of Skolem filters (i.e. special type ofMV-filters) of theMV-algebra$$(A, \otimes, \oplus, *, 0, 1)$$(A,⊗,⊕,∗,0,1). The variety$$\mathbf {L_PG}$$LPGof$$L_PG$$LPG-algebras (...) is generated by the algebras$$(C, \otimes, \oplus, *, \rightharpoonup, 0, 1)$$(C,⊗,⊕,∗,⇀,0,1)where$$(C, \otimes, \oplus, *, 0, 1)$$(C,⊗,⊕,∗,0,1)is ChangMV-algebra. Any$$L_PG$$LPG-algebra is bi-Heyting algebra. The set of theorems of the logic$$L_PG$$LPGis recursively enumerable. Moreover, we describe finitely generated free$$L_PG$$LPG-algebras. (shrink)

In this paper we first provide a new axiomatization of algebraically closed MV-algebras based on McNaughtonʼs Theorem. Then we turn to sheaves, and we represent algebraically closed MV-algebras as algebras of global sections of sheaves, where the stalks are divisible MV-chains and the base space is Stonean.